{
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/AUD0000000468.mp3": {
        "gt": "THERE WAS NOTHING VERY REMARKABLE IN THAT  NOR DID ALICE THINK IT SO VERY MUCH OUT OF THE WAY TO HEAR THE RABBIT SAY TO ITSELF DEAR   DEAR   I SHALL BE TOO LATE  WOULD THE FALL NEVER COME TO AN END  I WONDER HOW MANY MILES I'VE FALLEN BY THIS TIME   SHE SAID ALOUD  I MUST BE GETTING SOMEWHERE NEAR THE CENTRE OF THE EARTH  HOW FUNNY IT'LL BE TO COME OUT AMONG THE PEOPLE THAT WALK WITH THEIR HEADS DOWNWARDS  BUT I SHALL HAVE TO ASK THEM WHAT THE NAME OF THE COUNTRY IS   YOU KNOW  PLEASE   MA'AM   IS THIS NEW ZEALAND OR AUSTRALIA  NO   IT'LL NEVER DO TO ASK PERHAPS I SHALL SEE IT WRITTEN UP SOMEWHERE  DOWN   DOWN   DOWN THERE WAS NOTHING ELSE TO DO   SO ALICE SOON BEGAN TALKING AGAIN  DINAH WILL MISS ME VERY MUCH TONIGHT   I SHOULD THINK  OH   DEAR DINAH   I WISH I HAD YOU HERE  THERE ARE NO MICE IN THE AIR   I'M AFRAID   BUT YOU MIGHT CATCH A BAT  AND THAT'S VERY LIKE A MOUSE   YOU KNOW   MY DEAR  BUT DO CATS EAT BATS   I WONDER  AND HERE ALICE BEGAN TO GET RATHER SLEEPY  AND SOMETIMES  DO BATS EAT CATS  FOR   AS SHE COULDN'T ANSWER EITHER QUESTION  IT DIDN'T MUCH MATTER WHICH WAY SHE PUT IT  SHE FELT THAT SHE WAS DOZING OFF  AND HAD JUST BEGUN TO DREAM THAT SHE WAS WALKING HAND IN HAND WITH DINAH  AND WAS SAYING TO HER VERY EARNESTLY  NOW   DINAH   MY DEAR   TELL ME THE TRUTH  DID YOU EVER EAT A BAT  AND THE FALL WAS OVER  AND JUMPED ON TO HER FEET DIRECTLY SHE LOOKED UP   BUT IT WAS ALL DARK OVERHEAD BEFORE HER WAS ANOTHER LONG PASSAGE  AND THE WHITE RABBIT WAS STILL IN SIGHT   HURRYING DOWN IT  THERE WAS NOT A MOMENT TO BE LOST AWAY WENT ALICE LIKE THE WIND  AND JUST HEARD IT SAY   AS IT TURNED A CORNER  MY EARS AND WHISKERS   HOW LATE IT'S GETTING  SHE TURNED THE CORNER AFTER IT  AND INSTANTLY FOUND HERSELF IN A LONG   LOW HALL  LIT UP BY A ROW OF LAMPS WHICH HUNG FROM THE ROOF  THERE WERE DOORS ALL ROUND THE HALL   BUT THEY WERE ALL LOCKED  SHE WALKED SADLY DOWN THE MIDDLE  WONDERING HOW SHE WAS EVER TO GET OUT AGAIN SUDDENLY SHE CAME UPON A LITTLE THREE-LEGGED TABLE  AND ALICE'S FIRST IDEA WAS THAT IT MIGHT BELONG TO ONE OF THE DOORS OF THE HALL  BUT ALAS   EITHER THE LOCKS WERE TOO LARGE   OR THE KEY TOO SMALL  BUT AT ANY RATE IT WOULD OPEN NONE OF THEM  HOWEVER   ON THE SECOND TIME ROUND  SHE CAME TO A LOW CURTAIN  BEHIND WHICH WAS A DOOR ABOUT EIGHTEEN INCHES HIGH SHE TRIED THE LITTLE KEY IN THE KEYHOLE   AND IT FITTED  ALICE OPENED THE DOOR   AND LOOKED DOWN A SMALL PASSAGE  NOT LARGER THAN A RAT-HOLE  INTO THE LOVELIEST GARDEN YOU EVER SAW  HOW SHE LONGED TO GET OUT OF THAT DARK HALL  AND WANDER ABOUT AMONG THOSE BEDS OF BRIGHT FLOWERS AND THOSE COOL FOUNTAINS  BUT SHE COULD NOT EVEN GET HER HEAD THROUGH THE DOORWAY  AND EVEN IF MY HEAD WOULD GO THROUGH   THOUGHT POOR ALICE  IT WOULD BE VERY LITTLE USE WITHOUT MY SHOULDERS  OH   HOW I WISH I COULD SHUT UP LIKE A TELESCOPE  I THINK I COULD  IF I ONLY KNEW HOW TO BEGIN  THAT ALICE BEGAN TO THINK VERY FEW THINGS INDEED WERE REALLY IMPOSSIBLE  THERE WAS NOTHING ELSE TO DO  SO SHE WENT BACK TO THE TABLE  AND SEE WHETHER THE BOTTLE'S MARKED POISON OR NOT  FOR ALICE HAD READ SEVERAL NICE LITTLE STORIES ABOUT CHILDREN THAT GOT BURNT   AND EATEN UP BY WILD BEASTS   AND OTHER UNPLEASANT THINGS  BECAUSE THEY WOULD NOT REMEMBER THE SIMPLE RULES THEIR FRIENDS HAD GIVEN THEM  AND THAT   IF YOU CUT YOUR FINGER VERY DEEPLY WITH A KNIFE  IT GENERALLY BLEEDS  AND SHE HAD NEVER FORGOTTEN THAT   IF YOU DRINK A BOTTLE MARKED POISON  HOWEVER   THIS BOTTLE WAS NOT MARKED POISON  SO ALICE TASTED IT  AND FINDING IT VERY NICE  SHE VERY SOON FINISHED IT OFF  WHAT A CURIOUS FEELING   SAID ALICE  I MUST BE SHUTTING UP LIKE A TELESCOPE  IT WAS SO INDEED SHE WAS NOW ONLY TEN INCHES HIGH  AND HER FACE BRIGHTENED UP AS IT OCCURRED TO HER THAT SHE WAS NOW THE RIGHT SIZE FOR GOING THROUGH THE LITTLE DOOR INTO THAT LOVELY GARDEN  FIRST   HOWEVER   SHE WAITED FOR A FEW MINUTES TO SEE WHETHER SHE WAS GOING TO SHRINK ANY FURTHER SHE FELT A LITTLE NERVOUS ABOUT THIS  FOR IT MIGHT END   YOU KNOW   SAID ALICE TO HERSELF  IN MY GOING OUT ALTOGETHER   LIKE A CANDLE  AND SHE TRIED TO FANCY WHAT THE FLAME OF A CANDLE IS LIKE AFTER THE CANDLE IS BLOWN OUT  FOR SHE COULD NOT REMEMBER HAVING EVER SEEN ONE  HOWEVER   NOTHING MORE HAPPENED SO SHE DECIDED ON GOING INTO THE GARDEN AT ONCE  BUT   ALAS FOR POOR ALICE  WHEN SHE GOT TO THE DOOR  SHE FOUND SHE HAD FORGOTTEN THE LITTLE GOLDEN KEY  AND WHEN SHE WENT BACK TO THE TABLE FOR THE KEY  SHE FOUND SHE COULD NOT POSSIBLY REACH IT SHE COULD SEE IT PLAINLY ENOUGH THROUGH THE GLASS  AND SHE TRIED HER BEST TO CLIMB UP ONE OF THE LEGS OF THE TABLE  BUT IT WAS TOO SLIPPERY  AND WHEN SHE HAD TIRED HERSELF OUT WITH TRYING  THE POOR LITTLE THING SAT DOWN AND CRIED  COME   THERE'S NO USE IN CRYING  SAID ALICE TO HERSELF RATHER SHARPLY  I ADVISE YOU TO LEAVE OFF THIS MINUTE  SOON HER EYES FELL ON A LITTLE EBONY BOX LYING UNDER THE TABLE SHE OPENED IT  AND FOUND IN IT A VERY SMALL CAKE  ON WHICH WAS LYING A CARD WITH THE WORDS EAT ME BEAUTIFULLY PRINTED ON IT IN LARGE LETTERS  I'LL EAT   SAID ALICE   AND IF IT MAKES ME LARGER   I CAN REACH THE KEY  AND IF IT MAKES ME SMALLER  I CAN CREEP UNDER THE DOOR   SO EITHER WAY I'LL GET INTO THE GARDEN   AND I DON'T CARE WHICH HAPPENS  SHE ATE A LITTLE BIT   AND SAID ANXIOUSLY TO HERSELF WHICH WAY   WHICH WAY  AND LAID HER HAND ON THE TOP OF HER HEAD TO FEEL WHICH WAY IT WAS GROWING  AND WAS QUITE SURPRISED TO FIND THAT SHE REMAINED THE SAME SIZE TO BE SURE THIS IS WHAT GENERALLY HAPPENS WHEN ONE EATS CAKE  AND IT SEEMED QUITE DULL AND STUPID FOR THINGS TO GO ON IN THE COMMON WAY  SO SHE SET TO WORK   AND VERY SOON FINISHED OFF THE CAKE  CURIOUSER AND CURIOUSER   CRIED ALICE  GOODBYE   FEET  I WONDER WHO WILL PUT ON YOUR SHOES AND STOCKINGS FOR YOU NOW   DEARS  I'M SURE I CAN'T  I SHALL BE A GREAT DEAL TOO FAR OFF TO BOTHER MYSELF ABOUT YOU YOU MUST MANAGE THE BEST WAY YOU CAN BUT I MUST BE KIND TO THEM   THOUGHT ALICE  OR PERHAPS THEY WON'T WALK THE WAY I WANT TO GO  LET ME SEE I'LL GIVE THEM A NEW PAIR OF BOOTS EVERY CHRISTMAS  AND SHE WENT ON PLANNING TO HERSELF HOW SHE WOULD MANAGE IT THEY MUST GO BY THE CARRIER   SHE THOUGHT  AND HOW FUNNY IT'LL SEEM  SENDING PRESENTS TO ONE'S OWN FEET  AND HOW ODD THE DIRECTIONS WILL LOOK  JUST AT THIS MOMENT  HER HEAD STRUCK AGAINST THE ROOF OF THE HALL IN FACT   SHE WAS NOW RATHER MORE THAN NINE FEET HIGH  AND SHE AT ONCE TOOK UP THE LITTLE GOLDEN KEY  AND HURRIED OFF TO THE GARDEN DOOR  POOR ALICE  IT WAS AS MUCH AS SHE COULD DO   LYING DOWN ON ONE SIDE  TO LOOK THROUGH INTO THE GARDEN WITH ONE EYE  BUT TO GET THROUGH WAS MORE HOPELESS THAN EVER SHE SAT DOWN AND CRIED AGAIN  YOU OUGHT TO BE ASHAMED OF YOURSELF  SAID ALICE   A GREAT GIRL LIKE YOU  BUT SHE CRIED ON ALL THE SAME   SHEDDING GALLONS OF TEARS  UNTIL THERE WAS A LARGE POOL   ABOUT FOUR INCHES DEEP  ALL ROUND HER  AND REACHING HALF WAY ACROSS THE HALL  AFTER A TIME   SHE HEARD A LITTLE PATTERING OF FEET IN THE DISTANCE  AND DRIED HER EYES TO SEE WHAT WAS COMING  IT WAS THE WHITE RABBIT COMING BACK AGAIN  SPLENDIDLY DRESSED  WITH A PAIR OF WHITE KID GLOVES IN ONE HAND  AND A NOSEGAY IN THE OTHER  AND AS THE RABBIT PASSED HER   SHE SAID   IN A LOW   TIMID VOICE  IF YOU PLEASE   SIR THE RABBIT STARTED VIOLENTLY  LOOKED UP ONCE INTO THE ROOF OF THE HALL  FROM WHICH THE VOICE SEEMED TO COME  AND THEN DROPPED THE NOSEGAY AND THE WHITE KID GLOVES  ALICE TOOK UP THE NOSEGAY AND GLOVES  AND YESTERDAY EVERYTHING HAPPENED JUST AS USUAL I WONDER IF I WAS CHANGED IN THE NIGHT  LET ME THINK WAS I THE SAME WHEN I GOT UP THIS MORNING  I THINK I REMEMBER FEELING RATHER DIFFERENT  BUT IF I'M NOT THE SAME   WHO IN THE WORLD AM I   AH  AND SHE BEGAN THINKING OVER ALL THE CHILDREN SHE KNEW OF THE SAME AGE AS HERSELF  TO SEE IF SHE COULD HAVE BEEN CHANGED FOR ANY OF THEM  I'M SURE I'M NOT GERTRUDE   SHE SAID  FOR HER HAIR GOES IN SUCH LONG RINGLETS  FOR I KNOW ALL SORTS OF THINGS   AND SHE   OH   SHE KNOWS SUCH A VERY LITTLE  AND OH DEAR   HOW PUZZLING IT ALL IS  I'LL TRY IF I KNOW ALL THE THINGS I USED TO KNOW  LET ME SEE FOUR TIMES FIVE IS TWELVE   AND FOUR TIMES SIX IS THIRTEEN  BUT THE MULTIPLICATION TABLE DON'T SIGNIFY LET'S TRY GEOGRAPHY  LONDON IS THE CAPITAL OF FRANCE   AND ROME IS THE CAPITAL OF YORKSHIRE  I MUST HAVE BEEN CHANGED FOR FLORENCE  I'LL TRY AND SAY HOW DOTH THE LITTLE  AND BEGAN  BUT HER VOICE SOUNDED HOARSE AND STRANGE  AND THE WORDS DID NOT SOUND THE SAME AS THEY USED TO DO HOW DOTH THE LITTLE CROCODILE IMPROVE ITS SHINING TAIL  HOW CHEERFULLY IT SEEMS TO GRIN   HOW NEATLY SPREADS ITS CLAWS  AND WELCOMES LITTLE FISHES IN WITH GENTLY-SMILING JAWS  I'M SURE THOSE ARE NOT THE RIGHT WORDS  SAID POOR ALICE  AND HER EYES FILLED WITH TEARS AS SHE THOUGHT I MUST BE FLORENCE AFTER ALL   AND I SHALL HAVE TO GO AND LIVE IN THAT POKY LITTLE HOUSE  AND HAVE NEXT TO NO TOYS TO PLAY WITH  AND OH   EVER SO MANY LESSONS TO LEARN  NO   I'VE MADE UP MY MIND ABOUT IT IF I'M FLORENCE   I'LL STAY DOWN HERE  AND THEN   IF I LIKE BEING THAT PERSON   I'LL COME UP IF NOT  I'LL STAY DOWN HERE TILL I'M SOMEBODY ELSE BUT   OH DEAR   CRIED ALICE WITH A SUDDEN BURST OF TEARS  I DO WISH THEY WOULD PUT THEIR HEADS DOWN  I AM SO TIRED OF BEING ALL ALONE HERE  HOW CAN I HAVE DONE THAT   THOUGHT SHE  I MUST BE GROWING SMALL AGAIN  SHE WAS NOW ABOUT TWO FEET HIGH  AND WAS GOING ON SHRINKING RAPIDLY SOON SHE FOUND OUT THAT THE REASON OF IT WAS THE NOSEGAY SHE HELD IN HER HAND SHE DROPPED IT HASTILY  JUST IN TIME TO SAVE HERSELF FROM SHRINKING AWAY ALTOGETHER  AND FOUND THAT SHE WAS NOW ONLY THREE INCHES HIGH  NOW FOR THE GARDEN   CRIED ALICE   AS SHE HURRIED BACK TO THE LITTLE DOOR  BUT THE LITTLE DOOR WAS LOCKED AGAIN  AND THE LITTLE GOLD KEY WAS LYING ON THE GLASS TABLE AS BEFORE  AND THINGS ARE WORSE THAN EVER   THOUGHT THE POOR LITTLE GIRL  FOR I NEVER WAS AS SMALL AS THIS BEFORE   NEVER  AND I DECLARE IT'S TOO BAD   IT IS  AT THIS MOMENT HER FOOT SLIPPED   AND SPLASH   SHE WAS UP TO HER CHIN IN SALT WATER  HER FIRST IDEA WAS THAT SHE HAD FALLEN INTO THE SEA THEN SHE REMEMBERED THAT SHE WAS UNDER GROUND   AND SHE SOON MADE OUT THAT IT WAS THE POOL OF TEARS SHE HAD WEPT WHEN SHE WAS NINE FEET HIGH  I SHALL BE PUNISHED FOR IT NOW   I SUPPOSE   BY BEING DROWNED IN MY OWN TEARS  WELL   THAT'LL BE A QUEER THING   TO BE SURE  HOWEVER   EVERY THING IS QUEER TODAY  VERY SOON SHE SAW SOMETHING SPLASHING ABOUT IN THE POOL NEAR HER AT FIRST SHE THOUGHT IT MUST BE A WALRUS OR A HIPPOPOTAMUS  TO SPEAK TO THIS MOUSE  AND SO HAVE I BEEN   EVER SINCE I CAME DOWN HERE  BUT THAT IS NO REASON WHY THE MOUSE SHOULD NOT BE ABLE TO TALK   I THINK I MAY AS WELL TRY  SO SHE BEGAN OH MOUSE   DO YOU KNOW HOW TO GET OUT OF THIS POOL  I AM VERY TIRED OF SWIMMING ABOUT HERE   OH MOUSE  THE MOUSE LOOKED AT HER RATHER INQUISITIVELY  AND SEEMED TO HER TO WINK WITH ONE OF ITS LITTLE EYES  PERHAPS IT DOESN'T UNDERSTAND ENGLISH   THOUGHT ALICE I DARESAY IT'S A FRENCH MOUSE  COME OVER WITH WILLIAM THE CONQUEROR  WHICH WAS THE FIRST SENTENCE OUT OF HER FRENCH LESSON-BOOK  THE MOUSE GAVE A SUDDEN JUMP IN THE POOL  AND SEEMED TO QUIVER WITH FRIGHT OH   I BEG YOUR PARDON  CRIED ALICE HASTILY  AFRAID THAT SHE HAD HURT THE POOR ANIMAL'S FEELINGS  I QUITE FORGOT YOU DIDN'T LIKE CATS  NOT LIKE CATS   CRIED THE MOUSE   IN A SHRILL   PASSIONATE VOICE  WOULD YOU LIKE CATS IF YOU WERE ME  WELL   PERHAPS NOT   SAID ALICE IN A SOOTHING TONE  DON'T BE ANGRY ABOUT IT  AND YET I WISH I COULD SHOW YOU OUR CAT DINAH I THINK YOU'D TAKE A FANCY TO CATS IF YOU COULD ONLY SEE HER  SHE IS SUCH A DEAR QUIET THING  SAID ALICE   HALF TO HERSELF  AS SHE SWAM LAZILY ABOUT IN THE POOL  SHE SITS PURRING SO NICELY BY THE FIRE  LICKING HER PAWS AND WASHING HER FACE AND SHE IS SUCH A NICE SOFT THING TO NURSE  CRIED POOR ALICE AGAIN  FOR THIS TIME THE MOUSE WAS BRISTLING ALL OVER   AND SHE FELT CERTAIN THAT IT WAS REALLY OFFENDED  HAVE I OFFENDED YOU  OFFENDED INDEED   CRIED THE MOUSE   WHO SEEMED TO BE POSITIVELY TREMBLING WITH RAGE  OUR FAMILY ALWAYS HATED CATS   NASTY   LOW   VULGAR THINGS   DON'T TALK TO ME ABOUT THEM ANY MORE  I WON'T INDEED   SAID ALICE   IN A GREAT HURRY TO CHANGE THE CONVERSATION  ARE YOU ARE YOU FOND OF DOGS  THE MOUSE DID NOT ANSWER  SO ALICE WENT ON EAGERLY THERE IS SUCH A NICE LITTLE DOG NEAR OUR HOUSE I SHOULD LIKE TO SHOW YOU  A LITTLE BRIGHT-EYED TERRIER   YOU KNOW   WITH OH   SUCH LONG CURLY BROWN HAIR  AND IT'LL FETCH THINGS WHEN YOU THROW THEM  AND IT'LL SIT UP AND BEG FOR ITS DINNER   AND ALL SORTS OF THINGS I CA'N'T REMEMBER HALF OF THEM AND IT BELONGS TO A FARMER  I'M AFRAID I'VE OFFENDED IT AGAIN  FOR THE MOUSE WAS SWIMMING AWAY FROM HER AS HARD AS IT COULD GO  AND MAKING QUITE A COMMOTION IN THE POOL AS IT WENT  SO SHE CALLED SOFTLY AFTER IT MOUSE DEAR  DO COME BACK AGAIN  AND WE WON'T TALK ABOUT CATS AND DOGS ANY MORE   IF YOU DON'T LIKE THEM  WHEN THE MOUSE HEARD THIS   IT TURNED AND SWAM SLOWLY BACK TO HER ITS FACE WAS QUITE PALE  AND THEN I'LL TELL YOU MY HISTORY  AND YOU'LL UNDERSTAND WHY IT IS I HATE CATS AND DOGS  IT WAS HIGH TIME TO GO   FOR THE POOL WAS GETTING QUITE FULL OF BIRDS AND ANIMALS THAT HAD FALLEN INTO IT  THERE WAS A DUCK AND A DODO  A LORY AND AN EAGLET  AND SEVERAL OTHER CURIOUS CREATURES  THEY WERE INDEED A CURIOUS LOOKING PARTY THAT ASSEMBLED ON THE BANK THE BIRDS WITH DRAGGLED FEATHERS  THE ANIMALS WITH THEIR FUR CLINGING CLOSE TO THEM ALL DRIPPING WET   CROSS   AND UNCOMFORTABLE  THE FIRST QUESTION OF COURSE WAS   HOW TO GET DRY THEY HAD A CONSULTATION ABOUT THIS  AND ALICE HARDLY FELT AT ALL SURPRISED AT FINDING HERSELF TALKING FAMILIARLY WITH THE BIRDS  AS IF SHE HAD KNOWN THEM ALL HER LIFE  INDEED   SHE HAD QUITE A LONG ARGUMENT WITH THE LORY  AND THIS ALICE WOULD NOT ADMIT WITHOUT KNOWING HOW OLD THE LORY WAS  AND AS THE LORY POSITIVELY REFUSED TO TELL ITS AGE   THERE WAS NOTHING MORE TO BE SAID  AT LAST THE MOUSE   WHO SEEMED TO HAVE SOME AUTHORITY AMONG THEM   CALLED OUT SIT DOWN   ALL OF YOU   AND ATTEND TO ME  I'LL SOON MAKE YOU DRY ENOUGH  THEY ALL SAT DOWN AT ONCE   SHIVERING   IN A LARGE RING  ALICE IN THE MIDDLE   WITH HER EYES ANXIOUSLY FIXED ON THE MOUSE  FOR SHE FELT SURE SHE WOULD CATCH A BAD COLD IF SHE DID NOT GET DRY VERY SOON  AHEM   SAID THE MOUSE   WITH A SELF-IMPORTANT AIR  ARE YOU ALL READY  THIS IS THE DRIEST THING I KNOW   SILENCE ALL ROUND   IF YOU PLEASE  WILLIAM THE CONQUEROR   WHOSE CAUSE WAS FAVOURED BY THE POPE  WAS SOON SUBMITTED TO BY THE ENGLISH   WHO WANTED LEADERS  EDWIN AND MORCAR   THE EARLS OF MERCIA AND NORTHUMBRIAI BEG YOUR PARDON   SAID THE MOUSE   FROWNING   BUT VERY POLITELY   DID YOU SPEAK  NOT I   SAID THE LORY HASTILY  I THOUGHT YOU DID   SAID THE MOUSE  I PROCEED  EDWIN AND MORCAR   THE EARLS OF MERCIA AND NORTHUMBRIA   DECLARED FOR HIM AND EVEN STIGAND   THE PATRIOTIC ARCHBISHOP OF CANTERBURY  FOUND IT ADVISABLE TO GO WITH EDGAR ATHELING TO MEET WILLIAM AND OFFER HIM THE CROWN  WILLIAM'S CONDUCT WAS AT FIRST MODERATE HOW ARE YOU GETTING ON NOW   DEAR   SAID THE MOUSE   TURNING TO ALICE AS IT SPOKE  AS WET AS EVER   SAID POOR ALICE  IT DOESN'T SEEM TO DRY ME AT ALL  IN THAT CASE   SAID THE DODO SOLEMNLY   RISING TO HIS FEET  I DON'T KNOW THE MEANING OF HALF THOSE LONG WORDS   AND WHAT'S MORE   I DON'T BELIEVE YOU DO EITHER  AND THE DUCK QUACKED A COMFORTABLE LAUGH TO ITSELF  SOME OF THE OTHER BIRDS TITTERED AUDIBLY  THAT I KNOW OF A HOUSE NEAR HERE  WHERE WE COULD GET THE YOUNG LADY AND THE REST OF THE PARTY DRIED  AND THEN WE COULD LISTEN COMFORTABLY TO THE STORY WHICH I THINK YOU WERE GOOD ENOUGH TO PROMISE TO TELL US  BOWING GRAVELY TO THE MOUSE  THE MOUSE MADE NO OBJECTION TO THIS  THE DODO LEADING THE WAY  AFTER A TIME THE DODO BECAME IMPATIENT   AND   LEAVING THE DUCK TO BRING UP THE REST OF THE PARTY  MOVED ON AT A QUICKER PACE WITH ALICE   THE LORY   AND THE EAGLET  AND SOON BROUGHT THEM TO A LITTLE COTTAGE  AND THERE THEY SAT SNUGLY BY THE FIRE  WRAPPED UP IN BLANKETS  UNTIL THE REST OF THE PARTY HAD ARRIVED  AND THEY WERE ALL DRY AGAIN  THEN THEY ALL SAT DOWN AGAIN IN A LARGE RING ON THE BANK   AND BEGGED THE MOUSE TO BEGIN HIS STORY  MINE IS A LONG AND A SAD TALE  SAID THE MOUSE   TURNING TO ALICE   AND SIGHING  WHICH WAS COILED NEARLY ALL ROUND THE PARTY  BUT WHY DO YOU CALL IT SAD  AND SHE WENT ON PUZZLING ABOUT THIS AS THE MOUSE WENT ON SPEAKING  SO THAT HER IDEA OF THE TALE WAS SOMETHING LIKE THISWE LIVED BENEATH THE MAT WARM AND SNUG AND FAT BUT ONE WOE   AND THAT WAS THE CAT  TO OUR JOYS A CLOG  IN OUR EYES A FOG  ON OUR HEARTS A LOG WAS THE DOG  WHEN THE CAT'S AWAY   THEN THE MICE WILL PLAY   BUT   ALAS   ONE DAY  HUNTING FOR A RAT   CRUSHED THE MICE ALL FLAT EACH ONE AS HE SAT  YOU ARE NOT ATTENDING  SAID THE MOUSE TO ALICE SEVERELY   WHAT ARE YOU THINKING OF  I BEG YOUR PARDON   SAID ALICE VERY HUMBLY  YOU HAD GOT TO THE FIFTH BEND   I THINK  I HAD NOT   CRIED THE MOUSE   SHARPLY AND VERY ANGRILY  A KNOT   SAID ALICE   ALWAYS READY TO MAKE HERSELF USEFUL  AND LOOKING ANXIOUSLY ABOUT HER   OH   DO LET ME HELP TO UNDO IT  I SHALL DO NOTHING OF THE SORT  SAID THE MOUSE  GETTING UP AND WALKING AWAY FROM THE PARTY  YOU INSULT ME BY TALKING SUCH NONSENSE  I DIDN'T MEAN IT   PLEADED POOR ALICE  BUT YOU'RE SO EASILY OFFENDED   YOU KNOW  THE MOUSE ONLY GROWLED IN REPLY  PLEASE COME BACK AND FINISH YOUR STORY  ALICE CALLED AFTER IT  AND THE OTHERS ALL JOINED IN CHORUS YES   PLEASE DO  BUT THE MOUSE ONLY SHOOK ITS EARS   AND WALKED QUICKLY AWAY  HOLD YOUR TONGUE   MA   SAID THE YOUNG CRAB   A LITTLE SNAPPISHLY  YOU'RE ENOUGH TO TRY THE PATIENCE OF AN OYSTER  I WISH I HAD OUR DINAH HERE   I KNOW I DO  SAID ALICE ALOUD  SHE'D SOON FETCH IT BACK  ALICE REPLIED EAGERLY  FOR SHE WAS ALWAYS READY TO TALK ABOUT HER PET  DINAH'S OUR CAT   AND SHE'S SUCH A CAPITAL ONE FOR CATCHING MICE   YOU CAN'T THINK  AND OH   I WISH YOU COULD SEE HER AFTER THE BIRDS  WHY   SHE'LL EAT A LITTLE BIRD AS SOON AS LOOK AT IT  THIS ANSWER CAUSED A REMARKABLE SENSATION AMONG THE PARTY SOME OF THE BIRDS HURRIED OFF AT ONCE ONE OLD MAGPIE BEGAN WRAPPING ITSELF UP VERY CAREFULLY  REMARKING I REALLY MUST BE GETTING HOME THE NIGHT AIR DOES NOT SUIT MY THROAT  AND A CANARY CALLED OUT IN A TREMBLING VOICE TO ITS CHILDREN COME AWAY FROM HER   MY DEARS  SHE'S NO FIT COMPANY FOR YOU  ON VARIOUS PRETEXTS   THEY ALL MOVED OFF  AND ALICE WAS SOON LEFT ALONE  SHE SAT FOR SOME WHILE SORROWFUL AND SILENT  BUT SHE WAS NOT LONG BEFORE SHE RECOVERED HER SPIRITS  AND SO WAS THAT DEAR LITTLE EAGLET  AND THEN THE DUCK AND THE DODO  HOW NICELY THE DUCK SANG TO US AS WE CAME ALONG THROUGH THE WATER AND IF THE DODO HADN'T KNOWN THE WAY TO THAT NICE LITTLE COTTAGE  I DON'T KNOW WHEN WE SHOULD HAVE GOT DRY AGAIN AND THERE IS NO KNOWING HOW LONG SHE MIGHT HAVE PRATTLED ON IN THIS WAY  IF SHE HAD NOT SUDDENLY CAUGHT THE SOUND OF PATTERING FEET  AS IF IT HAD LOST SOMETHING  AND SHE HEARD IT MUTTERING TO ITSELF THE MARCHIONESS   THE MARCHIONESS   OH MY DEAR PAWS   OH MY FUR AND WHISKERS  SHE'LL HAVE ME EXECUTED   AS SURE AS FERRETS ARE FERRETS  WHERE CAN I HAVE DROPPED THEM   I WONDER  ALICE GUESSED IN A MOMENT THAT IT WAS LOOKING FOR THE NOSEGAY AND THE PAIR OF WHITE KID GLOVES  AND SHE BEGAN HUNTING FOR THEM  BUT THEY WERE NOW NOWHERE TO BE SEEN EVERYTHING SEEMED TO HAVE CHANGED SINCE HER SWIM IN THE POOL  AND HER WALK ALONG THE RIVER-BANK WITH ITS FRINGE OF RUSHES AND FORGET-ME-NOTS  AND THE GLASS TABLE AND THE LITTLE DOOR HAD VANISHED  SOON THE RABBIT NOTICED ALICE   AS SHE STOOD LOOKING CURIOUSLY ABOUT HER  AND AT ONCE SAID IN A QUICK ANGRY TONE  GO HOME THIS MOMENT  AND ALICE WAS SO MUCH FRIGHTENED THAT SHE RAN OFF AT ONCE   WITHOUT SAYING A WORD  IN THE DIRECTION WHICH THE RABBIT HAD POINTED OUT  FOR FEAR SHE SHOULD MEET THE REAL MARY ANN AND BE TURNED OUT OF THE HOUSE BEFORE SHE HAD FOUND THE GLOVES SHE KNEW THAT ONE PAIR HAD BEEN LOST IN THE HALL  BUT OF COURSE   THOUGHT ALICE  IT HAS PLENTY MORE OF THEM IN ITS HOUSE  HOW QUEER IT SEEMS TO BE GOING MESSAGES FOR A RABBIT  I SUPPOSE DINAH'LL BE SENDING ME MESSAGES NEXT  AND SHE BEGAN FANCYING THE SORT OF THINGS THAT WOULD HAPPEN MISS ALICE  COME HERE DIRECTLY AND GET READY FOR YOUR WALK  THAT THEY'D LET DINAH STOP IN THE HOUSE  IF IT BEGAN ORDERING PEOPLE ABOUT LIKE THAT  BY THIS TIME SHE HAD FOUND HER WAY INTO A TIDY LITTLE ROOM  BUT NONETHELESS SHE UNCORKED IT AND PUT IT TO HER LIPS I KNOW SOMETHING INTERESTING IS SURE TO HAPPEN   SHE SAID TO HERSELF  WHENEVER I EAT OR DRINK ANYTHING   SO I'LL SEE WHAT THIS BOTTLE DOES  I DO HOPE IT'LL MAKE ME GROW LARGER  IT DID SO INDEED  AND MUCH SOONER THAN SHE EXPECTED BEFORE SHE HAD DRUNK HALF THE BOTTLE  SHE FOUND HER HEAD PRESSING AGAINST THE CEILING  AND SHE STOOPED TO SAVE HER NECK FROM BEING BROKEN  AND HASTILY PUT DOWN THE BOTTLE   SAYING TO HERSELF THAT'S QUITE ENOUGH I HOPE I SHA'N'T GROW ANY MORE I WISH I HADN'T DRUNK SO MUCH  ALAS   IT WAS TOO LATE SHE WENT ON GROWING AND GROWING  AND VERY SOON HAD TO KNEEL DOWN IN ANOTHER MINUTE THERE WAS NOT ROOM EVEN FOR THIS  AND SHE TRIED THE EFFECT OF LYING DOWN   WITH ONE ELBOW AGAINST THE DOOR  AND THE OTHER ARM CURLED ROUND HER HEAD  STILL SHE WENT ON GROWING  AND AS A LAST RESOURCE SHE PUT ONE ARM OUT OF THE WINDOW   AND ONE FOOT UP THE CHIMNEY  AND SAID TO HERSELF NOW I CAN DO NO MORE WHAT WILL BECOME OF ME  LUCKILY FOR ALICE  THE LITTLE MAGIC BOTTLE HAD NOW HAD ITS FULL EFFECT  NO WONDER SHE FELT UNHAPPY  IT WAS MUCH PLEASANTER AT HOME   THOUGHT POOR ALICE  WHEN ONE WASN'T ALWAYS GROWING LARGER AND SMALLER  AND BEING ORDERED ABOUT BY MICE AND RABBITS I ALMOST WISH I HADN'T GONE DOWN THAT RABBIT-HOLE   AND YET  AND YET IT'S RATHER CURIOUS   YOU KNOW  THIS SORT OF LIFE  I DO WONDER WHAT CAN HAVE HAPPENED TO ME  WHEN I USED TO READ FAIRY-TALES   I FANCIED THAT SORT OF THING NEVER HAPPENED  AND NOW HERE I AM IN THE MIDDLE OF ONE  AT LEAST THERE'S NO ROOM TO GROW UP ANY MORE HERE  BUT THEN   THOUGHT ALICE  SHALL I NEVER GET ANY OLDER THAN I AM NOW  THAT'LL BE A COMFORT   ONE WAY NEVER TO BE AN OLD WOMAN BUT THEN ALWAYS TO HAVE LESSONS TO LEARN  OH   I SHOULDN'T LIKE THAT  OH   YOU FOOLISH ALICE   SHE SAID AGAIN  HOW CAN YOU LEARN LESSONS IN HERE  WHY   THERE'S HARDLY ROOM FOR YOU   AND NO ROOM AT ALL FOR ANY LESSON-BOOKS  AND SO SHE WENT ON   TAKING FIRST ONE SIDE   AND THEN THE OTHER  AND MAKING QUITE A CONVERSATION OF IT ALTOGETHER  BUT AFTER A FEW MINUTES SHE HEARD A VOICE OUTSIDE   WHICH MADE HER STOP TO LISTEN  MARY ANN   MARY ANN  SAID THE VOICE   FETCH ME MY GLOVES THIS MOMENT  THEN CAME A LITTLE PATTERING OF FEET ON THE STAIRSALICE KNEW IT WAS THE RABBIT COMING TO LOOK FOR HER  AND SHE TREMBLED TILL SHE SHOOK THE HOUSE  QUITE FORGETTING THAT SHE WAS NOW ABOUT A THOUSAND TIMES AS LARGE AS THE RABBIT  AND HAD NO REASON TO BE AFRAID OF IT  PRESENTLY THE RABBIT CAME TO THE DOOR   AND TRIED TO OPEN IT   BUT AS IT OPENED INWARDS   AND ALICE'S ELBOW WAS AGAINST IT  THE ATTEMPT PROVED A FAILURE  ALICE HEARD IT SAY TO ITSELF THEN I'LL GO ROUND AND GET IN AT THE WINDOW  THAT YOU WO'N'T  THOUGHT ALICE  AND   AFTER WAITING TILL SHE FANCIED SHE HEARD THE RABBIT   JUST UNDER THE WINDOW  SHE SUDDENLY SPREAD OUT HER HAND   AND MADE A SNATCH IN THE AIR  SHE DID NOT GET HOLD OF ANYTHING  BUT SHE HEARD A LITTLE SHRIEK AND A FALL AND A CRASH OF BREAKING GLASS  FROM WHICH SHE CONCLUDED THAT IT WAS JUST POSSIBLE IT HAD FALLEN INTO A CUCUMBER-FRAME  OR SOMETHING OF THE SORT  NEXT CAME AN ANGRY VOICE THE RABBIT'S PAT   PAT   WHERE ARE YOU  AND THEN A VOICE SHE HAD NEVER HEARD BEFORE  SHURE THEN I'M HERE   DIGGING FOR APPLES   ANYWAY   YER HONOUR  DIGGING FOR APPLES INDEED   SAID THE RABBIT ANGRILY  HERE   COME AND HELP ME OUT OF THIS  SOUND OF MORE BREAKING GLASS  NOW   TELL ME   PAT   WHAT IS THAT COMING OUT OF THE WINDOW  SHURE IT'S AN ARM   YER HONOUR  WHY   IT FILLS THE WHOLE WINDOW   DON'T YOU SEE  SHURE   IT DOES   YER HONOUR   BUT IT'S AN ARM FOR ALL THAT  WELL   IT'S NO BUSINESS THERE GO AND TAKE IT AWAY  THERE WAS A LONG SILENCE AFTER THIS  AND ALICE COULD ONLY HEAR WHISPERS NOW AND THEN   SUCH AS SHURE I DON'T LIKE IT   YER HONOUR   AT ALL AT ALL  DO AS I TELL YOU   YOU COWARD  THIS TIME THERE WERE TWO LITTLE SHRIEKS   AND MORE BREAKING GLASSWHAT A NUMBER OF CUCUMBER-FRAMES THERE MUST BE   THOUGHT ALICE  I WONDER WHAT THEY'LL DO NEXT  AS FOR PULLING ME OUT OF THE WINDOW   I ONLY WISH THEY COULD  I'M SURE I DON'T WANT TO STOP IN HERE ANY LONGER  SHE WAITED FOR SOME TIME WITHOUT HEARING ANYTHING MORE AT LAST CAME A RUMBLING OF LITTLE CART-WHEELS  OH   SO BILL'S GOT TO COME DOWN THE CHIMNEY   HAS HE  SAID ALICE TO HERSELF  WHY   THEY SEEM TO PUT EVERYTHING UPON BILL  I WOULDN'T BE IN BILL'S PLACE FOR A GOOD DEAL THE FIREPLACE IS A PRETTY TIGHT ONE   BUT I THINK I CAN KICK A LITTLE  SHE DREW HER FOOT AS FAR DOWN THE CHIMNEY AS SHE COULD  THE FIRST THING WAS A GENERAL CHORUS OF THERE GOES BILL  THEN THE RABBIT'S VOICE ALONE CATCH HIM   YOU BY THE HEDGE  THEN SILENCE  AND THEN ANOTHER CONFUSION OF VOICES  HOW WAS IT   OLD FELLOW   WHAT HAPPENED TO YOU   TELL US ALL ABOUT IT  AND SO YOU DID   OLD FELLOW   SAID THE OTHER VOICES  WE MUST BURN THE HOUSE DOWN  SAID THE VOICE OF THE RABBIT  AND ALICE CALLED OUT AS LOUD AS SHE COULD IF YOU DO   I'LL SET DINAH AT YOU  THIS CAUSED SILENCE AGAIN   AND WHILE ALICE WAS THINKING BUT HOW CAN I GET DINAH HERE  SHE FOUND TO HER GREAT DELIGHT THAT SHE WAS GETTING SMALLER VERY SOON SHE WAS ABLE TO GET UP OUT OF THE UNCOMFORTABLE POSITION IN WHICH SHE HAD BEEN LYING  AND IN TWO OR THREE MINUTES MORE SHE WAS ONCE MORE THREE INCHES HIGH  SHE RAN OUT OF THE HOUSE AS QUICK AS SHE COULD  THAT WAS BEING SUPPORTED IN THE ARMS OF ONE OF THE GUINEA-PIGS  WHILE ANOTHER WAS GIVING IT SOMETHING OUT OF A BOTTLE  THEY ALL MADE A RUSH AT HER THE MOMENT SHE APPEARED  BUT ALICE RAN HER HARDEST   AND SOON FOUND HERSELF IN A THICK WOOD  AS SHE WANDERED ABOUT IN THE WOOD  IS TO GROW TO MY RIGHT SIZE  I THINK THAT WILL BE THE BEST PLAN  IT SOUNDED AN EXCELLENT PLAN   NO DOUBT   AND VERY NEATLY AND SIMPLY ARRANGED THE ONLY DIFFICULTY WAS   THAT SHE HAD NOT THE SMALLEST IDEA HOW TO SET ABOUT IT  AND WHILE SHE WAS PEERING ANXIOUSLY AMONG THE TREES ROUND HER  A LITTLE SHARP BARK JUST OVER HER HEAD MADE HER LOOK UP IN A GREAT HURRY  AN ENORMOUS PUPPY WAS LOOKING DOWN AT HER WITH LARGE ROUND EYES  AND FEEBLY STRETCHING OUT ONE PAW  TRYING TO REACH HER POOR THING  SAID ALICE IN A COAXING TONE  AND SHE TRIED HARD TO WHISTLE TO IT   BUT SHE WAS TERRIBLY ALARMED ALL THE WHILE AT THE THOUGHT THAT IT MIGHT BE HUNGRY  IN WHICH CASE IT WOULD PROBABLY DEVOUR HER IN SPITE OF ALL HER COAXING  HARDLY KNOWING WHAT SHE DID   SHE PICKED UP A LITTLE BIT OF STICK  AND HELD IT OUT TO THE PUPPY WHEREUPON THE PUPPY JUMPED INTO THE AIR OFF ALL ITS FEET AT ONCE  AND WITH A YELP OF DELIGHT RUSHED AT THE STICK   AND MADE BELIEVE TO WORRY IT THEN ALICE DODGED BEHIND A GREAT THISTLE TO KEEP HERSELF FROM BEING RUN OVER  AND   THE MOMENT SHE APPEARED AT THE OTHER SIDE  THE PUPPY MADE ANOTHER DART AT THE STICK  AND TUMBLED HEAD OVER HEELS IN ITS HURRY TO GET HOLD THEN ALICE   THINKING IT WAS VERY LIKE HAVING A GAME OF PLAY WITH A CART-HORSE  AND EXPECTING EVERY MOMENT TO BE TRAMPLED UNDER ITS FEET  RAN ROUND THE THISTLE AGAIN THEN THE PUPPY BEGIN A SERIES OF SHORT CHARGES AT THE STICK  RUNNING A VERY LITTLE WAY FORWARDS EACH TIME AND A LONG WAY BACK   AND BARKING HOARSELY ALL THE WHILE  WITH ITS TONGUE HANGING OUT OF ITS MOUTH  AND ITS GREAT EYES HALF SHUT  THIS SEEMED TO ALICE A GOOD OPPORTUNITY FOR MAKING HER ESCAPE  SHE SET OFF AT ONCE   AND RAN TILL THE PUPPY'S BARK SOUNDED QUITE FAINT IN THE DISTANCE  AND TILL SHE WAS QUITE TIRED AND OUT OF BREATH  AND YET WHAT A DEAR LITTLE PUPPY IT WAS   SAID ALICE  I SHOULD HAVE LIKED TEACHING IT TRICKS   IF IF I'D ONLY BEEN THE RIGHT SIZE TO DO IT  LET ME SEE HOW IS IT TO BE MANAGED  I SUPPOSE I OUGHT TO EAT OR DRINK SOMETHING OR OTHER  BUT THE GREAT QUESTION IS WHAT  ALICE LOOKED ALL ROUND HER AT THE FLOWERS AND THE BLADES OF GRASS BUT COULD NOT SEE ANYTHING THAT LOOKED LIKE THE RIGHT THING TO EAT UNDER THE CIRCUMSTANCES  THERE WAS A LARGE MUSHROOM NEAR HER  ABOUT THE SAME HEIGHT AS HERSELF  IT OCCURRED TO HER TO LOOK AND SEE WHAT WAS ON THE TOP OF IT  SHE STRETCHED HERSELF UP ON TIPTOE  AND PEEPED OVER THE EDGE OF THE MUSHROOM  AND HER EYES IMMEDIATELY MET THOSE OF A LARGE BLUE CATERPILLAR   WHICH WAS SITTING WITH ITS ARMS FOLDED   QUIETLY SMOKING A LONG HOOKAH  AND TAKING NOT THE LEAST NOTICE OF HER OR OF ANYTHING ELSE  FOR SOME TIME THEY LOOKED AT EACH OTHER IN SILENCE AT LAST THE CATERPILLAR TOOK THE HOOKAH OUT OF ITS MOUTH  WHO ARE YOU  SAID THE CATERPILLAR  THIS WAS NOT AN ENCOURAGING OPENING FOR A CONVERSATION ALICE REPLIED RATHER SHYLY  I I HARDLY KNOW   SIR   JUST AT PRESENT AT LEAST I KNOW WHO I WAS WHEN I GOT UP THIS MORNING  BUT I THINK I MUST HAVE BEEN CHANGED SEVERAL TIMES SINCE THAT  WHAT DO YOU MEAN BY THAT  SAID THE CATERPILLAR  EXPLAIN YOURSELF  I CA'N'T EXPLAIN MYSELF   I'M AFRAID   SIR   SAID ALICE  I DON'T SEE  SAID THE CATERPILLAR  I'M AFRAID I CAN'T PUT IT MORE CLEARLY  ALICE REPLIED VERY POLITELY  FOR I CA'N'T UNDERSTAND IT MYSELF  AND REALLY TO BE SO MANY DIFFERENT SIZES IN ONE DAY IS VERY CONFUSING  IT ISN'T   SAID THE CATERPILLAR  WELL   PERHAPS YOU HAVEN'T FOUND IT SO YET   SAID ALICE  BUT WHEN YOU HAVE TO TURN INTO A CHRYSALIS   YOU KNOW  AND THEN AFTER THAT INTO A BUTTERFLY   I SHOULD THINK IT'LL FEEL A LITTLE QUEER   DON'T YOU THINK SO  NOT A BIT   SAID THE CATERPILLAR  ALL I KNOW IS   SAID ALICE   IT WOULD FEEL QUEER TO ME  YOU  SAID THE CATERPILLAR CONTEMPTUOUSLY   WHO ARE YOU  WHICH BROUGHT THEM BACK AGAIN TO THE BEGINNING OF THE CONVERSATION ALICE FELT A LITTLE IRRITATED AT THE CATERPILLAR MAKING SUCH VERY SHORT REMARKS  WHY  SAID THE CATERPILLAR  HERE WAS ANOTHER PUZZLING QUESTION AND AS ALICE HAD NO REASON READY  COME BACK   THE CATERPILLAR CALLED AFTER HER  I'VE SOMETHING IMPORTANT TO SAY  THIS SOUNDED PROMISING ALICE TURNED AND CAME BACK AGAIN  KEEP YOUR TEMPER  SAID THE CATERPILLAR  IS THAT ALL   SAID ALICE   SWALLOWING DOWN HER ANGER AS WELL AS SHE COULD  SAID THE CATERPILLAR  ALICE THOUGHT SHE MIGHT AS WELL WAIT   AS SHE HAD NOTHING ELSE TO DO  AND PERHAPS AFTER ALL THE CATERPILLAR MIGHT TELL HER SOMETHING WORTH HEARING  FOR SOME MINUTES IT PUFFED AWAY AT ITS HOOKAH WITHOUT SPEAKING  YES   SIR   SAID ALICE  TRY AND REPEAT YOU ARE OLD   FATHER WILLIAM  SAID THE CATERPILLAR  ALICE FOLDED HER HANDS   AND BEGANYOU ARE OLD   FATHER WILLIAM   THE YOUNG MAN SAID  IN MY YOUTH   FATHER WILLIAM REPLIED TO HIS SON  I FEARED IT MIGHT INJURE THE BRAIN BUT NOW THAT I'M PERFECTLY SURE I HAVE NONE   WHY   I DO IT AGAIN AND AGAIN  YOU ARE OLD   SAID THE YOUTH   AS I MENTIONED BEFORE  IN MY YOUTH   SAID THE SAGE   AS HE SHOOK HIS GRAY LOCKS  I KEPT ALL MY LIMBS VERY SUPPLE  BY THE USE OF THIS OINTMENT   FIVE SHILLINGS THE BOX ALLOW ME TO SELL YOU A COUPLE  IN MY YOUTH   SAID THE OLD MAN   I TOOK TO THE LAW   AND ARGUED EACH CASE WITH MY WIFE  AND THE MUSCULAR STRENGTH   WHICH IT GAVE TO MY JAW   HAS LASTED THE REST OF MY LIFE  I HAVE ANSWERED THREE QUESTIONS   AND THAT IS ENOUGH   SAID HIS FATHER   DON'T GIVE YOURSELF AIRS  DO YOU THINK I CAN LISTEN ALL DAY TO SUCH STUFF   BE OFF   OR I'LL KICK YOU DOWN STAIRS  THAT IS NOT SAID RIGHT   SAID THE CATERPILLAR  NOT QUITE RIGHT   I'M AFRAID   SAID ALICE TIMIDLY  SOME OF THE WORDS HAVE GOT ALTERED  IT IS WRONG FROM BEGINNING TO END  SAID THE CATERPILLAR DECIDEDLY  AND THERE WAS SILENCE FOR SOME MINUTES THE CATERPILLAR WAS THE FIRST TO SPEAK  WHAT SIZE DO YOU WANT TO BE   IT ASKED  ALICE HASTILY REPLIED  ONLY ONE DOESN'T LIKE CHANGING SO OFTEN   YOU KNOW  ARE YOU CONTENT NOW  SAID THE CATERPILLAR  WELL   I SHOULD LIKE TO BE A LITTLE LARGER   SIR   IF YOU WOULDN'T MIND  SAID ALICE  THREE INCHES IS SUCH A WRETCHED HEIGHT TO BE  IT IS A VERY GOOD HEIGHT INDEED  SAID THE CATERPILLAR LOUDLY AND ANGRILY  THE LOBSTER QUADRILLE  WHO STOLE THE TARTS  NO   INDEED   SAID ALICE  OF COURSE   THE MOCK TURTLE SAID  THEN   YOU KNOW   CONTINUED THE MOCK TURTLE  AS FAR OUT TO SEA AS YOU CAN SWIM AFTER THEM   SCREAMED THE GRYPHON  TURN A SOMERSAULT IN THE SEA   CRIED THE MOCK TURTLE   CAPERING WILDLY ABOUT  SAID THE MOCK TURTLE  SUDDENLY DROPPING ITS VOICE  AND THE TWO CREATURES   WHO HAD BEEN JUMPING ABOUT LIKE MAD THINGS ALL THIS TIME  SAT DOWN AGAIN VERY SADLY AND QUIETLY   AND LOOKED AT ALICE  IT MUST BE A VERY PRETTY DANCE   SAID ALICE TIMIDLY  WOULD YOU LIKE TO SEE A LITTLE OF IT   SAID THE MOCK TURTLE  VERY MUCH INDEED   SAID ALICE  COME  LET'S TRY THE FIRST FIGURE   SAID THE MOCK TURTLE TO THE GRYPHON  WE CAN DO IT WITHOUT LOBSTERS   YOU KNOW  OH   YOU SING   SAID THE GRYPHON  I'VE FORGOTTEN THE WORDS  SO THEY BEGAN SOLEMNLY DANCING ROUND AND ROUND ALICE  EVERY NOW AND THEN TREADING ON HER TOES WHEN THEY CAME TOO CLOSE  AND WAVING THEIR FORE-PAWS TO MARK THE TIME  WHILE THE MOCK TURTLE SANG  SLOWLY AND SADLY   THESE WORDSBENEATH THE WATERS OF THE SEA ARE LOBSTERS THICK AS THICK CAN BE THEY LOVE TO DANCE WITH YOU AND ME  MY OWN   MY GENTLE SALMON  THE GRYPHON JOINED IN SINGING THE CHORUS   WHICH WAS SALMON COME UP   SALMON GO DOWN   SALMON COME TWIST YOUR TAIL AROUND  OF ALL THE FISHES OF THE SEA THERE'S NONE SO GOOD AS SALMON  THANK YOU   SAID ALICE   FEELING VERY GLAD THAT THE FIGURE WAS OVER  SHALL WE TRY THE SECOND FIGURE   SAID THE GRYPHON  OR WOULD YOU PREFER A SONG  OH   A SONG   PLEASE   ALICE REPLIED   SO EAGERLY   THAT THE GRYPHON SAID   IN A RATHER OFFENDED TONE  NO ACCOUNTING FOR TASTES  SING HER MOCK TURTLE SOUP   WILL YOU   OLD FELLOW  THE MOCK TURTLE SIGHED DEEPLY   AND BEGAN   IN A VOICE SOMETIMES CHOKED WITH SOBS   TO SING THISWAITING IN A HOT TUREEN  WHO FOR SUCH DAINTIES WOULD NOT STOOP  SOUP OF THE EVENING   BEAUTIFUL SOUP  SOUP OF THE EVENING   BEAUTIFUL SOUP  AND THE MOCK TURTLE HAD JUST BEGUN TO REPEAT IT  WHEN A CRY OF THE TRIAL'S BEGINNING   WAS HEARD IN THE DISTANCE  COME ON   CRIED THE GRYPHON  AND   TAKING ALICE BY THE HAND   HE HURRIED OFF   WITHOUT WAITING FOR THE END OF THE SONG  WHAT TRIAL IS IT   PANTED ALICE AS SHE RAN  BUT THE GRYPHON ONLY ANSWERED COME ON  THE KING AND QUEEN WERE SEATED ON THEIR THRONE WHEN THEY ARRIVED  WITH A GREAT CROWD ASSEMBLED AROUND THEM THE KNAVE WAS IN CUSTODY AND BEFORE THE KING STOOD THE WHITE RABBIT  WITH A TRUMPET IN ONE HAND  AND A SCROLL OF PARCHMENT IN THE OTHER  HERALD   READ THE ACCUSATION   SAID THE KING  ON THIS THE WHITE RABBIT BLEW THREE BLASTS ON THE TRUMPET  AND THEN UNROLLED THE PARCHMENT SCROLL  NOW FOR THE EVIDENCE   SAID THE KING   AND THEN THE SENTENCE  NO   SAID THE QUEEN  FIRST THE SENTENCE   AND THEN THE EVIDENCE  NONSENSE   CRIED ALICE   SO LOUDLY THAT EVERYBODY JUMPED  THE IDEA OF HAVING THE SENTENCE FIRST  HOLD YOUR TONGUE  SAID THE QUEEN  I WON'T   SAID ALICE  YOU'RE NOTHING BUT A PACK OF CARDS   WHO CARES FOR YOU  AT THIS THE WHOLE PACK ROSE UP INTO THE AIR   AND CAME FLYING DOWN UPON HER SHE GAVE A LITTLE SCREAM OF FRIGHT  AND TRIED TO BEAT THEM OFF   AND FOUND HERSELF LYING ON THE BANK  WITH HER HEAD IN THE LAP OF HER SISTER  WHO WAS GENTLY BRUSHING AWAY SOME LEAVES THAT HAD FLUTTERED DOWN FROM THE TREES ON TO HER FACE  WAKE UP   ALICE DEAR   SAID HER SISTER   WHAT A NICE LONG SLEEP YOU'VE HAD  OH   I'VE HAD SUCH A CURIOUS DREAM   SAID ALICE  AND SHE TOLD HER SISTER ALL HER ADVENTURES UNDER GROUND  AS YOU HAVE READ THEM  AND WHEN SHE HAD FINISHED  HER SISTER KISSED HER AND SAID IT WAS A CURIOUS DREAM   DEAR   CERTAINLY  BUT NOW RUN IN TO YOUR TEA IT'S GETTING LATE  BUT HER SISTER SAT THERE SOME WHILE LONGER  WATCHING THE SETTING SUN   AND THINKING OF LITTLE ALICE AND HER ADVENTURES  TILL SHE TOO BEGAN DREAMING AFTER A FASHION  AND THIS WAS HER DREAM SHE SAW AN ANCIENT CITY   AND A QUIET RIVER WINDING NEAR IT ALONG THE PLAIN  AND UP THE STREAM WENT SLOWLY GLIDING A BOAT WITH A MERRY PARTY OF CHILDREN ON BOARD SHE COULD HEAR THEIR VOICES AND LAUGHTER LIKE MUSIC OVER THE WATER AND AMONG THEM WAS ANOTHER LITTLE ALICE  WHO SAT LISTENING WITH BRIGHT EAGER EYES TO A TALE THAT WAS BEING TOLD  AND SHE LISTENED FOR THE WORDS OF THE TALE   AND LO  IT WAS THE DREAM OF HER OWN LITTLE SISTER  SO THE BOAT WOUND SLOWLY ALONG  BENEATH THE BRIGHT SUMMER-DAY   WITH ITS MERRY CREW AND ITS MUSIC OF VOICES AND LAUGHTER  TILL IT PASSED ROUND ONE OF THE MANY TURNINGS OF THE STREAM   AND SHE SAW IT NO MORE  THEN SHE THOUGHT  IN THE AFTER-TIME   BE HERSELF A GROWN WOMAN AND HOW SHE WOULD KEEP   THROUGH HER RIPER YEARS  THE SIMPLE AND LOVING HEART OF HER CHILDHOOD AND HOW SHE WOULD GATHER AROUND HER OTHER LITTLE CHILDREN   AND MAKE THEIR EYES BRIGHT AND EAGER WITH MANY A WONDERFUL TALE  PERHAPS EVEN WITH THESE VERY ADVENTURES OF THE LITTLE ALICE OF LONG-AGO AND HOW SHE WOULD FEEL WITH ALL THEIR SIMPLE SORROWS  \n",
        "transcription_base": " There was nothing very remarkable in that. Nor did Alice think it's so very much out of the way. To hear the rapids say to itself, dear, dear, I shall be too late. With the fall never come to an end. I wonder how many miles I've fallen by this time. She said aloud. I must be getting somewhere near the center of the earth. How funny it'll be to come out among the people that walk with their heads downward, But I shall have to ask them what the name of the country is, you know. Please, ma'am, is this New Zealand or Australia? No, it'll never do to ask. Perhaps I shall see it written up somewhere? Down, down, down. That was nothing else to do, so Alice soon began talking again. Dina will miss me very much tonight, I should think. Oh, dear Dina, I wish I had you here. There are no mice in the air, I'm afraid, but you might catch a bat. And that's very like a mouse, you know my dear. But do cats eat bats, I wonder? And here Alice began to get rather sleepy. And sometimes do bats eat cats? For as she couldn't answer either question, it didn't much matter which way she put it. She felt that she was dozing off and had just begun to dream that she was walking hand in hand with the Dina, and was saying to her very earnestly, Now Dina my dear, tell me the truth, Did you ever eat it back? And the fall was over. And jumped onto her feet directly. She looked up, but it was all dark overhead, Before her was another long passage, And the white rabbit was still in sight, Horrying down it. There was not a moment to be lost. A way went Alice like the wind, And just heard it say as it turned to corner, my ears and whiskers how late it's getting. She turned the corner after it, and instantly found herself in a long, low hall, lit up by a row of lamps which hung from the roof. There were doors all round the hall, but they were all locked. She walked sadly down the middle, wondering how she was ever to get out again. Suddenly she came upon a little three-legged table, and Alice's first idea was that it It might belong to one of the doors of the hall, but alas, either the locks for too large are the keys who small, but at any rate it would open none of them. However, on the second time around, she came to a low curtain, behind which was a door about 18 inches high. She tried the little key in the keyhole, and it fitted. Alice opened the door and looked down a small passage, not larger than a rat hole, into the loveliest garden you ever saw. How she longed to get out of that dark hall, and wonder about among those beds of bright flowers, and those cool fountains, but she could not even get her head through the doorway. And even if my head would go through, thought poor Alice, it would be very little use without my shoulders. Oh, how I wish I could shut up like a telescope. I think I could, if I only knew how to begin, that Alice began to think very few things indeed were really impossible. There was nothing else to do, so she went back to the table and see whether the bottles marked poison or not. For Alice had read several nice little stories about children that got burnt and eaten up by wild beasts and other unpleasant things, because they would not remember the simple rules their friends had given them, and that if you cut your finger very deeply with a knife, it generally bleeds, and she had never forgotten that if you drank a bottle marked poison. However, this bottle was not marked poison, so Alice tasted it, and finding it very nice, she very soon finished it off. What a curious feeling, said Alice, I must be shutting up like a telescope. It was so indeed she was now only ten inches high, and her face brightened up as it occurred to her that she was now the right size for going through the little door into that lovely garden. First, however, she waited for a few minutes to see whether she was going to shrink any further. She felt a little nervous about this. \"'For it might end, you know,' said Alistair herself. In my going out altogether like a candle, and she tried to fancy what the flame of a candle is like after the candle is blown out, for she could not remember having ever seen one. However, nothing more happened, so she decided on going into the garden at once. But alas for poor Alice, when she got to the door, she found she had forgotten a little golden key, and when she went back to the table for the key, she found she could not possibly reach it. She could see it plainly enough through the glass, and she tried her best to climb up one of the legs of the table, but it was too slippery, and when she had tired herself out with trying the poor little thing sat down and cried. Come, there's no use in crying,\" said Alice to herself rather sharply. I advise you to leave off this minute. Soon her eyes fell on a little ebony box lying under the table. He opened it and found in it a very small cake on which was lying a card with the words each me beautifully printed on it in large letters. I'll eat, said Alice, and if it makes me larger I can reach the key, and if it makes me smaller I can creep onto the door. So either way I'll get into the garden and I don't care which happens. She ate a little bit and said ages later herself, which way, which way, and laid her hand on the top of her head to feel which way it was growing, and was quite surprised to find that she remained the same size. To be sure, this is what generally happens when one eats cake, and it seemed quite dull and stupid for things to go on in the common way. So she set to work, and very soon finished off the cake. Curious her, and curious her, cried Alice. Goodbye, feed. I wonder who will put on your shoes and stockings for you now, dears. I'm sure I can't. I shall be a great deal too far off to bother myself about you. You must manage the best way you can. But I must be kind to them, thought Ellis, or perhaps they won't walk the way I want to go. Let me see. I'll give them a new pair of boots every Christmas, and she went on planning to herself how she would manage it. They must go by the carrier, she thought, and how funny it'll seem, sending presents to one's own feet, and how odd the directions will look, just at this moment. Her head struck against the roof of the hall. In fact, she was now rather more than nine feet high, and she at once took up the little golden key and hurried off to the garden door. Poor Alice, it was as much as she could do, lying down on one side, to look through into the garden with one eye. But to get through was more hopeless than ever. She sat down and cried again. You ought to be ashamed of yourself,\" said Alice, a great girl like you. But she cried on all the same, shedding gallons of tears, until there was a large pool about four inches deep all round her, and reaching halfway across the hall. After a time she heard a little pattering a feet in the distance, and dried her eyes to see what was coming. It was the white rabbit coming back again, splendidly dressed with a pair of white kid gloves in one hand and a nose-gay in the other. And as the rabbit passed her, she said in a low, timid voice, if you please, sir. The rabbit started violently, looked up once into the roof of the hall, which the voice seemed to come, and then dropped the nose gay and the white kid gloves Alice took up the nose gay and gloves, and yesterday everything happened just as usual. I wonder if I was changed in the night. Let me think. Was I the same when I got up this morning? I think I remember feeling rather different, but if I'm not the same, who in the world am I? And she began thinking over all the children she knew of the same age as herself, to see if she could have been changed for any of them. I'm sure I'm not Gertrude,\" she said. For her hair goes in such long ringlets. For I know all sorts of things, and she knows such a very little. And oh dear, how puzzling it all is. I'll try if I know all the things I used to know. Let me see. Four times five is twelve, and four times six is thirteen, but the multiplication table don't signify. Let's try geography. London is the capital of France, and Rome is the capital of Yorkshire. I must have been changed for Florence. I'll try and say how Doth the Little and began, but her voice sounded horse and strange, and the words did not sound the same as they used to do. How Doth the Little crocodile improved its shining tail. How cheerfully it seems to grin, how neatly spreads its claws, and welcomes little fishes in with gently smiling jaws. I'm sure those are not the right words,\" said poor Alice, and her eyes filled with tears as she thought. I must be Florence after all, and I shall have to go and live in that pokey little house, and have next no toys to play with, and no ever so many lessons to learn. No, I've made up my mind about it. If I'm Florence, I'll stay down here. And then, if I like being that person, I'll come up. If not, I'll stay down here till I'm somebody else. But how dear, cry Alice with a sudden burst of tears. I do wish they would put their heads down. I'm so tired of being all alone here. How can I have done that? Thought she? I must be growing small again. She was now about two feet high and was going on shrinking rapidly. Soon she found out that the reason of it was the nose gay she held in her hand. She dropped it hastily, just in time, to save herself from shrinking away altogether and found that she was now only three inches high. Now for the garden cried Alice as she hurried back to the little door, but the little door was locked again, and the little gold key was lying on the glass table as before, and things are worse than ever, thought the poor little girl. For I never was as small as this before, never, and I declare it's too bad it is. At this moment her foot slipped and splashed. She was up to her chin in salt water. Her first idea was that she had fallen into the sea, then she remembered that she was underground, and she soon made out that it was the pool of tears she had wept when she was nine feet high. I shall be punished for it now, I suppose, by being drowned in my own tears. Well, that'll be a queer thing to be sure. However, everything is queer today. Very soon she saw something splashing about in the pool near her. At first she thought it must be a walrus or a hippopotamus to speak to this mouse. And so have I been ever since I came down here, but that is no reason why the mouse should not be able to talk. I think I may as well try. So she began. Oh, mouse, do you know how to get out of this pool? I am very tired of swimming about here, oh, mouse! The mouse looked at her rather inquisitively, and seemed to her, to wink with one of its little eyes. Perhaps it doesn't understand English, thought Alice. I dare say it's a French mouse, come over with William the Conqueror, which was the first sentence out of a French lesson book. The mouse gave a sudden jump in the pool, and seemed to quiver with fright. Oh, I beg your pardon, cried Alice hastily, afraid that she had hurt the poor animal's feelings. I quite forgot you didn't like cats. Not like cats! Cried the mouse in a shrill, passionate voice. What you like cats if you were me? Well, perhaps not, said Alice in a soothing tone. Don't be angry about it. And yet I wish I could show you our cat, Dyna. I think you'd take a fancy to-cats if you could only see her. She is such a dear, quiet thing,\" said Alice have to herself, as she swam lazily about in the pool. She sits purring so nicely by the fire, licking her paws and washing her face, and she is such a nice soft thing to nurse, cried poor Alice again. For this time the mouse was bristling all over, and she felt certain that it was really offended. Have I offended you? Offended indeed, cried the mouse, who seemed to be positively trembling with rage. Our family always hated cats, nasty low vulgar things. Don't talk to me about them anymore. I won't indeed,\" said Alice, in a great hurry to change the conversation, \"'Are you, are you, fond of dogs?' The mouse did not answer, so Alice went on eagerly. There is such a nice little dog near our house I should like to show you. A little bright eye, Terry, you know, with, \"'Oh, such long curly brown hair, and it'll fetch things when you throw them, and it'll sit up and beg for its dinner, and all sorts of things. I can't remember half of them, and it belongs to a farmer. I'm afraid I've offended it again, for the mouse was swimming away from her as hard as it could go, and making quite a commotion in the pool as it went. So she calls softly after it. Mouse deer do come back again, and we won't talk about cats and dogs anymore if you don't like them. When the mouse heard this, it turned and swam slowly back to her. His face was quite pale, and then I'll tell you my history, and you'll understand why it is I hate cats and dogs. It was high time to go for the pool was getting quite full of birds and animals that had fallen into it. There was a duck and a dodo, a lorry and an eagleet, and several other curious creatures. They were indeed a curious-looking party that assembled on the bank. The birds with dragon feathers, the animals with their fur clinging close to them, all dripping wet, cross, and uncomfortable. The first question, of course, was how to get dry. They had a consultation about this, and Alice hardly felt at all surprised at finding herself talking familiarly with the birds as if she had known them all her life. Indeed, she had quite a long argument with the Laurie, and this, Alice would not admit without knowing how old the Laurie was, and as the Laurie positively refused to tell its age there was nothing more to be said. At last the mouse, who seemed to have some authority among them, called out, sit down all of you and attend to me, I'll soon make you dry enough. They all sat down at once shivering in a large ring. Alice in the middle with her eyes anxiously fixed on the mouse, for she felt sure she would catch a bad cold if she did not get dry very soon. Hum, said the mouse with a self-important air. Are you all ready? This is the driest thing I know. Silence all round if you please. William the Conqueror, whose cause was favored by the Pope, was soon submitted to by the English who wanted leaders at Wynn and Moore Card, the Earls of Mercia and Northumbria. I beg your pardon,\" said the mouse, frowning, but very politely, did you speak? Not I, said the lorry hastily. I thought you did,\" said the mouse. I proceed. Edwin and Moore Carr, the earls of Mercia and Northumbria, declared for him, and even stiggined the patriotic archbishop of Canterbury, found it advisable to go with Edg-Etheling to meet William and offer him the crown. William's conduct was at first moderate. How are you getting on now, dear?\" said the mouse, turning to Alice's at spoke. As would as ever, said poor Alice. It doesn't seem to drive me at all. In that case, said the dodo, solemnly rising to his feet. I don't know the meaning of half those long words, and what's more I don't believe you do either. And the duck quack a comfortable laugh to itself? Some of the other birds tittered audibly. That I know of a house near here, where we can get the young lady and the rest of the party dried, and then we could listen comfortably to the story, which I think you were good enough to promise to tell us, bowing gravely to the mouse. The mouse made no objection to this, the dodo leading the way. After a time the dodo became impatient and leaving the doctor bring up the rest of the party, moved on at a quicker pace with Alice, the Laurie, and the Eglot, and soon brought them to a little cottage, and there they sat snugly by the fire, wrapped up in blankets until the rest of the party had arrived, and they were all dry again. Then they all sat down again in a large ring on the bank and begged the mouse to begin his story. \"- Mine is a long and a sad tale,\" said the mouse, turning to Alice and sighing, which was coiled nearly all around the party. But why do you call it sad? And she went on puzzling about this as the mouse went on speaking, so that her idea of the tale was something like this. We live beneath the mat, warm and snug in fact, but one woe and that was the cat, to our joys a clog, in our eyes a fog, what our heart a log was the dog. the cats away, then the mice will play, but a last one day, hunting for a rat, crushed the mice all flat. Each one, as he said, you are not attending,\" said the mouse to Alice severely. What are you thinking of? I beg your pardon, said Alice very humbly. You had got to the fifth bend, I think. I had not cried the mouse sharply and very angrily. A NUT said Alice, always ready to make herself useful, and looking anxiously about her, oh, do let me help to undo it, I shall do nothing of a sort!\" said the mouse, getting up and walking away from the party, you insult me by talking such nonsense. I didn't mean it, pleaded poor Alice, but you're so easily offended, you know? The mouse only growled in reply. Please come back and finish your story,\" Alice called after it. And the others all joined in chorus. Yes, please do! But the mouse only shook its ears and walked quickly away. \"'Hold your tongue, Ma,' said the young crab a little snippishly. \"'You're enough to try the patience of an oyster. \"'I wish I had our Dyna here. I know I'd do,' said Alice aloud. She soon fetched back. Alice replied eagerly. For she was always ready to talk about her pet, Dinah's are cat, and she's such a capitol one for catching mice you can't think, and oh I wish you could see her after the birds, why she'll eat a little bird as soon as look at it. This answer caused a remarkable sensation among the party. Some of the birds hurried off at once. One old magpie began wrapping itself up very carefully, remarking, I really must be getting home, and I dared not suit my throat. And a canary called out in a trembling voice to its children. Come away from her, my dears. She's no fit company for you.\" On various pretext, they all moved off, and Alice was soon left alone. She sat for some while, sorrowful and silent, but she was not long before she recovered her spirits, and so was that dear little eagle it, and then the duck and the dodo, how nicely the duck sang to us as we came along through the water, and if the dodo hadn't known the way to that nice little cottage, I don't know when we should have got dry again, and there is no knowing how long she might have prattled on in this way if she had not suddenly caught the sound of pattering feet, as if it had lost something, and she heard it muttering to itself. The Marchinesse, the Marchinesse, oh my dear paws, oh my fur and whiskers, she'll have me executed as sure as ferrets, our ferrets, where can I have dropped in my wonder? Alice guessed in a moment that it was looking for the nose gay and the pair of white-kid gloves, and she began hunting for them, but they were now nowhere to be seen, everything seemed to have changed to censor swim in the pool, and her walk along the riverbank with its fringe of rushes and forget-me-nots, and the glass table and a little door had vanished. Soon the rabbit noticed Alice as she stood looking curiously about her, and at once said in a quick angry tone, go home this moment, and Alice was so much frightened that she ran off at once without saying a word in the direction which the rabbit had pointed out. a fear she should meet the real Mary Ann and be turned out of the house before she had found the gloves. She knew that one pair had been lost in the hall, but, of course, thought Alice. It has plenty more of them in its house. How queer it seems to be, going messages for a rabbit. I suppose Donald be sending me messages next. And she began fanciing the sort of thing that would happen. Miss Alice, come here directly and get ready for your walk, that they'd let Donna stop in the house if it began ordering people about like that. By this time she had found her way into a tidy little room, but nevertheless she uncorked it and put it to her lips. I know something interesting is sure to happen, she said to herself, whenever I eat or drink anything, so I'll see what this puddle does. I do hope it'll make me grow larger. It did so indeed, and much sooner than she expected. Before she had drunk half the bottle, she found her head pressing against the ceiling, and she stooped to save her neck from being broken, and hastily put down the bottle, saying to herself, that's quite enough. I help I shan't grow anymore. I wish I hadn't drunk so much. Alas, it was too late. She went on growing and growing, and very soon had to kneel down. In another minute there was not room even for this, and she tried the effect of lying down with one elbow against the door, and the other arm curled round her head. Still she went on growing, and as a last resource she put one arm out of the window and one foot up the chimney and set to herself, now I can do no more. What will become of me?\" luckily for Alice. The little magic bottle had now had its full effect. No wonder she felt unhappy. It was much pleasant to her at home, thought poor Alice. When one wasn't always growing larger and smaller, and being ordered about by mice and rabbits, I almost wish I hadn't gone down that rabbit hole, and yet, and yet it's rather curious, you know, this sort of life. I do wonder what can have happened to me. When I used to read fairy tales, I fancy that sort of thing never happened, and now here I am in the middle of one. At least there's no room to grow up anymore here, but then thought Alice, shall I never get any older that I am now? That'll be a comfort, one way never to be an old woman, but then always have lessons to learn. Oh, I shouldn't like that. Oh you foolish Alice, she said again? How can you learn lessons in here? Why there's hardly room for you and no room at all for any lesson books, and so she went on taking first one side and then the other and making quite a conversation of it all together, but after a few minutes she heard a voice outside which made her stop to listen. Mary Ann, Mary Ann, said the voice, fetch me my gloves this moment. Then came a little pattering of feet on the stairs. Alice knew it was the rabbit coming to look for her, and she trembled till she shook the house. Quite forgetting that she was now about a thousand times as large as the rabbit and had no reason to be afraid of it. Presently the rabbit came to the door and tried to open it, but as it opened inwards and Alice's elbow was against it, the attempt proved a failure. Alice heard it say to herself, then I'll go round and get in at the window. you won't, thought Ellis, and after waiting till she fancied she heard the rabbit just under the window, she suddenly spread out her hand and made a snatch in the air. She did not get hold of anything, but she heard a little shriek and a fall and a crash of breaking glass, from which she concluded that it was just possible it had fallen into a cucumber frame or something of the sort. Next came an angry voice, the rabbits. Pat, pat, where are you?\" And then a voice she had never heard before. Sure that I'm here, digging for apples anyway your honor. Digging for apples indeed said the rabbit angrily. Here, come and help me out of this. Sound more breaking glass. Now tell me Pat, what is that coming out of the window? Sure, it's an arm, your honor. Why it fills the whole window don't you see? sure it does, Your Honor, but it's an arm for all that. Well, it's no business there. Go and take it away. There was a long silence after this, and Alice could only hear whispers now and then, such as, sure, I don't like it, Your Honor, at all at all. Do as I tell you, you coward. This time there were two little shrieks and more breaking glass. What a number of cucumber frames there must be, thought Alice. I wonder what they'll do next. for pulling me out of the window. I only wish they could. I'm sure I don't want to stop in here any longer. She waited for some time without hearing anything more. At last came a rumbling of little cartwheels. Oh, so Bill's got to come down the chimney-hazzy! set Alice to herself. Why they seem to put everything upon Bill. I wouldn't be in Bill's place for a good deal. The fireplace is a pretty tight one, but I think I can kick a little. She drew her foot as far down the chimney as she could. The first thing was a general chorus of, there goes Bill, then the rabbit's voice alone, catch him, you by the hedge, then silence, and then another confusion of voices. How was it all, fellow? What happened to you? Tell us all about it. And so you did, oh The fellow said the other voices. We must burn the house down,\" said the voice of the rabbit. And Alice called out as loud as she could. If you do, I'll set Dina at you. This caused silence again. And while Alice was thinking, but how could I get Dina here? She found, to her great delight, that she was getting smaller. Very soon she was able to get up out of the uncomfortable position in which she had been lying. into her three minutes more, she was once more three inches high. She ran out of the house as quick as she could, that was being supported in the arms of one of the guinea pigs, while another was giving it something out of a bottle. They all made a rush at her the moment she appeared, but Alice ran her hardest and soon found herself in a thick wood. As she wondered about in the wood, is to grow to my right size, I think that will be the best It sounded an excellent plan no doubt and very neatly and simply arranged. The only difficulty was that she had not the smallest idea how to set about it, and while she was peering anxiously among the trees round her, a little sharp bark just over her head made her look up in a great hurry. An enormous puppy was looking down at her with large round eyes, and feebly stretching out one paw, trying to reach her. Poor thing, said Alice in a coaxing-tone, and she tried hard to whistle to it, but she was terribly alarmed all the while at the thought that it might be hungry, in which case it would probably devour her in spite of all her coaxing. Hardly knowing what she did, she picked up a little bit of stick and held it out to the puppy, where upon the puppy jumped into the air off all his feet at once, and with a Yelp of the light rushed at the stick and made believe to worry it. Then Alice dodged behind a great thistle to keep herself a being run over, and the moment she appeared at the other side, the puppy made another dart at the stick, and tumbled head over heels in its hurry to get hold. Then Alice, thinking it was very like having a game of play with a courthouse, and expecting every moment to be trampled under its feet, ran round the fissile again. Then the puppy began a series of short charges at the stick, running a very little way forward each time, and a long way back, and barking hoarsely all the while, with its tongue hanging out of its mouth, and its great eyes half shut. This seemed to Alice a good opportunity for making her escape. She set off at once and ran to the puppy's bark, sounded quite faint in the distance, and till she was quite tired and out of breath. And yet, what a dear little puppy it was, said Alice. I should have liked teaching it tricks, if—if I'd only been the right size to do it, let me see how is it to be managed. I suppose I ought to eat or drink something, or other, but the great question is what? Alice looked all around her with the flowers and the blades of grass, but could not see anything that looked like the right thing to eat under the circumstances. There was a large mushroom near her, about the same height as herself. It occurred to her to look and see what was on the top of it. She stretched herself up on tiptoe, and peeped over the edge of the mushroom, and her eyes immediately met those of a large blue caterpillar, which were sitting with its arms folded, quietly smoking along hukka, and taking not the least notice of her or of anything else. By some time they looked at each other in silence. At last the caterpillar took the hukka out of its mouth. Who are you?\" said the caterpillar. This was not an encouraging opening for a conversation. Alice replied rather sharply. I hardly know, sir, just as present. At least I know who I was when I got up this morning, but I think I must have been changed just several times since that. What do you mean by that? the caterpillar. Explain yourself. I can't explain myself. I'm afraid, sir. Said Alice, I don't see.\" Said the caterpillar. I'm afraid I can't put it more clearly. Alice replied very politely, for I can't understand it myself. And really to be so many different sizes in one day is very confusing. It isn't. Said the caterpillar. Well, perhaps you haven't found this so yet,\" said Alice. But when you have to turn into a chrysalis, you know, and then after that into a butterfly, I should think it'll feel a little queer, don't you think so? Not a bit.\" Said the caterpillar. All I know is said Alice, it would feel queer to me. You? Said the caterpillar contemptuously. Who are you? Which brought them back again to the beginning of the conversation? Alice felt a little irritated at the caterpillar making such very short remarks. Why?\" said the caterpillar. Here was another puzzling question. And as Alice had no reason ready, \"...come back!\" the caterpillar called after her. \"...I have something important to say.\" This sounded promising. Alice turned and came back again. \"...keep your temper.\" said the caterpillar. Is that all?\" said Alice, swallowing down her anger as well as she could, said the caterpillar. Alice thought she might as well wait as she had nothing else to do, and perhaps after all, the caterpillar might tell her something worth hearing for some minutes it puffed away at its hookah without speaking. \"'Yes, sir,' said Alice. \"'Try and repeat, you are old, Father William,' said the caterpillar. Alice folded her hands and began. You are old, Father William, the young man said. In my youth, Father William replied to his son, I feared it might injure the brain, but now that I'm perfectly sure I have none, why I do it again and again. You are old, said the youth, as I mentioned before. In my youth, said the sage, as he shook his gray locks, I kept all my limbs very supple, by the use of this ointment, five shillings the box, Allow me to sell you a couple. In my youth said the old man I took to the law, and argued each case with my wife, and the muscular strength which he gave to my jaw has lasted the rest of my life. I have answered three questions, and that is enough. Said his father, don't give yourself airs. Do you think I can listen all day to such stuff? Be off for I'll kick you downstairs. That is not said right,\" said the caterpillar. not quite right I'm afraid,\" said Alice timidly. Some of the words have got altered. It is wrong from beginning to end,\" said the caterpillar decidedly, and there was silence for some minutes. The caterpillar was the first to speak. What size do you want to be?\" it asked. Alice hastily replied. Only one doesn't like changing so often, you know. Are you content now?\" said the caterpillar. Well, I should like to be a little larger, sir, if you wouldn't mind. Said Alice, three inches is such a wretched height to be. It is a very good height indeed. Said the caterpillar loudly and angrily, the lobster quadril, who stole the tarts? No indeed, said Alice. Of course. The mok turtle said. Then you know, continue the mock turtle, as far out to sea as you can. Swim after them, queen the Griffin. Turn a summer salt in the sea!\" cried the mock turtle, capering wildly about, said the mock turtle, suddenly dropping his voice, and the two creatures who had been jumping about like mad things all this time, sat down again very sadly and quietly and looked at Alice. It must be a very pretty dance,\" said Alice, timidly. \"'Would you like to see a little of it?' said the mock turtle. \"'Very much indeed,' said Alice. \"'Come. Let's try the first figure.'\" said the mock turtle to the Gryphon. \"'We can do it without lobsters, you know.\" \"'Oh, you saying,' said the Gryphon, \"'I've forgotten the words.\" So they began solemnly dancing round and round, Alice, every now and then, trading on her toes when they came too close, and waving therefore paused the mark the time, while the mock turtle sang, slowly and sadly these words. Beneath the waters of the sea, our laps just thick as thick can be, they love to dance with you and me, my own, my gentle salmon.\" The Griffon joined in singing the chorus, which was, Sammin come up, Sammin go down, Sammin come twist your tail around, of all the fishes of the sea. There's none so good as Sammin.\" Thank you, said Alice, feeling very glad that the figure was over. Shall we try the second figure, set the Griffin, or would you prefer a song? Oh, a song, please, Alice replies so eagerly, that the Griffin said in a rather offended tone, no accounting for tastes. Sing our muck turtle soup, will you, O fellow? The muck turtle, sighed deeply, and began, in a voice somewhat choked with sobbs, to sing this. Waiting in a hot terrain. Oh, for such dandies would not stoop. Soup of the evening, beautiful soup. Soup of the evening, beautiful soup. And the muck turtle had just begun to repeat it, when a cry of, La Trial's beginning was heard in the distance. Come on, cry the Griffin, and taking Alice by the hand he hurried off without waiting for the end of the song. What trial is it, panted Alice as she ran, but the Griffin only answered, come on! The king and queen were seated on their throne when they arrived, with a great crowd assembled around them. The nave was in custody, and before the king stood the white rabbit, with a trumpet in one hand and a scroll of parchment in the other. Old, read the accusation,\" said the king. On this, the white rabbit blew three blasts on the trumpet, and then unrolled the parchment scroll. Now for the evidence,\" said the king, and then the sentence. No, said the queen. First the sentence, and then the evidence. Not since, cried Alice, so loudly that everybody jumped. The idea of having the sentence first. \"'Hold your tongue,' said the Queen. I won't,' said Alice. You're nothing but a pack of cards who cares for you. At this, the whole pack rose up into the air and came flying down upon her. She gave a little scream, a fright, and tried to beat them off, and found herself lying on the bank, with her head in the lap of her sister, who was gently brushing away some leaves that had fluttered down from the trees onto her face. Take up, Alice dear, said her sister, what a nice long sleep you've had. Oh, I've had such a curious dream,\" said Alice, and she told her sister all her adventures underground as you have read them, and when she had finished, her sister kissed her and said it was a curious dream dear certainly, but now run into your tea, it's getting late. But her sisters sat there some while longer, watching the setting sun, and thinking of little Alice sent her adventures, till she too began dreaming after a fashion, and this was her dream. She saw an ancient city and a quiet river winding near it along the plane, and up the stream went slowly gliding a boat with a very party of children on board. She could hear their voices and laughter like music over the water, and among them was another little Alice, who sat listening with bright eager eyes to a tale that was being told, and she listened for the words of the tale, and low. It was the dream of her own little sister. So the boat wound slowly along, beneath the bright summer day with its merry crew and its music of voices and laughter, till it passed round one of the many turnings of the stream, and she saw it no more. Then she thought, in the after-time, be herself a grown woman, and how she would keep through her ripe years, the simple and loving heart of her childhood, and how she would gather around her other little children, and make their eyes bright and eager with many a wonderful tale, perhaps even with these very adventures of the little Alice of Lago and how she would feel with all their simple sorrows.",
        "transcription_medium": " There was nothing very remarkable in that, nor did Alice think it so very much out of the way, to hear the rabbit say to itself, \"'Dear, dear, I shall be too late. Would the fall never come to an end? I wonder how many miles I've fallen by this time,' she said aloud. \"'I must be getting somewhere near the centre of the earth. How funny it'll be to come out among the people that walk with their heads downward. But I shall have to ask them what the name of the country is, you know. Please, ma'am, is this New Zealand or Australia?\" No, it'll never do to ask. \"'Perhaps I shall see it written up somewhere.' Down, down, down! There was nothing else to do, so Alice soon began talking again. Dinah will miss me very much to-night, I should think. Oh, dear Dinah, I wish I had you here. There are no mice in the air, I'm afraid, but you might catch a bat, and that's very like a mouse, you know, my dear. But do cats eat bats, I wonder?\" And here Alice began to get rather sleepy, and sometimes, do bats eat cats? For as she couldn't answer either question, it didn't much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand-in-hand with Dinah, and was saying to her very earnestly, Now, Dinah, my dear, tell me the truth, did you ever eat a bat? And the fall was over, and jumped on to her feet directly. She looked up, but it was all dark overhead. Before her was another long passage, and the white rabbit was still in sight, hurrying down it. There was not a moment to be lost. went Alice like the wind, and just heard it say as it turned a corner, my ears in whiskers how late it's getting. She turned the corner after it, and instantly found herself in a long, low hall, lit up by a row of lamps which hung from the roof. There were doors all round the hall, but they were all locked. She walked sadly down the middle, wondering how she was ever to get out again. Suddenly she came upon a little, three-legged table, and Alice's first idea was that it might belong to one of the doors of the hall, but, alas, either the locks were too large or the key too small, but at any rate it would open none of them. However, on the second time around she came to a low curtain, behind which was a door about eighteen inches high. She tried the little key in the keyhole, and it fitted. Alice opened the door and looked down a small passage, not larger than a rat hole, into the loveliest garden you ever saw. How she longed to get out of that dark hall and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head through the doorway. And even if my head would go through—thought poor Alice—it would be very little use without my shoulders. Oh, how I wish I could shut up like a telescope. I think I could, if I only knew how to begin, that Alice began to think very few things indeed were really impossible. There was nothing else to do, so she went back to the table and see whether the bottles sparked poison or not, for Alice had read several nice little stories about children that got burnt and eaten up by wild beasts and other unpleasant things, because they would not remember the simple rules their friends had given them, and that if you cut your finger very deeply with a knife, it generally bleeds. And she had never forgotten that if you drank a bottle marked poison—however, this bottle was not marked poison—so Alice tasted it, and finding it very nice, she very soon finished it off. \"'What a curious feeling,' said Alice. I must be shutting up like a telescope.' It was so indeed—she was now only ten inches high, and her face brightened up as it occurred to her—that she was now the right size for going through the little door into that lovely garden. First, however, she waited for a few minutes to see whether she was going to shrink any further. She felt a little nervous about this. \"'For it might end, you know,' said Alistair herself, in my going out altogether like a a candle, and she tried to fancy what the flame of a candle is like after the candle is blown out, for she could not remember having ever seen one. However, nothing more happened, so she decided on going into the garden at once. But alas for poor Alice! When she got to the door, she found she had forgotten the little golden key, and when she went back to the table for the key, she found she could not possibly reach it. She could see it plainly enough through the glass, and she tried her best to climb up one of the legs of the table, but it was too slippery, and when she had tired herself out with trying, the poor little thing sat down and cried. \"'Come, there's no use in crying,' said Alas to herself rather sharply. \"'I advise you to leave off this minute.' When her eyes fell on a little ebony box lying under the table, she opened it and found in it a very small cake on which was lying a card with the words, EAT ME, beautifully printed on it in large letters. \"'I'll eat,' said Alice, and if it makes me larger I can reach the key, and if it makes me smaller I can creep under the door, so either way I'll get into the garden and I don't care which happens.' She ate a little bit and said anxiously to herself, which way, which way, and laid her hand on the top of her head to feel which way it was growing, and was quite surprised to find that she remained the same size. To be sure, this is what generally happens when one eats cake, and it seemed quite dull and stupid for things to go on in the common way. So she set to work and very soon finished off the cake. \"'Curiouser and curiouser,' cried Alice. \"'Good-bye, Fede. I wonder who will put on your shoes and stockings for you now, dears. I'm sure I can't. I shall be a great deal too far off to bother myself about you. You must manage the best way you can. But I must be kind to them,' thought Alice. \"'Or perhaps they won't walk the way I want to go. Let me see. I'll give them a new pair of boots every Christmas.' And she went on planning to herself how she would manage it. They must go by the carrier, she thought, and how funny it'll seem, sending presents to one's own feet, and how odd the directions will look. Just at this moment, her head struck against the roof of the hall—in fact, she was now rather more than nine feet high—and she at once took up the little golden key and hurried off to the garden door. Poor Alice! It was as much as she could do lying down on one side to look through into the garden with one eye. But to get through was more hopeless than ever. She sat down and cried again. \"'You ought to be ashamed of yourself,' said Alice. \"'A great girl like you!' But she cried on all the same, shedding gallons of tears, until there was a large pool, about four inches deep all round her, and reaching half way across the hall. After a time she heard a little pattering of feet in the distance, and dried her eyes to see what was coming. It was the white rabbit coming back again, splendidly dressed, with a pair of white kid gloves in one hand and a nose-gay in the other. And as the rabbit passed her, she said in a low, timid voice, If you please, sir.\" The rabbit storted violently, looked up once into the roof of the hall, from which the voice seemed to come, and then dropped the nose-gay and the white kid gloves. Alice took up the nose-gay and gloves. And yesterday everything happened just as usual. I wonder if I was changed in the night. Let me think. Was I the same when I got up this morning? I think I remember feeling rather different. But if I'm not the same, who in the world am I?\" And she began thinking over all the children she knew of the same age as herself, to see if she could have been changed for any of them. \"'I'm sure I'm not Gertrude,' she said, for her hair goes in such long ringlets, for I know all sorts of things and she knows such a very little. And oh, dear, how puzzling it all is! I'll try if I know all the things I used to know. Let me see. Four times five is twelve, and four times six is thirteen, but the multiplication table don't signify. Let's try geography. London is the capital of France, and Rome is the capital of Yorkshire. I must have been changed for Florence. I'll try and say, How doth the little? and began. But her voice sounded hoarse and strange, and the words did not sound the same as they used to do. How doth the little crocodile Improve its shining tail? How cheerfully it seems to grin, How neatly spreads its claws, And welcomes little fishes in With gently smiling jaws? I'm sure those are not the right words,\" said poor Alice, and her eyes filled with tears as she thought, \"'I must be Florence, after all, and I shall have to go and live in that pokey little house, have next to no toys to play with, and oh, ever so many lessons to learn. No, I've made up my mind about it. If I'm Florence, I'll stay down here. And then, if I like being that person, I'll come up. If not, I'll stay down here till I'm somebody else.\" \"'But, oh dear,' cried Alice with a sudden burst of tears, \"'I do wish they would put their heads down. I'm so tired of being all alone here.' How can I have done that?\" thought she. I must be growing small again. She was now about two feet high and was going on shrinking rapidly. Soon she found out that the reason of it was the nose-gaze she held in her hand. She dropped it hastily, just in time to save herself from shrinking away altogether, and found that she was now only three inches high. \"'Now for the garden,' cried Alice, as she hurried back to the little door. But the little door was locked again, and the little gold key was lying on the glass table as before, and things are worse than ever,' thought the poor little girl. \"'For I never was as small as this before, never. And I declare, it's too bad it is.' At this moment her foot slipped and splash. She was up to her chin in salt water. Her first idea was that she had fallen into the sea. Then she remembered that she was underground, and she soon made out that it was the pool of tears she had wept when she was nine feet high. I shall be punished for it now, I suppose, by being drowned in my own tears. Well, that'll be a queer thing to be sure. However, everything is queer to-day. Very soon she saw something splashing about in the pool near her. At first she thought it must be a walrus or a hippopotamus to speak to this mouse. And so have I been ever since I came down here. But that is no reason why the mouse should not be able to talk. I think I may as well try.\" So she began. \"'O mouse, do you know how to get out of this pool? I am very tired of swimming about here, o mouse.' The mouse looked at her rather inquisitively, and seemed to her to wink with one of its a little eyes. \"'Perhaps it doesn't understand English,' thought Alice. \"'I dare say it's a French mouse. Come over with William the Conqueror,' which was the first sentence out of her French lesson book. The mouse gave a sudden jump in the pool and seemed to quiver with fright. \"'Oh, I beg your pardon,' cried Alice hastily, afraid that she had hurt the poor animal's feelings. I quite forgot you didn't like cats.' \"'Not like cats!' cried the mouse in a shrill, passionate voice, would you like cats if you were me?\" \"'Well, perhaps not,' said Alice in a soothing tone. \"'Don't be angry about it. And yet I wish I could show you our cat Dinah. I think you'd take a fancy to cats if you could only see her.' \"'She is such a dear, quiet thing,' said Alice half to herself, as she swam lazily about in the pool. \"'She sits purring so nicely by the fire, licking her paws and washing her face. And she is such a nice soft thing to nurse,\" cried poor Alice again. For this time the mouse was bristling all over, and she felt certain that it was really offended. Have I offended you?\" \"'Offended indeed,' cried the mouse, who seemed to be positively trembling with rage. \"'Our family always hated cats, nasty low-volcker things. Don't talk to me about them any more.' I won't, indeed,\" said Alice, in a great hurry to change the conversation. \"'Are you—are you fond of dogs?' The mouse did not answer. So Alice went on eagerly. \"'There is such a nice little dog near our house I should like to show you—a little bright-eyed terrier, you know, with—oh, such long curly brown hair! And it'll fetch things when you throw them, and it'll sit up and beg for its dinner, and all sorts of things. I can't remember half of them, and it belongs to a farmer. I'm afraid I've offended it again, for the mouse was swimming away from her as hard as it could go, and making quite a commotion in the pool as it went. So she calls softly after it, \"'Mouse dear, do come back again, and we won't talk about cats and dogs any more if you don't like them.' When the mouse heard this, it turned and swam slowly back to her. Its face was quite pale. And then I'll tell you my history, and you'll understand why it is I hate cats and dogs.\" It was high time to go, for the pool was getting quite full of birds and animals that had fallen into it. There was a duck and a dodo, a lorry and an eaglet, and several other curious creatures. They were indeed a curious-looking party that assembled on the bank. the birds with draggle feathers, the animals with their fur clinging close to them, all dripping wet, cross, and uncomfortable. The first question, of course, was how to get dry. They had a consultation about this, and Alice hardly felt at all surprised at finding herself talking familiarly with the birds as if she had known them all her life. Indeed, she had quite a long argument with the lorry, and this Alice would not admit without knowing how old the lorry was, and as the lorry positively refused to tell its age, there was nothing more to be said. At last the mouse, who seemed to have some authority among them, called out, \"'Sit down, all of you, and attend to me. I'll soon make you dry enough.' They all sat down at once, shivering in a large ring. Alice in the middle, with her eyes anxiously fixed on the mouse, for she felt sure she would catch a bad cold if she did not get dry very soon. \"'Mmm,' said the Mouse, with a self-important air. \"'Are you all ready? This is the driest thing I know. Silence all round, if you please.' \"'William the Conqueror, whose cause was favored by the Pope, was soon submitted to by the English, who wanted leaders, Edwin and Morcar, the Earls of Mercia and Northumbria. I beg your pardon,' said the Mouse, frowning but very politely. \"'Did you speak?' \"'Not I,' said the Lorry hastily. \"'I thought you did,' said the Mouse. \"'I proceed.' Edwin and Morcar, the earls of Mercia and Northumbria, declared for him, and even Stigand, the patriotic archbishop of Canterbury, found it advisable to go with Edgar Atheling to meet William and offer him the crown. William's conduct was at first moderate.' \"'How are you getting on now, dear?' said the Mouse, turning to Alice as it spoke. \"'As wit as ever,' said poor Alice. \"'It doesn't seem to dry me at all.' \"'In that case,' said the Dodo, solemnly rising to his feet, \"'I don't know the meaning of half those long words, and what's more, I don't believe you do either.' And the duck quacked a comfortable laugh to itself. Some of the other birds tittered audibly. \"'That I know of a house near here, where we can get the young lady and the rest of the party dried, and then we could listen comfortably to the story which I think you You were good enough to promise to tell us,\" bowing gravely to the Mouse. The Mouse made no objection to this, the Dodo leading the way. After a time the Dodo became impatient, and, leaving the duck to bring up the rest of the party, moved on at a quicker pace with Alice, the Lorry, and the Eaglet, and soon brought them to a little cottage, and there they sat snugly by the fire, wrapped up in blankets, the rest of the party had arrived, and they were all dry again. Then they all sat down again in a large ring on the bank, and begged the mouse to begin his story. \"'Mine is a long and a sad tale,' said the mouse, turning to Alice and sighing, which was coiled nearly all round the party. But why do you call it sad?' And she went on puzzling about this as the mouse went on speaking, so that her idea of the tale was something like this. We lived beneath the mat, warm and snug and fat, but one woe and that was the cat. To our joys a clog, in our eyes a fog, on our heart a log was the dog. When the cat's away, then the mice will play, but alas! one day, hunting for a rat, crushed the mice all flat. \"'Each one as he's set. You are not attending,' said the mouse to Alice severely. \"'What are you thinking of?' \"'I beg your pardon,' said Alice very humbly. \"'You had got to the fifth bend, I think.' \"'I had not,' cried the mouse, sharply and very angrily. \"'A not!' said Alice, always ready to make herself useful, and looking anxiously about her, \"'Oh, do let me help to undo it.' \"'I shall do nothing of the sort,' said the mouse. getting up and walking away from the party. You insult me by talking such nonsense!\" I didn't mean it, pleaded poor Alice. But you're so easily offended, you know.\" The mouse only growled in reply. \"'Please come back and finish your story,' Alice called after it, and the others all joined in chorus. Yes, please do.' But the mouse only shook its ears and walked quickly away. \"'Hold your tongue, ma,' said the young crab a little snappishly. You're enough to try the patience of an oyster.\" \"'I wish I had our Dinah here, I know I do,' said Alice aloud. \"'She soon fetch it back.' Alice replied eagerly, for she was always ready to talk about her pet. Dinah's our cat, and she's such a capital one for catching mice you can't think, and oh, I wish you could see her after the birds! Why, she'll eat a little bird as soon as look at it!\" This answer caused a remarkable sensation among the party. Some of the birds hurried off at once. One old magpie began wrapping itself up very carefully, remarking, \"'I really must be getting home. The night air does not suit my throat.' And a canary called out in a trembling voice to its children, \"'Come away from her, my dears. She's no fit company for you.' various pretext they all moved off, and Alice was soon left alone. She sat for some while, sorrowful and silent, but she was not long before she recovered her spirits, and so was that dear little eaglet. And then the duck and the dodo—how nicely the duck sang to us as we came along through the water! And if the dodo hadn't known the way to that nice little cottage, I don't know when we should have got dry again. And there is no knowing how long she might have prattled on in this way if she had not suddenly caught the sound of pattering feet, as if it had lost something. And she heard it muttering to itself, \"'The Marchioness, the Marchioness, oh, my dear paws, oh, my fur and whiskers! She'll have me executed as sure as ferrets are ferrets. Where can I have dropped them, I wonder?' Alice guessed in a moment that it was looking for the nose-gay and the pair of white kid gloves, and she began hunting for them, but they were now nowhere to be seen. Everything seemed to have changed since her swim in the pool, and her walk along the river bank, with its fringe of rushes and forget-me-nots, and the glass table and the little door had vanished. Soon the Rabbit noticed Alice as she stood looking curiously about her, and at once said in a quick, angry tone, go home this moment, and Alice was so much frightened that she ran off at once without saying a word in the direction which the rabbit had pointed out, for fear she should meet the real Mary Anne and be turned out of the house before she had found the gloves. She knew that one pair had been lost in the hall, but of course, thought Alice, it has plenty more of them in its house. How queer it seems to be, going messages for a rabbit. I suppose Dina will be sending me messages next.\" And she began fancying the sort of thing that would happen. \"'Miss Alice, come here directly and get ready for your walk, that they'd let Dina stop in the house if it began ordering people about like that.' By this time she had found her way into a tidy little room, but nevertheless she uncorked it and put it to her lips. I know something interesting is sure to happen,\" she said to herself. \"'Whenever I eat or drink anything, so I'll see what this bottle does. I do hope it'll make me grow larger.' It did so indeed, and much sooner than she expected. Before she had drunk half the bottle, she found her head pressing against the ceiling, and she stooped to save her neck from being broken, and hastily put down the bottle, saying to herself, That's quite enough. I hope I shan't grow any more. I wish I hadn't drunk so much.\" Alas! It was too late. She went on growing and growing, and very soon had to kneel down. In another minute there was not room even for this, and she tried the effect of lying down with one elbow against the door and the other arm curled round her head. Still she went on growing, and as a last resource she put one arm out of the window and one foot up the chimney, and said to herself, Now I can do no more. What will become of me? Luckily for Alice, the little magic bottle had now had its full effect. No wonder she felt unhappy. It was much pleasanter at home, thought poor Alice, when one wasn't always growing larger and smaller, and being ordered about by mice and rabbits. I almost wish I hadn't gone down that rabbit hole, and yet—and yet it's rather curious, you know. This sort of life, I do wonder what can have happened to me. When I used to read fairy tales, I fancied that sort of thing never happened, and now here I am in the middle of one. At least there's no room to grow up any more here.\" But then, thought Alice, shall I never get any older than I am now? That'll be a comfort. One way never to be an old woman. But then, always to have lessons to learn. Oh, I shouldn't like that. Oh, you foolish Alice,\" she said again. How can you learn lessons in here? Why, there's hardly room for you and no room at all for any lesson books. And so she went on, taking first one side and then the other, and making quite a conversation of it altogether, but after a few minutes— She heard a voice outside, which made her stop to listen. \"'Mary Anne, Mary Anne,' said the voice, \"'fetch me my gloves this moment.' Then came a little pattering of feet on the stairs. Alice knew it was the rabbit coming to look for her, and she trembled till she shook the close, quite forgetting that she was now about a thousand times as large as the rabbit and had no reason to be afraid of it. Presently the rabbit came to the door and tried to open it, but as it opened inwards and Alice's elbow was against it, the attempt proved a failure. Alice heard it say to itself, then I'll go round and get in at the window.\" \"'That you won't,' thought Alice, and after waiting till she fancied she heard the rabbit just under the window. She suddenly spread out her hand and made a snatch in the air. She did not get hold of anything, but she heard a little shriek and a fall and a crash of breaking glass, from which she concluded that it was just possible it had fallen into a cucumber frame or something of the sort. Next came an angry voice, the rabbit's. \"'Pat! Pat! Where are you?' And then a voice she had never heard before. Sure that I'm here, digging for apples anyway, your honor.\" \"'Digging for apples indeed,' said the rabbit angrily. \"'Here, come and help me out of this.' Sound of more breaking glass. \"'Now tell me, Pat, what is that coming out of the window?' \"'Sure, it's an arm, your honor. Why, it fills the whole window, don't you see?' \"'Sure it does, your honor, but it's an arm for all that.' Well, it's no business there. Go and take it away.\" There was a long silence after this, and Alice could only hear whispers now and then such as, \"'Sure, I don't like it, your honor, at all at all. Do as I tell you, you coward.' This time there were two little shrieks and more breaking glass. \"'What a number of cucumber frames there must be,' thought Alice. I wonder what they'll do next. As for pulling me out of the window, I only wish they could. I'm sure I don't want to stop in here any longer.\" She waited for some time without hearing anything more. At last came a rumbling of little cartwheels. \"'Oh, so Bill's got to come down the chimney, has he?' said Alice to herself. \"'Why, they seem to put everything upon Bill. I wouldn't be in Bill's place for a good deal. The fireplace is a pretty tight one, but I think I can kick a little.' She drew her foot as far down the chimney as she could. The first thing was a general chorus of, There Goes Bill! Then the rabbit's voice alone, Catch him, you by the hedge! Then silence, and then another confusion of voices, How was it, old fellow, what happened to you, tell us all about it? And so you did, old fellow, said the other voices. We must burn the house down, said the voice of the rabbit, and Alice called out as loud as she could, If you do, I'll set Dinah at you. This caused silence again, and while While Alice was thinking, but how could I get Dinah here? She found, to her great delight, that she was getting smaller. Very soon she was able to get up out of the uncomfortable position in which she had been lying, and in two or three minutes more she was once more three inches high. She ran out of the house as quick as she could, that was being supported in the arms of one of the guinea pigs, while another was giving it something out of a bottle. They all made a rush at her the moment she appeared, but Alice ran her hardest and soon found herself in a thick wood. As she wondered about in the wood, is to grow to my right size, I think that will be the best plan. It sounded an excellent plan no doubt, and very neatly and simply arranged. The only difficulty was that she had not the smallest idea how to set about it, and while she was peering anxiously among the trees round her, a little sharp bark just over her head made her look up in a great hurry. An enormous puppy was looking down at her with large round eyes, and feebly stretching out one paw, trying to reach her. Poor thing! said Alice in a coaxing tone, and she tried hard to whistle to it, but she was terribly alarmed all the while at the thought that it might be hungry, in which case it would probably devour her in spite of all her coaxing. Hardly knowing what she did, she picked up a little bit of stick and held it out to the puppy, whereupon the puppy jumped into the air off all its feet at once and with a yelp of delight rushed at the stick and made believe to worry it. Then Alice dodged behind a great thistle to keep herself from being run over, and the moment she appeared at the other aside, the puppy made another dart at the stick and tumbled head over heels in its hurry to get hold. Then Alice, thinking it was very like having a game of play with a cart-horse and expecting every moment to be trampled under its feet, ran round the thistle again. Then the puppy began a series of short charges at the stick, running a very little way forwards each time, and a long way back, and barking hoarsely all the while, with its tongue hanging out of its mouth and its great eyes half shut. This seemed to Alice a good opportunity for making her escape. She set off at once and ran till the puppy's bark sounded quite faint in the distance, and till she was quite tired and out of breath. And yet, what a dear little puppy it was, said Alice. I should have liked teaching it tricks if—if I'd only been the right size to do it. Let me see, how is it to be managed? I suppose I ought to eat or drink something or other, but the great question is what?\" Alice looked all round her at the flowers and the blades of grass, but could not see anything that looked like the right thing to eat under the circumstances. There was a large mushroom near her, about the same height as herself. It occurred to her to look and see what was on the top of it. She stretched herself up on tiptoe and peeped over the edge of the mushroom, and her eyes immediately met those of a large blue caterpillar, which was sitting with its arms folded, quietly smoking a long hookah, and taking not the least notice of her or of anything else. For some time they looked at each other in silence. At last the Caterpillar took the hookah out of its mouth. \"'Who are you?' said the Caterpillar. This was not an encouraging opening for a conversation. Alice replied, rather shyly, \"'I—I hardly know, sir, just at the present. At least I know who I was when I got up this morning. But I think I must have been changed several times since that.' \"'What do you mean by that?' said the Caterpillar. \"'Explain yourself.' I can't explain myself, I'm afraid, sir,\" said Alice. I don't see,\" said the Caterpillar. I'm afraid I can't put it more clearly,\" Alice replied very politely, for I can't understand it myself. And really to be so many different sizes in one day is very confusing.\" It isn't,\" said the Caterpillar. Well, perhaps you haven't found this so yet,\" said Alice. But when you have to turn into a chrysalis, you know, and then after that into a butterfly, I should think it'll feel a little queer, don't you think so?\" \"'Not a bit,' said the Caterpillar. \"'All I know is,' said Alice, it would feel queer to me—'you,' said the Caterpillar contemptuously. \"'Who are you?' Which brought them back again to the beginning of the conversation. Alice felt a little irritated at the Caterpillar making such very short remarks. Why?\" said the Caterpillar. Here was another puzzling question. And as Alice had no reason ready— \"'Come back,' the Caterpillar called after her. \"'I've something important to say.' This sounded promising. Alice turned and came back again. \"'Keep your temper,' said the Caterpillar. \"'Is that all?' said Alice, swallowing down her anger as well as she could, said the Caterpillar. Alice thought she might as well wait, as she had nothing else to do, and perhaps, after all, the caterpillar might tell her something worth hearing. For some minutes it puffed away at its hookah without speaking. \"'Yes, sir,' said Alice. \"'Try and repeat, you are old, Father William,' said the caterpillar. Alice folded her hands and began. \"'You are old, Father William,' the young man said. \"'In my youth,' Father William replied to his son, I feared it might injure the brain, but now that I'm perfectly sure I have none, why, I do it again and again.\" \"'You are old,' said the youth, as I mentioned before. \"'In my youth,' said the sage, as he shook his grey locks, I kept all my limbs very supple. By the use of this ointment, five shillings the box, allow me to sell you a couple.' \"'In my youth,' said the old man, I took to the law, and argued each case with my wife, and the muscular strength which he gave to my jaw has lasted the rest of my life. I have answered three questions, and that is enough,\" said his father. \"'Don't give yourself airs. Do you think I can listen all day to such stuff? Be off, or I'll kick you downstairs.' \"'That is not said right,' said the Caterpillar. \"'Not quite right, I'm afraid,' said Alice timidly. Some of the words have got altered.' It is wrong from beginning to end,\" said the Caterpillar decidedly, and there was silence for some minutes. The Caterpillar was the first to speak. \"'What size do you want to be?' it asked. Alice hastily replied. \"'Only one doesn't like changing so often, you know.' \"'Are you content now?' said the Caterpillar. \"'Well, I should like to be a little larger, sir, if you wouldn't mind,' said Alice. Three inches is such a wretched height to be.\" \"'It is a very good height indeed,\" said the Caterpillar, loudly and angrily. The lobster quadrille. Who stole the tarts?\" \"'No, indeed,' said Alice. \"'Of course,' the Mock Turtle said. \"'Then you know,' continued the Mock Turtle, \"'as far out to sea as you can.' \"'Swim after them,' screamed the Gryphon. \"'Turn a somersault in the sea,' cried the Mock Turtle. turtle, capering wildly about,\" said the mock turtle, suddenly dropping his voice. And the two creatures, who had been jumping about like mad things all this time, sat down again very sadly and quietly and looked at Alice. \"'It must be a very pretty dance,' said Alice timidly. \"'Would you like to see a little of it?' said the mock turtle. \"'Very much indeed,' said Alice. \"'Come, let's try the first figure,' said the mock turtle to the the griffin. \"'We can do it without lobsters, you know.' \"'Oh, you sing,' said the griffin. I've forgotten the words.' So they began solemnly dancing round and round, Alice, every now and then treading on her toes when they came too close, and waving their forepaws to mark the time, while the mock-turtles sang, slowly and sadly, these words. \"'Beneath the waters of the sea, our lobsters thick as thick can be. They love to dance with you and me, my own, my gentle salmon.\" The griffon joined in singing the chorus, which was, \"'Salmon come up, salmon go down, salmon come twist your tail around. Of all the fishes of the sea, there's none so good as salmon.' \"'Thank you,' said Alice, feeling very glad that the figure was over. \"'Shall we try the second figure?' said the griffon. \"'Or would you prefer a song?' \"'Oh, a song, please,' Alice replied so eagerly. The Gryphon said in a rather offended tone, no accounting for tastes, \"'Sing our mock turtle soup, will you, old fellow?' The mock turtle sighed deeply, and began, in a voice somewhat choked with sobs, to sing this, \"'Waiting in a hot tureen! Oh, for such dainties would not stoop! Soup of the evening, beautiful soup! Soup of the evening, beautiful soup!' and the mock turtle had just begun to repeat it, when a cry of, \"'The trial's beginning!' was heard in the distance. \"'Come on!' cried the griffon, and taking Alice by the hand, he hurried off without waiting for the end of the song. \"'What trial is it?' panted Alice as she ran. But the griffon only answered, \"'Come on!' The king and queen were seated on their throne when they arrived, with a great crowd assembled around them. The knave was in custody, and before the king stood the white rabbit, with a trumpet in one hand and a scroll of parchment in the other.\" \"'Herald, read the accusation,' said the King. On this the white rabbit blew three blasts on the trumpet, and then unrolled the parchment scroll. \"'Now for the evidence,' said the King, and then the sentence. \"'No,' said the Queen. First the sentence, and then the evidence.\" \"'Nonsense!' cried Alice, so loudly that everybody jumped. The idea of having the sentence first— \"'Hold your tongue,' said the Queen. \"'I won't,' said Alice. \"'You're nothing but a pack of cards. Who cares for you?' At this the whole pack rose up into the air and came flying down upon her. She gave a little scream of fright and tried to beat them off, and found herself lying on the bank, with her head in the lap of her sister, who was gently brushing away some leaves that had fluttered down from the trees on to her face. Wake up, Alice dear, said her sister. What a nice long sleep you've had. Oh, I've had such a curious dream, said Alice. And she told her sister all her adventures underground, as you have read them, and when she had finished, her sister kissed her and said, It was a curious dream, dear, certainly. But now run into your tea, it's getting late. But her sister sat there some while longer, watching the setting sun and thinking of little Alice and her adventures, till she too began dreaming after a fashion, and this was her dream. She saw an ancient city and a quiet river winding near it along the plain, and up the stream went slowly gliding a boat with a merry party of children on board. She could hear their voices and laughter, like music over the water. And among them was another little Alice, who sat listening with bright eager eyes to a tale that was being told. And she listened for the words of the tale, and lo! it was the dream of her own little sister. So the boat wound slowly along, beneath the bright summer day, with its merry crew and its music of voices and laughter, till it passed round one of the many turnings of the stream and she saw it no more. Then she thought, in the after-time, be herself a grown woman, and how she would keep through her riper years the simple and loving heart of her childhood, and how she would gather around her other little children and make their eyes bright and eager with many a wonderful tale, perhaps even with these very adventures of the little Alice of long ago, and how she would feel with all their simple sorrows.",
        "transcription_large_v3": " there was nothing very remarkable in that nor did alice think it so very much out of the way to hear the rabbit say to itself dear dear i shall be too late would the fall never come to an end i wonder how many miles i've fallen by this time she said aloud i must be getting somewhere near the center of the earth how funny it'll be to come out among the people that walk with their heads downward but i shall have to ask them what the name of the country is you know please ma'am is this new zealand or australia no it'll never do to ask perhaps i shall see it written up somewhere down down down there was nothing else to do so alice soon began talking again dinah will miss me very much to-night i should think oh dear dinah i wish i had you here there are no mice in the air i'm afraid but you might catch a bat and that's very like a mouse you know my dear but do cats eat bats i wonder and here alice began to get rather sleepy and sometimes do bats eat cats for as she couldn't answer either question it didn't much matter which way she put it she felt that she was dozing off and had just begun to dream that she was walking hand in hand with dinah and was saying to her very earnestly now dinah my dear tell me the truth did you ever eat a bat and the fall was over and jumped on to her feet directly she looked up but it was all dark overhead before her was another long passage and the white rabbit was still in sight hurrying down it there was not a moment to be lost away went alice like the wind and just heard it say as it turned a corner my ears in whiskers how late it's getting she turned the corner after it and instantly found herself in a long low hall lit up by a row of lamps which hung from the roof there were doors all round the hall but they were all locked she walked sadly down the middle wondering how she was ever to get out again suddenly she came upon a little three-legged table and alice's first idea was that it might belong to one of the doors of the hall but alas either the locks were too large or the key too small but at any rate it would open none of them however on the second time around she came to a low curtain behind which was a door about eighteen inches high she tried the little key in the keyhole and it fitted alice opened the door and looked down a small passage not larger than a rat-hole into the loveliest garden you ever saw how she longed to get out of that dark hall and wander about among those beds of bright flowers and those cool fountains but she could not even get her head through the doorway and even if my head would go through thought poor alice it would be very little use without my shoulders oh how i wish i could shut up like a telescope i think i could if i only knew how to begin that alice began to think very few things indeed were really impossible there was nothing else to do so she went back to the table and see whether the bottles marked poison or not for alice had read several nice little stories about children that got burnt and eaten up by wild beasts and other unpleasant things because they would not remember the simple rules their friends had given them and that if you cut your finger very deeply with a knife it generally bleeds and she had never forgotten that if you drank a bottle marked poison however this bottle was not marked poison so alice tasted it and finding it very nice she very soon finished it off what a curious feeling said alice i must be shutting up like a telescope it was so indeed she was now only ten inches high and her face brightened up as it occurred to her that she was now the right size for going through the little door into that lovely garden first however she waited for a few minutes to see whether she was going to shrink any further she felt a little nervous about this for it might end you know said alice to herself in my going out altogether like a candle and she tried to fancy what the flame of a candle is like after the candle is blown out for she could not remember having ever seen one however nothing more happened so she decided on going into the garden at once but alas for poor alice when she got to the door she found she had forgotten the little golden key and when she went back to the table for the key she found she could not possibly reach it she could see it plainly enough through the glass and she tried her best to climb up one of the legs of the table but it was too slippery and when she had tired herself out with trying the poor little thing sat down and cried come there's no use in crying said alice to herself rather sharply i advise you to leave off this minute soon her eyes fell on a little ebony box lying under the table she opened it and found in it a very small cake on which was lying a card with the words eat me beautifully printed on it in large letters i'll eat said alice and if it makes me larger i can reach the key and if it makes me smaller i can creep under the door so either way i'll get into the garden and i don't care which happens she ate a little bit and said anxiously to herself which way which way and laid her hand on the top of her head to feel which way it was growing and was quite surprised to find that she remained the same size to be sure this is what generally happens when one eats cake and it seemed quite dull and stupid for things to go on in the common way so she set to work and very soon finished off the cake curiouser and curiouser cried alice good-by feed i wonder who will put on your shoes and stockings for you now dears i'm sure i can't i shall be a great deal too far off to bother myself about you you must manage the best way you can but i must be kind to them thought alice or perhaps they won't walk the way i want to go let me see i'll give them a new pair of boots every christmas and she went on planning to herself how she would manage it they must go by the carrier she thought and how funny it'll seem sending presents to one's own feet and how odd the directions will look just at this moment her head struck against the roof of the hall in fact she was now rather more than nine feet high and she at once took up the little golden key and hurried off to the garden door poor alice it was as much as she could do lying down on one side to look through into the garden with one eye but to get through was more hopeless than ever she sat down and cried again you ought to be ashamed of yourself said alice a great girl like you but she cried on all the same shedding gallons of tears until there was a large pool about four inches deep all round her and reaching half-way across the hall after a time she heard a little pattering of feet in the distance and dried her eyes to see what was coming it was the white rabbit coming back again splendidly dressed with a pair of white kid gloves in one hand and a nosegay in the other and as the rabbit passed her she said in a low timid voice if you please sir the rabbit started violently looked up once into the roof of the hall from which the voice seemed to come and then dropped the nosegay and the white kid gloves alice took up the nosegay and gloves and yesterday everything happened just as usual i wonder if i was changed in the night let me think was i the same when i got up this morning i think i remember feeling rather different but if i'm not the same who in the world am i and she began thinking over all the children she knew of the same age as herself to see if she could have been changed for any of them i'm sure i'm not gertrude she said for her hair goes in such long ringlets for i know all sorts of things and she oh she knows such a very little and oh dear how puzzling it all is i'll try if i know all the things i used to know let me see four times five is twelve and four times six is thirteen but the multiplication table don't signify let's try geography london is the capital of france and rome is the capital of yorkshire i must have been changed for florence i'll try and say how doth the little and began but her voice sounded hoarse and strange and the words did not sound the same as they used to do how doth the little crocodile improve its shining tail how cheerfully it seems to grin how neatly spreads its claws and welcomes little fishes in with gently smiling jaws i'm sure those are not the right words said poor alice and her eyes filled with tears as she thought i must be florence after all and i shall have to go and live in that poky little house and have next to no toys to play with and oh ever so many lessons to learn no i've made up my mind about it if i'm florence i'll stay down here and then if i like being that person i'll come up if not i'll stay down here till i'm somebody else but oh dear cried alice with a sudden burst of tears i do wish they would put their heads down i'm so tired of being all alone here how can i have done that thought she i must be growing small again she was now about two feet high and was going on shrinking rapidly soon she found out that the reason of it was the nosegay she held in her hand she dropped it hastily just in time to save herself from shrinking away altogether and found that she was now only three inches high now for the garden cried alice as she hurried back to the little door but the little door was locked again and the little gold key was lying on the glass table as before and things are worse than ever thought the poor little girl for i never was as small as this before never and i declare it's too bad it is at this moment her foot slipped and splash she was up to her chin in salt water her first idea was that she had fallen into the sea then she remembered that she was underground and she soon made out that it was the pool of tears she had wept when she was nine feet high i shall be punished for it now i suppose by being drowned in my own tears well that'll be a queer thing to be sure however everything is queer to-day very soon she saw something splashing about in the pool near her at first she thought it must be a walrus or a hippopotamus to speak to this mouse and so have i been ever since i came down here but that is no reason why the mouse should not be able to talk i think i may as well try so she began oh mouse do you know how to get out of this pool i am very tired of swimming about here oh mouse the mouse looked at her rather inquisitively and seemed to her to wink with one of its little eyes perhaps it doesn't understand english thought alice i dare say it's a french mouse come over with william the conqueror which was the first sentence out of her french lesson-book the mouse gave a sudden jump in the pool and seemed to quiver with fright oh i beg your pardon cried alice hastily afraid that she had hurt the poor animal's feelings i quite forgot you didn't like cats not like cats cried the mouse in a shrill passionate voice would you like cats if you were me well perhaps not said alice in a soothing tone don't be angry about it and yet i wish i could show you our cat dinah i think you'd take a fancy to cats if you could only see her she is such a dear quiet thing said alice half to herself as she swam lazily about in the pool she sits purring so nicely by the fire licking her paws and washing her face and she is such a nice soft thing to nurse cried poor alice again for this time the mouse was bristling all over and she felt certain that it was really offended have i offended you offended indeed cried the mouse who seemed to be positively trembling with rage our family always hated cats nasty low vulgar things don't talk to me about them any more i won't indeed said alice in a great hurry to change the conversation are you are you fond of dogs the mouse did not answer so alice went on eagerly there is such a nice little dog near our house i should like to show you a little bright-eyed terrier you know with oh such long curly brown hair and it'll fetch things when you throw them and it'll sit up and beg for its dinner and all sorts of things i can't remember half of em and it belongs to a farmer i'm afraid i've offended it again for the mouse was swimming away from her as hard as it could go and making quite a commotion in the pool as it went so she called softly after it mouse dear do come back again and we won't talk about cats and dogs any more if you don't like them when the mouse heard this it turned and swam slowly back to her its face was quite pale and then i'll tell you my history and you'll understand why it is i hate cats and dogs it was high time to go for the pool was getting quite full of birds and animals that had fallen into it there was a duck and a dodo a lorry and an eaglet and several other curious creatures they were indeed a curious-looking party that assembled on the bank the birds with draggled feathers the animals with their fur clinging close to them all dripping wet cross and uncomfortable the first question of course was how to get dry they had a consultation about this and alice hardly felt at all surprised at finding herself talking familiarly with the birds as if she had known them all her life indeed she had quite a long argument with the lory and this alice would not admit without knowing how old the lory was and as the lory positively refused to tell its age there was nothing more to be said at last the mouse who seemed to have some authority among them called out sit down all of you and attend to me i'll soon make you dry enough they all sat down at once shivering in a large ring alice in the middle with her eyes anxiously fixed on the mouse for she felt sure she would catch a bad cold if she did not get dry very soon said the mouse with a self-important air are you all ready this is the driest thing i know silence all round if you please william the conqueror whose cause was favoured by the pope was soon submitted to by the english who wanted leaders edwin and morcar the earls of mercia and northumbria i beg your pardon said the mouse frowning but very politely did you speak not i said the lory hastily i thought you did said the mouse i proceed edwin and morcar the earls of mercia and northumbria declared for him and even stigand the patriotic archbishop of canterbury found it advisable to go with edgar atheling to meet william and offer him the crown william's conduct was at first moderate how are you getting on now dear said the mouse turning to alice as it spoke as wit as ever said poor alice it doesn't seem to dry me at all in that case said the dodo solemnly rising to his feet i don't know the meaning of half those long words and what's more i don't believe you do either and the duck quacked a comfortable laugh to itself some of the other birds tittered audibly that i know of a house near here where we can get the young lady and the rest of the party dried and then we could listen comfortably to the story which i think you were good enough to promise to tell us bowing gravely to the mouse the mouse made no objection to this the dodo leading the way after a time the dodo became impatient and leaving the duck to bring up the rest of the party moved on at a quicker pace with alice the lorry and the eaglet and soon brought them to a little cottage and there they sat snugly by the fire wrapped up in blankets until the rest of the party had arrived and they were all dry again then they all sat down again in a large ring on the bank and begged the mouse to begin his story mine is a long and a sad tale said the mouse turning to alice and sighing which was coiled nearly all round the party but why do you call it sad and she went on puzzling about this as the mouse went on speaking so that her idea of the tale was something like this we lived beneath the mat warm and snug and fat but one woe and that was the cat to our joys a clog in our eyes a fog on our heart a log was the dog when the cat's away then the mice will play but alas one day hunting for a rat crush the mice all flat each one as he sat you are not attending said the mouse to alice severely what are you thinking of i beg your pardon said alice very humbly you had got to the fifth bend i think i had not cried the mouse sharply and very angrily a knot said alice always ready to make herself useful and looking anxiously about her oh do let me help to undo it i shall do nothing of the sort said the mouse getting up and walking away from the party you insult me by talking such nonsense i didn't mean it pleaded poor alice but you're so easily offended you know the mouse only growled in reply please come back and finish your story alice called after it and the others all joined in chorus yes please do but the mouse only shook its ears and walked quickly away hold your tongue ma said the young crab a little snappishly you're enough to try the patience of an oyster i wish i had our dinah here i know i do said alice aloud she'd soon fetch it back alice replied eagerly for she was always ready to talk about her pet dinah's our cat and she's such a capital one for catching mice you can't think and oh i wish you could see her after the birds why she'll eat a little bird as soon as look at it this answer caused a remarkable sensation among the party some of the birds hurried off at once one old magpie began wrapping itself up very carefully remarking i really must be getting home the night air does not suit my throat and a canary called out in a trembling voice to its children come away from her my dears she's no fit company for you on various pretexts they all moved off and alice was soon left alone she sat for some while sorrowful and silent but she was not long before she recovered her spirits and so was that dear little eaglet and then the duck and the dodo how nicely the duck sang to us as we came along through the water and if the dodo hadn't known the way to that nice little cottage i don't know when we should have got dry again and there is no knowing how long she might have prattled on in this way if she had not suddenly caught the sound of pattering feet as if it had lost something and she heard it muttering to itself the marchioness the marchioness oh my dear paws oh my fur and whiskers she'll have me executed as sure as ferrets are ferrets where can i have dropped them i wonder alice guessed in a moment that it was looking for the nosegay and the pair of white kid gloves and she began hunting for them but they were now nowhere to be seen everything seemed to have changed since her swim in the pool and her walk along the river bank with its fringe of rushes and forget-me-nots and the glass table and the little door had vanished soon the rabbit noticed alice as she stood looking curiously about her and at once said in a quick angry tone go home this moment and alice was so much frightened that she ran off at once without saying a word in the direction which the rabbit had pointed out for fear she should meet the real mary ann and be turned out of the house before she had found the gloves she knew that one pair had been lost in the hall but of course thought alice it has plenty more of them in its house how queer it seems to be going messages for a rabbit i suppose dinah'll be sending me messages next and she began fancying the sort of thing that would happen miss alice come here directly and get ready for your walk that they'd let dinah stop in the house if it began ordering people about like that by this time she had found her way into a tidy little room but nevertheless she uncorked it and put it to her lips i know something interesting is sure to happen she said to herself whenever i eat or drink anything so i'll see what this bottle does i do hope it'll make me grow larger it did so indeed and much sooner than she expected Before she had drunk half the bottle, she found her head pressing against the ceiling, and she stooped to save her neck from being broken, and hastily put down the bottle, saying to herself, That's quite enough. I hope I shan't grow any more. I wish I hadn't drunk so much. Alas, it was too late. She went on growing and growing, and very soon had to kneel down. In another minute there was not room even for this, and she tried the effect of lying down with one elbow against the door and the other arm curled round her head. Still she went on growing, and as a last resource she put one arm out of the window and one foot up the chimney, and said to herself, \"'Now I can do no more. What will become of me?' for Alice. The little magic bottle had now had its full effect. No wonder she felt unhappy. It was much pleasanter at home, thought poor Alice, when one wasn't always growing larger and smaller, and being ordered about by mice and rabbits. I almost wish I hadn't gone down that rabbit hole. And yet—and yet it's rather curious, you know. This sort of life, i do wonder what can have happened to me when i used to read fairy tales i fancied that sort of thing never happened and now here i am in the middle of one at least there's no room to grow up any more here but then thought alice shall i never get any older than i am now that'll be a comfort one way never to be an old woman but then always to have lessons to learn oh i shouldn't like that oh you foolish alice she said again how can you learn lessons in here why there's hardly room for you and no room at all for any lesson-books and so she went on taking first one side and then the other and making quite a conversation of it all together but after a few minutes she heard a voice outside which made her stop to listen mary ann mary ann said the voice fetch me my gloves this moment then came a little pattering of feet on the stairs alice knew it was the rabbit coming to look for her and she trembled till she shook the house quite forgetting that she was now about a thousand times as large as the rabbit and had no reason to be afraid of it presently the rabbit came to the door and tried to open it but as it opened inwards and alice's elbow was against it the attempt proved a failure alice heard it say to itself then i'll go round and get in at the window that you won't thought alice and after waiting till she fancied she heard the rabbit just under the window she suddenly spread out her hand and made a snatch in the air she did not get hold of anything but she heard a little shriek and a fall and a crash of breaking glass from which she concluded that it was just possible it had fallen into a cucumber frame or something of the sort next came an angry voice the rabbit's pat pat where are you and then a voice she had never heard before sure that i'm here digging for apples anyway your honor digging for apples indeed said the rabbit angrily here come and help me out of this sound of more breaking glass now tell me pat what is that coming out of the window sure it's an arm your honor why it fills the whole window don't you see sure it does your honor but it's an arm for all that well it's no business there go and take it away there was a long silence after this and alice could only hear whispers now and then such as sure i don't like it your honor at all at all do as i tell you you coward this time there were two little shrieks and more breaking glass what a number of cucumber frames there must be thought alice i wonder what they'll do next as for pulling me out of the window i only wish they could i'm sure i don't want to stop in here any longer she waited for some time without hearing anything more at last came a rumbling of little cart-wheels oh so bill's got to come down the chimney has he said alice to herself why they seem to put everything upon bill i wouldn't be in bill's place for a good deal the fireplace is a pretty tight one but i think i can kick a little she drew her foot as far down the chimney as she could the first thing was a general chorus of there goes bill then the rabbit's voice alone catch him you by the hedge then silence and then another confusion of voices how was it old fellow what happened to you tell us all about it and so you did old fellow said the other voices we must burn the house down said the voice of the rabbit and alice called out as loud as she could if you do i'll set dinah at you this caused silence again and while alice was thinking but how can i get dinah here she found to her great delight that she was getting smaller very soon she was able to get up out of the uncomfortable position in which she had been lying and in two or three minutes more she was once more three inches high she ran out of the house as quick as she could that was being supported in the arms of one of the guinea-pigs while another was giving it something out of a bottle they all made a rush at her the moment she appeared but alice ran her hardest and soon found herself in a thick wood as she wandered about in the wood is to grow to my right size i think that will be the best plan it sounded an excellent plan no doubt and very neatly and simply arranged the only difficulty was that she had not the smallest idea how to set about it and while she was peering anxiously among the trees round her a little sharp bark just over her head made her look up in a great hurry an enormous puppy was looking down at her with large round eyes and feebly stretching out one paw trying to reach her poor thing said alice in a coaxing tone and she tried hard to whistle to it but she was terribly alarmed all the while at the thought that it might be hungry in which case it would probably devour her in spite of all her coaxing Hardly knowing what she did, she picked up a little bit of stick and held it out to the puppy, whereupon the puppy jumped into the air off all its feet at once, and with a yelp of delight rushed at the stick and made believe to worry it. Then Alice dodged behind a great thistle to keep herself from being run over, and the moment she appeared at the other side the puppy made another dart at the stick and tumbled head over heels in its hurry to get hold. Then Alice, thinking it was very like having a game of play with a cart-horse, and expecting every moment to be trampled under its feet, ran round the thistle again. Then the puppy began a series of short charges at the stick, running a very little way forwards each time, and a long way back, and barking hoarsely all the while, with its tongue hanging out of its mouth, and its great eyes half shut. This seemed to Alice a good opportunity for making her escape. She set off at once, and ran till the puppy's bark sounded quite faint in the distance, and till she was quite tired and out of breath. \"'And yet what a dear little puppy it was!' said Alice. \"'I should have liked teaching it tricks, if—if I'd only been the right size to do it! Let me see, how is it to be managed? I suppose I ought to eat or drink something or other. But the great question is what?' Hans looked all round her at the flowers and the blades of grass, but could not see anything that looked like the right thing to eat under the circumstances. There was a large mushroom near her, about the same height as herself. It occurred to her to look and see what was on the top of it. She stretched herself up on tiptoe and peeped over the edge of the mushroom, and her eyes immediately met those of a large blue caterpillar, which was sitting with its arms folded, quiet silently smoking a long hookah and taking not the least notice of her or of anything else for some time they looked at each other in silence at last the caterpillar took the hookah out of its mouth who are you said the caterpillar this was not an encouraging opening for a conversation alice replied rather shyly i-i hardly know sir just at the present at least i know who i was when i got up this morning but i think i must have been changed several times since that what do you mean by that said the caterpillar explain yourself i can't explain myself i'm afraid sir said alice i don't see said the caterpillar i'm afraid i can't put it more clearly alice replied very politely for i can't understand it myself and really to be so many different sizes in one day is very confusing it isn't said the caterpillar well perhaps you haven't found it so yet said alice but when you have to turn into a chrysalis you know and then after that into a butterfly i should think it'll feel a little queer don't you think so not a bit said the caterpillar all i know is said alice it would feel queer to me you said the caterpillar contemptuously who are you which brought them back again to the beginning of the conversation alice felt a little irritated at the caterpillar making such very short remarks why said the caterpillar here was another puzzling question and as alice had no reason ready come back the caterpillar called after her i've something important to say this sounded promising alice turned and came back again keep your temper said the caterpillar is that all said alice swallowing down her anger as well as she could said the caterpillar alice thought she might as well wait as she had nothing else to do and perhaps after all the caterpillar might tell her something worth hearing for some minutes it puffed away at its hookah without speaking yes sir said alice try and repeat you are old father william said the caterpillar alice folded her hands and began you are old father william the young man said in my youth father william replied to his son i feared it might injure the brain but now that i'm perfectly sure i have none why i do it again and again you are old said the youth as i mentioned before in my youth said the sage as he shook his grey locks i kept all my limbs very supple by the use of this ointment five shillings the box allow me to sell you a couple in my youth said the old man i took to the law and argued each case with my wife and the muscular strength which it gave to my jaw has lasted the rest of my life i have answered three questions and that is enough said his father don't give yourself airs do you think i can listen all day to such stuff be off or i'll kick you downstairs that is not said right said the caterpillar not quite right i'm afraid said alice timidly some of the words have got altered it is wrong from beginning to end said the caterpillar decidedly and there was silence for some minutes the caterpillar was the first to speak what size do you want to be it asked alice hastily replied only one doesn't like changing so often you know are you content now said the caterpillar well i should like to be a little larger sir if you wouldn't mind said alice three inches is such a wretched height to be it is a very good height indeed said the caterpillar loudly and angrily the lobster quadrille who stole the tarts no indeed said alice of course the mock turtle said then you know continued the mock turtle as far out to sea as you can swim after them screamed the gryphon turn a somersault in the sea cried the mock turtle capering wildly about said the mock turtle suddenly dropping his voice and the two creatures who had been jumping about like mad things all this time sat down again very sadly and quietly and looked at alice it must be a very pretty dance said alice timidly would you like to see a little of it said the mock turtle very much indeed said alice come let's try the first figure said the mock turtle to the gryphon we can do it without lobsters you know oh you sing said the gryphon i've forgotten the words so they began solemnly dancing round and round alice every now and then treading on her toes when they came too close and waving their forepaws to mark the time while the mock turtle sang slowly and sadly these words beneath the waters of the sea our lobsters thick as thick can be they love to dance with you and me my own my gentle salmon the griffin joined in singing the chorus which was salmon come up salmon go down salmon come twist your tail around of all the fishes of the sea there's none so good as salmon thank you said alice feeling very glad that the figure was over shall we try the second figure said the griffin or would you prefer a song oh a song please alice replied so eagerly that the griffin said in a rather offended tone no accounting for tastes sing a mock turtle soup will you old fellow the mock turtle sighed deeply and began in a voice somewhat choked with sobs to sing this waiting in a hot tureen oh for such dainties would not stoop soup of the evening beautiful soup soup of the evening beautiful soup and the mock turtle had just begun to repeat it when a cry of the trial's beginning was heard in the distance come on cried the gryphon and taking alice by the hand he hurried off without waiting for the end of the song what trial is it panted alice as she ran but the griffin only answered come on the king and queen were seated on their throne when they arrived with a great crowd assembled around them the knave was in custody and before the king stood the white rabbit with a trumpet in one hand and a scroll of parchment in the other herald read the accusation said the king on this the white rabbit blew three blasts on the trumpet and then unrolled the parchment scroll now for the evidence said the king and then the sentence no said the queen first the sentence and then the evidence nonsense cried alice so loudly that everybody jumped the idea of having the sentence first hold your tongue said the queen i won't said alice you're nothing but a pack of cards who cares for you at this the whole pack rose up into the air and came flying down upon her she gave a little scream of fright and tried to beat them off and found herself lying on the bank with her head in the lap of her sister who was gently brushing away some leaves that had fluttered down from the trees on to her face wake up alice dear said her sister what a nice long sleep you've had oh i've had such a curious dream said alice and she told her sister all her adventures underground as you have read them and when she had finished her sister kissed her and said it was a curious dream dear certainly but now run in to your tea it's getting late but her sister sat there some while longer watching the setting sun and thinking of little alice and her adventures till she too began dreaming after a fashion and this was her dream she saw an ancient city and a quiet river winding near it along the plain and up the stream went slowly gliding a boat with a merry party of children on board she could hear their voices and laughter like music over the water and among them was another little alice who sat listening with bright eager eyes to a tale that was being told and she listened for the words of the tale and lo it was the dream of her own little sister so the boat wound slowly along beneath the bright summer day with its merry crew and its music of voices and laughter till it passed round one of the many turnings of the stream and she saw it no more then she thought in the after-time be herself a grown woman and how she would keep through her riper years the simple and loving heart of her childhood and how she would gather around her other little children and make their eyes bright and eager with many a wonderful tale perhaps even with these very adventures of the little alice of long ago and how she would feel with all their simple sorrows"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/AUD0000000688.mp3": {
        "gt": "THOUGH KNOWING FULL WELL THE SENTENCE WHICH GOD PRONOUNCES AGAINST ACTIONS SUCH AS THEIRS  THEY NOT ONLY PRACTISE THEM   BUT EVEN ENCOURAGE AND APPLAUD OTHERS WHO DO THEM  YOU ARE THEREFORE WITHOUT EXCUSE   O MAN   WHOEVER YOU ARE WHO SIT IN JUDGEMENT UPON OTHERS  WHILE THEIR CONSCIENCES ALSO BEAR WITNESS TO THE LAW   AND THEIR THOUGHTS  A TEACHER OF THE YOUNG  BUT FROM GOD  AS IT STANDS WRITTEN  ARE WE JEWS MORE HIGHLY ESTIMATED THAN THEY  IT IS FOR EVER SHUT OUT  ON WHAT PRINCIPLE  NO   INDEED WE GIVE THE LAW A FIRMER FOOTING  ARE THOSE WHOSE INIQUITIES HAVE BEEN FORGIVEN   AND WHOSE SINS HAVE BEEN COVERED OVER  DOES IT COME SIMPLY TO THE CIRCUMCISED   OR TO THE UNCIRCUMCISED AS WELL  AND HE RECEIVED CIRCUMCISION AS A SIGN  THUS IN THE SIGHT OF GOD IN WHOM HE BELIEVED   WHO GIVES LIFE TO THE DEAD AND MAKES REFERENCE TO THINGS THAT DO NOT EXIST   AS THOUGH THEY DID  ABRAHAM IS THE FOREFATHER OF ALL OF US  AS IT IS WRITTEN  WE HAVE OBTAINED AN INTRODUCTION INTO THAT STATE OF FAVOUR WITH GOD IN WHICH WE STAND  THIS COMPARISON  THROUGH ONE MAN SIN ENTERED INTO THE WORLD   AND THROUGH SIN DEATH  AND SO DEATH PASSED TO ALL MANKIND IN TURN  FOR IF THROUGH THE TRANSGRESSION OF THE ONE INDIVIDUAL THE MASS OF MANKIND HAVE DIED  INFINITELY GREATER IS THE GENEROSITY WITH WHICH GOD'S GRACE   AND THE GIFT GIVEN IN HIS GRACE WHICH FOUND EXPRESSION IN THE ONE MAN JESUS CHRIST  BUT WHERE SIN INCREASED  SO GRACE   TOO   MAY EXERCISE KINGLY SWAY IN BESTOWING A RIGHTEOUSNESS WHICH RESULTS IN THE LIFE OF THE AGES THROUGH JESUS CHRIST OUR LORD  WE BY OUR BAPTISM WERE BURIED WITH HIM IN DEATH  ON THE CONTRARY SURRENDER YOUR VERY SELVES TO GOD AS LIVING MEN WHO HAVE RISEN FROM THE DEAD  YOU BECOME THE BONDSERVANTS OF HIM WHOM YOU OBEY  I MY TRUE SELF AM IN SERVITUDE TO THE LAW OF GOD  BUT WITH MY LOWER NATURE I AM IN SERVITUDE TO THE LAW OF SIN  YOU HAVE NOT FOR THE SECOND TIME ACQUIRED THE CONSCIOUSNESS OF BEING A CONSCIOUSNESS WHICH FILLS YOU WITH TERROR  BUT YOU HAVE ACQUIRED A DEEP INWARD CONVICTION OF HAVING BEEN ADOPTED AS SONS A CONVICTION WHICH PROMPTS US TO CRY ALOUD  THOSE SHALL SEE   TO WHOM NO REPORT ABOUT HIM HAS HITHERTO COME  FOR SEEING THAT THE GENTILES HAVE BEEN ADMITTED IN TO PARTNERSHIP WITH THE JEWS IN THEIR SPIRITUAL BLESSINGS  HERMES  PATROBAS  I REJOICE OVER YOU   THEREFORE  GAIUS   MY HOST   WHO IS ALSO THE HOST OF THE WHOLE CHURCH   GREETS YOU  SO DO ERASTUS   THE TREASURER OF THE CITY  EVEN TO HIM BE THE GLORY THROUGH ALL THE AGES  \n",
        "transcription_base": " Though knowing full well the sentence which God pronounces against actions such as theirs, they not only practice them, but even encourage and applaud others who do them. You are therefore without excuse, O man, whoever you are who sit in judgment upon others, while their conscience is also bear witness to the law, and their thoughts, a teacher of the young, but from God. As it stands written, Are we Jews more highly estimated than they? It is forever shut out. On what principle? No indeed. We give the law a firmer footing. Are those whose iniquities have been forgiven and whose sins have been covered over? Does it come simply to the circumcised or to the unsurcumcised as well? And he received circumcision as a sign, thus in the sight of God in whom he believed, who gives life to the dead and makes reference to things that do not exist, as though they did, Abraham is the forefather of all of us, as it is written. We have obtained an introduction into that state of favor with God in which we stand, this comparison. Through one man's sin entered into the world and through sin, death, and so death passed to all mankind in turn, for if through the transgression of the one individual the massive man kind have died, infinitely greater is the generosity with which God's grace and the gift given in his grace which found expression in the one man Jesus Christ, but where sin increased. So grace too may exercise kingly sway in bestowing a righteousness which results in the life of the ages through Jesus Christ our Lord. We by our baptism were buried with Him in death. the contrary. Surrender your very selves to God as living men who have risen from the dead. You become the bond servants of Him whom you obey. I, my true self, am in servitude to the law of God, but with my lower nature I am in servitude to the law of sin. You have not for the second time acquired the consciousness of being a consciousness which fills you with terror, but you have acquired a deep inward conviction of having been adopted as sons, a conviction which prompts us to cry aloud, those shall see to whom no report about him has hither to come, for seeing that the Gentiles have been admitted into partnership with the Jews in their spiritual blessings. Hermes, Patrobus, I read Joyce over you therefore. Gaeus, my host, who is also the host of the whole church, greets you. So to Arastus, the treasurer of the city, even to him be the glory through all the ages,",
        "transcription_medium": " Though knowing full well the sentence which God pronounces against actions such as theirs, they not only practice them, but even encourage and applaud others who do them. You are therefore without excuse, O man, whoever you are who sit in judgment upon others, while their consciences also bear witness to the law, and their thoughts, a teacher of the young, but from God. As it stands written, Are we Jews more highly estimated than they? It is forever shut out. On what principle? No, indeed. We give the law a firmer footing. Are those whose iniquities have been forgiven, and whose sins have been covered over? Does it come simply to the circumcised, or to the uncircumcised as well? And he received circumcision as a sign. Thus in the sight of God in whom he believed, who gives life to the dead and makes reference to things that do not exist as though they did, Abraham is the forefather of all of us. As it is written, we have obtained an introduction into that state of favor with God in which we stand. This comparison, through one man sin entered into the world, and through sin death, and so death passed to all mankind in turn. For if through the transgression of the one individual the mass of mankind have died, infinitely greater is the generosity with which God's grace and the gift given in his grace which found expression in the one man Jesus Christ but where sin increased so grace too may exercise kingly sway in bestowing a righteousness which results in the life of the ages through Jesus Christ our Lord We by our baptism were buried with him in death on the contrary surrender your very selves to God as living men who have risen from the dead, you become the bond-servants of Him whom you obey, I, my true self, am in servitude to the law of God, but with my lower nature I am in servitude to the law of sin. You have not for the second time acquired the consciousness of being, a consciousness which fills you with terror, but you have acquired a deep inward conviction of having been adopted as sons, a conviction which prompts us to cry aloud, Those shall see to whom no report about him has hitherto come, For seeing that the Gentiles have been admitted into partnership with the Jews in their spiritual blessings Hermes, Patrobus, I rejoice over you therefore. Gaius, my host, who is also the host of the whole church, greets you. So to Erastus, the treasurer of the city, even to him be the glory through all the ages.",
        "transcription_large_v3": " though knowing full well the sentence which god pronounces against actions such as theirs they not only practise them but even encourage and applaud others who do them you are therefore without excuse o man whoever you are who sit in judgment upon others while their consciences also bear witness to the law and their thoughts a teacher of the young but from god as it stands written are we jews more highly estimated than they it is forever shut out on what principle no indeed we give the law a firmer footing are those whose iniquities have been forgiven and whose sins have been covered over does it come simply to the circumcised or to the uncircumcised as well and he received circumcision as a sign thus in the sight of god in whom he believed who gives life to the dead and makes reference to things that do not exist as though they did abraham is the forefather of all of us as it is written we have obtained an introduction into that state of favor with god in which we stand this comparison through one man sin entered into the world and through sin death and so death passed to all mankind in turn for if through the transgression of the one individual the mass of mankind have died infinitely greater is the generosity with which god's grace and the gift given in his grace which found expression in the one man jesus christ but where sin increased so grace too may exercise kingly sway in bestowing a righteousness which results in the life of the ages through jesus christ our lord we by our baptism were buried with him in death on the contrary surrender your very selves to god as living men who have risen from the dead you become the bondservants of him whom you obey i my true self am in servitude to the law of god but with my lower nature i am in servitude to the law of sin you have not for the second time acquired the consciousness of being a consciousness which fills you with terror but you have acquired a deep inward conviction of having been adopted as sons a conviction which prompts us to cry aloud those shall see to whom no report about him has hitherto come for seeing that the gentiles have been admitted into partnership with the jews in their spiritual blessings hermes patrobus i rejoice over you therefore gaius my host who is also the host of the whole church greets you so do erastus the treasurer of the city even to him be the glory through all the ages"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/AUD0000001043.mp3": {
        "gt": "BUT BEYOND THIS POINT THE SITUATION WAS BITTER  HIS TWO KIDS   BUBS   SEVEN   AND EVELYN   NINE CLAD IN SPACE-SUITS THAT WERE SLIGHTLY OVERSIZE TO ALLOW FOR THE GROWTH OF YOUNG BODIES WERE BOTH BAWLING  HE COULD HEAR THEM THROUGH HIS OXYGEN-HELMET RADIOPHONES  AT HIS ELBOW   HIS WIFE   ROSE   HER HEART-SHAPED FACE AND GREY EYES FRAMED BY THE WIDE FACE-WINDOW OF HER ARMOR  WAS TRYING DESPERATELY TO CHOKE BACK TEARS   AND BE BRAVE  REMEMBER WE'VE GOT TO MAKE GOOD HERE   JOHNNY  SHE WAS SAYING  REMEMBER WHAT THE HOMESTEADERS OFFICE PEOPLE TOLD US THAT WITH MODERN EQUIPMENT AND THE RIGHT FRAME OF MIND  LIFE CAN BE NICE OUT HERE  IT'S WORKED ON OTHER ASTEROIDS  WHAT IF WE ARE THE FIRST FARMERS TO COME TO VESTA  DON'T LISTEN TO THOSE CRAZY MINERS   THEY'RE JUST KIDDING US   DON'T LISTEN TO THEM  AND DON'T   FOR GOSH SAKES   GET SORE  ROSE'S WORDS WERE NOW LIKE DIM ECHOES OF HIS CONSCIENCE  RECENTLY   BACK IN ILLINOIS   HE HAD EVEN SPENT SIX MONTHS IN JAIL FOR ALL BUT INFLICTING MURDER WITH HIS BARE FISTS ON A BULLYING NEIGHBOR WHOM HE HAD CAUGHT WHIPPING A HORSE  SURE BUT DURING THOSE SIX MONTHS HIS FARM  THE FIFTH HE'D TRIED TO RUN IN SCATTERED PARTS OF NORTH AMERICA   HAD GONE TO WEEDS IN SPITE OF ROSE'S VALIANT EFFORTS TO TAKE CARE OF IT ALONE  HI  YOU HYDROPONIC PUN'KIN-HEAD  HOW YUH LIKE YOUR NEW CLAIM  NICE   AIN'T IT  HOW ABOUT SOME FRESH TURNIPS  GOOD LUCK   YUH GREENHORN  TIED TO BABY'S DIAPER SUSPENDERS  LET THE POOR DOPE ALONE   GUYS  SNOOTY  WON'T TAKE OUR MONEY  WIFEY'S BOY  LET'S MAKE HIM SOCIABLE  HYDROPONIC PUN'KIN-HEADMATCHING THE ROW OF A DOZEN COARSE FACES AND GRINS THAT LINED THE VIEW-PORTS OF THE SHIP  THESE MEN WERE ASTEROID MINERS   SPACE-HARDENED AND SPACE-TWISTED  THEY'D BEEN BACK TO EARTH FOR A WHILE   TO RAISE HELL AND FRESHEN UP   AND SPEND THE MONEY IN THEIR THEN-BULGING POCKETS  COMING OUT AGAIN FROM EARTH   ACROSS THE ORBIT OF MARS TO THE ASTEROID BELT   THEY HAD HAD THE ENDLICHS AS FELLOW PASSENGERS  JOHN ENDLICH HAD BATTLED VALIANTLY WITH HIS FEEBLER SIDE   AND WITH HIS SOCIAL INCLINATIONS   ALL THROUGH THAT LONG   DREARY VOYAGE  IN THE MAIN   IT HAD BEEN A RATHER TATTERED VICTORY  BUT NOW   AT THE FINAL MOMENT OF BLEAK ANTICLIMAX   THEY TOOK THEIR REVENGE IN GUFFAWS AND RIDICULE  HURLING THE NOISE AT HIM THROUGH THE RADIOPHONES OF THE SPACE-SUIT HELMETS THAT THEY HELD IN THEIR LAPS SPACE-SUITS BEING ALWAYS KEPT HANDY BENEATH THE TRAVELER-SEATS OF EVERY INTERPLANETARY VESSEL  TAIN'T FAR  WHEN THE TURNIPS GET YOU DOWN  BRING THE WIFE ALONG  OUGHT TO HAVE A MAN-SIZE FELLA  JUST ASK FOR ME ALF NEELY  YEAH  ALF NEELY WAS THE LOUDEST AND THE UGLIEST OF JOHN ENDLICH'S BAITERS  HE HAD GIGANTIC ARMS AND SHOULDERS  SMALL SQUINTY EYES   AND A PENDULOUS NOSE  HAW-HAW-HAW  AND THE OTHERS   YELLING AND HOOTING   MADE IT A PACKMAN DON'T HE WISH HE WAS BACK IN PODUNK  WHAT NO TOMATAS   DUTCH  WHERE ARE THEY   PAPA  HE WAS SMALL AND BROAD A STOLID-LOOKING THIRTY-TWO YEARS OLD  HE MIGHT HAVE TAKEN THE SAVAGE RIBBING MORE CALMLY   BUT THERE WAS TOO MUCH GRIM FACT BEHIND WHAT THESE ASTEROID MINERS SAID  BESIDES  OUT HERE HE HAD THOUGHT THAT HE WOULD HAVE A BETTER CHANCE TO LICK THE WEAKNESSES IN HIMSELF BECAUSE HE'D HAVE TO WORK TO KEEP HIS FAMILY ALIVE BECAUSE HE'D BEEN TOLD THAT THERE'D BE NO ONE AROUND TO DISTRACT HIM FROM DUTY  THE IRONY OF THAT   NOW  WAS MADDENING  FOR THE MOMENT JOHN ENDLICH WAS SPEECHLESS AND STRANGLED BUT LIKE AN IGNITED FIRECRACKER  READY TO EXPLODE  HIS HARD BODY HUNCHED   AS IF READY TO SPRING   AND THE BAITING WAXED LOUDER  IT WAS LIKE THE YAMMERING OF CROWS   OR THE ROAR OF A WILD SURF IN HIS EARS  THEN CAME THE LAST STRAW  THE KIDS HAD KEPT ON BAWLING MORE AND MORE VIOLENTLY   BUT NOW THEY GOT DOWN TO VERBAL EXPLANATIONS OF WHAT THEY THOUGHT WAS THE MATTERTHE TIMING COULD NOT HAVE BEEN BETTER OR WORSE  THE SHRIEKS AND HOWLS OF MIRTH FROM THE MINERS   A MOMENT AGO   WERE AS NOTHING TO WHAT THEY WERE NOW  THAT WAS A MOUTHFUL  THERE IS A POINT AT WHICH AN EXTREMITY OF MASCULINE EMBARRASSMENT CAN LEAD TO BUT ONE THING MAYHEM  WHETHER THE LATTER IS TO BE INFLICTED ON THE ATTACKED OR THE ATTACKER REMAINS THE ONLY QUESTION MARK  I'LL GET YOU   ALF NEELY  ENDLICH SNARLED  RIGHT NOW  AND I'LL GET ALL THE DAMNED   HELL-BITTEN REST OF YOU GUYS  ENDLICH WAS HARDLY LACKING IN VIGOR   HIMSELF  LIKE A SQUAT BUT STREAMLINED FIGHTING ROOSTER  RENDERED A HUNDRED TIMES MORE AGILE BY THE PUNY GRAVITY  HE WOULD HAVE REACHED THE HOLD-PORT THRESHOLD IN A SINGLE LITHE SKIP HAD NOT ROSE  TOGETHER THEY SLID SEVERAL YARDS ACROSS THE DRIED-OUT SURFACE OF THE ASTEROID  DON'T   JOHNNY PLEASE DON'T  SHE WAILED  HER BEGGING COULD NOT HAVE STOPPED HIM  NOR COULD HER PHYSICAL INTERFERENCE FOR MORE THAN AN INSTANT  NOT THE CERTAINTY OF BEING TORN LIMB FROM LIMB   AND NOT HELL   ITSELF   COULD HAVE HELD HIM BACK   ANYMORE   THEN   YET HE WAS BROUGHT TO A HALT  IT CERTAINLY WASN'T COWARDICE THAT ACCOMPLISHED THIS  NO  SUDDENLY THERE WAS NO LAUGHTER AMONG THE MINERS  BUT IN A BODY THEY AROSE FROM THEIR TRAVELER-SEATS ABOARD THE SHIP  SUDDENLY THERE WAS NO MORE HUMOR IN THEIR FACES BEYOND THE VIEW-PORTS  THEY WERE ITCHING TO BE ASSAULTED  THE GLITTER IN ALF NEELY'S SMALL EYES WAS ABOUT AS REASSURING AS THE GLITTER IN THE EYES OF A SLIGHTLY PRANKISH GORILLA  WE'RE WAITIN' FOR YUH   MR   CIVILIZATION  HE RUMBLED SOFTLY  AFTER THAT  ALL SPACE WAS STILL ELECTRIFIED  THESE GUYS WHO HAD BEEN STARVED EMOTIONALLY   AND WARPED INSIDE BY RAW SPACE  COLDNESS CRAWLED INTO JOHN ENDLICH'S GUTS   AND SEEMED TO TWIST STEEL HOOKS THERE   MAKING HIM SICK  AND FOR HIS FAMILY  HE WAS SCARED  WHAT HELL COULD NOT HAVE ACCOMPLISHED   BECAME FACT  HIS ALMOST SUICIDAL IMPULSE TO INFLICT VIOLENCE ON HIS TORMENTERS WAS STRANGLED  BOTTLED-UP BRUTALLY REPRESSED  NARROWING DOMESTICITY HAD WON A BATTLE  ALF NEELY GROWLED  IT DON'T MATTER   DUTCH  WE'LL FINISH YOU OFF WITHOUT YOU LIFTIN' A FINGER  IN JOHN ENDLICH THE RAGE OF INTOLERABLE INSULTS STILL SEETHED  BUT THERE WAS NO QUESTION   NOW   OF OUTCOME BETWEEN IT AND THE BRASSY TASTE OF DANGER ON HIS TONGUE  HE KNEW THAT EVEN KNUCKLING DOWN   AND CHANGING FROM MAN TO WORM TO TAKE BACK HIS FIGHTING WORDS   COULDN'T DO ANY GOOD  HE FELT LIKE A MARTYR  LEFT WITH HIS FAMILY IN A ROMAN ARENA   WHILE THE LIONS APPROACHED  HIS BUTCHERY WAS AS GOOD AS OVER  REPRIEVE CAME PRESUMABLY BY WAY OF THE GOOD-SENSE OF THE PILOT OF THE SPACE SHIP  THE HOLD-PORT WAS CLOSED ABRUPTLY BY A MECHANISM THAT COULD BE OPERATED ONLY FROM THE MAIN CONTROL-BOARD  THE ROCKET JETS OF THE CRAFT EMITTED A SINGLE WEAK BURST OF FLAME   LIKE A BOULDER GROWN AGILE AND FLIGHTY  THE SHIP LEAPED FROM THE LANDSCAPE   AND ARCED OUTWARD TOWARD THE STARS   TO CURVE AROUND THE ASTEROID AND DISAPPEAR BEHIND THE SCENE'S JAGGED BRIM  THE CRAFT HAD GONE TO MAKE ITS NEXT AND FINAL STOP AMONG THE AIR-DOMES OF THE HUGE MINING CAMP ON THE OTHER SIDE OF VESTA THE SIDE OF TORN ROCKS AND RICH RADIOACTIVE ORES  BUT BEFORE THE SHIP HAD VANISHED FROM SIGHT   JOHN ENDLICH HEARD ALF NEELY'S GRIM PROMISE IN HIS HELMET RADIOPHONES WE'LL BE BACK TONIGHT   GREENHORN  STICK AROUND  RUB WHAT'S LEFT OF YOU IN THE DUST OF YOUR CLAIM  ENDLICH WAS ALONE   THEN  WITH THE FRIGHT IN HIS WIFE'S EYES   THE SQUALLING OF HIS CHILDREN   AND HIS OWN ABYSMAL DISGUST AND WORRY  FOR ONCE HE CEASED TO BE A GENTLE PARENT  BUBS  EVELYN  HE SNAPPED  THE STARTLED SILENCE WHICH ENSUED WAS HIS FIRST PERSONAL VICTORY ON VESTA  BUT THE SILENCE   ITSELF   WAS AN INSIDIOUS ENEMY  IT MADE HIS EARS RING   IT MADE EVEN HIS AUDIBLE PULSEBEATS SEEMED TO ACHE  IT BORED INTO HIS NERVES LIKE A DRILL  WHEN   AFTER A MOMENT   ROSE SPOKE QUAVERINGLY   HE WAS ALMOST GRATEFULWHAT DO WE DO   JOHNNY  WE'VE STILL GOT TO DO WHAT WE'RE SUPPOSED TO DO   DON'T WE  WHEREUPON JOHN ENDLICH ALLOWED HIMSELF THE LUXURY AND THE SLIGHT RELIEF OF A TORRENT OF SILENT CUSSING INSIDE HIS HEAD  DAMN THE OBVIOUS QUESTIONS OF WOMEN  DAMN THE MINERS  DAMN THE A H O THE ASTEROIDS HOMESTEADERS OFFICE AND THEIR CORNY SLOGANS AND POSTERS   MEANT TO HOOK SUCKERS LIKE HIMSELF  DAMN HIS OWN DUMB HIDE   DAMN THE MIGHTY URGE TO GET DRUNK  DAMN ALL THE BITTER CIRCUMSTANCES THAT MADE DOING SO IMPOSSIBLE  DAMN  DAMN  DAMN  FINISHED WITH THIS ORGY   HE SAID MEEKLY I GUESS SO   HON  ALL MEMBERS OF THE ENDLICH FAMILY HAD BEEN LOOKING AROUND THEM AT THE WEIRD VESTAL LANDSCAPE  THROUGH JOHN ENDLICH'S MIND AGAIN THERE FLASHED A PICTURE OF WHAT THIS ASTEROID WAS LIKE  AT THE ASTEROIDS HOMESTEADERS' SCHOOL IN CHICAGO   WHERE HIS DEPENDENTS AND HE HAD BEEN GIVEN SEVERAL WEEKS OF ORIENTATION INSTRUCTION  SUITABLE TO THEIR SEPARATE NEEDS   HE HAD BEEN SHOWN DIAGRAMS AND PHOTOGRAPHS OF VESTA  LATER   HE HAD OF COURSE SEEN IT FROM SPACE  IT WAS NOT ROUND  LIKE A MAJOR PLANET OR MOST MOONS  RATHER   IT WAS LIKE A BOMB-FRAGMENT OR EVEN MORE LIKE A SHARD OF A GIGANTIC BROKEN VASE  IT WAS SEVERAL HUNDRED MILES LONG   AND HALF AS THICK  ONE SIDE OF IT THIS SIDE WAS CURVED FOR IT HAD BEEN A SEGMENT OF THE SURFACE OF THE SHATTERED PLANET FROM WHICH ALL OF THE ASTEROIDS HAD COME  THE OTHER SIDE WAS JAGGED AND BROKEN  FOR IT HAD BEEN TORN FROM THE MESODERM OF THAT TORTURED MOTHER WORLD  FROM THE DESOLATION OF HIS OWN THOUGHTS   IN WHICH THE OGRE-FORM OF ALF NEELY LURKED WITH ITS PENDENT PROMISE OF CATASTROPHE SOON TO COME   AND FROM HIS OWN VIEW OF OTHER DESOLATION ALL AROUND HIM  JOHN ENDLICH WAS SUDDENLY DISTRACTED BY THE COMMENTS OF HIS KIDS  ALL AT ONCE   CONFORMING TO THE CHANGEABLE WEATHER OF CHILDREN'S NATURES REGARDLESS OF CIRCUMSTANCE  THEIR MOOD HAD ONCE MORE TURNED BRIGHT AND ADVENTUROUS  LOOK   POP  THIS LAND ALL AROUND HERE WAS FIELDS ONCE  GOSH  EVELYN   WHO WAS OLDER   SNAPPED AT BUBS  WE KNOW THAT SOMETHING LIKE PEOPLE LIVED ON A REGULAR PLANET HERE   AWFUL LONG AGO  WHY DON'T YOU LOOK OVER THE OTHER WAY   THERE'S THE HOUSE AND MAYBE THE BARN AND THE SHEDS AND THE OLD GARDEN  BUBS TURNED AROUND  HIS EYES GOT VERY BIG  HE GASPED IN WONDER  POP   MOM   LOOK  DON'T YOU SEE  YEAH  WE SEE   BUBS  JOHN ENDLICH ANSWERED  FOR A LONG MOMENT HE'D BEEN STARING AT THOSE BLOCKLIKE STRUCTURES  ONE MAYBE THE HOUSE WAS OF GREY STONE  IT HAD ODD   TRIANGULAR WINDOWS   WHICH MAY ONCE HAVE BEEN GLAZED  WOOD   THAT IS  ENDLICH'S IMAGINATION SEEMED FORCED TO FOLLOW A GROOVE   TRYING TO PICTURE THAT LAST TERRIBLE MOMENT   FIFTY-MILLION YEARS AGO  HAD THE BLAST BEEN CAUSED BY NATURAL ATOMIC FORCES AT THE HEART OF THE PLANET   AS ONE THEORY CLAIMED  OR HAD A GREAT BOMB   AS LARGE AS AN OVERSIZED METEOR   COME SELF-PROPELLED FROM SPACE   TO BURY ITSELF DEEP IN THAT ANCIENT WORLD  A WORLD AS BIG AS MARS   ITS POSSIBLE ENEMY WHOSE WEIRD INHABITANTS HAD BEEN WIPED OUT   IN A LESS SPECTACULAR WAY  PERHAPS IN THE SAME CONFLICT  ENDLICH'S MIND GRABBED AT THAT BRIEF INSTANT OF EXPLOSION  THE AWFUL JOLT   WHICH MUST HAVE ENDED ALL CONSCIOUSNESS   AND ALL CAPACITY FOR EYES TO SEE WHAT FOLLOWED  PERHAPS THERE WAS A SHORT AND TERRIBLE PASSING OF FLAME  BUT IN SWIFT SECONDS   GREAT CHUNKS OF THE PLANET'S CRUST MUST HAVE BEEN HURLED OUTWARD   IN A MOMENT THE FLAME MUST HAVE DIED  ALMOST INSTANTLY   THE SKY   WHICH HAD BEEN DEEP BLUE BEFORE   MUST HAVE TURNED TO ITS PRESENT BLACK   WITH THE VOIDAL STARS BLAZING  THERE HAD BEEN NO AIR LEFT TO SUSTAIN COMBUSTION   SO BUILDINGS AND TREES HAD NOT CONTINUED TO BURN  IF THERE HAD BEEN TIME AT ALL TO IGNITE THEM  AND   WITH THE SAME SWIFTNESS   ALL REMAINING ARTIFACTS AND SURFACE FEATURES OF THIS CHIP OF A WORLD'S CRUST THAT WAS VESTA  HAD BEEN PLUNGED INTO THE DUAL PRESERVATIVES OF THE INTERPLANETARY REGIONS DEEP-FREEZE AND ALL BUT ABSOLUTE DRYNESS  YES THE MOTION OF THE FEW SCATTERED MOLECULES IN SPACE WAS VERY FAST INDICATING A HIGH TEMPERATURE  THERE CAN BE NO HEAT  AND SO FEW MOLECULES WERE THERE IN THE VOID  WHICH MEANT AGAIN IN PRACTICE ALL BUT ABSOLUTE ZERO  JOHN ENDLICH KNEW  HE'D HEARD THE LECTURES AT THE HOMESTEADERS' SCHOOL  HERE WAS A GHOST-LAND   HUNDREDS OF SQUARE MILES IN EXTENT A REGION THAT HAD BEEN SHIFTED IN A FEW SECONDS   FROM THE FULL PRIME OF LIFE AND MOTION  IT WAS LIKE THE MUMMY OF A MAN   IN ITS PRESENCE THERE WAS A CHILL  A REVULSION  AND YET A FASCINATION  THE KIDS CONTINUED TO JABBER MORE EXCITEDLY NOW THAN BEFORE  POP  MOM  BUBS URGED  SURE  LET'S GO  EVELYN JOINED IN  I'M NOT SCARED TO  YEAH  KIDS' TASTES COULD BE PRETTY GRUESOME  WHEN YOU THOUGHT MOST THAT YOU HAD TO SHELTER THEM FROM HORROR   THEY WERE LESS BOTHERED BY IT THAN YOU WERE  JOHN ENDLICH'S LIPS MADE A SOUR LINE  STAY HERE   THE PAIR OF YOU  ROSE ORDERED  YOU HEARD ME THE FIRST TIME  THEIR MOTHER ANSWERED  JOHN ENDLICH MOVED TO THE GREAT BOX   WHICH HAD COME WITH THEM FROM EARTH  THE NERVOUS TENSION THAT TORE AT HIM UNPLEASANT AND CHILLING   DRIVING HIM TOWARD STRAINING EFFORT WAS MORE THAN THE RESULT OF THE SHAMEFUL AND EMBARRASSING MEMORY OF HIS VERY RECENT TROUBLE WITH ALF NEELY AND COMPANIONS  AND THE CERTAINTY OF MORE TROUBLE TO COME FROM THAT SOURCE  FOR THERE WAS ANOTHER AND EVEN WORSE ENEMY  ENDLICH KNEW WHAT IT WAS THE AWFUL SILENCE  HE STILL LOOKED SHAMEFACED AND FURIOUS BUT NOW HE FELT A GENTLER SHARING OF CIRCUMSTANCES  WE'LL LET THE SNOOPING GO TILL LATER   KIDS HE GROWLED  RIGHT NOW WE GOTTA DO WHAT WE GOTTA DOTHE YOUNGSTERS SEEMED TO JOIN UP WITH HIS MOOD  AS HE TORE THE PINCHBAR   WHICH HAD BEEN CONVENIENTLY ATTACHED TO THE SIDE OF THE BOX   FREE OF ITS STAPLES   AND PROCEEDED TO BREAK OUT SUPPLIES   THEIR WHIMSICAL MUSINGS FELL CLOSE TO WHAT HE WAS THINKING  VESTA  EVELYN SAID  THEY TOLD US AT SCHOOL REMEMBER   VESTA WAS THE OLD ROMAN GODDESS OF HEARTH AND HOME  FUNNY HUNH DAD  BUBS' FANCY WAS VIVID   TOO  LOOK   POP  HE SAID AGAIN   POINTING TO A RIBBON OF WHAT MIGHT BE CONCRETE   CRACKED AND CRUMPLED AS BY A TERRIFIC QUAKE  THAT WAS A ROAD  CAN'T YOU ALMOST HEAR SOME KINDA CARS AND TRUCKS GOIN' BY  JOHN ENDLICH'S WIFE   HELPING HIM OPEN THE GREAT BOX  ALSO HAD THINGS TO SAY  SHE TOUCHED THE DESSICATED SOIL WITH A GAUNTLETED HAND  JOHNNY  SHE REMARKED WONDERINGLY  YOU CAN SEE THE SPLASH-MARKS OF THE LAST RAIN THAT EVER FELL HERE YEAH  ENDLICH GROWLED WITHOUT ANY FURTHER COMMENT  INSIDE HIMSELF   HE WAS FIGHTING THE BATTLE OF LOST THINGS  THE BLUE SKY   THE SHIFTING BEAUTY OF CLOUDS IN SUNSHINE  THE WARM WHISPER OF WIND IN TREES  THE RATTLE OF TRAFFIC   THE BABBLE OF WATER   THE BUZZ OF INSECTS   THE SMELL OF FLOWERS  THE SIGHT OF GRASS WAVING  IN SHORT  ALL THE EVIDENCES OF LIFE  A LOT OF THINGS THAT WAS HERE ONCE   WE'LL BRING BACK   WON'T WE   POP  BUBS QUESTIONED WITH ASTONISHING MATURITY  HOPE SO  JOHN ENDLICH ANSWERED  KEEPING HIS DOUBTS HIDDEN BEHIND GRUFFNESS  MAYBE IT WAS A GRIM JOKE THAT HERE AND NOW EVERY FORCE IN HIMSELF WAS CONCENTRATED ON SUBSTANTIAL OBJECTIVES TO THE EXCLUSION OF HIS DEFECTS  THE DRIVE IN HIM WAS TO END THE MADDENING SILENCE  IT WAS A CIVILIZED URGE   A HOME-BUILDING URGE  MAYBE A NARROW URGE  BUT HOW COULD ANYBODY STAND BEING HERE VERY LONG   UNLESS SUCH THINGS WERE DONE  IF THEY EVER COULD BE  MAYBE  WILLFULLY   HE HAD LED HIMSELF INTO A GRIMMER TRAP THAN IT HAD EVEN SEEMED TO BE OR THAN HE HAD EVER WANTED  INSIDE HIS SPACE SUIT   HE HAD BEGUN TO SWEAT FURIOUSLY  AND IT WAS MORE BECAUSE OF THE TENSION OF HIS NERVES THAN BECAUSE OF THE VIGOR WITH WHICH HE PLIED HIS PINCHBAR  DOING THE FIRST TASK WHICH HAD TO BE DONE  STEEL RIBBONS WERE SNAPPED   NAILS WERE YANKED SILENTLY FROM THE GREAT BOX  BOARDS WERE JERKED LOOSE  IN ANOTHER MINUTE JOHN ENDLICH AND HIS WIFE WERE SETTING UP AN AIRTIGHT TENT   WHICH   WHEN THE TIME CAME   COULD BE INFLATED FROM COMPRESSED-AIR BOTTLES  THEY WORKED SOMEWHAT AWKWARDLY   FOR THEIR INSTRUCTION PERIOD HAD BEEN BRIEF   AND THEY WERE GREEN BUT THE JOB WAS SPEEDILY FINISHED  THE FIRST REQUIREMENT SHELTER WAS ASSURED  DIGGING AGAIN INTO THE VAST AND VARIED CONTENTS OF THE BOX   JOHN ENDLICH FOUND SOME THINGS HE HAD NOT EXPECTED A FINE RIFLE  A PISTOL AND AMMUNITION  AT WHICH MOMENT AN IRONIC IMP SEEMED TO SIT ON HIS SHOULDER   AND LAUGH DERISIVELY  THE ASTEROIDS HOMESTEADERS OFFICE HAD FILLED THESE BOXES ACCORDING TO A PRECISE SURVEY OF THE NEEDS OF A PEACEFUL SETTLER ON VESTA  IT WAS LIKE BUBS   WITH THE INQUISITIVENESS OF A SEVEN-YEAR-OLD   TO ASK WHAT DID THEY THINK WE NEEDED GUNS FOR   WHEN THEY KNEW THERE WAS NO RABBITS TO SHOOT AT  I GUESS THEY KIND OF SUSPECTED THERE'D BE GUYS LIKE ALF NEELY   SON  JOHN ENDLICH ANSWERED DRYLY  EVEN IF THEY DIDN'T TELL US ABOUT IT  THE NEXT TASK PRESCRIBED BY THE HOMESTEADERS' SCHOOL WAS TO SECURE A SUPPLY OF AIR AND WATER IN QUANTITY  AGAIN   FOLLOWING THE INSTRUCTIONS THEY HAD RECEIVED   THE ENDLICHS UNCRATED AND SET UP AN ATOM-DRIVEN DRILL  IN AN HOUR IT HAD BORED TO A DEPTH OF FIVE-HUNDRED FEET   HAULING UP THE DRILL   ENDLICH LOWERED AN ELECTRIC HEATING UNIT ON A CABLE FROM AN ATOMIC POWER-CELL   AND THEN CAPPED THE CASING PIPE  YES   STRANGELY ENOUGH THERE WAS STILL SUFFICIENT WATER BENEATH THE SURFACE OF VESTA  ITS PARENT PLANET   LIKE THE EARTH   HAD HAD WATER IN ITS CRUST   THAT COULD BE TAPPED BY MEANS OF WELLS  AND SO SUDDENLY HAD VESTA BEEN CHILLED IN THE COLD OF SPACE AT THE TIME OF THE PARENT BODY'S EXPLOSION  THAT THIS WATER HAD NOT HAD A CHANCE TO DISSIPATE ITSELF AS VAPOR INTO THE VOID   BUT HAD BEEN FROZEN SOLID  READY TO BE PUMPED AND PUT TO USE  AND WATER   BY ELECTROLYSIS   WAS ALSO AN EASY SOURCE OF OXYGEN TO BREATHE  THE SOIL   ONCE THAWED OVER A FEW ACRES   WOULD ALSO YIELD CONSIDERABLE NITROGEN AND CARBON DIOXIDE THE MAKINGS OF MANY CUBIC METERS OF ATMOSPHERE  THE A H O   SURVEY EXPEDITIONS   HERE ON VESTA AND ON OTHER SIMILAR ASTEROIDS WHICH WERE CRUSTAL CHIPS OF THE ORIGINAL PLANET   HAD DONE THEIR WORK WELL  PATHFINDING A MEANS OF SURVIVAL HERE  WHEN JOHN ENDLICH PUMPED THE FIRST TURBID LIQUID   WHICH IMMEDIATELY FROZE AGAIN IN THE SURFACE COLD   HE MIGHT   UNDER OTHER   BETTER CIRCUMSTANCES   HAVE FELT LIKE CHEERING  HIS WELL WAS A SUCCESS  BESIDES  THE SHORT DAY EIGHTEEN HOURS LONG INSTEAD OF TWENTY-FOUR   AND ALREADY FAR ADVANCED AT THE TIME OF HIS TUMULTUOUS LANDING WAS DRAWING TO A CLOSE  IT'LL BE DARK HERE MIGHTY QUICK   JOHNNY  ROSE SAID  SHE WAS LOOKING SCARED   AGAIN  JOHN ENDLICH CONSIDERED SETTING UP FLOODLIGHTS   AND WORKING ON THROUGH THE HOURS OF DARKNESS   BUT SUCH LIGHTS WOULD BE A DANGEROUS BEACON FOR PROWLERS AND WHEN YOU WERE INSIDE THEIR AREA OF ILLUMINATION   IT WAS DIFFICULT TO SEE INTO THE GLOOM BEYOND  STILL  FOR A LONG MOMENT   ENDLICH WAS IN AN AGONY OF INDECISION  THEN HE SAID WE'LL KNOCK OFF FROM WORK NOW GET IN THE TENT   EAT SUPPER   MAYBE SLEEP  BUT HE WAS REMEMBERING NEELY'S PROMISE TO RETURN TONIGHT  IN ANOTHER MINUTE THE SMALL BUT DAZZLING SUN HAD DISAPPEARED BEHIND THE BROKEN MOUNTAINS   AS VESTA   UNSPHERICAL AND MALFORMED  AND SEVERAL HOURS LATER   AMID HEAVY COOKING ODORS INSIDE THE NOW INFLATED PLASTIC BUBBLE THAT WAS THE TENT  ENDLICH WAS SPRAWLED ON HIS STOMACH   UNABLE   THROUGH WELL-FOUNDED WORRY   EVEN TO REMOVE HIS SPACE SUIT OR TO ALLOW HIS FAMILY TO DO SO  THOUGH THERE WAS BREATHABLE AIR AROUND THEM  THEY LAY WITH THEIR HELMET FACE-WINDOWS OPEN  ROSE AND EVELYN BREATHED EVENLY IN PEACEFUL SLEEP  BUBS   TRYING TO BE VERY MUCH A MAN   BATTLED SLUMBER AND YAWNS   AND KEPT HIS DAD COMPANY WITH SCRAPS OF CONVERSATION  LET EM COME   POP  HE SAID CHEERFULLY  HOPE THEY DO  WE'LL SHOOT EM ALL   WON'T WE   POP  YOU GOT THE RIFLE AND THE PISTOL READY  POP  YES  JOHN ENDLICH HAD HIS GUNS READY BESIDE HIM   ALL RIGHT FOR WHAT IT WAS WORTH  HE WISHED WRYLY THAT THINGS COULD BE AS SIMPLE AS HIS HERO-WORSHIPPING SON SEEMED TO THINK  THANK THE LORD THAT BUBS WAS SO TRUSTING   FOR HIS OWN PEACE OF MIND THE PRANKISH AND SAVAGE NATURE OF CERTAIN KINDS OF MEN   WITH LIQUOR IN THEIR BELLIES   BEING WHAT IT WAS  FOR JOHN ENDLICH   HAVING BEEN   ON OCCASION   MILDLY KINDRED TO SUCH MEN   WAS WELL ABLE TO UNDERSTAND THAT NATURE  PEERING FROM THE SMALL PLASTIC WINDOWS OF THE TENT   HE KEPT WATCHING FOR HULKING BLACK SHAPES TO SILHOUETTE THEMSELVES AGAINST THE STARS  EXCHANGED BY SHORT-RANGE RADIO BY MEN IN SPACE ARMOR  ONCE   HE THOUGHT HE HEARD A GRUNT   OR A MALICIOUS CHUCKLE  OTHERWISE   FROM ALL AROUND   THE STILLNESS OF THE VACUUM WAS ABSOLUTE  IT WAS UNNERVING  AGAINST THAT MADDENING SILENCE   HOWEVER   BUBS PRESENTLY HAD A HELPFUL AND UNPROMPTED SUGGESTION HEY   POP  HE WHISPERED HOARSELY  PUT THE SIDE OF YOUR HELMET AGAINST THE TENT-FLOOR   AND LISTEN  JOHN ENDLICH OBEYED HIS KID  IN A SECOND COLD SWEAT BEGAN TO BREAK OUT ON HIS BODY   AS INTERMITTENT THUDDING NOISES REACHED HIS EAR  IN THE ABSENCE OF AN ATMOSPHERE   SOUNDS COULD STILL BE TRANSMITTED THROUGH THE SOLID SUBSTANCE OF THE ASTEROID  IT TOOK ENDLICH A MOMENT TO REALIZE THAT THE NOISES CAME   NOT FROM NEARBY   BUT FROM FAR AWAY  ON THE OTHER SIDE OF VESTA  THE THUDDING WAS VIBRATED STRAIGHT THROUGH MANY MILES OF SOLID ROCK  IT'S NOTHING   BUBS  HE GROWLED   NOTHING BUT THE BLASTING IN THE MINES  BUBS SAID OH  AS IF DISAPPOINTED  NOT LONG THEREAFTER HE WAS ASLEEP  LEAVING HIS HARRASSED SIRE TO ENDURE THE VIGIL ALONE  HE COULD ONLY WAIT  IF AN EVIL VISITATION CAME AS HE HAD BEEN ALL BUT SURE IT MUST THAT WOULD BE BAD   INDEED   IF IT DIDN'T COME WELL THAT STILL MEANT A SLEEPLESS NIGHT   AND THE POSTPONEMENT OF THE INEVITABLE  HE COULDN'T WIN  THUS THE HOURS SLIPPED AWAY   UNTIL THE LUMINOUS DIAL OF THE CLOCK IN THE TENT IT HAD BEEN SYNCHRONIZED TO VESTAL TIME TOLD HIM THAT DAWN WAS NEAR  THAT WAS WHEN   THROUGH THE GROUND   HE HEARD THE FAINT SCRAPING  A RUSTLE  IT MIGHT HAVE BEEN MADE BY HEAVY SPACE-BOOTS  IT CAME   AND THEN IT STOPPED  IT CAME AGAIN   AND STOPPED ONCE MORE   AS IF SKULKING FORMS PAUSED TO FIND THEIR WAY  THEN IT BURNED PEACEFULLY AGAIN  JOHN ENDLICH'S HACKLES ROSE  HIS FISTS TIGHTENED ON BOTH HIS RIFLE AND PISTOL  HE FIXED HIS GAZE ON THE GREAT BOX   LOOMING BLACKLY  THE BOX THAT CONTAINED THE MEANS OF SURVIVAL FOR HIS FAMILY AND HIMSELF   AS IF HE FORESAW THE FUTURE   A MOMENT AWAY  FOR SUDDENLY   HUGE AS IT WAS   THE BOX ROCKED  JOHN ENDLICH SCRAMBLED TO ACTION  HE SLAMMED AND SEALED THE FACE-WINDOWS OF THE HELMETS OF THE MEMBERS OF HIS FAMILY   TO PROTECT THEM FROM SUFFOCATION  HE DID THE SAME FOR HIMSELF   AND THEN UNZIPPED THE TENT-FLAP  HE DARTED OUT WITH THE OUTRUSHING AIR  THIS WAS A MOMENT WITH MURDER POISED IN EVERY TATTERED FRAGMENT OF IT  JOHN ENDLICH KNEW  MURDER WAS ENGRAINED IN HIS OWN TAUT-DRAWN NERVES   THAT RAGED TO DESTROY THE TRESPASSERS WHOSE PRANKS HAD PASSED THE LEVEL OF PRACTICAL HUMOR   AND BECOME  BY THE TAMPERING WITH VITAL NECESSITIES   AN ATTACK ON LIFE ITSELF  STRIKE BACK AT THEM   EVEN IN SELF-DEFENSE  AND HAVE IT PROVEN  HE HAD NOT THE FAINTEST DOUBT WHO THEY WERE EVEN THOUGH HE COULD NOT SEE THEIR FACES IN THE BLACKNESS  MAYBE HE SHOULD LAY LOW LET THEM HAVE THEIR WAY   BUT HOW COULD HE EVEN APART FROM HIS RAGING TEMPER   AND HIS HONOR AS A MAN WHEN THEY WERE MAKING OFF WITH HIS FAMILY'S AND HIS OWN MEANS OF SURVIVAL  HE HAD TO THROW ROSE AND THE KIDS INTO THE BALANCE RISKING THEM TO THE DANGER THAT HE KNEW LAY BEYOND HIS OWN POSSIBLE IGNOBLE DEMISE  HE DID JUST THAT WHEN HE RAISED HIS PISTOL   STRUGGLING AGAINST THE AWFUL IMPULSE OF THE RAGE IN HIM LIFTED IT HIGH ENOUGH SO THAT THE EXPLOSIVE BULLETS THAT SPEWED FROM IT WOULD BE SURE TO PASS OVER THE HEADS OF THE DARK SILHOUETTES THAT WERE MOVING ABOUT  DAMN YOU   NEELY  ENDLICH YELLED INTO HIS HELMET MIKE  HIS FINGER TIGHTENING ON THE TRIGGER  DROP THAT STUFF  AT THAT MOMENT THE SUN'S RIM APPEARED AT THE LANDSCAPE'S JAGGED EDGE   AND ON THIS SIDE OF AIRLESS VESTA COMPLETE NIGHT WAS TRANSFORMED TO COMPLETE DAY  AS ABRUPTLY AS IF A SWITCH HAD BEEN TURNED  ALF NEELY AND JOHN ENDLICH BLINKED AT EACH OTHER  PROBABLY THE BULLY IN HIM WAS SCARED BUT THIS HE COVERED IN A COMMON MANNER WITH A STUDIEDLY EASY SWAGGER   AND A BRAVADO THAT WAS NOT GOOD SENSE   BUT BORDERED ON CHILDISH RECKLESSNESS  YET HE HAD A TRUMP CARD BY THE AGGRESSIVE GLINT IN HIS EYES   AND HIS UNPLEASANT GRIN  ENDLICH KNEW THAT NEELY KNEW THAT HE WAS AFRAID FOR HIS WIFE   AND WOULDN'T START ANYTHING UNLESS DRIVEN AND GOADED SHEERLY WILD  EVEN NOW   THEY WERE SEVEN TO HIS ONE  WHY   GOOD MORNING   NEIGHBOR PUN'KIN-HEAD  NEELY CROONED  HIS VOICE A BURLESQUE OF SWEETNESS  GLAD TO OBLIGE  HE HURLED THE GREAT BOX DOWN  HE FLICKED IT EXPERTLY INTO THE OPEN SIDE OF THE WOODEN CASE WHICH CONTAINED SO MANY THINGS THAT WERE VITAL TO THE ENDLICHS IT WAS ONLY A TINY NUCLEAR PRIMING-CAP   AND THE BLAST WAS FEEBLE   EVEN SO  THE BOX BURST APART  SPLINTERED CRATES   SEALED CANS   GREAT TORN BUNDLES AND WHAT NOT   WENT SKITTERING FAR ACROSS THE PLAIN IN EVERY DIRECTION   OR WERE HURLED HIGH TOWARD THE STARS   TO BEGIN FALLING AT LAST WITH THE LAZINESS OF A DESCENDING FEATHER  NEELY AND HIS COMPANIONS HADN'T ATTEMPTED TO MOVE OUT OF THE WAY OF THE EXPLOSION  THEY ONLY ROLLED WITH ITS FORCE   PROTECTED BY THEIR SPACE SUITS  ENDLICH ROLLED   TOO   HELPLESSLY   CLUTCHING HIS PISTOL AND RIFLE STILL   BY SOME SUPERHUMAN EFFORT   HE MANAGED TO REGAIN HIS FEET BEFORE THE FAR MORE PRACTICED NEELY   WHO WAS HAMPERED   NO DOUBT   BY A FEW TOO MANY DRINKS   HAD EVEN STOPPED ROLLING  BUT WHEN NEELY GOT UP   HE HAD DRAWN HIS BLASTER  A USEFUL TOOL OF HIS TRADE   BUT A HELLISH WEAPON   TOO   AT SHORT RANGE  STILL   ENDLICH RETAINED THE DROP ON HIM  ALF NEELY CHUCKLED  FOURTH OF JULY   HALLOWE'EN   DUTCH  HE SAID SWEETLY  WHAT'S THE MATTER  DON'T YOU THINK IT'S FUN  THEN HE SWITCHED HIS TONE  IT BECAME A SOFT SNARL THAT DIDN'T ALTER HIS INSOLENT AND CONFIDENT SMIRK AND A CHALLENGE  HE LAUGHED DERISIVELY  ALMOST SOFTLY  I DARE YOU TO TRY TO SHOOT STRAIGHT   PAL  HE SAID  EVEN YOU GOT MORE SENSE THAN THAT  AND JOHN ENDLICH WAS SPANG AGAINST HIS TERRIBLE   BLANK WALL AGAIN  SEVEN TO ONE  ANYWAY HALF DRUNK  READY TO HOOT AT THE STARS   EVEN   IF THEY FOUND NO BETTER DIVERSION  READY TO PUSH EVEN ANY OF THEIR OWN BUNCH AROUND WHO SEEMED WEAKER THAN THEY  FOR SPITE   MAYBE   OR JUST FOR THE LID-BLOWING HELL OF IT AS A REACTION AGAINST THE AWFUL CONFINEMENT OF BEING OUT HERE  I WAS GONNA SMEAR YOU ALL OVER THE PLACE   GREENHORN  NEELY RUMBLED  BUT MAYBE THIS WAY IS MORE FUN  MAYBE WE'LL BE BACK TONIGHT   BUT DON'T WAIT UP FOR US  JOHN ENDLICH'S BLAZING AND JUST RAGE WAS STRANGLED BY THAT SAME CRAWLING DREAD AS BEFORE  PROPELLED BY THE MINIATURE DRIVE-JETS ATTACHED TO THE BELTS OF THEIR SPACE-SUITS  THEIR RETURN TO CAMP   HUNDREDS OF MILES DISTANT   COULD BE ACCOMPLISHED IN A COUPLE OF MINUTES  ROSE AND THE KIDS WERE CROUCHED IN THE DEFLATED TENT   BUT RETURNING THERE   JOHN ENDLICH HARDLY SAW THEM  HE HARDLY HEARD THEIR FRIGHTENED QUESTIONS  MAYBE   ALREADY   MORTAL DAMAGE HAD BEEN DONE   BUT ENDLICH COULDN'T LIE DOWN AND QUIT   ANY MORE THAN A SNAKE   TOSSED INTO A FIRE   COULD STOP TRYING TO CRAWL OUT OF IT   AS LONG AS LIFE LASTED  WHETHER DOING SO MADE SENSE OR NOT   DIDN'T MATTER  IN ENDLICH WAS THE SAVAGE ENERGY OF DESPAIR  HE WAS FIGHTING NOT JUST NEELY AND HIS CROWD   BUT THAT OTHER ENEMY WHICH WAS PERHAPS NEELY'S MAIN TROUBLE   TOO  YEAH THE STILLNESS  THE NOSTALGIA  THE HARSHNESS  NO DON'T WANT ANY BREAKFAST  HE REPLIED SHARPLY TO ROSE' LAST QUESTION  GOTTA WORK  HE WAS LIKE AN ANT-SWARM   REBUILDING A TRAMPLED NEST OBLIVIOUS TO THE CERTAINTY OF ITS BEING TRAMPLED AGAIN  FIRST HE SCRAMBLED AND LEAPED AROUND   COLLECTING HIS SCATTERED AND DAMAGED GEAR  HE FOUND THAT HIS MAIN ATOMIC BATTERY SO NECESSARY TO ALL THAT HE HAD TO DO WAS DAMAGED AND UNWORKABLE  AND HE HAD NO HOPE THAT HE COULD REPAIR IT  NOW HE STARTED UNROLLING GREAT BOLTS OF A TRANSPARENT   WIRE-STRENGTHENED PLASTIC  HE CUT HUNDRED-YARD STRIPS   AND   WITH ROSE'S HELP   LAID THEM EDGE TO EDGE AND FASTENED THEM TOGETHER TO MAKE A CONTINUOUS SHEET  NEXT   ALL AROUND ITS PERIMETER   HE DUG A SHALLOW TRENCH  THE EDGES OF THE PLASTIC WERE THEN ATTACHED TO MASSIVE METAL RAILS   WHICH HE BURIED IN THE TRENCH  HE GROWLED TO ROSE  NEXT WE FIT IN THE AIRLOCK CABINET   AT ONE CORNER   THEN WE'VE GOT TO SEE IF WE CAN GET UP ENOUGH AIR TO INFLATE THE WHOLE BUSINESS   THAT'S THE TOUGH PART THE WAY THINGS ARE  BY THEN THE SUN WAS ALREADY HIGH   AND ENDLICH WAS PANTING RAGGEDLY MOSTLY FROM WORRY  AFTER THE MASSIVE AIRLOCK WAS IN PLACE   THEY ATTACHED THEIR ELECTROLYSIS APPARATUS TO THE SMALL ATOMIC BATTERY   WHICH HAD BEEN USED TO RUN THE WELL-DRILLER  THE WELL WAS IN THE AREA COVERED BY THE SHEET OF PLASTIC   WHICH WAS NOW PROPPED UP HERE AND THERE WITH LONG PIECES OF BOARD FROM THE GREAT BOX  YET FROM THE START IT WAS OBVIOUS THAT   WITH INSUFFICIENT ELECTRIC POWER   THE PROCESS WAS TOO SLOW  AND WE NEED TO USE HEAT-COILS TO THAW THE GROUND   JOHNNY  ROSE SAID  AND TO KEEP THE PLACE WARM   AND TO BRING NITROGEN GAS UP OUT OF THE SOIL  THE FEW CYLINDERS OF THE COMPRESSED STUFF THAT WE'VE GOT WON'T BE ENOUGH TO MAKE A START   AND THE CARBON DIOXIDE  SO JOHN ENDLICH HAD TO TRY TO REPAIR THAT MAIN BATTERY  HE THOUGHT   AFTER A WHILE   THAT HE MIGHT SUCCEED IN TIME  BUBS BORE A CROOKED PIECE OF A BLACK SUBSTANCE   HARD AS WOOD AND MORE GRUESOME THAN A DRIED AND MOLDY MONKEY-PELT  A TENTACLE  EVELYN SHRILLED  WE WERE UP TO THOSE OLD BUILDINGS   WE FOUND THE PEOPLE  SO HE WENT WITH HIS CHILDREN  HE PASSED INTO CHAMBERS FAR TOO LOW FOR COMFORTABLE HUMAN HABITATION  AND WHAT DID HE KNOW OF THE USES OF MOST OF WHAT HE SAW THERE  THE NICHES IN THE STONE WALLS   THE SLANTING   RAMPLIKE OBJECT OF BLACKENED WOOD  THE GLAZED PLAQUE ON THE WALL   WHICH COULD HAVE BEEN A RELIGIOUS EMBLEM   A CALENDAR OF SOME KIND   A DECORATION   OR SOMETHING BEYOND HUMAN IMAGINING  YEAH LEAVE SUCH STUFF FOR COUSIN ERNEST   THE SCHOOL TEACHER IF HE EVER GOT HERE  IN THE CYLINDRICAL STONE SHED NEARBY   JOHN ENDLICH HAD A LOOK AT THE CAR LOW SLUNG   THREE-WHEELED   A TILLER   NO SEATS  JUST A FLAT PLATFORM  BEYOND THE CAR WAS WHAT MIGHT BE A SMALL TRACTOR   AND A LOT OF ODD TOOLS  BUT THE THING WHICH INTERESTED HIM MOST WAS THE PATTERN OF COPPER RIBBONS  INSULATED WITH A HEAVY GLAZE   SIMILAR TO THAT WHICH HE HAD SEEN TRAVERSING WALLS AND CEILING IN THE FIRST BUILDING HE HAD ENTERED  HERE   AS BEFORE   THEY CONNECTED WITH QUEER APPARATUS WHICH MIGHT BE STOVES AND NON-ROTARY MOTORS   FOR ALL HE KNEW  AND ALSO WITH THE GLOBES OVERHEAD  IT WAS SEALED   AND APPARENTLY SELF-CONTAINED  NOTHING COULD HAVE DAMAGED IT VERY MUCH   IN THE FRIGID STILLNESS OF MILLIONS OF YEARS  ITS SECRETS WERE HIDDEN WITHIN IT  BUT THEY COULD NOT BE TOO UNFAMILIAR   AND ITS PRESENCE WAS LOGICAL  A SMALL  NERVOUSLY   HE TURNED A LITTLE WHEEL  A FAINT VIBRATION WAS TRANSMITTED TO HIS GLOVED HAND   AND THE GLOBE IN THE CEILING BEGAN TO GLOW  HE SHUT THE THING OFF AGAIN  BUT HOW LONG DID IT TAKE HIM TO RUN BACK TO HIS SAGGING CREATION OF CLEAR PLASTIC   WHILE THE KIDS HOWLED GLEEFULLY AROUND HIM   AND RETURN WITH THE END OF A LONG CABLE   AND PLIERS  HOW LONG DID IT TAKE HIM TO DISCONNECT ALL OF THE GLAZED COPPER RIBBONS   AND SUBSTITUTE THE WIRES OF THE CABLE ATTACHING THEM TO QUEER TERMINAL-POSTS  NO NOT LONG  THE POWER WAS NOT AS GREAT AS THAT WHICH HIS OWN LARGE ATOMIC BATTERY WOULD HAVE SUPPLIED   BUT IT PROVED SUFFICIENT  AND THE CURRENT WAS DIRECT AS IT WAS SUPPOSED TO BE  THE ELECTROLYSIS APPARATUS BUBBLED VIGOROUSLY   SLOWLY THE TENTLIKE ROOF BEGAN TO RISE   UNDER THE BEGINNINGS OF A TINY GAS-PRESSURE  THAT DOES IT   POPS  BUBS SHRILLED  YEAH MAYBE SO  JOHN ENDLICH AGREED ALMOST OPTIMISTICALLY  HE FELT REALLY TENDER TOWARD HIS KIDS   JUST THEN  THEY'D REALLY HELPED HIM   FOR ONCE  UNTIL HE GLANCED AT THE RAPIDLY DECLINING SUN  AN ALL-NIGHT VIGIL  NO  PROBABLY WORSE  EVEN IF HE MANAGED TO KEEP NEELY AND COMPANY AT BAY  NIGHT AFTER NIGHT  ALL THAT HE HAD ACCOMPLISHED SEEMED USELESS  JOHN ENDLICH'S FLESH CRAWLED  AND IN HIS THINKING   NOW   HE WENT A LITTLE AGAINST HIS OWN DETERMINATIONS  NUTS  HE GROWLED LUGUBRIOUSLY  IF I'D ONLY BEEN A LITTLE MORE SOCIABLE  THAT WAS WHERE THE TROUBLE STARTED   I MIGHT HAVE GOT BROKE   BUT I WOULD'VE MADE FRIENDS  THEY THINK I'M SNOOTY  ROSE'S JAW HARDENED   AS IF SHE TOOK HIS REGRETS AS AN ACCUSATION THAT SHE HAD LED HIM ALONG THE STRAIGHT AND NARROW PATH   WHICH BY AN EXASPERATING SHIFT IN PHILOSOPHICAL PRINCIPLE NOW SEEMED THE SHORTEST ROUTE TO DESTRUCTION  BUT HE FELT VERY SORRY FOR HER   TOO AND HE DIDN'T BELIEVE THAT WHAT HE HAD JUST SAID WAS ENTIRELY THE TRUTH  SHE SOFTENED  YOU'VE GOT TO EAT   JOHNNY  SHE SAID  YOU HAVEN'T EATEN ALL DAY   AND TONIGHT YOU'VE GOT TO SLEEP  I'LL KEEP WATCH   MAYBE IT'LL BE ALL RIGHT  WELL  ANYWAY IT WAS NICE TO KNOW THAT HIS WIFE WAS LIKE THAT  YEAH GENTLE   AND FAIRMINDED  AFTER THEY HAD ALL EATEN SUPPER   HE TRIED HARD TO KEEP AWAKE  THEIR TENT WAS NOW COVERED BY THE RISING PLASTIC ROOF BUT BEYOND THE CLEAR SUBSTANCE   HE COULD STILL WATCH FOR STARLIGHT TO BE STOPPED BY PROWLING FORMS   OUT THERE AT THE JAGGED RIM OF VESTA  IT WAS HELL TO FEEL YOUR SKIN PUCKERING   AND YET TO HAVE EXHAUSTION PUSHING YOUR EYELIDS DOWN INEXORABLY  AND HE WAS BEING BEATEN TO A PULP  BUT HE WAS WISHING DESPERATELY THAT HE COULD WIN  THEN THEY COULD HAVE A DRINK   AND MAYBE BE FRIENDS  BUT HE KNEW HOPELESSLY THAT THINGS WEREN'T QUITE THAT SIMPLE   EITHER  HE AWOKE TO BLINK AT BLAZING SUNSHINE  THEN HIS WHOLE BODY BECAME CLAMMY WITH PERSPIRATION   AS HE THOUGHT OF HIS LAPSE FROM RESPONSIBILITY GLANCING OVER   HE SAW THAT ROSE WAS SLEEPING AS SOUNDLY AS THE KIDS  HIS WIDE EYES SEARCHED FOR THE DISASTER THAT HE KNEW HE'D FIND  BUT THE WIDE ROOF WAS ALL THE WAY UP   NOW INTACT  IT MADE A GREAT   SQUARISH BUBBLE   THE SKIN OF WHICH WAS SPECIALLY TREATED TO STOP THE HARD AND DANGEROUS PART OF THE ULTRA-VIOLET RAYS OF THE SUN  AND ALSO THE LETHAL PORTION OF THE COSMIC RAYS  IT EVEN HAD AN INTER-SKIN LAYER OF GUM THAT COULD SEAL THE PUNCTURES THAT GRAIN-OF-SAND-SIZED METEORS MIGHT MAKE  BUT METEORS   THOUGH PLENTIFUL IN THE ASTEROID BELT   WERE CURIOUSLY INNOCUOUS  THEY ALL MOVED IN MUCH THE SAME DIRECTION AS THE LARGE ASTEROIDS   AND AT MUCH THE SAME VELOCITY SO THEIR RELATIVE SPEED HAD TO BE LOW  THE WALLS OF THE SMALL TENT AROUND ENDLICH SAGGED   WHERE THEY HAD BULGED TAUTLY BEFORE SHOWING THAT THERE WAS NOW A FIRM AND EQUAL PRESSURE BEYOND THEM  THE ELECTROLYSIS APPARATUS HAD BEEN LEFT ACTIVE ALL NIGHT   AND THE HEATING UNITS  THIS WAS THE RESULT  JOHN ENDLICH WAS AT FIRST ALMOST UNBELIEVING WHEN HE SAW THAT NOTHING HAD BEEN WRECKED DURING THE NIGHT  FOR A MOMENT HE WAS ELATED  HE WOKE UP HIS FAMILY BY SHOUTING LOOK  THE BUMS STAYED AWAY  THEY DIDN'T COME   LOOK   WE'VE GOT FIVE ACRES OF GROUND   COVERED BY AIR THAT WE CAN BREATHE  HIS SENSE OF TRIUMPH   HOWEVER   WAS SOON DAMPENED  YES HE'D BEEN LEFT UNMOLESTED FOR ONE NIGHT  BUT HAD THAT BEEN DONE ONLY TO KEEP HIM AT A FRUITLESS AND SLEEPLESS WATCH  PROBABLY  ANOTHER DELICATE FORM OF HAZING  PURSUED ONLY BY A WILD AND DEFENSELESS DRIVE TO GET THINGS DONE  TO MAKE CERTAIN REASSURING SOUNDS POSSIBLE AROUND HIM  GOT TO PATCH UP THE PIECES OF THE HOUSE   FIRST   AND BOLT EM TOGETHER   ROSE  HE SAID FEVERISHLY  KIDS MAYBE YOU COULD HELP BY SETTING OUT SOME OF THE HYDROPONIC TROUGHS FOR PLANTING  WE GOTTA BREAK PLAIN GROUND   TOO   AS SOON AS IT'S THAWED ENOUGH  WE GOTTA  HIS WORDS RACED ON WITH HIS FLYING THOUGHTS  IT WAS A MAD DAY OF TOIL  THE HOURS WERE PITIFULLY SHORT  THEY COULDN'T BE STRETCHED TO COVER MORE THAN A FRACTION OF ALL THE WORK THAT ENDLICH WANTED TO GET DONE  AND HE DID GET THE HOUSE ASSEMBLED SO THAT ROSE AND THE KIDS AND HE COULD SLEEP INSIDE ITS SEALED DOORS  SEALED   THAT IS   IF NEELY OR SOMEBODY DIDN'T USE A BLASTER OR AN EXPLOSIVE CAP OR BULLET IN AN ORGY OF PERVERTED HUMOR  HE STILL HAD NO ANSWER FOR THAT  ROSE AND THE CHILDREN TOILED ALMOST AS HARD AS HE DID  ROSE EVEN MANAGED TO FIND A COUPLE OF DOZEN EGGS   THAT BY BEING CAREFULLY PACKED TO WITHSTAND A SPACESHIP'S TAKEOFF HAD WITHSTOOD THE EFFECTS OF NEELY'S IDEA OF FUN  SHE SET UP AN INCUBATOR   AND PUT THEM INSIDE   TO BE HATCHED  NERVE-TWISTING  TERRIBLE  AND A VIGIL WAS ALL BUT IMPOSSIBLE  JOHN ENDLICH WAS OUT ON HIS FEET FAR MORE THAN JUST DOG-TIRED  THAT DAMNED NEELY  HE GROANED   ALMOST TOO WEARY EVEN TO SWALLOW HIS FOOD   IN SPITE OF THE LUXURY OF A REAL   PULLMAN-STYLE SUPPER TABLE  HE DOESN'T LOSE SLEEP  HE CAN PICK HIS TIME TO COME HERE AND RAISE HOB  ROSE'S GLANCE WAS STRANGE ALMOST GUILTY  TONIGHT I THINK HE MIGHT HAVE TO STAY HOME TOO  SHE SAID  JOHN ENDLICH BLINKED AT HER  SHE ANSWERED   RATHER DEFENSIVELY  SO TO SPEAK   JOHNNY   I CALLED THE COPS  YESTERDAY WITH THE SMALL RADIO TRANSMITTER   WHEN YOU AND BUBS AND EVELYN WERE UP IN THOSE OLD BUILDINGS  I REPORTED NEELY AND HIS COMPANIONS  REPORTED THEM  SURE   TO MR   MAHONEY   THE BOSS AT THE MINING CAMP  I WAS GLAD TO FIND OUT THAT THERE IS A LITTLE LAW AND ORDER AROUND HERE  MR   MAHONEY WAS NICE   HE SAID THAT HE WOULDN'T BE SURPRISED IF THEY WERE COOLED IN THE CAN FOR A FEW DAYS   AND THEN CONFINED TO THE CAMP AREA  MATTER OF FACT   I RADIOED HIM AGAIN LAST NIGHT  IT'S BEEN DONE  JOHN ENDLICH'S VAST SIGH OF RELIEF WAS SLIGHTLY TAINTED BY THE IDEA THAT TO CALL ON A POLICING POWER FOR PROTECTION WAS A LITTLE BIT ON THE TIMID SIDE  HE GRUNTED  THANKS   I NEVER THOUGHT OF DOING THAT  JOHNNY  YEAH  I KIND OF GOT THE NOTION   THOUGH FROM BETWEEN THE LINES OF WHAT MR   MAHONEY SAID THAT THERE WAS HEAVY TROUBLE BREWING AT THE CAMP  ABOUT CONDITIONS   AND HOME-LEAVES   AND INCREASED PROFIT-SHARING  MAYBE THERE'S DANGER OF RIOTS AND WHAT-NOT   JOHNNY  ANYHOW   MR   MAHONEY SAID THAT WE SHOULD KEEP ON EXERCISING ALL REASONABLE CAUTIONMR   MAHONEY IS VERY NICE   AIN'T HE  ENDLICH GROWLED  YOU STOP THAT   JOHNNY  ROSE ORDERED  BUT HER HUSBAND HAD ALREADY PASSED BEYOND THOUGHTS OF JEALOUSY  HE WAS THINKING OF THE TIME WHEN NEELY WOULD HAVE WORKED OUT HIS SENTENCE   AND WOULD BE FREE TO ROAM AROUND AGAIN NO DOUBT WITH INCREASED ANNOYANCE AT THE ENDLICH CLAN FOR CAUSING HIS RESTRAINT  IF A RIOT OR SOMETHING DIDN'T SPRING HIM   BEFOREHAND  JOHN ENDLICH ITCHED TO TRY TO TEAR HIS HEAD OFF   BUT   OF COURSE   THE SAME CONSEQUENCES AS BEFORE STILL APPLIED  FOR WHAT IT WAS WORTH   THEY ACCOMPLISHED A GREAT DEAL  IN THEIR GREAT PLASTIC GREENHOUSE   SUPPORTED LIKE A COLOSSAL BUBBLE BY THE HUMID   ARTIFICIALLY-WARMED AIR INSIDE IT  LONG TROUGHS WERE FILLED WITH PEBBLES AND HYDROPONIC SOLUTION   AND THEREIN TOMATOES WERE PLANTED   AND LETTUCE   RADISHES   CORN   ONIONS   MELONS JUST ABOUT EVERYTHING IN THE VEGETABLE LINE  THERE REMAINED PLENTY OF GROUND LEFT OVER FROM THE FIVE ACRES   SO JOHN ENDLICH TINKERED WITH THAT FIFTY-MILLION-YEAR-OLD TRACTOR  HE ADDED COMMERCIAL FERTILIZERS AND NITRATES TO IT THE NITRATES WERE   OF COURSE   DISTINCT FROM THE GASEOUS NITROGEN THAT HAD BEEN HELD   SPONGELIKE   BY THE SUBSOIL  AND HAD HELPED SUPPLY THE GREENHOUSE WITH ATMOSPHERE  THEN HE HARROWED THE GROUND AGAIN  HE REPEATED HIS PLANTING   IN THE OLD-FASHIONED MANNER  UNDER IDEAL CONDITIONS   THE INSIDE OF THE GREAT BUBBLE WAS SOON A MASS OF GROWING THINGS  ROSE HAD PLANTED FLOWERS TO BE ADMIRED   AND TO HELP OUT THE HIVE OF BEES   WHICH WERE ESSENTIAL TO SOME OF THE OTHER PLANTS   AS WELL  NOR WAS THE FLORA LIMITED TO THE EARTHLY  SOME SEEDS OR SPORES HAD SURVIVED   HERE   FROM THE MOTHER WORLD OF THE ASTEROIDS  THEY CAME OUT OF THEIR EONS OF SUSPENDED ANIMATION   TO BECOME ROOT AND TOUGH   SPIKY STALK   AND TO MIX THEMSELVES SPARSELY WITH VEGETATION THAT HAD IMMIGRATED FROM EARTH   NOW THAT LIVABLE CONDITIONS HAD BEEN RESTORED OVER THIS LITTLE PIECE OF GROUND  SOMETIMES JOHN ENDLICH WAS MISLED   SOMETIMES   LISTENING TO FAMILIAR SOUNDS   AND SMELLING FAMILIAR ODORS   TOWARD THE LATTER PART OF HIS REPRIEVE   HE ALMOST IMAGINED THAT HE'D ACCOMPLISHED HIS BASIC DESIRES HERE ON VESTA WHEN HE HAD ALWAYS FAILED ON EARTH  THERE WAS THE SMELL OF WARM SOIL   FLOWERS  GREENERY  HE HEARD IRRIGATION WATER TRICKLING  THE SWEETCORN RUSTLED IN THE WIND OF FANS HE'D SET UP TO CIRCULATE THE AIR  BEES BUZZED  CHICKENS   APPROACHING ADOLESCENCE   PEEPED CONTENTEDLY AS THEY DUSTED THEMSELVES AND STRETCHED LUXURIOUSLY IN THE SHADOWS OF THE CORNFIELD FOR JOHN ENDLICH IT WAS ALL LIKE THE ECHO OF A SOMNOLENT SUMMER OF HIS BOYHOOD  THERE WAS PEACE IN IT IT WAS LIKE A YEARNING FULFILLED   AN END OF WANDERLUST FOR HIM   HERE ON VESTA  IN CONTRAST TO THE AIRLESS DESOLATION OUTSIDE   THE INTERIOR OF THIS FIVE-ACRE GREENHOUSE WAS THE ONE MOST DESIRABLE PLACE TO BE  SO   EXCEPT FOR THE VAGUEST OF STIRRINGS SOMETIMES IN HIS MIND  THERE WAS NOT MUCH INCENTIVE TO SEEK FUN ELSEWHERE  IF HE EVER HAD TIME  MAYBE THERE'D BE A LOT MORE OF ALL THAT   SOON   WHEN THE RUMORED MAJOR INFLUX OF HOMESTEADERS REACHED VESTA  YES   JOHNNY  ROSE SAID ONCE  LEGENDARY IS A LOT NICER WORD THAN GHOSTLY  ROSE HAD TO TEACH THE KIDS THEIR REGULAR LESSONS  IN MAKE-BELIEVE   THEY TOOK THEIR EXCURSIONS FAR BACK TO FORMER AGES   THEY PLAYED THAT THEY WERE OLD PEOPLE  ENDLICH   HAVING REPAIRED HIS ATOMIC BATTERY   DIDN'T DRAW POWER ANYMORE FROM THE UNIT THAT HAD SUPPLIED THE ANCIENT BUILDINGS  FROM A DEVICE LIKE A PHONOGRAPH   THERE WAS EVEN A BELL-LIKE VOICE THAT CHANTED WHEN A LEVER WAS PRESSED  AND IT WAS THE KIDS WHO FOUND THE FIRST TAY-TAY BUG  A DAY AFTER ITS TRILLS WERE HEARD FROM AMONG THE NEW FOLIAGE  A ONE-LEGGED HOPPER   WITH A THIN BUT RIGID GLIDING WING OF HORN  IT HAD EVIDENTLY HATCHED FROM A TINY EGG   PRESERVED BY THE COLD FOR AGES  WISE ENOUGH NOT TO CLUTCH IT WITH HIS BARE HANDS   BUBS CAME RUNNING WITH IT HELD IN A LEAF  IT PROVED HARMLESS  IT WAS UGLY AND BEAUTIFUL  ITS GREAT CHARM WAS THAT IT WAS A VOCAL ECHO FROM THE FAR PAST  SURE  LIFE GOT TO BE FAIRLY OKAY   IN SPITE OF HARD WORK  THE ENDLICHS HAD CONQUERED THE AWFUL STILLNESS WITH LIFE-SOUNDS  GROWING PLANTS KEPT THE AIR IN THEIR GREENHOUSE FRESH AND BREATHABLE BY PHOTOSYNTHESIS  JOHN ENDLICH DID A LOT OF GRINNING AND WHISTLING  HIS TEMPER NEVER FLARED ONCE  DEEP DOWN IN HIM THERE WAS ONLY A BROODING CERTAINTY THAT THE CALM COULDN'T LAST  FOR   FROM ALL REPORTS   TROUBLE SEETHED AT THE MINING CAMP  AT ANY TIME THERE MIGHT BE A BLOWUP   A REIGN OF TERROR THAT WOULD ROLL OVER ALL OF VESTA  A THING TO RELEASE PENT-UP FORCES IN MEN WHO HAD SEEN TOO MANY HARD STARS   AND HAD HEARD TOO MUCH STILLNESS  THEY WERE LIKE THE STUFF INSIDE A COMPLAINING VOLCANO  THE ENDLICHS HAD SOUGHT TO TIME THEIR VARIOUS CROPS   SO THAT THEY WOULD ALL BE READY FOR MARKET ON AS NEARLY AS POSSIBLE THE SAME DAY  SO   ONE MORNING   IN A JET-EQUIPPED SPACE-SUIT  SIX TOMATOES  BEAUTIES  HAVE LUCK WITH THEM   JOHNNY   BUT WATCH OUT  ROSE FLUNG AFTER HIM BY HELMET PHONE  WITH A WARM LAUGH   JUST FOR A MOMENT HE FELT MAYBE A LITTLE SILLY  TOMATOES  BUT THEY WERE WHAT HE WAS BANKING ON  AND HAD FORCED TOWARD MATURITY   MOST  BECAUSE THEY WERE TOO BUSY CHASING MINERAL WEALTH TO KEEP A DECENT HYDROPONIC GARDEN GOING WOULD BE HUNGRIEST FOR  WELL HE WAS RATHER TOO RIGHT   IN SOME WAYS   TO BE FORTUNATE  YEAH THEY STILL CALL WHAT HAPPENED THE TOMATO WAR  POOR JOHNNY ENDLICH   HE WAS HEADED FOR THE COMMISSARY DOME TO DISPLAY HIS WARES   BUT VAGUE URGES SIDETRACKED HIM  AND INTO THE BAR  THE PETTY SIN OF TWO DRINKS HARDLY MERITS THE PUNISHING TROUBLE WHICH CAME HIS WAY AS   AT LEAST PARTIALLY   A RESULT  WITH HIS FACE-WINDOW OPEN   HE STOOD AT THE BAR WITH MEN WHOM HE HAD NEVER SEEN BEFORE  AND HE BEGAN TO HAVE MINOR DELUSIONS OF GRANDEUR  HE BECAME A LITTLE TOO PROUD OF HIS ACCOMPLISHMENTS  HIS WARINESS SLIPPED INTO ABEYANCE  HE HAD A QUEER IDEA THAT   AS A FARMER WITH CONCRETE EVIDENCE OF HIS SKILLS TO SHOW   HE WOULD WIN RESPECT THAT HAD BEEN DENIED HIM  DREAD OF CONSEQUENCES OF SOME THINGS THAT HE MIGHT DO   BECAME BLURRED  HIS HOT TEMPER BEGAN TO SMOLDER  UNDER THE SPARK OF MEMORY AND THE FURY OF INSULT AND MALICIOUS TRICKS   THAT   CONSIDERING THE SAFETY OF HIS LOVED ONES   HE HAD HAD NO WAY TO FIGHT BACK AGAINST  FRUSTRATION IS A DANGEROUS FORCE  RELEASED A LITTLE   IT EXCITED HIM MORE  AND THE TENSE MOOD OF THE CAMP A THING IN THE VERY AIR OF THE DOMES STIRRED HIM UP MORE  THE CAMP READY TO EXPLODE INTO SUDDEN   OPEN BARBARISM FOR DAYS WAS NOW AT A POINT WHERE NOTHING SO DRAMATIC AS FRESH TOMATOES AND FARMERS IN A BAR WAS NEEDED TO SET THE FIREWORKS OFF  JOHN ENDLICH HAD HIS TWO DRINKS  THEN   WITH CALM AND FOOLHARDY DETACHMENT   HE SET THE SIX TOMATOES OUT IN A ROW BEFORE HIM ON THE SYNTHETIC MAHOGANY  HE DIDN'T HAVE TO WAIT AT ALL FOR RESULTS  BLOODSHOT EYES   SOME OF THEM BELONGING TO MEN WHO HAD BEEN AS GENTLE AS LAMBS IN THEIR ORDINARY LIVES ON EARTH  BRISTLY FACES SHOWED SWIFT CHANGES OF EXPRESSION SURPRISE   INTEREST  GREED FOR POSSESSION BUT MOST OF ALL  AGGRESSIVE AND SATANIC HUMOR  JEEZ TAMADAS   SOMEBODY GROWLED   AMAZED  UNDER THE CIRCUMSTANCES   TO BE AWARE OF OPPORTUNITY WAS TO ACT  BIG PAWS   SOME BARE AND CALLOUSED   SOME IN THE GLOVES OF SPACE SUITS   REACHED OUT   GRABBED  TEETH BIT   JUICE SQUIRTED  LANDING ON HARD METAL SHAPED FOR THE INTERPLANETARY REGIONS  SO FAR   FINE  JOHN ENDLICH FELT PROUDER OF HIMSELF HE'D EXPECTED A CERTAIN FIERCENESS AND LACK OF MANNERS  BUT KNOWING ALL HE DID KNOW   HE SHOULD HAVE TAKEN TIME TO VISUALIZE THE INEVITABLE CHAIN-REACTION  THANKS   PAL  YOU'RE A PRINCE  SURE BUT THE THANKS WERE MORE OF A MOCKERY THAN A FORMALITY  NONE FOR ME  SHUDDUP   MIC  WHO'S DIS GUY  FRIEND YOU WOULDN'T BE THAT PUN'KIN-HEAD WE BEEN HEARIN' ABOUT   WOULD YOU  WELL MY GRACIOUS BET YOU ARE  DIS'LL BE NICE TO WATCH  WHERE'S ALF NEELY   CRANSTON  WHAT WE NEED IS EXCITEMENT  SEEN HIM OUT BY THE SLOT-MACHINES  THE BAR IS STILL OUT OF BOUNDS FOR HIM   HE CAN'T COME IN HERE  SAYS WHO  BOSS MAN MAHONEY  FOR DIS MUCH SPORT NEELY CAN GO STRAIGHT TO HELL   AND TAKE BOSS MAN WITH HIM ON A PITCHFORK  THE BIG MAN WHOSE NAME WAS CALLED LUMBERED TO THE WINDOW AT THE ENTRANCE TO THE BAR   AND PEERED INSIDE  DURING THE LAST COUPLE OF MONTHS HE'D BEEN IN A PERPETUAL GROUCH OVER HIS DEPRIVATION OF LIBERTY   WHICH HAD RANKLED HIM MORE AS AN AFFRONT TO HIS DIGNITY  NEELY LET OUT A YELL OF SHEER GLEE  HIS HUGE SHOULDERS HUNCHED   HIS PENDULOUS NOSE WOBBLED  HIS SQUINTY EYES GLEAMED AND HE CHARGED INTO THE BAR  JOHN ENDLICH'S FIRST REACTION WAS CURIOUSLY SIMILAR TO NEELY'S  HE FELT A FLASH OF SAVAGE TRIUMPH UNDER THE STIMULUS OF THE THOUGHT OF IMMEDIATE BATTLE WITH THE CAUSE OF MOST OF HIS TROUBLES  TEMPER BLAZED IN HIM  BELATEDLY   HOWEVER   THE AWARENESS CAME INTO HIS MIND THAT HE HAD STARTED AN EMOTIONAL AVALANCHE THAT WENT FAR BEYOND THE WEIGHT AND FURY OF ONE MAN LIKE NEELY  LORD  WOULDN'T HE EVER LEARN  IT WAS TOUGH AS HELL TO CRAWL   BUT HOW COULD A MAN PUT HIS WIFE AND KIDS IN AWFUL JEOPARDY AT THE HANDS OF A FLOCK OF GUYS WHOM SPACE HAD TURNED INTO GORILLAS  ENDLICH TRIED FOR PEACE  IT WAS TO HIS CREDIT THAT HE DID SO QUITE COOLLY  HE TURNED TOWARD HIS CHARGING ADVERSARY AND GRINNED  HI   NEELY  HE SAID  HAVE A DRINK ON ME  THE BIG MAN STOPPED SHORT   ALMOST IN UNBELIEF THAT ANYONE COULD STOOP SO LOW AS TO OFFER APPEASEMENT  THEN HE LAUGHED UPROARIOUSLY  WHY   I'D BE DELIGHTED   MR   PUN'KINS  HE SAID IN A POISONOUS-SWEET TONE  LET BYGONES BE BYGONES   HEY   CHARLIE  HEAR WHAT PUN'KINS SAYS  THE DRINKS ARE ALL ON HIM  LONESOME   I BET  GLAD TO HEAR IT  I'M GONNA FIX THAT  WITH A SUDDEN LUNGE NEELY GRIPPED ENDLICH'S HAND   AND GAVE IT A SAVAGE IF MOMENTARY TWIST THAT SENT NEEDLES OF PAIN SHOOTING UP THE HOMESTEADER'S ARM  IT WAS A GOADING INVITATION TO BATTLE   WHICH GRIM KNOWLEDGE OF THE SEQUEL NOW COMPELLED ENDLICH TO PASS UP  DON'T CALL HIM PUN'KINS   NEELY  SOMEBODY YELLED  IT AIN'T POLITE TO MISPRONOUNCE A NAME  IT'S MR   TOMATOES  I JUST SAW  BET HE'S GOT A MILLION OF EM   OUT THERE ON THE FARM  THE WHOLE CROWD IN THE BAR BROKE INTO COARSE SHOUTS AND LAUGHS AND COMMENTS  WE AIN'T GOOD NEIGHBORS NEGLECTING OUR SOCIAL DUTIES  LET'S PAY EM A VISIT  PUN'KINS  WHAT ELSE YOU GOT BESIDES TAMADAS   LET'S GO ON A PICNIC  HELL WITH THE BOSS MAN  I'M NOT GOIN' ON SHIFT   COME ON   EVERYBODY   THERE'S GONNA BE A FIGHT A MOIDER  HELL WITH THE BOSS MAN  LIKE THE FLICKER OF FLAME FLASHING THROUGH DRY GUNPOWDER   YOU COULD FEEL THE EXCITEMENT SPREAD  OUT OF THE BAR   OUT OF THE REC-DOME   IT WOULD SOON IGNITE THE WHOLE TENSE CAMP  JOHN ENDLICH'S HEART WAS IN HIS MOUTH  AS HIS MIND PICTURED THE PART OF ALL THIS THAT WOULD AFFECT HIM AND HIS  A BUNCH OF MEN GONE WILD   KICKING OVER THE TRACES   ARCING AROUND VESTA  SACKING AND DESTROYING IN SHEER EXUBERANCE   LIKE BRATS ON HALLOWE'EN  THEY WOULD STOP AT NOTHING  AND ROSE AND THE KIDS  THIS WAS IT  WHAT HE'D BEEN SO SCARED OF ALL ALONG  IT WAS AT LEAST PARTLY HIS OWN FAULT   AND THERE WAS NO WAY TO STOP IT NOW  I LOVE TOMATOES   MR   PUN'KINS  NEELY RUMBLED AT ENDLICH'S SIDE   REACHING FOR THE DRINK THAT HAD BEEN SET BEFORE HIM  BUT FIRST I'M GONNA SMEAR YOU ALL OVER THE CAMP  TAKE MY TIME DO A GOOD JOB  BECAUSE Y'DIDN'T GIVE ME ANY TOMATOES  WITH ALL THE STRENGTH OF HIS MUSCULAR BODY   BACKED UP BY DREAD AND PENT-UP FURY   HE SENT A GLOVED FIST CRASHING STRAIGHT INTO NEELY'S OPEN FACE-WINDOW  EVEN THE PANG IN HIS WELL-PROTECTED KNUCKLES WAS A SATISFACTION FOR HE KNEW THAT THE DAMAGE TO NEELY'S UGLY FEATURES MUST BE MANY TIMES GREATER  THE BLOW   OCCURRING UNDER THE CONDITIONS OF VESTA'S TINY GRAVITY   HAD AN ENTIRELY UN-EARTHLY EFFECT  NEELY   EYES GLAZING   FLOATED GENTLY UP AND AWAY  AND ENDLICH   SINCE HE HAD AT THE LAST INSTANT CLUTCHED NEELY'S ARM   WAS DRAWN ALONG WITH THE MINER IN A GRACEFUL   ARCING FLIGHT THROUGH THE SMOKY AIR OF THE BAR  BOTH ARMORED BODIES   LACKING NOTHING IN INERTIA   TORE THROUGH THE TOUGH PLASTIC WINDOW   AND THEY BOUNCED LIGHTLY ON THE PAVEMENT OF THE MAIN SECTION OF THE REC-DOME  NEELY WAS AS LIMP AS A WET RAG   SLEEPING PEACEFULLY   BLOOD ALL OVER HIS CRUSHED FACE  BUT THAT HE WAS OUT OF ACTION SIGNIFIED NO PEACE   WHEN SO MANY OF HIS BUDDIES WERE NEARBY   AND BEGINNING TO SEETHE   LIKE A SWARM OF HORNETS  SO THERE WAS AN ELEMENT OF DESPAIR IN ENDLICH'S QUICK ACTIONS AS HE SLAMMED NEELY'S FACE-WINDOW AND HIS OWN SHUT   PICKED UP HIS ENEMY   AND USED HIS JETS TO PROPEL HIM IN THE LONG LEAP TO THE AIRLOCK OF THE DOME  HE HAD NO REAL PLAN  HE JUST HAD THE RAGGED AND ALL BUT HOPELESS THOUGHT OF USING NEELY AS A HOSTAGE AS A WEAPON IN THE BITTER AND DESPERATE ATTEMPT TO DEFEND HIS WIFE AND CHILDREN FROM THE MOB THAT WOULD BE FOLLOWING CLOSE BEHIND HIM  TUMBLING END OVER END WITH HIS LIGHT BUT BULKY BURDEN   HE SPRAWLED AT THE THRESHOLD OF THE AIRLOCK  WHERE THE GUARD   POSTED THERE   HAD STEPPED HASTILY OUT OF HIS WAY  AGAIN   CAPRICIOUS LUCK   SURPRISE   AND SWIFT ACTION WERE ON HIS SIDE  HE PRESSED THE CONTROL-BUTTON OF THE LOCK   AND SQUIRMED THROUGH ITS DOUBLE VALVES BEFORE THE STARTLED GUARD COULD STOP HIM  THEN HE SLAMMED HIS JETS WIDE  AND AIMED FOR THE HORIZON  THE JOURNEY WAS MADE   THEN   NOT IN A SMOOTH ARC   BUT IN A SERIES OF ERRATIC WAVERINGS  FROM THE VERY START OF THAT WILD FLIGHT   HE HEARD VOICES IN HIS HELMET PHONES DAMN PUN'KIN-HEAD GREENHORN  DID YOU SEE HOW HE HIT NEELY   SCHMIDT  YEAH BY SURPRISE  DAMN YELLA YOKEL  WHO'S COMIN' ALONG TO GET HIM  SURE THERE WAS ANOTHER SIDE TO IT OTHER VOICESSHUCKS NEELY HAD IT COMING TO HIM   I HOPE THE FARMER REALLY MURDERS THAT BIG LUNKHEAD  YOU AIN'T KIDDIN'  MUIR  I WAS GLAD TO SEE HIS FACE SPLATTER LIKE A ROTTEN TAMATA  OKAY FINE  IT WAS GOOD TO KNOW YOU HAD SOME SENSIBLE GUYS ON YOUR SIDE   BUT WHAT GOOD WAS IT   WHEN THE CAMP AS A WHOLE WAS BOILING OVER FROM ITS INTERNAL TROUBLES  THERE WERE MORE THAN ENOUGH ROUGHNECKS TO DO A MIGHTY MESSY JOB FAST  PANTING WITH TENSION   ENDLICH SWOOPED DOWN BEFORE HIS GREENHOUSE   AND DRAGGED NEELY INSIDE THROUGH THE AIRLOCK  FOR A FLEETING INSTANT THE SIGHTS AND SOUNDS AND SMELLS THAT IMPINGED ON HIS SENSES   AS HE OPENED HIS FACE-WINDOW ONCE MORE  BROUGHT HIM A REGRET  THE RUSTLE OF CORN   THE ODOR OF GREENERY   THE CHICKEN VOICES THERE WAS HOME IN ALL OF THIS  SOMETHING PASTORAL AND BEAUTIFUL AND ORDERLY GAINED WITH HARD WORK  AND SOMETHING BROUGHT BACK RESTORED FROM THE REMOTE PAST  THE BUZZING OF THE TAY-TAY BUG WAS EVEN A REAL ECHO FROM THAT SMASHED YET UNDOUBTEDLY ONCE BEAUTIFUL WORLD OF ANTIQUITY  BUT THESE WERE FRAGILE CONCERNS   BESIDE THE DESPERATE QUESTION OF THE IMMEDIATE SAFETY OF ROSE AND THE KIDS  ALREADY CRIES AND SHOUTS AND COMMENTS WERE COMING FAINTLY THROUGH HIS HELMET PHONES AGAIN GET THE YOKEL   GET THE BUM   WE'LL FIX HIS WAGON GOOD  THE PACK WAS ON THE WAY GETTING CLOSER WITH EVERY HEARTBEAT  NEVER IN HIS LIFE HAD ENDLICH EXPERIENCED SO HARROWING A TIME AS THIS NEVER   IF BY SOME MIRACLE HE LIVED   COULD HE EXPECT ANOTHER EQUAL TO IT  TO STAND AND FIGHT   AS HE WOULD HAVE DONE IF HE WERE ALONE   WOULD MEAN SIMPLY THAT HE WOULD BE CUT DOWN  TO TRY THE PEACEMAKING OF APPEASEMENT   WOULD HAVE PROBABLY THE SAME RESULT PLUS   FOR HIMSELF   THE DISHONOR OF CONTEMPT  SO  WHERE WAS THERE TO TURN   WITH GRIM   UNANSWERING BLANKNESS ON EVERY SIDE  JOHN ENDLICH FELT MIGHTILY AN OLD YEARNING THAT OF A FUNDAMENTALLY PEACEFUL MAN FOR A WAY TO OPPOSE AND WIN AGAINST BRUTAL   OVERPOWERING ODDS WITHOUT USING EITHER SERIOUS VIOLENCE OR THE EVEN MORE FUTILE COURSE OF SUPINE SUBMISSION  HERE ON VESTA  THIS HAD BEEN THE ISSUE HE HAD FACED ALL ALONG  IN MANY AGES AND MANY NATIONS AND PROBABLY ON MANY PLANETS THROUGHOUT THE UNIVERSE OTHERS HAD FACED IT BEFORE HIM  TO HIS STRAINING AND TORTURED MIND THE TRITE AND SOMEWHAT MOCKING ANSWERS CAME PSYCHOLOGY  SALESMANSHIP  THE SELLING OF RESPECT FOR ONE'S SELF  THESE WERE FINE WORDS  GLIB WORDS  BUT THE QUESTION  HOW  WAS MORE BITTER AND DERISIVE THAN EVER  STILL   HE HAD TO TRY SOMETHING TO MAKE AT LEAST A FORLORN EFFORT  FOR HIM IT ALWAYS MEANT TROUBLE  AND HE WAS NOW ABOUT TO MAKE HIS LAST GREAT GAMBLE  IF HE LOST   HE WOULDN'T BE ALIVE TO GAMBLE AGAIN  IF   BY GREAT GOOD-FORTUNE   HE WON WELL HE WAS CERTAIN THAT ALL THE CHARM OF UNNECESSARY CHANCE-TAKING WOULD   BY THE MEMORY OF THESE AWFUL MOMENTS   BE FOREVER POISONED IN HIM  NOW ROSE AND THE YOUNGSTERS CAME HURRYING TOWARD HIM  BACK SO SOON   JOHNNY  ROSE CALLED  WHAT'S THIS   WHAT HAPPENED  WHO'S THE GUY   POP  EVELYN ASKED  OH BALONEY NOSE  WHAT ARE YOU DOING WITH HIM  BUT BY THEN THEY ALL HAD GUESSED SOME OF THE TENSE MOOD   AND ITS PROBABLE MEANING  NEELY'S PALS ARE COMING   HONEY  ENDLICH SAID QUIETLY  IT'S THE SHOWDOWN  HIDE THE KIDS   AND YOURSELF   QUICK  UNDER THE HOUSE   MAYBE  ROSE'S PALE EYES MET HIS  THEY WERE COMPREHENDING   THEY WERE WORRIED  BUT THEY WERE COOL  HE COULD SEE THAT SHE DIDN'T WANT TO LEAVE HIM  EVELYN LOOKED AS THOUGH SHE MIGHT BEGIN TO WHIMPER BUT HER SMALL JAW HARDENED  BUBS' LOWER LIP TREMBLED   BUT HE SAID VALIANTLY I'LL GET THE GUNS   POP   I'M STAYIN' WITH YUH  NO YOU'RE NOT   SON  JOHN ENDLICH ANSWERED  GET GOING  ORDERS  GET THE GUNS TO KEEP WITH YOU TO WATCH OUT FOR MOM AND SIS  ROSE TOOK THE KIDS AWAY WITH HER   WITHOUT A WORD  ENDLICH WONDERED HOW TO DESCRIBE WHAT WAS MAYBE HER LAST LOOK AT HIM  THERE WERE NO FANCY WORDS IN HIS MIND  JUST LOVE  AND DEEP CONCERN  ALF NEELY WAS SHOWING SIGNS OF RETURNING CONSCIOUSNESS  WHICH WAS GOOD  STILL DRAGGING HIM   ENDLICH WENT AND GOT A BUSHEL BASKET  IT WAS FILLED TO THE BRIM WITH RIPE   RED TOMATOES   BUT HE COULD CARRY ITS TINY WEIGHT ON THE PALM OF ONE HAND   SCARCELY NOTICING THAT IT WAS THERE  FOR AN INSTANT ENDLICH SCANNED THE SKY   THROUGH THE CLEAR PLASTIC ROOF OF THE GREAT BUBBLE  HE SAW AT LEAST A SCORE OF SHAPES IN SPACE ARMOR   ARCING NEARER SPECKS IN HUMAN FORM   GLOWING WITH REFLECTED SUNLIGHT   LIKE LITTLE HURTLING MOONS AMONG THE STARS  NEELY'S PALS  IN A MOMENT THEY WOULD ARRIVE  ENDLICH TOOK NEELY AND THE LOADED BASKET CLOSE TO THE TRANSPARENT SIDE OF THE GREENHOUSE   NEAREST THE APPROACHING ROUGHNECKS  THERE HE REMOVED NEELY'S OXYGEN HELMET   HOPING THAT   MAYBE   THIS MIGHT DETER HIS FRIENDS A LITTLE FROM RUPTURING THE PLASTIC OF THE HUGE BUBBLE AND LETTING THE AIR OUT  IT WAS A FEEBLE SAFEGUARD   FOR   IN ALL PROBABILITY   IN CASE OF SUCH RUPTURE   NEELY WOULD BE RESCUED FROM DEATH BY SMOTHERING AND COLD AND THE BOILING OF HIS BLOOD   SIMPLY BY HAVING HIS HELMET SLAMMED BACK ON AGAIN  NEXT   ENDLICH DUMPED THE CONTENTS OF THE BASKET ON THE GROUND   INVERTED IT   AND SAT NEELY UPON IT  THE BIG MAN HAD RECOVERED CONSCIOUSNESS ENOUGH TO BE MERELY GROGGY BY NOW  ENDLICH SLAPPED HIS BATTERED FACE VIGOROUSLY   TO HELP CLEAR HIS HEAD AFTER HAVING   OF COURSE   RELIEVED HIM OF THE BLASTER AT HIS BELT  ENDLICH LEFT HIS OWN FACE-WINDOW OPEN   SO THAT THE SOUNDS OF NEELY'S VOICE COULD PENETRATE TO THE MIKE OF HIS OWN HELMET PHONE   THUS TO BE TRANSMITTED TO THE HELMET PHONES OF NEELY'S BUDDIES  ENDLICH WAS ANYTHING BUT CALM INSIDE   WITH THE WILD HORDE   AS IRRESPONSIBLE IN THEIR PRESENT STATE OF MIND AS A PACK OF IDIOT BABOONS   BEARING DOWN ON HIM  BUT HE FORCED HIS TONE TO BE CONVERSATIONAL WHEN HE SPOKE  HELLO   NEELY  HE SAID  YOU MENTIONED YOU LIKED TOMATOES  MAYBE YOU WERE KIDDING  HERE ON THE GROUND   RIGHT IN FRONT OF YOU   IS A WHOLE BUSHEL  THE REGULAR ASTEROIDS PRICE CONSIDERING THE TROUBLE IT TAKES TO GROW EM   AND THE AMOUNT OF DOUGH A GUY LIKE YOU CAN MAKE FOR HIMSELF OUT HERE   IS FIVE BUCKS APIECE  BUT FOR YOU   RIGHT NOW  THEY'RE ALL FREE  HERE  HAVE A NICE FRESH   RIPE ONE   NEELY  BIG MAN GLARED AT HIS CAPTOR FOR A SECOND  AFTER HE HAD LOOKED DAZEDLY AROUND  HE WOULD HAVE LEAPED TO HIS FEET EXCEPT THAT THE MUZZLE OF HIS OWN BLASTER WAS LEVELED AT THE CENTER OF HIS CHEST   AT A RANGE OF NOT OVER TWENTY INCHES  FOR A FLEETING INSTANT   NEELY LOOKED SCARED AND PRUDENT  THEN HE SAW HIS PALS   LANDING LIKE A FLOCK OF BIRDS   JUST BEYOND THE TRANSPARENT SIDE OF THE GREENHOUSE  WE'LL GET THE DAMN YOKEL OFF YOUR NECK  COME ON   GUYS LET'S TURN THE DAMN PLACE UPSIDE DOWN  NEELY GREW COURAGEOUS YES  MAYBE IT DID TAKE A CERTAIN ANIMAL NERVE TO DO WHAT HE DID  HIS BATTERED AND BLOODIED LIP CURLED  HE SNARLED SLOWLY  HIS TONE DRIPPING CONTEMPT FOR THE INSANELY FOOLISH  THEN HIS FACE TWISTED INTO A CONFIDENT AND MOCKING LEER  TO CARRY THE MOCKERY FARTHER   A BIG PAW REACHED OUT AND GRABBED THE PROFFERED TOMATO FROM ENDLICH'S HAND  SURE THANKS  ANYTHING TO OBLIGE  HE TOOK A GREAT BITE FROM THE FRUIT   CLOWNING THE ACTION WITH A FORCED EXPRESSION OF RELISH  HE GRUNTED   IN DANGER  PLAYING FOR THE APPROVAL OF HIS PALS  HE WAS PROVING HIS COMIC COOLNESS THAT EVEN NOW HE WAS MASTER OF THE SITUATION   AND WAS IN NO HURRY TO BE RESCUED  COME ON   PUNK  HE ORDERED ENDLICH  WHERE IS THE NEXT ONE   SEEING YOU'RE SO GENEROUS   BE POLITE TO YOUR GUEST  ENDLICH HANDED HIM A SECOND TOMATO  BUT AS HE DID SO   IT SEEMED ALL THE THINGS HE DREADED WOULD HAPPEN WERE BREATHING DOWN HIS BACK  FOR THE FACES THAT HE GLIMPSED BEYOND THE PLASTIC SHOWED THE TWISTED EXPRESSIONS THAT BETRAY THE POINT WHERE SAVAGE HUMOR IMPERCEPTIBLY BECOMES MURDEROUS  A DOZEN BLASTERS WERE LEVELED AT HIM  THEY STOOD STILL FOR A MOMENT   WATCHING  COMMENTING HEY NEELY  DON'T EAT EM ALL   NEELY   SAVE SOME FOR US  ENDLICH WAS FOLLOWING NO COMPLETE PLAN  HE HAD ONLY THE FEELING THAT SOMEWHERE HERE THERE MIGHT BE A DRAMATIC TOUCH THAT   BY A LONG CHANCE   WOULD YIELD HIM A TOEHOLD ON THE SITUATION  WITHOUT A WORD   HE GAVE NEELY A THIRD TOMATO  THEN A FOURTH AND A FIFTH  NEELY KEPT GOBBLING AND CLOWNING  THE QUESTION BEGAN TO SHINE SPECULATIVELY IN THE FACES OF THE ONLOOKERS  IT BEGAN TO APPEAL TO THEIR WOLFISH SENSE OF COMEDY  AFTER THE FIFTEENTH TOMATO   HE BURPED AND BALKED  THAT'S ENOUGH KIDDIN' AROUND   PUN'KIN-HEAD  HE GROWLED  GET AWAY WITH YOUR DAMNED GARDEN TRUCK  I SHOULD BE BEATIN' YOU TO A GREASE-SPOT RIGHT THIS MINUTE   WHY I THEN NEELY TRIED TO LUNGE FOR THE BLASTER  AS ENDLICH SQUEEZED THE TRIGGER  HE TURNED THE WEAPON ASIDE A TRIFLE   SO THAT THE BEAM OF ENERGY FLICKED PAST NEELY'S EAR AND SPLASHED GARDEN SOIL THAT TURNED INCANDESCENT   INSTANTLY  JOHN ENDLICH MIGHT HAVE DIED IN THAT MOMENT   CUT DOWN FROM BEHIND  THAT HE WASN'T PROBABLY MEANT THAT   FROM THE POSITION OF COMPLETE UNDERDOG AMONG THE SPECTATORS   HIS POPULARITY HAD RISEN SOME  NEELY  HE SAID WITH A GRIN  HOW CAN YOU START BEATIN'   WHEN YOU AIN'T DONE EATIN'  NEELY HERE I AM   TRYING TO BE FRIENDLY AND HOSPITABLE   AND YOU AREN'T CO-OPERATING  A WHOLE BUSHEL OF JUICY TOMATOES SYMBOLS OF CIVILIZATION WAY THE HELL OUT HERE IN THE ASTEROIDS AND YOU HAVEN'T EVEN MADE A DENT IN EM YET  WHAT'S THE MATTER   NEELY  LOSE YOUR APPETITE  HERE  ENDLICH'S TONE WAS FALSELY PERSUASIVE  FOR THERE WAS A STEELY NOTE OF COMMAND IN IT   AND THE BLASTER IN ENDLICH'S HAND WAS POINTED STRAIGHT AT NEELY'S CHEST  NEELY'S EYES BEGAN TO LOOK FRIGHTENED AND SULLEN  HE SHIFTED UNCOMFORTABLY   AND THE BUSHEL BASKET CREAKED UNDER HIS WEIGHT  YOU'RE YELLA AS ANY DAMN PUN'KIN  HE SAID LOUDLY  YOU DON'T FIGHT FAIR  GUYS WHAT'S THE MATTER WITH YOU   GET THIS NUT WITH THE BLASTER OFFA ME  YELLA  ENDLICH SEEMED TO MUSE  CALL ME YELLA  NELLY HOLLERED  WHY   YOU LOUSY DAMN YOKEL   IF YOU DIDN'T HAVE THAT BLASTER ENDLICH SAID GRIMLY  BUT I GOT IT   FRIEND  HE SENT A STREAM OF ENERGY FROM THE BLASTER RIGHT PAST NEELY'S HEAD   SO CLOSE THAT A SHOCK OF THE OTHER'S HAIR SMOKED AND CURLED INTO BLACK WISPS  AND WATCH YOUR LANGUAGE MY WIFE AND KIDS CAN HEAR YOUNEELY'S THICK SHOULDERS HUNCHED  HE DUCKED NERVOUSLY   RUBBING HIS HEAD AND FOR THE FIRST TIME THERE WAS A HINT OF GENUINE ALARM IN HIS VOICE  ALL RIGHT  HE GROWLED   ALL RIGHT   TAKE IT EASYSOMETHING DEEP WITHIN JOHN ENDLICH RELAXED A COLD TIGHT KNOT SEEMED TO UNWIND FOR   AT THAT MOMENT   HE KNEW THAT NEELY WAS BEGINNING TO LOSE  THE BIG MAN'S EVIDENT DISCOMFORT AND FEAR WERE THE MARKS OF WEAKNESS TO HIS FOLLOWERS AT LEAST AND WITH THEM   HE COULD NEVER BE A LEADER   AGAIN  BY HIS OWN CODE   MUST BE FOLLOWED UP   TO ITS NASTY   IF INTERESTING   OUTCOME  THE SPECTATORS BEGAN TO RESEMBLE ROMANS AT THE CIRCUS   WITH NEELY THE VICTIM  AND THE VICTIM'S DOWNFALL WAS TRAGICALLY SWIFT  COME ON   NEELY   YOU HEARD WHAT PUN'KINS SAID  SOMEBODY YELLED  DAMNED IF THIS AIN'T GONNA BE RICH  DON'T LET US DOWN   NEELY  NOBODY'S HURTIN' YUH  ALL YOU HAVE TO DO IS EAT ALL THEM NICE TAMADAS  NEELY IF THAT BUSHEL AIN'T ENOUGH FOR YOU   I'LL PERSONALLY BUY YOU ANOTHER   AT THE REG'LAR PRICE  LUCKY NEELY  LOOK AT HIM   HAVING A SWELL BANQUET  COME ON   PUN'KINS MAKE HIM EAT  YEAH  UNDER CERTAIN CONDITIONS HUMAN NATURE CAN BE PRETTY FICKLE  WONDERINGLY   JOHN ENDLICH FELT HIMSELF TO BE RESPECTED THE TOP MAN  THE GUY WHO HAD SHOWN COURAGE AND INGENUITY   AND WAS WINNING   BY THE HARSH CODE OF MEN WHO HAD BEEN ROUGHENED AND SOURED BY SPACE BY LIFE AMONG THE ASTEROIDS  FOR A LITTLE WHILE THEN  HE HAD TO BE HARD  HE THRUST ANOTHER TOMATO TOWARD NEELY   AT THE SAME TIME DIRECTING A THIN STREAM FROM THE BLASTER JUST PAST THE BIG NOSE  NEELY ATE SIX MORE TOMATOES WITH A WILL   HIS EYES POPPING  SWEAT STREAMING DOWN HIS FOREHEAD  ENDLICH'S NEXT BLASTER-STREAM BARELY MISSED NEELY'S BOOTED TOE  THE PERSUASIVE SHOT WAS WORTH FIFTY-FIVE MORE DOLLARS IN GARDEN FRUIT CONSUMED  THE CROWD GAVE WITH MOCK CHEERS AND BRAVOS   AND DEMANDED MORE ACTION  TO GOAD NEELY ON IN THIS LUDICROUS AND SAVAGE GAME  IT ISN'T TO BE SAID THAT ENDLICH DIDN'T ENJOY HIS REVENGE FOR ALL THE ANGUISH AND REAL DANGER THAT NEELY HAD CAUSED HIM  HE'D ALWAYS BE A HOT-TEMPERED GUY HE COULDN'T HELP THAT  STILL   FOR A LITTLE MORE   HE HAD TO GO ON  AGAIN AND AGAIN   AS BEFORE   HE USED THAT BLASTER  BUT   AS HE DID SO   HE TALKED   RAMBLINGLY   KNOWING THAT THE AUDIENCE   TOO   WOULD HEAR WHAT HE SAID  MAYBE   IN A WAY   IT WAS A LECTURE BUT HE COULDN'T HELP THAT HAVE ANOTHER TOMATO   NEELY  SORRY TO DO THINGS LIKE THIS BUT IT'S YOUR OWN WAY   SO WHY SHOULD YOU COMPLAIN  FUNNY   AIN'T IT  A MAN CAN GET EVEN TOO MANY TOMATOES   CIVILIZED TOMATOES  PART OF SOMETHING MOST GUYS AROUND HERE HAVE BEEN HOMESICK FOR   FOR A LONG TIME  MAYBE THAT'S WHAT HAS BEEN MOST OF THE TROUBLE OUT HERE IN THE ASTEROIDS   NOT ENOUGH CIVILIZATION  ON EARTH WE WERE USED TO CERTAIN STANDARDS IN SPITE OF BEING ROUGH ENOUGH THERE   TOO  HERE   THE TRACES GOT KICKED OVER  BUT ON THIS SIDE OF VESTA   AN IDEA BEGINS TO SOAK IN THIS USED TO BE NICE COUNTRY BLUE SKY   TREES GROWING  SOME OF THAT IS COMING BACK   NEELY  AND ORDER WITH IT  BECAUSE   DEEP IN OUR GUTS  THAT'S WHAT WE ALL WANT  AND FRESH VEGETABLES'LL HELP  HAVE ANOTHER TOMATO   NEELY   OR SHOULD WE CALL IT ENOUGH   GUYS  NEELY  YOU AIN'T GONNA QUIT NOW  SOMEBODY GUFFAWED  YOU'RE DOIN' ALMOST GOOD  NEELY'S FACE WAS PURPLE  HIS EYES WERE BLOODSHOT   HIS MOUTH HUNG PARTLY OPEN  GAWD NO PLEASE  HE CROAKED  AN EMBARRASSED HUSH FELL OVER THE CROWD  FINALLY SOMEONE SAID   EXPRESSING THE INTRUSION AMONG THEM OF THE BETTER DIGNITY OF MANTHEN AND THERE   JOHN ENDLICH SOLD WHAT WAS LEFT OF HIS FIRST BUSHEL OF TOMATOES  PUN'KINS YOU'RE ALL RIGHT  SOILING THE INSIDE OF HIS HELMET'S FACE-WINDOW SO THAT HE COULD SCARCELY SEE OUT OF IT  THAT   AMID THE RAUCOUS LAUGHTER OF HIS COMPANIONS   WHICH STILL SOUNDED SLIGHTLY SELF-CONSCIOUS AND PITYING  THUS ALF NEELY SANK AT LAST TO THE LEVEL OF HELPLESS OBLIVION AND NONENTITY  A WEEK OF VESTAL DAYS LATER   IN THE AFTERNOON   ROSE AND THE KIDS CAME TO JOHN ENDLICH   WHO WAS TOILING OVER HIS CUCUMBERS  THEIR NAME IS HARPER   POP  BUBS SHOUTED  AND THEY'VE GOT THREE CHILDREN  EVELYN ADDED  JOHN ENDLICH   STRAIGHTENED   SHAKING A KINK OUT OF HIS TIRED BACK  WHO  HE QUESTIONED  THE PEOPLE WHO ARE GOING TO BE OUR NEW NEIGHBORS   JOHNNY  ROSE SAID HAPPILY  WE JUST PICKED UP THE NEWS ON THE RADIO FROM THEIR SHIP   WHICH IS APPROACHING FROM SPACE RIGHT NOW  I HOPE THEY'RE NICE FOLKS  AND   JOHNNY THERE USED TO BE COUNTRY SCHOOLS WITH NO MORE THAN FIVE PUPILS  SURE  JOHN ENDLICH SAID  SOMETHING FELT WARM AROUND HIS HEART  LEAVE IT TO A WOMAN TO THINK OF A SCHOOL THE SYMBOL OF CIVILIZATION  MARCHING NOW ACROSS THE VOID  JOHN ENDLICH THOUGHT OF THE TROUBLE AT THE MINING CAMP   WHICH HIS FIRST LOAD OF FRESH VEGETABLES   PICKED UP BY A SMALL SPACE BOAT   HAD PERHAPS HELPED TO END  HE THOUGHT OF THE RELICS IN THIS STRANGE LAND  THINGS THAT WERE LIKE LEGENDS OF A LOST PASTORAL BEAUTY  THINGS THAT COULD COME BACK  THE SECOND FAMILY OF HOMESTEADERS WAS ALMOST HERE  ENDLICH WAS RECONCILED TO DOMESTICITY  HE FELT AT HOME HE FELT PROUD  BEES BUZZED NEAR HIM  A TAY-TAY BUG FROM A PERISHED ERA   HUMMED AND SCRAPED OUT A MOURNFUL SOUND  I WONDER IF THE HARPER KIDS'LL CALL YOU MR   PUN'KINS   POP  BUBS REMARKED  JOHN ENDLICH LAUGHED  BUT SOMEHOW HE WAS PROUDER THAN EVER  MAYBE THE NAME WOULD BE A LEGEND   TOO  \n",
        "transcription_base": " But beyond this point, the situation was bitter. His two kids, Bubs, Seven and Evelyn Nine, clad in spacesuits that were slightly oversized to allow for the growth of young bodies were both falling. He could hear them through his oxygen helmet radio phones. At his elbow, his wife rose, her heart-shaped face and grey eyes, framed by the wide face window of her armor, was trying desperately to joke back tears and be brave. Remember? We've got to make good here, Johnny,\" she was saying. Remember what the homesteaders office people told us, that with modern equipment and the right frame of mind, life can be nice out here. It's worked on other asteroids. What if we are the first farmers to come to Vesta? Don't listen to those crazy miners. They're just kidding us. Don't listen to them. And don't forget, for gosh sakes get sore. Rose's words were now like dim echoes of his conscience. Recently back in Illinois, he had even spent six months in jail for all but inflicting murder with his bare fists on a bullying neighbor whom he had caught whipping a horse. Sure, but during those six months his farm, the fifth he'd tried to run and scattered parts of North America had gone to weeds in spite of Rose's valiant efforts to take care of it alone. Hi, you hydroponic pumpkin head. How you like your new claim? Now he's saying it. How about some fresh turnips? Good luck, you green horn. Tied to baby's diaper suspenders? Let the poor dope alone, guys. Snooty. Won't take our money. Wifey's boy. Let's make him sociable. Hydra-ponic pumpkin head. Matching the row of a dozen coarse faces and grins that lined the viewports of the ship. These men were asteroid miners, space hardened and space twisted. They'd been back to Earth for a while to raise hell and freshen up and spend the money in their then-bulging pockets. Coming out again from Earth across the orbit of Mars to the asteroid belt, they had had the endlick, says fellow passengers. John Endlick had battled valiantly with his feeble side, and with his social inclinations all through that long dreary voyage. In the main, it had been a rather tattered victory, but now, at the final moment of bleak anti-climax, they took their revenge in Gaffa's and ridicule, hurling the noise at him through the radio-fanes of the space suit helmets that they held in their laps. Space suits being always kept handy beneath the traveler's seats of every interplanetary vessel. Tate far, when the turnips get you down, bring a life along, ought to have a man-sized just asked for me, Alph Neely. Yeah, Alph Neely was the loudest and the ugliest of John Endlich's beters. He had gigantic arms and shoulders, small, squinty eyes and appendulous nose. Ho ho ho, and the others, yelling and hooting, made it a pack. Man, don't you wish he was back in po-dung? What? No, to mate his touch? Where are they, Papa? He was small and broad, a solid looking thirty-two years old. He might have taken the savage ribbing more calmly, but there was too much grim fact behind what these asteroid miners said. Besides, out here he had thought that he would have a better chance to lick the weaknesses in himself because he'd have to work to keep his family alive, because he'd been told that there'd be no one around to distract him from duty. The irony of that now was maddening. For the moment, John Endlich was speechless and strangled, but like an ignited firecracker, ready to explode. His heart-body hunched as if ready to spring, and the baiting waxed louder. It was like the yammering of crows or the roar of a wild surf in his ears. Then came the last straw. The kids had kept on bawling, more and more violently, but now they got down to verbal explanations of what they thought was the matter. timing could not have been better, or worse. The shrieks and howls of mirth from the miners a moment ago were as nothing to what they were now. That was a mouthful. There is a point at which an extremity of masculine embarrassment can lead to but one thing. May him. Whether the latter is to be inflicted on the attack, or the attacker, remains the only question more. I'll get you out, nearly. Endlich snarled. Right now. And I'll get all the damned held bit in rest of you guys.\" Endlich was hardly lacking in vigor himself. Like a squat but streamlined fighting rooster, rendered a hundred times more agile by the puny gravity. He would have reached the hold-port threshold in a single leaf-skip. Had not rose, together they slid several yards across the dried out surface of the asteroid. \"'Don't, Johnny! Please don't!\" she wailed. begging could not have stopped him, nor could her physical interference for more than an instant, not the certainty of being torn limb from limb and not hell itself could have held him back any more than. Yet he was brought to a halt. It certainly wasn't cowardice that accomplished this. No. Suddenly there was no laughter among the miners, but in a body they arose from their traveller-seats aboard the ship. Suddenly there was no more humor in their faces beyond the view-ports. They were itching to be assaulted. The glitter in out nearly small eyes was about as reassuring as the glitter in the eyes of a slightly prankish gorilla. Were waiting for you, Mr. Civilization. He rumbled softly. After that, all space was still electrified. These guys who had been starved emotionally and warped inside by raw space. Coldness crawled into John Endlich's guts and seemed to twist steel hooks there, making him sick. And for his family, he was scared. What hell could not have accomplished became fact. His almost suicidal impulse to inflict violence on his tormentors was strangled, bottled up, brutally repressed, narrowing domesticity, had won a battle. nearly ground. It don't matter, Dutch. We'll finish you off without you lifting a finger. In John Endlich, the rage of intolerable insult still seed. But there was no question now of outcome between it and the brassy taste of danger on his tongue. He knew that he'd been nuckling down and changing from man to worm to take back his fighting words couldn't do any good. He felt like a martyr, left with his family in a Roman arena while the Lions approached. His butchery was as good as over. Reprieve came presumably by way of the good sense of the pilot of the spaceship. The hold port was closed abruptly by a mechanism that could be operated only from the main control port. The rocket jets of the craft emitted a single weak burst of flame like a boulder growing agile and flady. The ship leaped from the landscape and arched outward toward the stars to curve around the asteroid and disappear behind the scenes, jagged brim. The craft had gone to make its next and final stop, among the air-domes of the huge mining camp on the other side of Vesta. The side of torn rocks and rich radioactive ores. But before the ship had vanished from sight, John Endlich heard Alph Neale's grim promise in his helmet radio phones. We'll be back to night-green horn. Stick around. I'll rub what's left of you in the dust of your claim, and Link was alone then, with the fright in his wife's eyes, the squalling of his children, and his own abysmal disgust and worry. For once he ceased to be a gentle parent. Bob's Evelyn, he snapped. The startled silence which ensued was his first personal victory on Vesta, but the silence itself was an insidious enemy. It made his ears ring. It made even his audible pulse-peat seem to ache. it bored into his nerves like a drill. When, after a moment, Rose spoke quaveringly, he was almost grateful. What do we do, Johnny? We still got to do what we're supposed to do, don't we? We're upon John, and look aloud himself the luxury and the slight relief of a torrent of silent cussing inside his head. Damn the obvious questions of women! Damn the miners! Damn the AHO! the asteroid's homesteaders office, and their corny slogans and posters meant to hook suckers like himself. Damn is O'Dumne hide! Damn the mighty urge to get drunk! Damn all the bitter circumstances that me doing so impossible! Damn! Damn! Damn!\" finished with this orgy he said, meekly. I guess so, hon. All members of the Enlick family had been looking around them at the weird Vestel landscape. John Endlich's mind again, there flashed a picture of what this asteroid was like. At the asteroid's home stutter school in Chicago where his dependence in he had been given several weeks of orientation instruction, suitable to their separate needs, he had been shown diagrams and photographs of Vesta. Later he had, of course, seen it from space. It was not round. Like a major planet or most moons. Rather, it was like a bomb fragment, or even more like a shard of a gigantic broken vase. It was several hundred miles long and half as thick. One side of it, this side, was curved for it had been a segment of the surface of the shattered planet from which all of the asteroids had come. The other side was jagged and broken, for it had been torn from the mezzo-derm of that tortured Mother World. From the desolation of his own thoughts in which the ogre form of alphnilly lurked with its pendant promise of catastrophe soon to come, and from his own view of other desolation all around him. John Endlich was suddenly distracted by the comments of his kids. All at once conforming to the changeable weather of children's nature's regardless of circumstance, their mood at once more turned bright and adventurous. Look, Pop! This land all around here was fields once. Gosh! Evelyn, who was older, snapped at Bubbs. We know that something like people lived on a regular planet here awfully long ago. Why don't you look over the other way? There's the house, and maybe the barn and the sheds and the old garden. Bubbs turned around. His eyes got very big. He gasped and wonder. Pop! Mom! Look! Don't you see? Yeah, we see Bubs. John Endlich answered. For a long moment he'd been staring at those block-like structures. One, maybe the house, was of gray stone. It had odd triangular windows, which may once have been glazed. Wood, that is. Endlich's imagination seemed forced to follow a groove, trying to picture that last terrible moment fifty million years ago. the blast been caused by natural atomic forces at the heart of the planet as one theory claimed? Or had a great bomb as large as an oversized meteor come self-propelled from space to bury itself deep in that ancient world? A world as big as Mars, it's possible enemy whose weird inhabitants had been wiped out in a less spectacular way. Perhaps in the same conflict, Enflix's mind grabbed at that brief instant of explosion, The awful jolt which must have ended all consciousness and all capacity for eyes to see what followed. Perhaps there was a short and terrible passing of flame, but in swift seconds great chunks of the planets crossed must have been hurled outward in a moment the flame must have died. Almost instantly the sky which had been deep blue before must have turned to its present black with the voidal stars blazing. There had been no air left to sustain combustion, so buildings and trees had not continued to burn. If there had been time at all to ignite them, and with the same swiftness, all remaining artifacts and surface features of this chip of a world's crust that was bestowed had been plunged into the dual preservatives of the interplanetary regions. Deep freeze and all but absolute dryness. Yes. motion of the few scattered molecules in space was very fast, indicating a high temperature. There could be no heat, and so few molecules were there in the void, which meant again in practice. All but absolute zero. John Endlich knew. He heard the lectures at the Homesteaders' School. Here was a ghost land, hundreds of square miles in extent, a region that had been shifted in a few seconds from the full prime of life and motion, it was like the mummy of a man. In its presence there was a chill, a revulsion, and yet a fascination. The kids continued to jabber, more excitedly now than before. \"'Pop! Mom!\" Bubs urged. \"'Sure! Let's go!\" Evelyn joined in. \"'I'm not scared too!\" Yeah, kids' tastes could be pretty gruesome. When you thought most that you had to shelter them from horror, they were less bothered by it than you were. John Endlich's lips made a sour line. Stay here. The pair of you rose ordered. You heard me the first time, their mother answered. John Endlich moved to the great box which had come with them from earth. The nervous tension that tore at him, unpleasant and chilling, driving him toward straining effort was more than the result of the shameful and embarrassing memory of his very recent trouble with alphneally inconvenience, and the certainty of more trouble to come from that source. For there was another and even worse enemy, and like knew what it was. The awful silence. He still looked shame-faced and furious, but now he felt a gentler sharing of circumstances. We'll let this snooping go till later, kids. He growled. Right now we gotta do what we gotta do. youngsters seemed to join up with his mood. As he tore the pinch bar which had been conveniently attached to the side of the box, free of its staples and proceeded to break out supplies, their whimsical musings fell close to what he was thinking. Vesta, Evelyn, said. They told us at school, remember? Vesta was the old Roman goddess of heart and home. Funny, huh, Dad? Bubs fancy was vivid, too. Look, Pop!,\" he said again, pointing to a ribbon of what might be concrete, cracked and crumbled as by a terrific quake. That was a road! Can't you almost hear some kind of cars and trucks going by? John Endlich's wife, helping him open the great box, also had things to say. She touched the desiccated soil with a gauntleted hand. Johnnie, she remarked wonderingly. You can see the splash marks of the last rain that ever fell here. Yeah, and let growled without any further comment. Inside himself he was fighting the battle of lost things, the blue sky, the shifting beauty of clouds in sunshine, the warm whisper of wind in trees, the rattle of traffic, the babble of water, the buzz of insects, the smell of flowers, the sight of grass waving, in short all the evidences of life. A lot of things that was here once will bring back, won't we, Pop? this question with astonishing maturity. Oh, so, John Endlich answered, keeping his doubts hidden behind gruffness. Maybe it was a grim joke that, here and now, every force in himself was concentrated on substantial objectives to the exclusion of his defects. The drive in him was to end the maddening silence. It was a civilized urge, a home-building urge. Maybe a narrow urge. But how could anybody stand being here very long, unless such things were done, if they ever could be. Maybe, willfully, he had led himself into a grimmer trap than it had even seemed to be, or, then he had ever wanted. Inside his space suit he had begun to sweat furiously, and it was more because of the tension of his nerves than because of the vigor with which he plied his pinch bar, doing the first task which had to be done. Steel ribbons were snapped, nails were yanked silently from the great box. Boards were jerked loose. In another minute, John Endlich and his wife were setting up an airtight tent, which, when the time came, could be inflated from compressed air bottles. They worked somewhat awkwardly for their instruction period had been brief, and they were green. But the job was speedily finished. The first requirement, shelter, was assured. Digging again into the vast and varied contents of the box, John Endlich found some things he had not expected. A fine rifle, a pistol, and ammunition, at which moment an ironic imp seemed to sit on his shoulder and laugh derisively. The asteroid's homesteaders office had filled these boxes according to a precise survey of the needs of a peaceful settler on Vesta. It was like bubs with the inquisitiveness of a seven-year-old to ask, what did they think we needed guns for when they knew there was no rabbits to shoot at? I guess they kind suspected there'd be guys like Alf Neale's son. John Endlich answered dryly, even if they didn't tell us about it. The next task prescribed by the Homesteader's School was to secure a supply of air and water in quantity. Again, following the instructions they had received, the Endlich's uncreated and set up an atom-driven drill. In an hour it had bored to a depth of 500 feet. Halling up the drill, Endlich lowered an electric heating unit on a cable from an atomic power cell, and then capped the casting pipe. Yes, strangely enough, there was still sufficient wooder beneath the surface of Vesta. Its parent planet, like the earth, had had wooder in its crust, that could be tapped by means of wells. And so suddenly had Vesta been chilled in the cold of space at the time of the parent's body's explosions, that this wooder had not had a chance to dissipate itself as vapor into the void, but had been frozen solid, ready to be pumped and put to use. And water by electrolysis was also an easy source of oxygen to breathe. The soil once thought over a few acres would also yield considerable nitrogen and carbon dioxide. The makings of many cubic meters of atmosphere, the AHO survey expeditions here on Vesta and on other similar asteroids which were crustal chips of the original planet, had done their work well. Path-finding a means of survival here. When John Endlich pumped the first turbid liquid which immediately froze again in the surface called, he might, under other better circumstances, have felt like cheering. His well was a success. Besides, the short day, eighteen hours long instead of twenty-four, and already far advanced at the time of his tumultuous landing was drawing to a close. It'll be dark here mighty quick, Johnny,\" Rose said. She was looking scared again. John Endlich considered setting up floodlights and working on through the hours of darkness, but such lights would be a dangerous beacon for prowlers, and when you were inside their area of illumination it was difficult to see into the gloom beyond. Still, for a long moment Endlich was in an agony of indecision, then he said. We'll knock off from work now. Get in the tent, eat supper, maybe sleep. But he was remembering Neely's promise to return tonight. In another minute, the small but dazzling sun had disappeared behind the broken mountains as Vesta, unspherical and mouth-formed, and several hours later, amid heavy cooking-goaters inside the now-inflated plastic bubble that was the tent, and Lick was sprawled on his stomach, unable through well-founded wary even to remove his space suit or to allow his family to do so. Though there was breathable air around them, they lay with their helmet face windows open, rose and evident breathed evenly in peaceful sleep. Bubbs, trying to be very much a man, battled slumber and yawns and kept his dad company with scraps of conversation. \"'Let him come, Pop,' he said cheerfully. Hope they do. We'll shoot them all, won't we, Pop? You got the rifle on the pistol ready? Pop? Yes. John Endlich had his guns ready beside him all right, for what it was worth. He wished rightly that things could be as simple as his hero-worshipping sun seemed to think. Thank the Lord that Bob's was so trusting for his own peace of mind, the prankish and savage nature of certain kinds of men, with liquor in their bellies being what it was. Kurt John Endlich, having been on occasion mildly kindred to such man, was well able to understand that nature. Peering from the small plastic windows of the tent, he kept watching for hulking black shapes to silhouette themselves against the stars, exchanged by short range radio by man in space armor. Once he thought he heard a grunt or a malicious chuckle, otherwise from all around the stillness of the vacuum was absolute. It was unnerving. that maddening silence however, bubs, presently had a helpful and unprompted suggestion. \"'Apop,' he whispered horse-le. \"'Put the side of your helmet against the tent-floor and listen,' John Endlich obeyed his kid. In a second cold sweat began to break out on his body as intermittent thudding noises reached his ear. In the absence of an atmosphere of sounds could still be transmitted through the solid substance of the asteroid. took Endlich a moment to realize that the noises came not from nearby, but from far away. On the other side of Vesta, the thudding was vibrated straight through many miles of solid rock. It's nothing, Bubs. He grouted. Nothing but the blasting in the mines. Bubs said. Oh, as if disappointed. Not long thereafter he was asleep, leaving his harassed sire to endure the vigil alone. He could only wait. If an evil visitation came as he had been all but sure it must, that would be bad indeed. If it didn't come, well, that still meant a sleepless night and the postponement of the inevitable. He couldn't win. Thus the hours slipped away. Until the luminous dial of the clock and the tent, it had been synchronized to bestow time, told him that dawn was near. That was when, through the ground, he heard the faint scraping. A rustle. It might have been made by heavy space boots. It came, and then it stopped. It came again, and stopped once more, as if, skulking forms paused to find their way. Then it burned peacefully again. John Endlich's hackles rose. His fists tightened on both his rifle and pistol. He fixed his gaze on the great box, looming blackly. The box that contained the means of survival for his family and himself as if he foresaw the future of moment away. For suddenly, huge as it was, the box rocked. John Endlich scrambled to action. He slammed and sealed the face windows of the helmets of the members of his family to protect them from suffocation. He did the same for himself, and then unzipped the tank flap. He darted out with the outrushing air. This was a moment with murder poised in every tattered fragment of it. John Endlich knew. Murder was ingrained in his own taught-drawn nerves that rage to destroy the trespassers whose pranks had passed the level of practical humor and become by the taboring with vital necessities and attack on life itself. Strength back at them, even in self-defense, and habit-proven. He had not the faintest doubt who they were, even though he could not see their faces in the blackness. Maybe he should lay low, let them have their way. But how could he? Even apart from his raging temper and his honor as a man when they were making off of his families and his own means of survival. He had to throw rows and the kids into the balance, risking them to the danger that he knew lay beyond his own possible ignoble demise. He did just that when he raised his pistol, struggling against the awful impulse of the rage in him. did it high enough so that the explosive bullets that spewed from it would be sure to pass over the heads of the dark silhouettes that were moving about. Damn you, Neely! Endlich yelled into his helmet, Mike, his finger tightening on the trigger. Drop that stuff! At that moment the sun's rim appeared at the landscape's jagged edge, and on this side of airless Vesta complete night was transformed to complete day, as abruptly as if a switch had been turned. Alph, Neely, and John, Endlich, blinked at each other. Probably the bully in him was scared, but this he covered in a common matter, with a studiedly easy swagger and a bravado that was not good sense but bordered on childish recklessness. Yet he had a trump card, by the aggressive glint in his eyes and his unpleasant grin. Endlich knew that Neely knew that he was afraid for his wife and wouldn't start anything and less driven and goaded cheerly wild. Even now they were seven to his one. Why, good morning, neighbor pumpkinhead! Nearly crooned, his voice a burlesque of sweetness. Glad to oblige! He hurled the great box down. He flicked it expertly into the open side of the wooden case which contained so many things that were vital to the endlicks. It was only a tiny nuclear priming cap, and the blast was feeble, even so. The box burst apart. Splintered crates, sealed cans, great torn bundles, and what not went skittering far across the plain in every direction, or were hurled high toward the stars to begin falling at last with the laziness of a descending feather. Neely and his companions hadn't attempted to move out of the way of the explosion. They only rolled with its force, protected by their spacesuits. Endlich rolled too, helplessly, clutching his pistol and rifle. Still by some superhuman effort he'd managed to regain his feet before the farm were practiced nearly, who was hampered no doubt by a few too many drinks had even stopped rolling. But when Neely got up he had drawn his blaster, a useful tool of his trade but a hellish weapon too at short range. still, Endlich retained the drop on him. Alf nearly juggled. Fourthed July, Halloween dutch, he said sweetly. What's a matter? Don't you think it's fun? Then he switched his tone. It became a soft snarl that didn't alter his insolent and confident smirk and a challenge. He laughed derisively, almost softly. I dare you to try to shoot straight pal. He said, even you got more sense than that. John Erlich was spang against his terrible blank wall again. Seven to one. Anyway, half drunk. Ready to hoot at the stars even if they found no better diversion. Ready to push even any of their own bunch around who seemed weaker than they. For spite, maybe, or just for the lid-blowing hell of it, as a reaction against the awful confinement of being out here. I was gone a smear you all over the place, green horn, nearly rumbled. But maybe this way is more fun. Maybe we'll be back tonight. But don't wait up for us. John Endlich's blazing and just rage was strangled by that same crawling dread as before, propelled by the miniature drive jets attached to the belts of their spacesuits. Their return to camp, hundreds of miles distant, could be accomplished in a couple of minutes. Rose and the kids were crouched in the deflated tent, but returning there, John Endlich hardly saw them. She hardly heard their frightened questions. Maybe, already, mortal damage had been done, but Endlich couldn't lie down and quit, any more than a snake tossed into a fire could stop trying to crawl out of it as long as life lasted. Whether doing so made sense or not didn't matter. In Endlich was the savage energy of despair. He was fighting not just Neely and his crowd, but that other enemy, which was perhaps Neely's main trouble, too. Yeah, the stillness, the nostalgia, the harshness. No, don't want any breakfast. He replied sharply to Rose's last question. Gotta work. He was like an ants' swarm, rebuilding a trampled nest, oblivious to the certainty of its being trampled again. First, he scrambled and leaped around, collecting his scattered and damaged gear. He found that his main atomic battery, so necessary to all that he had to do, was damaged and unworkable. He had no hope that he could repair it. Now he started unrolling great bolts of a transparent wire-strengthened plastic. He cut hundred yard strips, and with roses help, laid them edge-to-edge and fastened them together to make a continuous sheet. Next, all around its perimeter, he dug a shallow trench. The edges of the plastic were then attached to massive metal rails, which he buried in the trench. He growled to rose. Next we fit in the airlock cabinet at one corner. Then we've got to see if we can get up enough air to inflate the whole business. That's the tough part, the way things are. By then the sun was already high, and Endlich was panting ragedly, mostly from worry. After the massive airlock was in place, they attached their electrolysis apparatus to the small atomic battery which had been used to run the well-driller. The well was in the area covered by the sheet of plastic which was now propped up here and there, with long pieces of board from the great box. Yet from the start it was obvious that with insufficient electric power the process was too slow. And we need to use heat coils to thaw the ground, Johnny,\" Rose said, and to keep the place warm and to bring nitrogen gas up out of the soil. The few cylinders of the compressed stuff that we've got won't be enough to make a start. And the carbon dioxide, so John Endlich had to try to repair that main battery. He thought, after a while, that he might succeed. In time, Bob's bore a crooked piece of black substance, hard as wood, and more gruesome than a dried and multi-monkey-pelred. A tentacle, Evelyn Shrilled. We were up to those old buildings we found the people, so he went with his children. He passed into chambers far too low for comfortable human habitation, and what did he know of the uses of most of what he saw there? The niches in the stone walls, the slanting ramp-like object of blackened wood, the glazed plaque on the wall which could have been a religious emblem, a calendar of some kind, a decoration, or something beyond human imagining. Yeah, we've such stuff for cousin Ernest, the schoolteacher, if he ever got here. In these cylindrical stone shed nearby John Endlich had a look at the car. Low slung, three-wheeled, a teller, no seats. a flat platform. Beyond the car was what might be a small tractor and a lot of odd tools. But the thing which interest him most was the pattern of copper ribbons, insulated with a heavy glaze, similar to that which he had seen traversing walls and ceiling in the first building he had entered. Here as before they connected with queer apparatus which might be stoves and non-rotary motors for all he knew. And also with the globes overhead. It was sealed and apparently self-contained. Nothing could have damaged it very much in the frigid stillness of millions of years. Its secrets were hidden within it, but they could not be too unfamiliar, and its presence was logical. A smolk, nervously, he turned a little wheel. A faint vibration was transmitted to his gloved hand, and the globe in the ceiling began to glow. He shut the thing off again. How long did it take him to run back to his sagging creation of clear plastic while the kids held gleefully around him and returned with the end of a long cable in pliers? How long did it take him to disconnect all of the glazed copper ribbons and substitute the wires of the cable, attaching them to queer terminal posts? No. Not long. The power was not as great as that which his own large atomic battery would have supplied, but it proved sufficient. The current was direct, as it was supposed to be. The electrolysis apparatus bubbled vigorously. Slowly, the tent-like roof began to rise under the beginnings of a tiny gas pressure. At does it pop? Bub shrilled. Eh, maybe so. John Ehrlich agreed almost optimistically. He felt really tender towards his kids just then. They really helped him for once, until he glanced at the rapidly declining sun. all night vigil. No, probably worse. Even if he managed to keep Neolean company at bay, night after night, all that he had accomplished seemed useless. John Endlich's flesh crawled. And in his thinking now he went a little against his own determinations. Nuts. He ground legubriously. If I'd only been a little more sociable. That was where the trouble started. I might have got broke, but I would have made friends. They'd think I'm snooty.\" Rosa's jaw-hardened as if she took his regrets as an accusation that she had led him along the straight and narrow path, which by an exasperating shift in philosophical principle now seemed the shortest route to destruction. But he felt very sorry for her, too, and he didn't believe that what he had just said was entirely the truth. She softened. You've got to eat, Johnny,\" she said. You haven't eaten all day, and tonight you've got to sleep. I'll keep watch. Maybe it'll be all right.\" Well, anyway, it was nice to know that his wife was like that. Yeah, gentle and fair-minded. After they had all eaten supper, he tried hard to keep awake. Their tent was now covered by the rising plastic roof, but beyond the clear substance he could still watch for Starlight to be stopped by prowling forms out there at the jagged rim of Vesta. It was hell to feel your skin pukering and yet to have exhaustion pushing your eyelids down inexorably, and he was being beaten to a pulp. But he was wishing desperately that he could win. Then they could have a drink and maybe be friends. But he knew hopelessly that things weren't quite that simple either. He woke to blink at blazing sunshine, then his whole body became clammy with perspiration as he thought of his laps from responsibility. Glancing over, he saw that Rose was sleeping as soundly as the kids. His wide eyes searched for the disaster that he knew he'd find. But the wide roof was all the way up now. Intact, it made a great squarish bubble, the skin of which was specially treated to stop the hard and dangerous part of the ultraviolet rays of the sun, and also the lethal portion of the cosmic rays. It even had an inner skin layer of gum that could seal the punctures that grain of sand-sized meteors might make. But meteors, though plentiful in the asteroid belt, were curiously innocuous. They all moved in much the same direction as the large asteroids, and at much the same velocity, so their relative speed had to be low. walls of the small tent around Endlich's sacked where they had bulged totally before. Showing that there was now a firm and equal pressure beyond them. The electrolysis apparatus had been left active all night and the heating units. This was the result. John Endlich was at first almost unbelieving when he saw that nothing had been wrecked during the night. For a moment he was elated. He woke up his family by shouting, Look, the bomb stayed away. They didn't come. Look, we've got five acres of ground covered by air that we can breathe.\" Is sense of triumph, however, was soon dampened. Yes, he'd been left unmolested for one night, but had that been done only to keep him at a fruitless and sleepless watch? Probably. Another delicate form of hazing, pursued only by a wild and defenseless drive to get things done, to make certain reassuring sounds possible around him. Got to patch up the pieces of the house first and bolt them together, Rose,\" he said feverishly. Kids, maybe you could help by setting out some of the hydroponic troughs for planting. We got a break plain ground too, as soon as it's thought enough. We got his words raced on with his flying thoughts. It was a mad day of toil. The hours were pitifully short. They couldn't be stretched to cover more than a fraction of all the work that Endlich wanted to get done, and he did get the house assembled, so that Rose and the kids and he could sleep inside its sealed doors. Sealed that is, if nearly or somebody didn't use a blaster or an explosive cap or bullet, in an orgy of perverted humor. He still had no answer for that. Rose and the children toiled almost as hard as he did. even managed to find a couple of dozen eggs that, by being carefully packed to withstand a spaceship's takeoff, had withstood the effects of Neale's idea of fun. She set up an incubator and put them inside to be hatched, nerve-twisting, terrible, and a vigil was all but impossible. John Endlich was out on his feet, far more than just dog-tired. That damned Nealee!\" he groaned, almost too weary even to swallow his food in spite of the luxury of a real Pullman-style supper table. He doesn't lose sleep. He can pick his time to come here and raise hob. Rose's glance was strange. Almost guilty. Tonight I think he might have to stay home, too.\" She said. John Endlich blinked at her. She answered rather defensively. So, to speak, Johnny, I called the cops. Yesterday, with the small radio transmitter when you and bobs and Evelyn were up in those old buildings. I reported nearly in his companions. Reported them? Sure. To Mr. Mahoney the boss at the mining camp. I was glad to find out that there is a little law and order around here. Mr. Mahoney was nice. Peep said that he wouldn't be surprised if they were cooled in the can for a few days and then confined to the camp area. Matter of fact, I radioed him again last night. It's been done. John Endlich's vast sigh of relief was slightly tainted by the idea that you call on a policing power for protection was a little bit on the timid side. He grunted, thanks, I never thought of doing that. Johnny? Yeah, I kind of got the notion, though, from between the lines of what Mr. Mahoney said, that there was heavy trouble brewing at the camp, about conditions in home leaves and increased profit sharing. There's danger of riots and what not, Johnny. Anyhow, Mr. Mahoney said that we should keep on exercising all reasonable caution. Mr. Mahoney is very nice, ain't he? Endlich ground. You stop that, Johnny! Rose ordered. But her husband had already passed beyond thoughts of jealousy. He was thinking of the time when Neely would have worked out his sentence and would be free to roam around again. No doubt with increased annoyance at the endlich clan for causing his restraint. If a riot or something didn't spring him beforehand, John Endlich itch to try to tear his head off, but of course the same consequences as before still applied. For what it was worth, they accomplished a great deal. In their great plastic greenhouse, supported like a colossal bubble by the humid, artificially warmed air inside it, long troughs were filled with pebbles and hydroponic solution, and Therein, tomatoes were planted, and lettuce, radishes, corn, onions, melons. Just about everything in the vegetable wine. Their remained plenty of ground left over from the five acres, so John Endlich tinkered with that fifty million-year-old tractor. He added commercial fertilizers and nitrates to it. The nitrates were, of course, distinct from the gaseous nitrogen that had been held sponge-like by the subsoil, and had helped supply the greenhouse with atmosphere. When he harrowed the ground again, he repeated his planting in the old fashioned manner. Under ideal conditions, the inside of the great bubble was soon a mass of growing things. Rose had planted flowers. To be admired and to help out the hive of bees, which were essential to some of the other plants as well, nor was the flora limited to the earthly. Some seeds or spores had survived here from the mother world of the asteroids. They came out of their eons of suspended animation to become root and tough, spiky stalk and to mix themselves sparsely with vegetation that had immigrated from Earth, now that livable conditions had been restored over this little piece of ground. Sometimes John Endlich was misled. Sometimes listening to familiar sounds and smelling familiar odors toward the latter part of his reprieve, he almost imagined that he'd accomplished his basic desires here on Vesta, And he had always failed on earth. There was the smell of warm soil, flowers, greenery. He heard irrigation-wood or trickling. The sweet corn rustled in the wind of fans he'd set up to circulate the air. Bees buzzed. Chickens approaching adolescence peeped contentedly as they dusted themselves and stretched luxuriously in the shadows of the cornfield. For John Endlich it was all like the echo of a some non-belent summer of his boyhood. There was peace in it. It was, like a yearning fulfilled, an end of wanderlust for him, here, on Vesta. In contrast to the airless desolation outside, the interior of this five-acre greenhouse was the one most desirable place to be. So except for the vagus of stirrings, sometimes in his mind, there was not much incentive to seek fun elsewhere, if he ever had time. there'd be a lot more of all that soon, when the rumored major influx of homesteaders reached Vesta. Yes, Johnny, Rose said once. Legendary is a lot nicer word than ghostly. Rose had to teach the kids their regular lessons. Inmate believed they took their excursions far back to former ages. They played that they were old people. Endlich, having repaired his atomic battery, didn't draw power anymore from the unit that had supplied the ancient buildings from a device like a phonograph there was even a bell-like voice that janted when a lever was pressed. And it was the kids who found the first Taita bug. A day after its trills were heard from among the new foliage. A one-legged hopper with a thin but rigid gliding wing of horn, it had evidently hatched from a tiny egg, preserved by the cold for ages. Wise enough, not to clutch it with his bare hands, Cubs came running with it held in a leaf. It proved harmless. It was ugly and beautiful. Its great charm was that it was a vocal echo from the far past. Sure, life got to be fairly okay in spite of hard work. The endelix had conquered the awful stillness with life sounds. Growing plants kept the air in their greenhouse fresh and breathable by photosynthesis. John Endlich did a lot of grinning and whistling. His temper never flared once. Deep down in him there was only a brooding certainty that the calm couldn't last. For from all reports, troubles seed that the mining camp. At any time there might be a blow-up, a rain of terror that would roll over all of Vesta. A thing to release pent-up forces in man who had seen too many hard stars and had heard too much stillness. They were like the stuff inside a complaining volcano. The endlicks had sought to time their various crops so that they would all be ready for market on as nearly as possible the same day. So one morning in a jet-equipped spacesuit, six tomatoes, beauties, have luck with them Johnny, but watch out! Rose flung after him by helmet phone, with a warm laugh just for a moment he felt maybe a little silly. Tomatoes, but they were what he was banking on, and had forced toward majority most, because they were too busy chasing mineral wealth to keep a decent hydroponic garden going, would be hungriest for. Well, he was rather too right in some ways to be fortunate. Yeah, they still call what happened, the tomato war. Poor Johnny Endlich, he was headed for the commissary dumb to display his wares, but vague urges sidetracked him and into the bar. The petty sin of two drinks partly merits the punishing trouble which came his way, as at least partially a result. With his face window open he stood at the bar with men whom he had never seen before, and he began to have minor delusions of grandeur. He became a little too proud of his accomplishments. His wearing has slipped into a bans. He had a queer idea that as a farmer with concrete evidence of his skills to show he would When respect that had been denied him, dread of consequences of some things that he might do became blurred. His hot temper began to smolder. Under the spark of memory and the fury of insult and malicious tricks that, considering the safety of his loved ones, he had had no way to fight back against. Frustration is a dangerous force. Released a little that excited him more. the tense mood of the camp, a thing in the very air of the domes, stirred him up more. The camp, ready to explode into sudden open barbarism for days, was now at a point where nothing so dramatic as fresh tomatoes and farmers in a bar was needed to set the fireworks off. John Endlich had his two drinks. Then with calm and foolhardy detachment, he set the six tomatoes out in a row before him on the synthetic agony. He didn't have to wait at all for results. Bloodshot eyes. Some of them belonging to men who had been as gentle as lambs in their ordinary lives on earth, bristly faces showed swift changes of expression, surprise, interest, greed for possession. But most of all, aggressive and satanic humor. Cheese! Tomatoes! Somebody growled amazed. Under the circumstances to be aware of opportunity was to act. Paus, some bear, and cowist, some in the gloves of spacesuits reached out, grabbed. Teeth, bit, juice squirted, landing on hard metal shaped for the interplanetary regions. So far, fine. John Endlich felt prouder of himself. He'd expected a certain fierceness and lack of manners, but knowing all he did know, he should have taken time to visualize the inevitable chain reaction. Thanks, pal. You're a prince. Sure. But the thanks were more of a mockery than a formality. None for me? Shut up, Mick. Who's this guy? Friend, you wouldn't be that punk-in-head we've been hearing about, would you? Well, my gracious, bet you are. This'll be nice to watch. Where's Alf Neely, Cranston? What we need is excitement. Seeing him out by the slot machines, the bar is still out of bounds for him. He can't come in here. Who? Boss Man Mahoney? For this much sport, nearly can go straight to hell and take Boss Man with him on a pitchfork. The big man whose name was called lumbered to the window at the entrance to the bar and peered inside. During the last couple of months he'd been in a perpetual grouch over his deprivation of liberty which had wrangled him more as a front to his dignity. Nearly let out a yell of sheer glee. His huge shoulders hudged. His Danielis knows wobbled. His squinty eyes cleaned, and he charged into the bar. John Endlick's first reaction was curiously similar to Neely's. He felt a flash of savage triumph under the stimulus of the thought of immediate battle with the cause of most of his troubles. Tempor blazed in him. Belatedly, however, the awareness came into his mind that he had started an emotional avalanche that went far beyond the weight and fury of one man like nearly. Lord, wouldn't he ever learn? It was tough as hell to crawl, but how could a man put his wife and kids an awful jeopardy at the hands of a flock of guys whom space had turned into gorillas? And like tried for peace. It was to his credit that he did so quite coolly. He turned toward his charging adversary in grand. Tyneily, he said, have a drink. On me, the big man stopped short, almost in unbelief that anyone could stoop so low as to offer appeasement, then he left up ruriously. Why, I'd be delighted, Mr. Pumpkins! He said in a poisonous sweet tone, let bygones be bygones. Hey, Charlie! Here what Pumpkin says? The drinks are all on him. Loan some my bed. Glad to hear it. I'm gonna fix that. With a sudden lunge, nearly gripped Endlich's hand, and gave it a savage if momentary twist that sent needles of pain shooting up the homesteaders' arm. It was a goading invitation to battle, which grim knowledge of the sequel now compelled Endlich to pass up. Don't call him punkens ne'ly. Somebody yelled. It ain't polite to mispronounce a name. It's Mr. Tomatoes. I just saw that he's got a million of them out there on the farm. The whole crowd in the bar broke into coarse shouts and laughs and comments. We ain't good neighbors. Neglecting our social duties. Let's pay him a visit. Punkens? What else you got besides tomatoes? Let's go on a picnic. Hell with the boss man. I'm not going on shift. Come on everybody. There's going to be a fight. Amoyda. Hell with the boss man. Like the flicker of flame flashing through dry gunpowder you could feel the excitement spread. Out of the bar. Out of the rectum. It would soon ignite the whole tense camp. John Endlich's heart was in his mouth. As his mind pictured the part of all this that would affect him and his, a bunch of men gone wild kicking over the traces, arcing around Vesta, sacking and destroying and shearing super-ents like brats on Halloween, they would stop it nothing, and rose and the kids. This was it. What he'd been so scared of all along, it was at least partly his own fault and there was no way to stop it now. I loved tomatoes, Mr. Punkens. Nearly rumbled at Endwick's side, reaching for the drink that had been sent before him. But first I'm gonna smear you all over the camp. Take my time. Do a good job, because he didn't give me any tomatoes. With all the strength of his muscular body backed up by dread and pent up fury, he sent a gloved fist crashing straight into Nilly's open face window. the pang in his well-protected knuckles was a satisfaction. For he knew that the damage to Neely's ugly features must be many times greater. The blow, occurring under the conditions of Vesta's tiny gravity, had an entirely unearthly effect. Neely, eyes glazing floated gently up and away. And endlich, since he had at the last instant clutched Neely's arm was drawn along with the minor in a graceful arcing flight through the smoky air of the bar. Both armored bodies, lacking nothing in inertia, tore through the tough plastic window, and they bounced lightly on the pavement of the main section of the rectum. Neely was as limp as a wet rag, sleeping peacefully, blood all over his crushed face. But that he was out of action signified no peace, when so many of his buddies were nearby and beginning to seeds like a swarm of hornets. So there was an element of despair in Endlich's quick actions as he slammed Neely's face window and his own shut, picked up his enemy, and used his jets to propel him in the long leap to the airlock of the dome. He had no real plan. He just had the ragged and all but hopeless thought of using Neely as a hostage, as a weapon in the bitter and desperate attempt to defend his wife and children from the mob that would be following close behind him. Tumbling end over, and with his light but bulky burden, he sprawled at the threshold of the airlock, where the guard posted there had stepped hastily out of his way. Again, capricious luck, surprise, and swift action were on his side. He pressed the control button of the lock and squirmed through its double valves before the startled guard could stop him. Then he slammed his jets wide, and aimed for the horizon. The journey was made then, not in a smooth arc, but in a series of erratic waverings. From the very start of that wild flight he heard voices in his helmet phones. Damn pumpkin head green horn. Did you see how he hit Neely Schmidt? Yeah, by surprise. Damn yellow, yokel. Who's coming along to get him? Sure, there was another side to it. Other voices. Shucks, Neely had it coming to him. I hope the farmer really murders that big lung head. You ain't kidding. Me or? I was glad to see his face splatter like a rotten tomato. Okay. It was good to know you had some sensible guys on your side, but what good was it when they camp as a whole was boiling over from its internal trumbles. There were more than enough roughnecks to do a mighty messy job fast. Panting with tension and lick swoop down before his greenhouse and dragged nearly inside through the airlock. For a fleeting instant, the sights and sounds and smells that impinged on his senses as he opened his face window once more brought him a regret. The rustle of corn, the odor of greenery, the chicken voices. There was home in all of this. Something pastoral and beautiful and orderly, gained with heart work, and something brought back, restored from the remote past. The buzzing of the Tate Bug was even a real echo from that smash yet undoubtedly once beautiful world of antiquity. But these were fragile concerns beside the desperate question of the immediate safety of rose in the kids. Already cries and shouts and comments were coming faintly through his helmet phones again. Get the yokel! Get the bomb! We'll fix his wagon good!\" the pack was on the way, getting closer with every heartbeat. Never in his life had endless experience so harrowing a time as this. Never if by some miracle he lived could he expect another equal to it. To stand and fight as he would have done if he were alone would mean simply that he would be cut down to try the peacemaking of a peaceman would have probably the same result, plus for himself the dishonor of contempt. So where was there to turn with grim unanswering blackness on every side? John Endlich felt mightily an old yearning. That of a fundamentally peaceful man for a way to oppose and win against brutal overpowering odds without using either serious violence or the even more futile course of supine submission. Here on Vesta, this had been the issue he had faced all along. In many ages and many nations, and probably on many planets throughout the universe, others had faced it before him. To his straining and tortured mind, the trite and somewhat mocking answers came. Psychology, salesmanship, the selling of respect for oneself. These were fine words, glid words, but the question, how was more bitter and derisive than ever? Still, he had to try something to make at least a for-lorn effort for him it always meant trouble, and he was now about to make his last great gamble. If he lost, he wouldn't be alive to gamble again. If by great good fortune he won, well, He was certain that all the charm of unnecessary chance-taking would by the memory of these awful moments be forever poisoned in him. Now Rose and the youngsters came harrying toward him. Back so soon, Johnny, Rose called. What's this? What happened? Who's the guy, Pop? Evelyn asked. Oh, below me knows. What are you doing with him? But by then they all had guessed some of the tense mood and it's probable meaning. Neely's pals are coming, honey. Endlich said quietly. It's the showdown. Hide the kids and yourself. Quick! Under the house, maybe. Roses' pale eyes met his. They were comprehending. They were worried. But they were cool. He could see that she didn't want to leave him. Evelyn looked as though she might begin to whimper, but her small jaw hardened. Bub's lower lip trembled, but he said valiantly. I'll get the guns, Pop. I'm staying with you. No, you're not, son. John Endlich answered. Get going. get the guns to keep with you to watch out for mom and sis. Rose took the kids away with her, without a word. Endlich wondered how to describe what was maybe her last look at him. There were no fancy words in his mind. Just love, and deep concern. Alf nearly was showing signs of returning consciousness, which was good. Still dragging him Endlich went and got a bushel basket. It was filled to the brim with ripe red tomatoes, but he could carry its tiny weight on the palm of one hand, scarcely noticing that it was there. For an instant, Endlich scanned the sky through the clear plastic roof of the Great Bubble. He saw at least a score of shapes in space armor, arcing nearer, specks in human form, glowing with reflected sunlight like little hurling moons among the stars. Neely's pals, in a moment they would arrive. Hendlich took Neely and the loaded basket close to the transparent side of the greenhouse. Nearest the approaching roughnecks. There he removed Neely's oxygen helmet, hoping that maybe this might deter his friends a little from rupturing the plastic of the huge bubble and letting the air out. It was a feeble safeguard for in all probability, in case of such rupture, Neely would be rescued from death by smothering and cold and the boiling of his blood, simply by having his helmet slammed back on again. Next, Endlik dumped the contents of the basket on the ground, inverted it, and sat nearly upon it. The big man had recovered consciousness enough to be nearly groggy by now. Endlik slapped his battered face vigorously to help clear his head, after having, of course, relieved him of the blaster at his belt. Endlik left his own face window open so that the sounds of Neely's voice could penetrate to the mic of his own helmet phone, thus to be transmitted to the helmet phones of Neely's buddies. Endlich was anything but calm inside, with the wild hoard as irresponsible in their present state of mind as a pack of idiot baboons bearing down on him. But he forced his tone to be conversational when he spoke. \"'Hello, Neely,' he said. You mentioned you like tomatoes. Maybe you were kidding. Here on the ground right in front of you was a whole bushel. The regular asteroid price, considering the trouble it takes to grow them and the amount of dough a guy like you can make for himself out here is five bucks a piece, but for you, right now, they're all free. Here have a nice fresh ripe one, nearly. The big man glared at his capter for a second. After he had looked daisily around, he would have leaped to his feet except that the muzzle of his own blaster was leveled at the center of his chest at a range of not over twenty inches. For a fleeting instant, nearly looked scared and prudent. And he saw his pals landing like a flock of birds just beyond the transparent side of the greenhouse. We'll get the damn yoke off your neck. Come on, guys. Let's turn the damn place upside down. Neely grew courageous. Yes, maybe it did take a certain animal nerve to do what he did. His battered and bloody lip curled. He snarled slowly. His tone dripping contempt for the insanely foolish. his face twisted into a confident and mocking lear. To carry the mockery farther, a big paw reached out and grabbed the proper tomato from Endless Hand. Sure, thanks. Anything to oblige. He took a great bite from the fruit, clowning the action with a forced expression of relish. He grunted in danger, playing for the approval of his pals. He was proving his comic coolness, that even now he was master of the situation and was in no hurry to be rescued. Come on, punk,\" he ordered, Endley. Where's the next one? Senior so generous, be polite to your guest. Endley handed him a second tomato. But as he did so, it seemed all the things he dreaded would happen were breathing down his back. For the faces that he glimpsed beyond the plastic showed the twisted expressions that betray the point where savage humor imperceptibly becomes murderous. A dozen blasters were leveled at him. They stood still for a moment, watching, commenting. Hey, Neely! Don't eat them all, Neely! save some for us! Endlich was following no complete plan. He had only the feeling that somewhere here there might be a dramatic touch that, by a long chance, would yield him a toehold on the situation. Without a word, he gave Neely a third tomato, then a fourth, and a fifth. Neely kept gobbling and clowning. The question began to shine speculatively in the faces of the onlookers. It began to appeal to their wolfish sense of comedy. After the fifteenth tomato he burped and balked. That's enough kiddin' around punkin' head. He growled. Get away with your damned garden truck. I should be beaten you to a grease spot right this minute. Why I? Then Neely tried to lunge for the blaster. As Endlich squeezed the trigger. He turned the weapon aside at joyful so that the beam of energy flicked past Neely's ear and splashed garden soil that turned incandescent instantly. John Endlich might have died in that moment, cut down from behind, that he wasn't probably meant that from the position of complete underdog among the spectators his popularity had risen some. Neely, he said with a grin, how can you start beaten when you ain't done eaten? Really, here I am trying to be friendly and hospitable, and you aren't cooperating. A whole bushel of juicy tomatoes, symbols of civilization weigh the hell out here in the asteroids, and you haven't even made it dantin' them yet. What's the matter, Nilly? Who's your appetite? Here. Enelix Tone was falsely persuasive. For there was a steely note of command in it, and the blaster in Enelix Hand was pointed straight at Nilly's chest. His eyes began to look frightened and soling. He shifted uncomfortably, and the bushel basket creaked under his weight. Your yellow is any damn pumpkin,\" he said loudly. \"'You don't fight fair. Guys, what's the matter with you? Get this nut with the blaster off of me!' Yellow, Endlich seemed to muse. \"'Call me yellow!' Neely hollered. Why you lousy damn yokel if you didn't have that blaster!' Endlich said grimly. But I got it, friend. He sent a stream of energy from the blaster right past Nilly's head so close that a shock of the other's hair smoked and curled into black wisps. And watch your language, my wife, and kids can hear you. Nilly's thick shoulders hunched. He ducked nervously, rubbing his head, and for the first time there was a hint of genuine alarm in his voice. All right, he grouled. All right, take it easy. Something deep within John Endlich relaxed. A cold, tight knot seemed to unwind. For at that moment, he knew that Neely was beginning to lose. The big man's evident is comfort and fear were the marks of weakness to his followers, at least, and with them he could never be a leader again. By his own code must be followed up to its nasty, if interesting outcome. The spectators began to resemble Romans at the circus, with Neely the victim, and the victims' downfall was tragically swift. Come on, Neely, you heard what Pumpkin said. Somebody yelled, damn, if this ain't gonna be rich. Don't let us down, Neely. Nobody's hurting you. All you have to do is eat. All them nice tomatoes. Neely, if that bushel ain't enough for you, I'll personally buy you another at the regular price. Lucky Neely. Look at him, having a swell banquet. Come on, Pumpkins, make him eat. Yeah. Under certain conditions, human nature can be pretty fickle. Wonderingly, John Endlich felt himself to be respected. The top man, the guy who had shown courage and ingenuity and was winning by the harsh code of men who had been roughened and soured by space, by light among the asteroids. For a little while then, he had to be hard. He thrust another tomato toward Neely, at the same time directing a thin stream from the blaster just past the big nose. Neely ate six more tomatoes with a will. His eyes popping, sweat streaming down his forehead. Felix, next blaster stream, barely missed Neely's booted toe. The persuasive shot was worth fifty-five more dollars in garden fruit consumed. The crowd gave with mock cheers and bravos and demanded more action. To goad Neely on in this ludicrous and savage game, it isn't to be said that Endlich didn't enjoy his revenge for all the anguish and real danger that Neely had caused him. He'd always be a hot tempered guy. He couldn't help that. Still, for a little more he had to go on. Again and again as before he used that blaster. But as he did so he talked ramblingly knowing that the audience too would hear what he said. Maybe, in a way, it was a lecture, but he couldn't help that. Have another tomato, Neely. Sorry to do things like this, but it's your own way, so why should you complain? Funny ain't it? A man can get even too many tomatoes. Civilize tomatoes. A part of something most guys around here have been homesick for for a long time. Maybe that's what has been most of the trouble out here in the asteroids, not enough civilization. On Earth we were used to certain standards, in spite of being rough enough there too. Here the traces got kicked over, but on this side of Vesta, an idea begins to soak in. This used to be a nice country, blue sky, trees growing. Some of that is coming back, Neely, and order with it. Because deep in our guts, that's what we all want. And fresh vegetables will help. Have another tomato, Neely. Or should we call it enough, guys? Neely, you ain't gonna quit now! Somebody could fod. You're doing almost good! Neely's face was purple. His eyes were bloodshot. His mouth hung partly open. God, no, please,\" he croaked. An embarrassed hush fell over the crowd. Finally, someone said, expressing the intrusion among them of the better dignity of man. Then, in there, John Endlich sold what was left of his first bushel of tomatoes. Punkens? You're all right. Soiling the inside of his helmet's face window so that he could scarcely see out of it, that amid the raucous laughter of his companions which still sounded slightly self-conscious and pitting. Thus, elf nearly sank at last to the level of helpless oblivion and non-entity. A week of vestal days later, in the afternoon, rose in the kids came to John Endlich, who was toiling over his cucumbers. Their name is Harper Pop, but shouted. And they've got three children, Evelyn added. John Endlich straightened, shaking a kink out of his tired back. Who? He questioned. The people who are going to be our new neighbors, Johnny, rose said happily. We just picked up the news on the radio from their ship, which is approaching from space right now. I hope they're nice folks. And Johnny, there used to be country schools with no more than five pupils. Sure, John Endlich said. Something felt warm around his heart. Leave it to a woman to think of a school. The symbol of civilization, marching now across the void. An andlik thought of the trouble at the mining camp, which his first load of fresh vegetables picked up by a small space boat had perhaps helped to end. He thought of the relics in this strange land, things that were like legends of a lost pastoral beauty, things that could come back. The second family of homesteaders was almost here. Andlik was reconciled to domesticity. He felt at home. He felt proud. These buzzed near him, a taitae bug from a perished era hummed and scraped out a mournful sound. I wonder if the Harper kids will call you Mr. Punkin's pop? Bubs remarked. John Endlich laughed. But somehow he was prouder than ever. Maybe the name would be a legend too.",
        "transcription_medium": " But, beyond this point, the situation was bitter. His two kids, Bubbs, seven, and Evelyn, nine, clad in space suits that were slightly oversized to allow for the growth of young bodies, were both bawling. He could hear them through his oxygen-helmet radio-phones. At his elbow, his wife, Rose, her heart-shaped face and gray eyes framed by the wide face window of her armor was trying desperately to choke back tears and be brave. Remember, we've got to make good here, Johnny,\" she was saying. Remember what the homesteader's office people told us—that with modern equipment and the right frame of mind, life can be nice out here. It's worked on other asteroids. What if we are the first farmers to come to Vesta? Don't listen to those crazy miners. They're just kidding us. Don't listen to them. Don't, for gosh sakes, get sore!\" Rose's words were now like dim echoes of his conscience. Recently, back in Illinois, he had even spent six months in jail for all but inflicting murder with his bare fists on a bullying neighbor, whom he had caught whipping a horse. Sure, but during those six months his farm, the fifth he'd tried to run in scattered parts of North America, had gone to weeds, in spite of Rose's valiant efforts to take care of it alone. Hi, you hydroponic pumpkinhead. How you like your new claim? Nice, ain't it? How about some fresh turnips? Good luck, you greenhorn. Tied to baby's diaper suspenders? Let the poor dope alone, guys. Snooty. Won't take our money. Wifey's boy. Let's make him sociable, hydroponic pumpkinhead, matching the row of a dozen coarse faces and grins that lined the viewports of the ship. These men were asteroid miners. Space hardened and space twisted. They'd been back to Earth for a while to raise hell and freshen up and spend the money in their then bulging pockets. Coming out again from Earth, across the orbit of Mars to the asteroid belt, they had had the Endlicks as fellow passengers. John Endlick had battled valiantly with his feebler side and with his social inclinations all through that long, dreary voyage. In the main it had been a rather tattered victory. But now, at the final moment of bleak anticlimax, they took their revenge in guffaws and ridicule, hurling the noise at him through the radio fanes of the spacesuit helmets that they held in their laps—spacesuits being always kept handy beneath the traveler seats of every interplanetary vessel. \"'Tain't far. When the turnips get you down. Bring the wife along. Ought to have a man-sized fellow. Just ask for me, Alf Neely.\" Yeah, Alf Neely was the loudest and the ugliest of John Endlick's baiters. He had gigantic arms and shoulders, small squinty eyes and a pendulous nose. Ho, ho, ho! And the others, yelling and hooting, made it a pack. Man! Don't he wish he was back in Podunk! What? No tomatoes, Dutch? Where are they, He was small and broad, a stolid-looking thirty-two years old. He might have taken the savage ribbing more calmly, but there was too much grim fact behind what these asteroid miners said. Besides, out here he had thought that he would have a better chance to lick the weaknesses in himself, because he'd have to work to keep his family alive, because he'd been told that there'd be no one around to distract him from duty. The irony of that now was maddening. For the moment John Endlicht was speechless and strangled, but like an ignited firecracker, ready to explode. His hard body hunched as if ready to spring, and the baiting waxed louder. It was like the yammering of crows or the roar of a wild surf in his ears. Then came the last straw. The kids had kept on bawling more and more violently, But now they got down to verbal explanations of what they thought was the matter. The timing could not have been better—or worse. The shrieks and howls of mirth from the miners a moment ago were as nothing to what they were now. That was a mouthful! There is a point at which an extremity of masculine embarrassment can lead to but one thing—mayhem. Whether the latter is to be inflicted on the attacked or the attacker remains the only question mark. I'll get you, Alf, nearly.\" Endlick snarled. \"'Right now! And I'll get all the damned hell-bitten rest of you guys!' Endlick was hardly lacking in vigor himself. Like a squat but streamlined fighting rooster, rendered a hundred times more agile by the puny gravity, he would have reached the hold-port threshold in a single leith skip. Had not rose, together they slid several yards across the dried-out surface of the asteroid. Don't, Johnny! Please don't!\" she wailed. Her begging could not have stopped him, nor could her physical interference for more than an instant. Not the certainty of being torn limb from limb, and not Hell itself could have held him back any more then. Yet he was brought to a halt. It certainly wasn't cowardice that accomplished this. No, suddenly there was no laughter among the miners. But in a body they arose from their traveler seats aboard the ship. Suddenly there was no more humor in their faces beyond the viewports. They were itching to be assaulted. The glitter in Alfnilly's small eyes was about as reassuring as the glitter in the eyes of a slightly prankish gorilla. \"'We're waitin' for ya, Mr. Civilization,' he rumbled softly. After that, all space was still—electrified. These guys who had been starved emotionally and warped inside by raw Coldness crawled into John Endlick's guts and seemed to twist steel hooks there, making him sick. And for his family, he was scared. What hell could not have accomplished became fact. His almost suicidal impulse to inflict violence on his tormentors was strangled, bottled up, brutally repressed, narrowing domesticity. Had won a battle. Alf nearly growled. It don't matter, Dutch. We'll finish you off without you lifting a finger.\" In John Endlick the rage of intolerable insults still seethed. But there was no question now of outcome between it and the brassy taste of danger on his tongue. He knew that even knuckling down and changing from man to worm to take back his fighting words couldn't do any good. He felt like a martyr, left with his family in a Roman arena while the lions His butchery was as good as over. Reprieve came, presumably, by way of the good sense of the pilot of the spaceship. The hold-port was closed abruptly by a mechanism that could be operated only from the main control-board. The rocket jets of the craft emitted a single weak burst of flame, like a boulder growing agile and flighty. The ship leaped from the landscape and arched outward toward the stars to curve around the asteroid and disappear behind the scene's jagged brim. The craft had gone to make its next and final stop, among the air domes of the huge mining camp on the other side of Vesta, the side of torn rocks and rich radioactive ores. But before the ship had vanished from sight, John Endlick heard Alf Neely's grim promise in his helmet radio phones. \"'We'll be back tonight, Greenhorn. Stick around. I'll rub what's left of you in the dust of your claim!\" Endlich was alone then, with the fright in his wife's eyes, the squalling of his children, and his own abysmal disgust and worry. For once he ceased to be a gentle parent. \"'Bubbs! Evelyn!' he snapped. The startled silence which ensued was his first personal victory on Vesta. But the silence itself was an insidious enemy. It made his ears ring. made even his audible pulsebeats seem to ache. It bored into his nerves like a drill. When, after a moment, Rose spoke quaveringly, he was almost grateful. \"'What do we do, Johnny? We still got to do what we're supposed to do, don't we?' Whereupon John Endlick allowed himself the luxury and the slight relief of a torrent of silent cussing inside his head. Damn the obvious questions of women! Damn the miners! the A.H.O., the Asteroids' Homesteaders' Office, and their corny slogans and posters meant to hook suckers like himself. Damn his oh dumb hide! Damn the mighty urge to get drunk! Damn all the bitter circumstances that made doing so impossible! Damn! Damn! Damn!\" Finished with this orgy, he said meekly. I guess so, Hon. All members of the Endlich family had been looking around them at the weird Vestal landscape. Through John Endlick's mind, again, there flashed a picture of what this asteroid was like. At the Asteroids Homesteaders School in Chicago, where his dependents and he had been given several weeks of orientation instruction, suitable to their separate needs, he had been shown diagrams and photographs of Vesta. Later he had, of course, seen it from space. It was not round—like a major planet, or most moons. Rather, it was like a bomb fragment, or even more like a shard of a gigantic broken vase. It was several hundred miles long and half as thick. One side of it, this side, was curved, for it had been a segment of the surface of the shattered planet from which all of the asteroids had come. The other side was jagged and broken, for it had been torn from the mesoderm of that tortured mother-world, from the desolation of his own thoughts in which the ogre form of Alf nearly lurked with its pendant promise of catastrophe soon to come, and from his own view of other desolation all around him. John Endlick was suddenly distracted by the comments of his kids. All at once, conforming to the changeable weather of children's natures, regardless of circumstance, their mood had once more turned bright and adventurous. Look, Pop! This land all around here was fields once. Gosh!\" Evelyn, who was older, snapped at Bubs. \"'We know that something like people lived on a regular planet here awfully long ago. Why don't you look over the other way? There's the house and maybe the barn and the sheds and the old garden.' Bubs turned around. His eyes got very big. He gasped in wonder. \"'Pop! Mom! Look! Don't you see?' Yeah, we see bubs,\" John Endlick answered. For a long moment he'd been staring at those block-like structures. One, maybe the house, was of gray stone. It had odd triangular windows, which may once have been glazed—wood, that is. Endlick's imagination seemed forced to follow a groove, trying to picture that last terrible moment fifty million years ago. Had The blast been caused by natural atomic forces at the heart of the planet, as one theory claimed? Or had a great bomb as large as an oversized meteor come self-propelled from space to bury itself deep in that ancient world? A world as big as Mars, its possible enemy, whose weird inhabitants had been wiped out in a less spectacular way. Perhaps in the same conflict, Endlick's mind grabbed at that brief instant of explosion, the awful jolt which must have ended all consciousness and all capacity for eyes to see what followed. Perhaps there was a short and terrible passing of flame. But in swift seconds great chunks of the planet's crust must have been hurled outward in a moment. The flame must have died. Almost instantly the sky, which had been deep blue before must have turned to its present black, with the voidal stars blazing. There had been no air left to sustain combustion, so buildings and trees had not continued to burn, if there had been time at all to ignite them. And with the same swiftness, all remaining artifacts and surface features of this chip of a world's crust that was Vesta had been plunged into the dual preservatives of the interplanetary regions. Deep freeze and all, absolute dryness. Yes. The motion of the few scattered molecules in space was very fast, indicating a high temperature. There could be no heat. And so few molecules were there in the void, which meant again in practice all but absolute zero. John Endlick knew. He'd heard the lectures at the Homesteaders School. Here was a ghost land, hundreds of square miles in extent, a region that had been shifted in a few seconds from the full prime of life in motion, it was like the mummy of a man. In its presence there was a chill, a revulsion, and yet a fascination. The kids continued to jabber, more excitedly now than before. Pop! Mom! Bubs urged. Sure, let's go! Evelyn joined in. I'm not scared to. Yeah, kids' tastes could be pretty gruesome. When you thought most that you had to shelter them from horror, they were less bothered by it than you were. John Endlick's lips made a sour line. \"'Stay here, the pair of you,' Rose ordered. \"'You heard me the first time,' their mother answered. John Endlick moved to the great box which had come with them from Earth. The nervous tension that tore at him, unpleasant and chilling, driving him toward straining effort, was more than the result of the shameful and embarrassing memory of his very recent trouble with Alf, Neely, and companions, and the certainty of more trouble to come from that source. For there was another and even worse enemy. Endlick knew what it was—the awful silence. He still looked shame-faced and furious, but now he felt a gentler sharing of circumstances. \"'We'll let the snooping go till later, kids,' he growled. \"'Right now we gotta do what we gotta do.' The youngsters seemed to join up with his mood, as he tore the pinch-bar which which had been conveniently attached to the side of the box, free of its staples, and proceeded to break out supplies, their whimsical musings fell close to what he was thinking. \"'Vesta,' Evelyn said. \"'They told us at school, remember? Vesta was the old Roman goddess of Hearth and Home. Funny, huh, Dad?' Bub's fancy was vivid, too. \"'Look, Pop,' he said again, pointing to a ribbon of what might be concrete, cracked and crumbled as by a terrific quake. \"'That was a road! you almost hear some kind of cars and trucks going by?\" John Endlick's wife, helping him open the great box, also had things to say. She touched the desiccated soil with a gauntleted hand. \"'Johnny,' she remarked wonderingly, \"'you can see the splash marks of the last rain that ever fell here.'\" \"'Yeah,' Endlick growled without any further comment. Inside himself he was fighting the battle of lost things. The blue sky, the shifting beauty of clouds and sunshine, the warm whisper of wind in trees, the rattle of traffic, the babble of water, the buzz of insects, the smell of flowers, the sight of grass waving—in short, all the evidences of life. A lot of things that was here once will bring back, won't we, Pop?\" Bubbs questioned with astonishing maturity. \"'Hope so,' John Endlick answered, keeping his doubts hidden behind gruffness. Maybe it was a grim joke that here and now every Forsten himself was concentrated on substantial objectives, to the exclusion of his defects. The drive in him was to end the maddening silence. It was a civilized urge, a home-building urge, maybe a narrow urge. But how could anybody stand being here very long unless such things were done? If they ever could be. Maybe, willfully, he had led himself into a grimmer trap than it had even seemed to be, or than he had ever wanted. Inside his space suit he had begun to sweat furiously. And it was more because of the tension of his nerves than because of the vigor with which he plied his pinch-bar, doing the first task which had to be done. Steel ribbons were snapped, nails were yanked silently from the great box, boards were jerked loose. In another minute John Endlick and his wife were setting up an air-tight tent which, when the time came could be inflated from compressed air bottles. They worked somewhat awkwardly, for their instruction period had been brief and they were green. But the job was speedily finished. The first requirement—shelter—was assured. Digging again into the vast and varied contents of the box, John Endlick found some things he had not expected—a fine rifle, a pistol, and ammunition. At which moment an ironic imp seemed to sit on his shoulder and laughed derisively. The asteroid's homesteader's office had filled these boxes according to a precise survey of the needs of a peaceful settler on Vesta. It was like bubs with the inquisitiveness of a seven-year-old to ask, \"'What did they think we needed guns for when there was no rabbits to shoot at?' I guess they kind of suspected there'd be guys like Alf Neely's son.\" John Endlick answered dryly, even if they didn't tell us about it. The next task prescribed by the homesteader's school was to secure a supply of air and water in quantity. Again, following the instructions they had received, the Endlicks uncrated and set up an atom-driven drill. In an hour it had bored to a depth of five hundred feet. Hauling up the drill, Endlick lowered an electric heating unit on a cable from an atomic power cell and then capped the casting pipe. Yes, strangely enough, there was still sufficient water beneath the surface of Vesta. Its parent planet, like the Earth, had had water in its crust that could be tapped by means of wells. And so suddenly had Vesta been chilled in the cold of space at the time of the parent's body's explosions that this water had not had a chance to dissipate itself as vapor into the void, but had been frozen solid, ready to be pumped and put to use. And water by electrolysis was also an easy source of oxygen to breathe. The soil, once thawed over a few acres, would also yield considerable nitrogen and carbon dioxide. The makings of many cubic meters of atmosphere—the A. H. O. survey expeditions here on Vesta and on other similar asteroids, which were crustal chips of the original planet—had done their work well, pathfinding a means of survival here. When John Endlick pumped the first turbid liquid, which immediately froze again in a surface cold, he might, under other, better circumstances, have felt like cheering. His well was a success. Besides, the short day—eighteen hours long, instead of twenty-four, and already far advanced at the time of his tumultuous landing—was drawing to a close. \"'It'll be dark here mighty quick, Johnny,' Rose said. She was looking scared again. John Endlick considered setting up floodlights and working on through the hours of darkness, Such lights would be a dangerous beacon for prowlers, and when you were inside their area of illumination it was difficult to see into the gloom beyond. Still, for a long moment Endlick was in an agony of indecision. Then he said, \"'We'll knock off from work now. Get in the tent, eat supper, maybe sleep.' But he was remembering Neely's promise to return to-night. In another minute the small but dazzling sun had disappeared behind the broken mountains as Vesta unspherical and malformed, and several hours later, amid heavy cooking odors inside the now-inflated plastic bubble that was the tent, Endlich was sprawled on his stomach, unable through well-founded worry even to remove his space suit or to allow his family to do so, though there was breathable air around them. They lay with their helmet-face windows open. Rose and Evelyn breathed evenly in peaceful sleep. Bubbs, trying to be very much a man, battled slumber and yawns and kept his dad company with scraps of conversation. \"'Let them come, Pop,' he said cheerfully. \"'Hope they do. We'll shoot them all, won't we, Pop? You got the rifle and the pistol ready, Pop?' \"'Yes.' John Endlick had his guns ready beside him, all right, for what it was worth. He published wryly that things could be as simple as his hero-worshipping son seemed to think. Thank the Lord that Bubbs was so trusting, for his own peace of mind, the prankish and savage nature of certain kinds of men, with liquor in their bellies, being what it was. For John Endlick, having been on occasion mildly kindred to such men, was well able to understand that nature. Peering from the small plastic windows of the tent, he kept watching for hulking black shapes to silhouette themselves against the stars, exchanged by short-range radio by men in space armor. Once he thought he heard a grunt or a malicious chuckle. Otherwise, from all around, the stillness of the vacuum was absolute. It was unnerving. Against that maddening silence, however, Bubbs presently had a helpful and unprompted suggestion. \"'Hey, Pop!' he whispered hoarsely. \"'Put the side of your helmet against the tent floor and listen!' John Endlich obeyed his kid. In a second, cold sweat began to break out on his body as intermittent thudding noises reached his ear. In the absence of an atmosphere, sounds could still be transmitted through the solid substance of the asteroid. It took Endlich a moment to realize that the noises came not from nearby, but from far away. On the other side of Vesta. The thudding was vibrated straight through many miles of solid rock. \"'It's nothing, Bubbs,' he growled. \"'Nothing but the blasting in the mines.' Bubbs said, \"'Oh!' as if disappointed. Not long thereafter he was asleep, leaving his harassed sire to endure the vigil alone. He could only wait. If an evil visitation came, as he had been all but sure it must, that would be bad indeed. If it didn't come, well, that still meant a sleepless night and the postponement of the inevitable. He couldn't win. Thus the hours slipped away, until the luminous dial of the clock in the tent—it had been synchronized to vestal time—told him that dawn was near. That was when, through the ground, he heard the faint scraping. A rustle. It might have been made by heavy space boots. It came, and But then it stopped. It came again and stopped once more, as if skulking forms paused to find their way. Then it burned peacefully again. John Endlick's hackles rose. His fists tightened on both his rifle and pistol. He fixed his gaze on the great box, looming blackly, the box that contained the means of survival for his family and himself, as if he foresaw the future a moment away. For suddenly, huge as it was, the box rocked. John Endlick scrambled to action. He slammed and sealed the face windows of the helmets of the members of his family to protect them from suffocation. He did the same for himself, and then unzipped the tent flap. He darted out with the outrushing air. This was a moment with murder poised in every tattered fragment of it. John Endlick knew. Murder was ingrained in his own taut-drawn nerves that raged to destroy the trespassers whose pranks had passed the level of practical humor and become, by the tampering with vital necessities, an attack on life itself. Strike back at them, even in self-defense, and have it proven. He had not the faintest doubt who they were, even though he could not see their faces in the blackness. Maybe he should lay low, let them have their way. But how could he? Even apart from his raging temper and his honor as a man when they were making off with his families and his own means of survival. He had to throw Rose and the kids into the balance, risking them to the danger that he knew lay beyond his own possible ignoble demise. He did just that when he raised his pistol, struggling against the awful impulse of the rage in him, lifted it high enough so that The explosive bullets that spewed from it would be sure to pass over the heads of the dark silhouettes that were moving about. Damn you, Neely!\" Endlich yelled into his helmet-mic, his finger tightening on the trigger. Drop that stuff! At that moment the sun's rim appeared at the landscape's jagged edge, and on this side of airless Vesta, complete night was transformed to complete day, as abruptly as if a switch had been turned. Alf, Neely, and John Endlich blinked at each other. Probably the bully in him was scared. But this he covered in a common manner, with a studdily easy swagger and a bravado that was not good sense but bordered on childish recklessness. Yet he had a trump card. By the aggressive glint in his eyes and his unpleasant grin, Endlich knew that Neely knew that he was afraid for his wife and wouldn't start anything unless driven and goaded sheerly wild. Even now they were seven to his one. Why, good morning, neighbor-punkin'-head!\" Neely grooned, his voice a burlesque of sweetness. \"'Glad to oblige!' he hurled the great box down. He flicked it expertly into the open side of the wooden case which contained so many things that were vital to the Endlicks. It was only a tiny nuclear priming cap, and the blast was feeble. Even so, the box burst apart. Splintered crates, sealed cans, great torn bundles and what not went skittering far across the plane in every direction, or were hurled high toward the stars to begin falling at last with the laziness of a descending feather. Neely and his companions hadn't attempted to move out of the way of the explosion. only rolled with its force, protected by their space suits. Endlick rolled, too, helplessly, clutching his pistol and rifle. Still, by some superhuman effort, he'd managed to regain his feet before the far more practiced Neely, who was hampered, no doubt, by a few too many drinks, had even stopped rolling. But when Neely got up, he had drawn his blaster—a useful tool of his trade, but a hellish weapon, too, at short range. Still, Endlick retained drop on him. Alf nearly chuckled. \"'Fourth of July, Halloween Dutch!' he said sweetly. \"'What's a matter? Don't you think it's fun?' Then he switched his tone. It became a soft snarl that didn't alter his insolent and confident smirk, and a challenge. He laughed derisively, almost softly. \"'I dare you to try to shoot straight, pal,' he said. \"'Even you got more sense than that.' And John Ehrlich was spang against his terrible blank wall again. Seven to one. Anyway, half drunk. Ready to hoot at the stars, even if they found no better diversion. Ready to push even any of their own bunch around who seemed weaker than they. For spite, maybe. Or just for the lid-blowing hell of it. As a reaction against the awful confinement of being out here. I was gonna smear you all over the place, Greenhorn! Neely rumbled. But maybe this way is more fun. Maybe we'll be back tonight. But don't wait up for us.\" John Endlick's blazing and just rage was strangled by that same crawling dread as before, propelled by the miniature drive jets attached to the belts of their space suits. Their return to camp, hundreds of miles distant, could be accomplished in a couple of minutes. Rose and the kids were crouched in the deflated tent, but returning there, John Endlick hardly saw them. He hardly heard their frightened questions. Maybe already mortal damage had been done. But Endlick couldn't lie down and quit, any more than a snake tossed into a fire could stop trying to crawl out of it as long as life lasted. Whether doing so made sense or not didn't matter. In Endlick was the savage energy of despair. He was fighting not just Neely and his crowd, but that other enemy, which was perhaps Neely's main trouble too. Yeah. The stillness. The nostalgia. The harshness. No. Don't want any breakfast.\" He replied sharply to Rose's last question. Gotta work. He was like an ant swarm, rebuilding a trampled nest, oblivious to the certainty of its being trampled again. First he scrambled and leaped around, collecting his scattered and damaged gear. He found that his main atomic battery, so necessary to all that he had to do was damaged and unworkable, and he had no hope that he could repair it. Now he started unrolling great bolts of a transparent, wire-strengthened plastic. He cut hundred-yard strips and, with Rose's help, laid them edge to edge and fastened them together to make a continuous sheet. Next, all around its perimeter, he dug a shallow trench. The edges of the plastic were then attached to massive metal rails, which he buried in the trench. He growled to Rose. we fit in the airlock cabinet at one corner. Then we've got to see if we can get up enough air to inflate the whole business. That's the tough part—the way things are.\" By then the sun was already high, and Endlick was panting raggedly, mostly from worry. After the massive airlock was in place, they attached their electrolysis apparatus to the small atomic battery which had been used to run the well-driller. The well was in the area covered by the sheave plastic, which was now propped up here and there with long pieces of board from the great box. Yet from the start it was obvious that with insufficient electric power the process was too slow. \"'And we need to use heat coils to thaw the ground, Johnny,' Rose said. \"'And to keep the place warm and to bring nitrogen gas up out of the soil. The few cylinders of the compressed stuff that we've got won't be enough to make a start. And the carbon dioxide—' So John Endlick had to try to repair that main battery. He thought, after a while, that he might succeed—in time. Bubbs bore a crooked piece of a black substance, hard as wood and more gruesome than a dried and moldy monkey pelt. A tentacle! Evelyn shrilled. We were up to those old buildings. We found the people. So he went with his children. He passed into chambers far too low for comfortable human in habitation. And what did he know of the uses of most of what he saw there? The niches in the stone walls, the slanting, ramp-like object of blackened wood, the glazed plaque on the wall, which could have been a religious emblem, a calendar of some kind, a decoration, or something beyond human imagining. Yeah. Leave such stuff for Cousin Ernest, the school teacher, if he ever got here. In the cylindrical stone shed nearby, John Endlick had a look at the car. Low slung, three-wheeled, a tiller, no seats, just a flat platform. Beyond the car was what might be a small tractor and a lot of odd tools. But the thing which interested him most was the pattern of copper ribbons, insulated with a heavy glaze, similar to that which he had seen traversing walls and ceiling in the first building he had entered. Here, before they connected with queer apparatus, which might be stoves and non-rotary motors for all he knew, and also with the globes overhead. It was sealed and apparently self-contained. Nothing could have damaged it very much in the frigid stillness of millions of years. Its secrets were hidden within it. But they could not be too unfamiliar, and its presence was logical. A small, nervously he turned a little wheel. A faint vibration was transmitted to his gloved hand, and the globe in the ceiling began to glow. He shut the thing off again. But how long did it take him to run back to his sagging creation of clear plastic while the kids howled gleefully around him and returned with the end of a long cable and pliers? How long did it take him to disconnect all of the glazed copper ribbons and substitute the wires of the cable, attaching them to queer terminal posts? No, not long. The power was not as great as that which his own large atomic battery would have supplied, but it proved sufficient. And the current was direct, as it was supposed to be. The electrolysis apparatus bubbled vigorously. Slowly the tent-like roof began to rise under the beginnings of a tiny gas pressure. \"'At does it, pops?' Bub shrilled. \"'Eh, maybe so,' John Ehrlich agreed, almost optimistically. He felt really tender towards his kids just then. They really helped him for once. Until he glanced at the rapidly declining sun, an all-night vigil. No, probably worse. Even if he managed to keep Neal and company at bay. Night after night. All that he had accomplished seemed useless. John Endlick's flesh crawled. And in his thinking now, he went a little against his own determinations. nuts!\" he growled lugubriously. If I'd only been a little more sociable. That was where the trouble started. I might have got broke, but I would have made friends. They think I'm snooty. Rose's jaw hardened, as if she took his regrets as an accusation that she had led him along the straight and narrow path, which, by an exasperating shift in philosophical principle, now seemed the shortest route to destruction. But he felt very sorry for her, too, and he didn't believe that what he had just said was entirely the truth. She softened. \"'You've got to eat, Johnny,' she said. \"'You haven't eaten all day, and tonight you've got to sleep. I'll keep watch. Maybe it'll be all right.' Well, anyway, it was nice to know that his wife was like that. Yeah, gentle and fair-minded. After they had all eaten supper, he tried hard to keep awake. Her tent was now covered by the rising plastic roof, but beyond the clear substance he could still watch for starlight to be stopped by prowling forms out there at the jagged rim of Vesta. It was hell to feel your skin puckering, and yet to have exhaustion pushing your eyelids down inexorably. And he was being beaten to a pulp. But he was wishing desperately that he could win. Then they could have a drink and maybe be friends. He knew hopelessly that things weren't quite that simple, either. He awoke to blink at blazing sunshine. Then his whole body became clammy with perspiration as he thought of his lapse from responsibility. Glancing over, he saw that Rose was sleeping as soundly as the kids. His wide eyes searched for the disaster that he knew he'd find. But the wide roof was all the way up now. Intact. It made a great squarish bubble, the skin of which was specially treated to stop the hard and dangerous part of the ultraviolet rays of the sun, and also the lethal portion of the cosmic rays. It even had an inner skin layer of gum that could seal the punctures that grain-of-sand-sized meteors might make. But meteors, though plentiful in the asteroid belt, were curiously innocuous. They all moved in much the same direction as the large asteroids, and at much the same velocity, so their relative speed had to be low. The walls of the small tent around Endlick sagged where they had bulged tautly before, showing that there was now a firm and equal pressure beyond them. The electrolysis apparatus had been left active all night, and the heating units. This was the result. John Endlick was at first almost unbelieving when he saw that nothing had been wrecked during the night. For a moment he was elated. He woke up his family by shouting, Look! The bombs stayed away! They didn't come! Look! We've got five acres of ground covered by air that we can breathe!\" His sense of triumph, however, was soon dampened. Yes, he'd been left unmolested for one night. But had that been done only to keep him at a fruitless and sleepless watch? Probably. Another delicate form of hazing, pursued only by a wild and defenseless drive to get things done, to make certain reassuring sounds possible around him. \"'Got to patch up the pieces of the house first and bolt them together, Rose,' he said feverishly. \"'Kids, maybe you could help by setting out some of the hydroponic troughs for planting. We gotta break plain ground, too, as soon as it's thawed enough. We gotta—' his words raced on with his flying thoughts. It was a mad day of toil. The hours were pitifully short. They couldn't be stretched to cover more than a fraction of all the work that Endlick wanted to get done. And he did get the house assembled, so that Rose and the kids and he could sleep inside its sealed doors—sealed, that is, if Neely or somebody didn't use a blaster or an explosive cap or bullet, in an orgy of perverted humor. He still had no answer for that. Rose and the children toiled almost as hard as he did. Rose even managed to find a couple of dozen eggs that, by being carefully packed to withstand a spaceship's take-off, had withstood the effects of Neely's idea of fun. She set up an incubator and put them inside to be hatched. Nerve-twisting. Terrible. And a vigil was all but impossible. John Endlick was out on his feet, far more than just dog-tired. That damned Neil E. He groaned almost too weary even to swallow his food in spite of the luxury of a real Pullman-style supper-table. He doesn't lose sleep. He can pick his time to come here and raise hob. Rose's glance was strange. Almost guilty. \"'Tonight I think he might have to stay home, too,' she said. John Endlick blinked at her. She answered rather defensively. So, to speak, Johnny, I called the cops. Yesterday, with the small radio transmitter, when you and Bubbs and Evelyn were up in those old buildings, I reported Neely and his companions. Reported them? Sure. To Mr. Mahoney, the boss at the mining camp. I was glad to find out that there is a little law and order around here. Mr. Mahoney was nice. He said that he wouldn't be surprised if they were cooled in the can for a few days and then confined to the camp area. Matter For a fact, I radioed him again last night. It's been done.\" John Endlick's vast sigh of relief was slightly tainted by the idea that to call on a policing power for protection was a little bit on the timid side. He grunted, \"'Thanks. I never thought of doing that.\" \"'Johnny?' \"'Yeah. I kind of got the notion, though, from between the lines of what Mr. Mahoney said, that there was heavy trouble brewing at the camp—about conditions and home leaves and increased profit-sharing. Maybe there's danger of riots and what-not, Johnny.\" Anyhow, Mr. Mahoney said that we should keep on exercising all reasonable caution. \"'Mr. Mahoney is very nice, ain't he?' Endlic growled. \"'You stop that, Johnny!' Rose ordered. But her husband had already passed beyond thoughts of jealousy. He was thinking of the time when Neely would have worked out his sentence and would be free to roam around again. No doubt with increased annoyance at the Endlic clan for causing his restraint, if a riot or something didn't spring him beforehand. John Endlick itched to try to tear his head off, but of course the same consequences as before still applied. For what it was worth, they accomplished a great deal. In their great plastic greenhouse, supported like a colossal bubble by the humid, artificially warmed air inside it, long troughs were filled with pebbles and hydroponic solution, and therein tomatoes were planted and lettuce, radishes, corn, onions, melons—just about everything in the vegetable line. There remained plenty of ground left over from the five acres, so John Endlick tinkered with that fifty-million-year-old tractor. He added commercial fertilizers and nitrates to it. The nitrates were, of course, distinct from the gaseous nitrogen that had been held sponge-like by the subsoil and had helped supply the greenhouse with atmosphere. Then he harrowed the ground again. He repeated his planting in the old-fashioned manner. Under ideal conditions, the inside of the Great Bubble was soon a mass of growing things. Rose had planted flowers—to be admired and to help out the hive of bees, which were essential to some of the other plants as well. Nor was the flora limited to the earthly. Some seeds or spores had survived here, from the mother-world of the asteroids. They came out of their eons of suspended animation to become root and tough, spiky stalk and to mix themselves sparsely with vegetation that had immigrated from Earth, now that livable conditions had been restored over this little piece of ground. Sometimes John Endlick was misled. Sometimes listening to familiar sounds and smelling familiar odors toward the latter After part of his reprieve, he almost imagined that he'd accomplished his basic desires here on Vesta, when he had always failed on Earth. There was the smell of warm soil—flowers, greenery. He heard irrigation water trickling. The sweet corn rustled in the wind of fans he'd set up to circulate the air. Bees buzzed. Chickens approaching adolescents peeped contentedly as they dusted themselves and stretched luxuriously in the shadows of the cornfield. For John Endlick it was all like the echo of a subnambulant summer of his boyhood. There was peace in it. It was like a yearning fulfilled, an end of wanderlust for him, here on Vesta. In contrast to the airless desolation outside, the interior of this five-acre greenhouse was the one most desirable place to be. So Except for the vaguest of stirrings, sometimes in his mind there was not much incentive to seek fun elsewhere, if he ever had time. Maybe there'd be a lot more of all that soon, when the rumored major influx of homesteaders reached Vesta. Yes, Johnny,\" Rose said once. Legendary is a lot nicer word than ghostly. Rose had to teach the kids their regular lessons. In make-believe they took their excursions far back to former villages. They played that they were old people. Endlick, having repaired his atomic battery, didn't draw power any more from the unit that had supplied the ancient buildings. From a device like a phonograph there was even a bell-like voice that chanted when a lever was pressed. And it was the kids who found the first Tay-Tay bug. A day after its trills were heard from among the new foliage. A one-legged hopper with a thin but rigid gliding wing of horn, it had evidently hatched from a tiny egg, preserved by the cold for ages. Wise enough not to clutch it with his bare hands, Bubbs came running with it held in a leaf. It proved harmless. It was ugly and beautiful. Its great charm was that it was a vocal echo from the far past. Sure, life got to be fairly okay in spite of hard work. The Andlicks had conquered the awful stillness with life sounds. Growing plants kept the air in their greenhouse fresh and breathable by photosynthesis. John Endlick did a lot of grinning and whistling. His temper never flared once. Deep down in him there was only a brooding certainty that the calm couldn't last. For, from all reports, trouble seethed at the mining camp. At any Every time there might be a blow-up, a rain of terror that would roll over all of Vesta, a thing to release pent-up forces in men who had seen too many hard stars and had heard too much stillness. They were like the stuff inside a complaining volcano. The Endlicks had sought to time their various crops so that they would all be ready for market on as nearly as possible the same day. So one morning in a jet-equipped space suit, six tomatoes—beauties. \"'Have luck with them, Johnny, but watch out!' Rose flung after him by helmet-phone. With a warm laugh, just for a moment, he felt maybe a little silly. Tomatoes. But they were what he was banking on, and had forced toward maturity most. Because they were too busy chasing mineral wealth to keep a decent hydroponic garden going would be hungriest for. well. He was rather too right, in some ways, to be fortunate. Yeah, they still call what happened the Tomato War. Poor Johnny Endlick. He was headed for the commissary dome to display his wares, but vague urges sidetracked him and into the bar. The petty sin of two drinks hardly merits the punishing trouble which came his way, as at least partially a result. With his face window open, he stood at the bar with men whom he had never seen before, and he began to have minor delusions of grandeur. He became a little too proud of his accomplishments. His weariness slipped into abeyance. He had a queer idea that, as a farmer with concrete evidence of his skills to show, he would win respect that had been denied him. Dread of consequences of some things that he might do became blurred. His hot temper began to smolder. the spark of memory and the fury of insult and malicious tricks that, considering the safety of his loved ones, he had had no way to fight back against. Frustration is a dangerous force. Released a little, it excited him more. And the tense mood of the camp—a thing in the very air of the domes—stirred him up more. The camp, ready to explode into sudden, open barbarism for days, was now at a point where nothing so dramatic as fresh tomatoes and farmers in a bar was needed to set the fireworks off. John Endlig had his two drinks. Then with calm and foolhardy detachment he set the six tomatoes out in a row before him on the synthetic pyagony. He didn't have to wait at all for results. Bloodshot eyes, some of them belonging to men who had been as gentle as lambs in their ordinary lives on Earth, The faces showed swift changes of expression—surprise, interest, greed for possession—but most of all aggressive and satanic humor. \"'Geez! Tomatoes!' somebody growled amazed. Under the circumstances, to be aware of opportunity was to act. Big pause. Some bare and calloused, some in the gloves of space suits reached Grabbed. Teeth bit. Juice squirted, landing on hard metal shaped for the interplanetary regions. So far, fine. John Endlick felt prouder of himself. He'd expected a certain fierceness and lack of manners. But knowing all he did know, he should have taken time to visualize the inevitable chain reaction. Thanks, pal. You're a prince. Sure. But the thanks were more of a mockery than a formality. for me?\" \"'Shut up, Mick. Who's this guy? Friend, you wouldn't be that punkin' head we've been hearing about, would you? Well, my gracious, bet you are. This'll be nice to watch. Where's Alf Neely, Cranston? What we need is excitement. Seen him out by the slot machines. The bar is still out of bounds for him. He can't come in here.' \"'Says who? Bossman Mahoney? For this much sport, Neely can go straight to hell and take bossman with him on a pitchfork. The big man, whose name was called, lumbered to the window at the entrance to the bar and peered inside. During the last couple of months he'd been in a perpetual grouch over his deprivation of liberty, which had rankled him more as an affront to his dignity. Neely let out a yell of sheer glee. His huge shoulders hunched. His pendulous nose wobbled. His squinty eyes gleamed and he charged into the bar. And Endlick's first reaction was curiously similar to Neely's. He felt a flash of savage triumph under the stimulus of the thought of immediate battle with the cause of most of his troubles. Temper blazed in him. Belatedly, however, the awareness came into his mind that he had started an emotional avalanche that went far beyond the weight and fury of one man like Neely. Lord, wouldn't he ever learn? It was tough as hell to crawl, but But how could a man put his wife and kids in awful jeopardy at the hands of a flock of guys whom space had turned into gorillas? Endlich tried for peace. It was to his credit that he did so quite coolly. He turned toward his charging adversary and grinned. \"'Tie, Neely,' he said. \"'Have a drink. On me.' The big man stopped short, almost in unbelief that anyone could stoop so low as to offer appeasement. Then he laughed uproariously. Why, I'd be delighted, Mr. Pumpkins,\" he said in a poisonous sweet tone. Let bygones be bygones. Hey, Charlie, hear what Pumpkin says. The drinks are all on him. Lonesome, I bet. Glad to hear it. I'm going to fix that. With a sudden lunge, Neely gripped Endlick's hand and gave it a savage, if momentary, twist that sent needles of pain shooting up the homesteader's arm. It was a goading invitation to battle, which grim knowledge of the sequel now compelled Endlick to pass up. \"'Don't call him Pumpkins, Neo-ee,' somebody yelled. \"'It ain't polite to mispronounce a name. It's Mr. Tomatoes. I just saw that he's got a million of them out there on the farm.' The whole crowd in the bar broke into coarse shouts and laughs and comments. \"'We ain't good neighbors. Neglecting our social duties. Let's pay him a visit. Pumpkins, what else you got besides tomatoes? Let's go on a picnic. Hell with the boss man. I'm not going on shift. Come on, everybody. There's going to be a fight. Amoida! Hell with the boss man!\" Like the flicker of flame flashing through dry gunpowder, you could feel the excitement spread. Out of the bar, out of the wreck dome, it would soon ignite the whole tent's camp. John Endlick's heart was in his mouth, as his mind pictured the part of all this that would affect him and his. A bunch of men gone wild, kicking over the traces, arcing around Vesta, sacking and destroying in sheer exuberance like brats on Halloween. They would stop at nothing. And Rose and the kids—this was it, what he'd been so scared of all along. It was at least partly his own fault, and there was no way to stop it now. I love tomatoes, Mr. Pumpkins! Neely rumbled at Endlic's side, reaching for the drink that had been set before him. But first I'm going to smear you all over the camp. Take my time. Do a good job. Because you didn't give me any tomatoes! With all the strength of his muscular body backed up by dread and pent-up fury, he sent a gloved fist crashing straight into Neely's open-face window. Even the pang in his well-protected knuckles was a satisfaction, he knew that the damage to Neely's ugly features must be many times greater. The blow, occurring under the conditions of Vesta's tiny gravity, had an entirely unearthly effect. Neely, eyes glazing, floated gently up and away. And Endlick, since he had at the last instant clutched Neely's arm, was drawn along with the miner in a graceful, arcing flight through the smoky air of the bar. Both armored bodies, lacking nothing in inertia, tore through the tough plastic window, and they bounced lightly on the pavement of the main section of the wreck dome. Neely was as limp as a wet rag, sleeping peacefully, blood all over his crushed face. But that he was out of action signified no peace, when so many of his buddies were nearby and beginning to seethe like a swarm of hornets. So there was an element of despair in Endlick's quick actions as he slammed Neely's face window and his own shut, picked up his enemy and used his jets to propel him in the long leap to the airlock of the dome. He had no real plan. He just had the ragged and all-but-hopeless thought of using Neely as a hostage, as a weapon in the bitter and desperate attempt to defend his wife and children from the mob that would be following close behind him. Tumbling end over end with his light but bulky burden, he sprawled at the threshold of the the airlock, where the guard posted there had stepped hastily out of his way. Again capricious luck, surprise and swift action were on his side. He pressed the control button of the lock and squirmed through its double valves before the startled guard could stop him. Then he slammed his jets wide and aimed for the horizon. The journey was made then, not in a smooth arc, but in a series of erratic waverings. From the very start of that wild flight he heard voices in his helmet phones. Damn pumpkin-head greenhorn! Did you see how he hit Neely Schmidt? Yeah, by surprise. Damn yellow yokel! Who's coming along to get him? Sure, there was another side to it. Other voices. Shucks! Neely had it coming to him. I hope the farmer really murders that big lunghead. You ain't kidding, Muir. I was glad to see his face splatter like a rotten tomato. Okay, fine. It was good to know you had some sensible guys on your side. But what good was it when the camp as a whole was boiling over from its internal troubles? There were more than enough Roughnecks to do a mighty messy job fast. Panting with tension, Endlich swooped down before his greenhouse and dragged nearly inside through the airlock. For a fleeting instant the sights and sounds and smells that impinged on his senses as he opened his face-window once more brought him a regret. The rustle of corn, the odor of greenery, the chicken voices. There was home in all of this. Something pastoral and beautiful and orderly, gained with hard work. And something brought back, restored from the remote past. The buzzing of the Tay-Tay bug was even a real echo from that smashed yet undoubtedly once beautiful world of antiquity. But these were fragile concerns beside the desperate question of the immediate safety of Rose and the kids. Already cries and shouts and comments were coming faintly through his helmet-phones again. \"'Get the yokel! Get the bum! We'll fix his wagon good!' The pack was on the way, getting closer with every heartbeat. Never in his life had Endlicht experience so harrowing a time as this. Never, if by some miracle he lived, could he expect another equal to it. To stand and fight, as he would have done if he were alone, would mean simply that he would be cut down. To try the peacemaking of appeasement would have probably the same result, plus for himself the dishonor of contempt. So where was there to turn, with Grimm unanswering blankness on every side? John Endlick felt mightily an old yearning. That of a fundamentally peaceful man for a way to oppose and win against brutal overpowering odds without using either serious violence, or the even more futile course of supine submission. Here on Vesta, this had been the issue he had faced all along. In many ages and many nations, and probably on many planets throughout the universe, others had faced it before him. To his straining and tortured mind the trite and somewhat mocking answers came. Psychology. Salesmanship. The calling of respect for oneself. These were fine words, glib words. But the question, how? was more bitter and derisive than ever. Still, he had to try something, to make at least a forlorn effort. For him it always meant trouble. And he was now about to make his last great gamble. If he lost, he wouldn't be alive to gamble again. If by great good fortune he won. Well, he was certain that all the charm of unnecessary chance-taking would, by the memory of these awful moments, be forever poisoned in him. Now Rose and the youngsters came hurrying toward him. \"'Back so soon, Johnny?' Rose called. \"'What's this? What happened?' \"'Who's the guy, Pop?' Evelyn asked. \"'Oh, Baloney knows. What are you doing with him?' But by then they all had guessed some of the tense mood and its probable meaning. \"'Neely's pals are coming, honey,' Endlich said quietly. \"'It's the showdown. Hide the kids—and yourself—quick. Under the house, maybe.' Rose's pale eyes met his. They were comprehending. They were worried. But they were cool. He could see that she didn't want to leave him. Evelyn looked as though she might begin to whimper, but her small jaw hardened. Bub's lower lip trembled. But he said valiantly, \"'I'll get the guns, Pop. I'm staying with you.\" \"'No, you're not, son,' John Endlick answered. \"'Get going. Orders. Get the guns to keep with you, to watch out for Mom and Sis.' Rose took the kids away with her, without a word. Endlick wondered how to describe what was maybe her last look at him. There were no fancy words in his mind. Just love and deep concern. Alf Neely was showing signs of returning consciousness, which was good. While dragging him, Endlick went and got a bushel basket. It was filled to the brim with ripe red tomatoes, but he could carry its tiny weight on the palm of one hand, scarcely noticing that it was there. For an instant Endlick scanned the sky through the clear plastic roof of the great bubble. He saw at least a score of shapes in space armor, arcing nearer, specks in human form, glowing with reflected sunlight like little hurling moons among the Neli's pals. In a moment they would arrive. Endlich took Neli and the loaded basket close to the transparent side of the greenhouse, nearest the approaching roughnecks. There he removed Neli's oxygen helmet, hoping that maybe this might deter his friends a little from rupturing the plastic of the huge bubble and letting the air out. It was a feeble safeguard, for in all probability in case of such rupture Neli would be rescued from death by smothering and cold and the boiling of his blood simply by having his helmet slimmed back on again. Next Endlich dumped the contents of the basket on the ground, inverted it, and sat Neely upon it. The big man had recovered consciousness enough to be nearly groggy by now. Endlich slapped his battered face vigorously to help clear his head, after having of course relieved him of the blaster at his belt. Endlich left his own face-window open so that the sounds of Neely's voice could penetrate to the mic of his own helmet-phone, thus to be transmitted to the helmet-phones of Neely's buddies. Endlich was anything but calm inside, with the wild horde as irresponsible in their present state of mind as a pack of idiot baboons bearing down on him. But he forced his tone to be conversational when he spoke. \"'Hello, Neely,' he said. \"'You mentioned you like tomatoes. Maybe you were kidding. Here, on the ground right in front of you is a whole bushel. The regular asteroid price, considering the trouble it takes to grow them, and the amount of dough a guy like you can make for himself out here is five bucks apiece. But for you, right now, they're all free. Here, have a nice fresh ripe one, Neely.\" The big man glared at his captor for a second. After he had looked dazedly around, he would have leaped to his feet, except that the muzzle of his own blaster was leveled at the center of his chest at a range of not over twenty inches. For a fleeting instant Neely looked scared and prudent. Then he saw his pals landing like a flock of birds just beyond the transparent side of the greenhouse. \"'We'll get the damn yokel off your neck! Come on, guys! Let's turn the damn place upside down!' Neely grew courageous. Yes. Maybe it did take a certain animal nerve to do what he did. His battered and bloody lip curled. He snarled slowly, his tone dripping contempt for the insanely foolish. Then his face twisted into a confident and mocking leer. To carry the mockery farther, a big paw reached out and grabbed the proffered tomato from Endelick's hand. Sure. Thanks. Anything to oblige. He took a great bite from the fruit, clowning the action with a forced expression of relish. He grunted in danger, playing for the approval of his pals. He was proving his comic coolness, that even now he was master of the situation and was in no hurry to be rescued. \"'C'mon, punk!' he ordered Endlich. \"'Where's the next one? Seeing you're so generous, be polite to your guest.' Endlich handed him a second tomato. But as he did so, it seemed all the things he dreaded would happen were breathing down his back, for the faces that He glimpsed beyond the plastic, showed the twisted expressions that betray the point where savage humor imperceptibly becomes murderous. A dozen blasters were leveled at him. They stood still for a moment, watching, commenting. Hey! Neely! Don't eat them all, Neely. Save some for us. Endlick was following no complete plan. He had only the feeling that somewhere here there It might be a dramatic touch that, by a long chance, would yield him a toehold on the situation. Without a word, he gave Neely a third tomato, then a fourth and a fifth. Neely kept gobbling and clowning. The question began to shine speculatively in the faces of the onlookers. It began to appeal to their wolfish sense of comedy. After the fifteenth tomato, he burped and balked. That's enough kidding around, punkin' head!\" he growled. \"'Get away with your damned garden truck! I should be beating you to a grease spot right this minute! Why, I—' Then Neely tried to lunge for the blaster, as Endlick squeezed the trigger. He turned the weapon aside a trifle so that the beam of energy flicked past Neely's ear and splashed garden soil that turned incandescent instantly. John Endlick might have died in that moment, cut down from behind. He wasn't probably meant that from the position of complete underdog among the spectators his popularity had risen some. \"'Neely,' he said with a grin, \"'how can you start beatin' when you ain't done eatin'? Neely, here I am trying to be friendly and hospitable, and you aren't cooperating. A whole bushel of juicy tomatoes. Symbols of civilization weigh the hell out here in the asteroids, and you haven't even made a dent in them yet. What's the matter, Neely? Who's Was your appetite? Here.\" Endlick's tone was falsely persuasive, for there was a steely note of command in it, and the blaster in Endlick's hand was pointed straight at Neely's chest. Neely's eyes began to look frightened and sullen. He shifted uncomfortably, and the bushel-basket creaked under his weight. \"'You're yella as any damn punkin',\" he said loudly. \"'You don't fight fair.' \"'Guys, what's a matter with you? Get this nut with the blaster off of me!' \"'Yella,' Endlick seemed to muse. \"'Call me Yella!' Neely hollered. \"'Why, you lousy damn yokel, if you didn't have that blaster!' Endlick said grimly. \"'But I got it, friend.' He sent a stream of energy from the blaster right past Neely's head, so close that a shock of the other's hair smoked and curled into black wisps. And \"'Watch your language. My wife and kids can hear you.' Neely's thick shoulders hunched. He ducked nervously, rubbing his head, and for the first time there was a hint of genuine alarm in his voice. \"'All right,' he growled. \"'All right. Take it easy.' Something deep within John Endlick relaxed. A cold, tight knot seemed to unwind, for at that moment he knew that Neely was beginning to lose. The big man's evident discomfort and fear were the marks of weakness—to his followers, at least—and with them he could never be a leader again. By his own code must be followed up to its nasty, if interesting, outcome. The spectators began to resemble Romans at the circus, with Neely the victim, and the victim's downfall was tragically swift. \"'C'mon, Neely, you heard what Pumpkin said!' Somebody yelled. \"'Damned if this ain't gonna be rich. Don't let us down, Neely. Nobody's hurtin' ya. All you have to do is eat, all them nice tomatoes. Neely, if that bushel ain't enough for you, I'll personally buy you another at the regular price. Lucky, Neely! Look at him, having a swell banquet. on, pumpkins, makin' me!\" Yeah. Under certain conditions human nature can be pretty fickle. Wonderingly, John Endlick felt himself to be respected. The top man—the guy who had shown courage and ingenuity and was winning by the harsh code of men who had been roughened and soured by space, by life among the asteroids. For a little while, then, he had to be hard. He thrust another tomato toward Neely, at the same time directing a thin stream from the blaster just past the big nose. Neely ate six more tomatoes with a will, his eyes popping, sweat streaming down his forehead. Endlick's next blaster stream barely missed Neely's booted toe. The persuasive shot was worth fifty-five more dollars in garden fruit consumed. The crowd gave with mock cheers and bravos and demanded more action. To go nearly on in this ludicrous and savage game, it isn't to be said that Endlic didn't enjoy his revenge for all the anguish and real danger that nearly had caused him. He'd always be a hot-tempered guy. He couldn't help that. Still, for a little more he had to go on, again and again, as before he used that blaster. But as he did so, he talked ramblingly, knowing that the audience, too, would hear what he said. Maybe, in a way, it was a lecture. But he couldn't help that. Have another tomato, Neely. Sorry to do things like this, but it's your own way, so why should you complain? Funny, ain't it? A man can get even too many tomatoes—civilized tomatoes—a part of something most guys around here have been homesick for for a long time. Maybe that's what has been most of the trouble out here in the asteroids. Not enough civilization. On Earth we were used to certain standards, in spite of being rough enough there, too. Here the traces got kicked over. But on this side of Vesta an idea begins to soak in. This used to be a nice country. Blue sky, trees growing. Some of that is coming back, nearly. order with it. Because deep in our guts, that's what we all want. And fresh vegetables'll help. Have another tomato, Neely. Or should we call it enough, guys? Neely, you ain't gonna quit now!\" Somebody guffawed. \"'You're doin' almost good!' Neely's face was purple. His eyes were bloodshot. His mouth hung partly open. \"'God, no, please!' he croaked. An embarrassed hush fell over the crowd. Finally, someone said, expressing the intrusion among them of the better dignity of man. Then and there John Endlick sold what was left of his first bushel of tomatoes. Pumpkins? You're all right. Soiling the inside of his helmet's face-window so that he could scarcely see out of it. That amid the raucous laughter of his companions, which still sounded slightly self-conscious and pitying. Thus Alf nearly sank at last to the level of helpless oblivion and non-entity. A week of vestal days later, in the afternoon, Rose and the kids came to John Endlick, who was toiling over his cucumbers. \"'Their name is Harper, Pop,' Bubbs shouted. \"'And they've got three children,' Evelyn added. John Endlick straightened, shaking a kink out of his tired back. \"'Who?' he questioned. \"'The people who are going to be our new neighbors, Johnny,' Rose said happily. \"'We just picked up the news on the radio from their ship, which is approaching from space right now. I hope they're nice folks. And Johnny, there used to be country schools with no more than five pupils.\" \"'Sure,' John Endlick said. Something felt warm around his heart. Leave it to a woman to think of a school—the symbol of civilization—marching now across the void. John Endlick thought of the trouble at the mining camp which his first load of fresh vegetables picked up by a small spaceboat had perhaps helped to end. He thought of the relics in this strange land—things that were like legends of a lost pastoral beauty—things that could come back. The second family of homesteaders was almost here. Endlick was reconciled to domesticity. He felt at home. He felt proud. Bees buzzed near him. A Tay-Tay bug from a perished era hummed and scraped out a mournful sound. I wonder if the Harper kids will call you Mr. Pumpkin's Pop?\" Bubbs remarked. John Endlick laughed. But somehow he was prouder than ever. Maybe the name would be a legend, too.",
        "transcription_large_v3": " but beyond this point the situation was bitter his two kids bubs seven and evelyn nine clad in space suits that were slightly oversized to allow for the growth of young bodies were both bawling he could hear them through his oxygen helmet radiophones at his elbow his wife rose her heart-shaped face and gray eyes framed by the wide face window of her armor was trying desperately to choke back tears and be brave remember we've got to make good here johnny she was saying remember what the homesteader's office people told us that with modern equipment and the right frame of mind life can be nice out here it's worked on other asteroids what if we are the first farmers to come to vesta don't listen to those crazy miners they're just kidding us don't listen to them and don't for gosh sakes get sore rose's words were now like dim echoes of his conscience recently back in illinois he had even spent six months in jail for all but inflicting murder with his bare fists on a bullying neighbor whom he had caught whipping a horse sure but during those six months his farm the fifth he'd tried to run in scattered parts of north america had gone to weeds in spite of rose's valiant efforts to take care of it alone hi you hydroponic punkin head how you like your new claim nice ain't it how about some fresh turnips good luck you greenhorn tied to baby's diaper suspenders let the poor dope alone guys snooty won't take our money wifey's boy let's make him sociable hydroponic pumpkin head matching the row of a dozen coarse faces and grins that lined the viewports of the ship these men were asteroid miners space hardened and space twisted they'd been back to earth for a while to raise hell and freshen up and spend the money in their then bulging pockets coming out again from earth across the orbit of mars to the asteroid belt they had had the endlich says fellow passengers john endlich had battled valiantly with his feebler side and with his social inclinations all through that long dreary voyage in the main it had been a rather tattered victory but now at the final moment of bleak anticlimax they took their revenge in guffaws and ridicule hurling the noise at him through the radio fanes of the space suit helmets that they held in their laps space suits being always kept handy beneath the traveler's seats of every interplanetary vessel tain't far when the turnips get you down bring the wife along ought to have a man-sized fellow just ask for me alf neely yeah alf neely was the loudest and the ugliest of john endlich's baiters he had gigantic arms and shoulders small squinty eyes and a pendulous nose haw haw haw and the others yelling and hooting made it a pack man don't he wish he was back in podunk what no tomatoes dutch where are they papa he was small and broad a stolid-looking thirty-two years old he might have taken the savage ribbing more calmly but there was too much grim fact behind what these asteroid miners said besides out here he had thought that he would have a better chance to lick the weaknesses in himself because he'd have to work to keep his family alive because he'd been told that there'd be no one around to distract him from duty the irony of that now was maddening For the moment, Jond Endlicht was speechless and strangled, but like an ignited firecracker, ready to explode. His hard body hunched as if ready to spring, and the baiting waxed louder. It was like the yammering of crows or the roar of a wild surf in his ears. Then came the last straw. The kids had kept on bawling more and more violently, but now they got down to verbal explanations of what they thought was the matter. The timing could not have been better. Or worse. The shrieks and howls of mirth from the miners a moment ago were as nothing to what they were now. That was a mouthful. There is a point at which an extremity of masculine embarrassment can lead to but one thing. Mayhem. Whether the latter is to be inflicted on the attacked or the attacker remains the only question mark. I'll get you, Alf Neely. Endlick snarled. now. And I'll get all the damned hell-bitten rest of you guys!\" Endlake was hardly lacking in vigor himself. Like a squat but streamlined fighting rooster, rendered a hundred times more agile by the puny gravity, he would have reached the hold-port threshold in a single, leaf skip. Had not Rose—together they slid several yards across the dried-out surface of the asteroid. don't johnny please don't she wailed her begging could not have stopped him nor could her physical interference for more than an instant not the certainty of being torn limb from limb and not hell itself could have held him back any more then yet he was brought to a halt it certainly wasn't cowardice that accomplished this no suddenly there was no laughter among the miners but in a body they arose from their traveler seats aboard the ship suddenly there was no more humor in their faces beyond the viewports they were itching to be assaulted the glitter in alf neely's small eyes was about as reassuring as the glitter in the eyes of a slightly prankish gorilla we're waitin for you mr civilization he rumbled softly after that all space was still electrified these guys who had been starved emotionally and warped inside by raw space coldness crawled into john endlich's guts and seemed to twist steel hooks there making him sick and for his family he was scared what hell could not have accomplished became fact his almost suicidal impulse to inflict violence on his tormentors was strangled bottled up brutally repressed narrowing domesticity had won a battle alf nearly growled it don't matter dutch we'll finish you off without you liftin a finger in john endlich the rage of intolerable insult still seethed but there was no question now of outcome between it and the brassy taste of danger on his tongue he knew that even knuckling down and changing from man to worm to take back his fighting words couldn't do any good he felt like a martyr left with his family in a roman arena while the lions approached his butchery was as good as over reprieve came presumably by way of the good sense of the pilot of the spaceship the hold port was closed abruptly by a mechanism that could be operated only from the main control board the rocket jets of the craft emitted a single weak burst of flame like a boulder growing agile and flighty the ship leaped from the landscape and arched outward toward the stars to curve around the asteroid and disappear behind the scene's jagged brim the craft had gone to make its next and final stop among the air domes of the huge mining camp on the other side of vesta the side of torn rocks and rich radioactive ores but before the ship had vanished from sight john endlich heard alf neely's grim promise in his helmet radiophones we'll be back to-night greenhorn stick around i'll rub what's left of you in the dust of your claim endlich was alone then with the fright in his wife's eyes the squalling of his children and his own abysmal disgust and worry for once he ceased to be a gentle parent bubs evelyn he snapped the startled silence which ensued was his first personal victory on vesta but the silence itself was an insidious enemy it made his ears ring it made even his audible pulse-beats seem to ache it bored into his nerves like a drill when after a moment rose spoke quaveringly he was almost grateful what do we do johnny we've still got to do what we're supposed to do don't we whereupon john endlich allowed himself the luxury and the slight relief of a torrent of silent cussing inside his head damn the obvious questions of women damn the miners damn the aho the asteroid homesteaders office and their corny slogans and posters meant to hook suckers like himself damn his own dumb hide damn the mighty urge to get drunk damn all the bitter circumstances that made doing so impossible damn damn damn finished with this orgy he said meekly i guess so hon all members of the endlich family had been looking around them at the weird vestal landscape through john endlich's mind again there flashed a picture of what this asteroid was like at the asteroids homesteaders school in chicago where his dependents and he had been given several weeks of orientation instruction suitable to their separate needs he had been shown diagrams and photographs of vesta later he had of course seen it from space it was not round like a major planet or most moons rather it was like a bomb fragment or even more like a shard of a gigantic broken vase it was several hundred miles long and half as thick one side of it this side was curved for it had been a segment of the surface of the shattered planet from which all of the asteroids had come the other side was jagged and broken for it had been torn from the mesoderm of that tortured mother-world from the desolation of his own thoughts in which the ogre form of alf nearly lurked with its pendent promise of catastrophe soon to come and from his own view of other desolation all around him john endlich was suddenly distracted by the comments of his kids all at once conforming to the changeable weather of children's natures regardless of circumstance their mood had once more turned bright and adventurous look pop this land all around here was fields once gosh evelyn who was older snapped at bubs we know that something like people lived on a regular planet here awfully long ago why don't you look over the other way there's the house and maybe the barn and the sheds and the old garden bubs turned around his eyes got very big he gasped in wonder pop mom look don't you see yeah we see bubs john endlich answered for a long moment he'd been staring at those block-like structures one maybe the house was of gray stone it had odd triangular windows which may once have been glazed wood that is endlick's imagination seemed forced to follow a groove trying to picture that last terrible moment fifty million years ago had the blast been caused by natural atomic forces at the heart of the planet as one theory claimed or had a great bomb as large as an oversized meteor come self-propelled from space to bury itself deep in that ancient world a world as big as mars its possible enemy whose weird inhabitants had been wiped out in a less spectacular way perhaps in the same conflict endlick's mind grabbed at that brief instant of explosion the awful jolt which must have ended all consciousness and all capacity for eyes to see what followed perhaps there was a short and terrible passing of flame but in swift seconds great chunks of the planet's crust must have been hurled outward in a moment the flame must have died almost instantly the sky which had been deep blue before must have turned to its present black with the voidal stars blazing there had been no air left to sustain combustion so buildings and trees had not continued to burn if there had been time at all to ignite them and with the same swiftness all remaining artifacts and surface features of this chip of a world's crust that was vesta had been plunged into the dual preservatives of the interplanetary regions deep freeze and all but absolute dryness yes the motion of the few scattered molecules in space was very fast indicating a high temperature there could be no heat and so few molecules were there in the void which meant again in practice all but absolute zero john endlich knew he'd heard the lectures at the homesteaders school. Here was a ghostland, hundreds of square miles in extent, a region that had been shifted in a few seconds from the full prime of life in motion. It was like the mummy of a man. In its presence there was a chill, a revulsion, and yet a fascination. The kids continued to jabber, more excitedly now than before. stop mom bubs urged sure let's go evelyn joined in i'm not scared to yeah kids tastes could be pretty gruesome when you thought most that you had to shelter them from horror they were less bothered by it than you were john endlich's lips made a sour line stay here the pair of you rose ordered you heard me the first time their mother answered john endlich moved to the great box which had come with them from Earth. The nervous tension that tore at him, unpleasant and chilling, driving him toward straining effort, was more than the result of the shameful and embarrassing memory of his very recent trouble with Alf, Neely and companions, and the certainty of more trouble to come from that source. For there was another and even worse enemy. Endlick knew what it was. The awful silence. He still Vesta looked shamefaced and furious, but now he felt a gentler sharing of circumstances. We'll let the snooping go till later, kids, he growled. Right now we gotta do what we gotta do. The youngsters seemed to join up with his mood. As he tore the pinch bar which had been conveniently attached to the side of the box, free of its staples, and proceeded to break out supplies, their whimsical musings fell close to what he was thinking. Vesta,\" Evelyn said. They told us at school, remember? Vesta was the old Roman goddess of hearth and home. Funny, huh, Dad?\" Bub's fancy was vivid, too. Look, Pop! he said again, pointing to a ribbon of what might be concrete, cracked and crumbled as by a terrific quake. That was a road! Can't you almost hear some kind of cars and trucks going by? John Endlich's wife, helping him open the great box, also had things to say. She touched the desiccated soil with a gauntleted hand. Johnny, she remarked wonderingly, you can see the splash marks of the last rain that ever fell here. Yeah, Endlick growled without any further comment. Inside himself he was fighting the battle of lost things. The blue sky, the shifting beauty of clouds and sunshine, the warm whisper of wind in trees, the rattle of traffic, the babble of water, the buzz of insects, the smell of flowers, The sight of grass waving—in short, all the evidences of life. A lot of things that was here once will bring back, won't we, Pop?\" Bubbs questioned with astonishing maturity. Hope so, John Endlich answered, keeping his doubts hidden behind gruffness. Maybe it was a grim joke that here and now every force in himself was concentrated on substantial objectives, to the exclusion of his defects. The drive in him was to end the maddening silence. It was a civilized urge, a home-building urge, maybe a narrow urge. But how could anybody stand being here very long unless such things were done? If they ever could be. Maybe, willfully, he had led himself into a grimmer trap than it had even seemed to be, or than he had ever wanted. Inside his space suit he had begun to sweat furiously. And it was more because of the tension of his nerves than because of the vigor with which he plied his pinch-bar. Doing the first task which had to be done. Steel ribbons were snapped. Nails were yanked silently from the great box. Boards were jerked loose. In another minute, John Endlich and his wife were setting up an airtight tent which, when the time came, could be inflated from compressed air bottles. They worked somewhat awkwardly, for their instruction period had been brief and they were green. But the job was speedily finished. The first requirement—shelter—was assured. Digging again into the vast and varied contents of the box, John Endlich found some things he had not expected. A fine rifle, a pistol, and ammunition. At which moment an ironic imp seemed to sit on his shoulder and laugh derisively. The asteroid's homesteader's office had filled these boxes according to a precise survey of the needs of a peaceful settler on Vesta. It was like Bubbs with the inquisitiveness of a seven-year-old to ask, What did they think we needed guns for when they knew there was no rabbits to shoot at? I guess they kind of suspected there'd be guys like Alf Neely's son, John Endlich answered dryly, even if they didn't tell us about it. The next task prescribed by the homesteader's school was to secure a supply of air and water in quantity. Again, following the instructions they had received, the Endlicks uncrated and set up an atom-driven drill. In an hour it had bored to a depth of five hundred feet. Hauling up the drill, Endlick lowered an electric heating unit on a cable from an atomic power cell and then capped the casting pipe. Yes, strangely enough, there was still sufficient water beneath the surface of Vesta. Its parent planet, like the Earth, had had water in its crust that could be tapped by means of wells. But so suddenly had Vesta been chilled in the cold of space at the time of the parent's body's explosions that this wooder had not had a chance to dissipate itself as vapor into the void, but had been frozen solid, ready to be pumped and put to use. And wooder by electrolysis was also an easy source of oxygen to breathe. The soil once thawed over a few acres would also yield considerable nitrogen and carbon dioxide. makings of many cubic meters of atmosphere. The A.H.O. survey expeditions here on Vesta and on other similar asteroids, which were crustal chips of the original planet, had done their work well, pathfinding a means of survival here. When John Endlich pumped the first turbid liquid which immediately froze again in the surface cold, he might, under other better circumstances, have felt like cheering. His well was a success. Besides, a short day, eighteen hours long instead of twenty-four, and already far advanced at the time of his tumultuous landing was drawing to a close. It'll be dark here mighty quick, Johnny, Rose said. She was looking scared again. John Endlich considered setting up floodlights and working on through the hours of darkness, but such lights would be a dangerous beacon for prowlers, and when you were inside their area of illumination it was difficult to see into the gloom beyond. Still, for a long moment, Endlick was in an agony of indecision. Then he said, We'll knock off from work now. Get in the tent, eat supper, maybe sleep. But he was remembering Neely's promise to return tonight. In another minute the small but dazzling sun had disappeared behind the broken mountains as Vesta, unspherical and malformed, and several hours later, amid heavy cooking odors inside the now-inflated plastic bubble that was the tent, Endlick was sprawled on his stomach, unable, through well-founded worry, even to remove his space suit or to allow his family to do so, though there was breathable air around them. They lay with their helmet-face windows open. Rose and Evelyn breathed evenly in peaceful sleep. Bubbs, trying to be very much a man, battled slumber and yawns and kept his dad company with scraps of conversation. Let him come, Pop, he said cheerfully. Hope they do. We'll shoot them all, won't we, Pop? You got the rifle and the pistol ready. Pop? Yes. John Endlich had his guns ready beside him all right, for what it was worth. He wished wryly that things could be as simple as his hero-worshipping son seemed to think. Thank the Lord that Bubbs was so trusting, for his own peace of mind the prankish and savage nature of certain kinds of men, with liquor in their bellies being what it was. For John Endlich, having been on occasion mildly kindred to such men, was well able to understand that nature. Peering from the small plastic windows of the tent, he kept watching for hulking black shapes to silhouette themselves against the stars, exchanged by short-range radio by men in space armor. Once he thought he heard a grunt or a malicious chuckle. Otherwise, from all around, the stillness of the vacuum was absolute. It was unnerving. Against that maddening silence, however, Bubbs presently had a helpful and unprompted suggestion. Hey, Pop, he whispered hoarsely. Put the side of your helmet against the tent floor and listen. John Endlich obeyed his kid. In a second, cold sweat began to break out on his body as intermittent thudding noises reached his ear. In the absence of an atmosphere, sounds could still be transmitted through the solid substance of the asteroid. It took Endlick a moment to realize that the noises came not from nearby, but from far away. On the other side of Vesta, the thudding was vibrated straight through many miles of solid rock. It's nothing, Bubbs,\" he growled. Nothing but the blasting in the mines. Bubbs said, Oh! as if disappointed. Not long thereafter he was asleep, leaving his harassed sire to endure the vigil alone. He could only wait. If an evil visitation came, as he had been all but sure it must, that would be bad indeed. If it didn't come, well, that still meant a sleepless night and the postponement of the inevitable. He couldn't win. thus the hours slipped away until the luminous dial of the clock in the tent it had been synchronized to vestal time told him that dawn was near that was when through the ground he heard the faint scraping a rustle it might have been made by heavy space boots it came and then it stopped it came again and stopped once more as if skulking forms paused to find their way then it burned peacefully again john endlich's hackles rose his fists tightened on both his rifle and pistol he fixed his gaze on the great box looming blackly the box that contained the means of survival for his family and himself as if he foresaw the future a moment away for suddenly huge as it was the box rocked john endlich scrambled to action he slammed and sealed the face windows of the helmets of the members of his family to protect them from suffocation he did the same for himself and then unzipped the tent flap he darted out with the outrushing air this was a moment with murder poised in every tattered fragment of it john endlich knew murder was ingrained in his own taut drawn nerves that raged to destroy the trespassers whose pranks had passed the level of practical humor and become by the tampering with vital necessities an attack on life itself strike back at them even in self-defense and have it proven he had not the faintest doubt who they were even though he could not see their faces in the blackness maybe he should lay low let them have their way but how could he even apart from his raging temper and his honor as a man when they were making off with his families and his own means of survival he had to throw rose and the kids into the balance risking them to the danger that he knew lay beyond his own possible ignoble demise he did just that when he raised his pistol struggling against the awful impulse of the rage in him lifted it high enough so that the explosive bullets that spewed from it would be sure to pass over the heads of the dark silhouettes that were moving about damn you neely endlick yelled into his helmet mike his finger tightening on the trigger drop that stuff at that moment the sun's rim appeared at the landscape's jagged edge and on this side of airless vesta complete night was transformed to complete day as abruptly as if a switch had been turned. Alf Neely and John Endlich blinked at each other. Probably the bully in him was scared. But this he covered in a common manner, with a studiedly easy swagger and a bravado that was not good sense but bordered on childish recklessness. Yet he had a trump card. By the aggressive glint in his eyes and his unpleasant grin, Endlich knew that Neely knew that he was afraid for his wife, and wouldn't start anything unless driven and goaded sheerly wild. Even now they were seven to his one. Why, good morning, neighbor, pumpkinhead! Neely crooned, his voice a burlesque of sweetness. Glad to oblige! He hurled the great box down. He flicked it expertly into the open side of the wooden case which contained so many things that were vital to the Endlicks. It only a tiny nuclear priming cap and the blast was feeble even so the box burst apart splintered crates sealed cans great torn bundles and what-not went skittering far across the plain in every direction or were hurled high toward the stars to begin falling at last with the laziness of a descending feather neely and his companions hadn't attempted to move out of the way of the explosion they only rolled with its force protected by their space suits endlich rolled too helplessly clutching his pistol and rifle still by some superhuman effort he'd managed to regain his feet before the far more practiced neely who was hampered no doubt by a few too many drinks had even stopped rolling but when neely got up he had drawn his blaster a useful tool of his trade but a hellish weapon too at short range still endlich retained the drop on him alf neely chuckled fourth of july halloween dutch he said sweetly what's a matter don't you think it's fun then he switched his tone it became a soft snarl that didn't alter his insolent and confident smirk and a challenge he laughed derisively almost softly i dare you to try to shoot straight pal he said even you got more sense than that and john erlich was spying against his terrible blank wall again seven to one anyway half drunk ready to hoot at the stars even if they found no better diversion ready to push even any of their own bunch around who seemed weaker than they for spite maybe or just for the lid blowing hell of it as a reaction against the awful confinement of being out here i was gonna smear you all over the place greenhorn neely rumbled but maybe this way is more fun maybe we'll be back tonight but don't wait up for us john endlich's blazing and just rage was strangled by that same crawling dread as before propelled by the miniature drive jets attached to the belts of their space suits their return to camp hundreds of miles distant could be accomplished in a couple of minutes rose and the kids were crouched in the deflated tent but returning there john endlich hardly saw them he hardly heard their frightened questions Maybe already mortal damage had been done. But Endlick couldn't lie down and quit any more than a snake tossed into a fire could stop trying to crawl out of it as long as life lasted. Whether doing so made sense or not didn't matter. In Endlick was the savage energy of despair. He was fighting not just Neely and his crowd, but that other enemy. Which was perhaps Neely's main trouble, too. Yeah. The stillness. The nostalgia. The harshness. harshness. No. Don't want any breakfast, he replied sharply to Rose's last question. Gotta work. He was like an ant swarm, rebuilding a trampled nest, oblivious to the certainty of its being trampled again. First he scrambled and leaped around, collecting his scattered and damaged gear. He found that his main atomic battery, so necessary to all that he had to do, was damaged and unworkable. And he had no hope that he could repair it. Now he started unrolling great bolts of a transparent, wire-strengthened plastic. He cut hundred-yard strips, and, with Rose's help, laid them edge to edge and fastened them together to make a continuous sheet. Next, all around its perimeter, he dug a shallow trench. The edges of the plastic were then attached to massive metal rails, which he buried in the trench. He growled to Rose. Next, we fit in the airlock cabinet at one corner. Then we've got to see if we can get up enough air to inflate the whole business. That's the tough part, the way things are.\" By then the sun was already high, and Endlick was panting raggedly, mostly from worry. After the massive airlock was in place, they attached their electrolysis apparatus to the small atomic battery which had been used to run the well driller. The well was in the area covered by the sheave plastic, which was now propped up here and there with long pieces of board from the great yet from the start it was obvious that with insufficient electric power the process was too slow and we need to use heat coils to thaw the ground johnny rose said and to keep the place warm and to bring nitrogen gas up out of the soil the few cylinders of the compressed stuff that we've got won't be enough to make a start and the carbon dioxide so john endlich had to try to repair that main battery he thought after a while that he might succeed in time bubs bore a crooked piece of a black substance hard as wood and more gruesome than a dried and moldy monkey pelt a tentacle evelyn shrilled we were up to those old buildings we found the people so he went with his children he passed into chambers far too low for comfortable human habitation and what did he know of the uses of most of what he saw there the niches in the stone walls the slanting ramp-like object of blackened wood the glazed plaque on the wall which could have been a religious emblem a calendar of some kind a decoration or something beyond human imagining yeah leave such stuff for cousin ernest the schoolteacher if he ever got here in the cylindrical stone shed nearby john endlich had a look at the car low slung three-wheeled a tiller no seats just a flat platform beyond the car was what might be a small tractor and a lot of odd tools but the thing which interested him most was the pattern of copper ribbons insulated with a heavy glaze similar to that which he had seen traversing walls and ceiling in the first building he had entered here as before they connected with queer apparatus which might be stoves and non rotary motors for all he knew and also with the globes overhead it was sealed and apparently self-contained nothing could have damaged it very much in the frigid stillness of millions of years its secrets were hidden within it but they could not be too unfamiliar and its presence was logical a small nervously he turned a little wheel a faint vibration was transmitted to his gloved hand and the globe in the ceiling began to glow he shut the thing off again but how long did it take him to run back to his sagging creation of clear plastic while the kids howled gleefully around him and returned with the end of a long cable and pliers how long did it take him to disconnect all of the glazed copper ribbons and substitute the wires of the cable attaching them to queer terminal posts no not long the power was not as great as that which his own large atomic battery would have supplied but it proved sufficient and the current was direct as it was supposed to be the electrolysis apparatus bubbled vigorously slowly the tent-like roof began to rise under the beginnings of a tiny gas pressure that does it pops bubs shrilled eh maybe so john erlik agreed almost optimistically he felt really tender toward his kids just then they really helped him for once until he glanced at the rapidly declining sun an all-night vigil no probably worse even if he managed to keep neely and company at bay night after night all that he had accomplished seemed useless john endlich's flesh crawled and in his thinking now he went a little against his own determinations nuts he growled lugubriously if i'd only been a little more sociable that was where the trouble started i might have got broke but i would have made friends they think i'm snooty rose's jaw hardened as if she took his regrets as an accusation that she had led him along the straight and narrow path which by an exasperating shift in philosophical principle now seemed the shortest route to destruction but he felt very sorry for her too and he didn't believe that what he had just said was entirely the truth she softened you've got to eat johnny she said you haven't eaten all day and to-night you've got to sleep i'll keep watch maybe it'll be all right well anyway it was nice to know that his wife was like that yeah gentle and fair-minded after they had all eaten supper he tried hard to keep awake their tent was now covered by the rising plastic roof but beyond the clear substance he could still watch for starlight to be stopped by prowling forms out there at the jagged rim of vesta it was hell to feel your skin puckering and yet to have exhaustion pushing your eyelids down inexorably and he was being beaten to a pulp but he was wishing desperately that he could win then they could have a drink and maybe be friends but he knew hopelessly that things weren't quite that simple either he awoke to blink at blazing sunshine then his whole body became clammy with perspiration as he thought of his lapse from responsibility glancing over he saw that rose was sleeping as soundly as the kids his wide eyes searched for the disaster that he knew he'd find But the wide roof was all the way up now, intact. It made a great squarish bubble, the skin of which was specially treated to stop the hard and dangerous part of the ultraviolet rays of the sun, and also the lethal portion of the cosmic rays. It even had an inner skin layer of gum that could seal the punctures that grain-of-sand-sized meteors might make. But meteors, though plentiful in the asteroid belt, were curiously innocuous. They all moved in much the same direction as the large asteroids and at much the same velocity, so their relative speed had to be low. The walls of the small tent around Endlick sagged where they had bulged tautly before, showing that there was now a firm and equal pressure beyond them. The electrolysis apparatus had been left active all night, and the heating units. This was the result. John Endlick was at first almost unbelieving when he saw that nothing had been wrecked during the night. For a moment he was elated. He woke up his family by shouting, Look! The bombs stayed away! They didn't come! Look! We've got five acres of ground covered by air that we can breathe! His sense of triumph, however, was soon dampened. Yes, he'd been left unmolested—for one night. But had that been done only to keep him at a fruitless and sleepless watch? Probably. Another delicate form of hazing, pursued only by a wild and defenseless drive to get things done, to make certain reassuring sounds possible around him. Got to patch up the pieces of the house first and bolt them together, Rose, he said feverishly. Kids, maybe you could help by setting out some of the hydroponic troughs for planting. We gotta break plain ground, too, as soon as it's thought enough. We gotta— His words raced on with his flying thoughts. It was a mad day of toil. The hours were pitifully short. They couldn't be stretched to cover more than a fraction of all the work that Endlich wanted to get done. And he did get the house assembled, so that Rose and the kids and he could sleep inside its sealed doors—sealed, that is, if Neely or somebody didn't use a blaster or an explosive cap or or bullet, in an orgy of perverted humor. He still had no answer for that. Rose and the children toiled almost as hard as he did. Rose even managed to find a couple of dozen eggs that, by being carefully packed to withstand a spaceship's takeoff, had withstood the effects of Neely's idea of fun. She set up an incubator and put them inside to be hatched. Nerve-twisting. terrible and a vigil was all but impossible john endlich was out on his feet far more than just dog-tired that damned neely he groaned almost too weary even to swallow his food in spite of the luxury of a real pullman style supper table he doesn't lose sleep he can pick his time to come here and raise hobb rose's glance was strange almost guilty tonight i think he might have to stay home too she said john endlich blinked at her she answered rather defensively so to speak johnny i called the cops yesterday with the small radio transmitter when you and bubs and evelyn were up in those old buildings i reported neely and his companions reported them sure to mr mahoney the boss at the mining camp i was glad to find out that there is a little law and order around here mr mahoney was nice he said that he wouldn't be surprised if they were cooled in the can for a few days and then confined to the camp area matter of fact i radioed him again last night it's been done john endlich's vast sigh of relief was slightly tainted by the idea that to call on a policing power for protection was a little bit on the timid side he grunted thanks i never thought of doing that johnny yeah i kind of got the notion though from between the lines of what mr mahoney said that there was heavy trouble brewing at the camp about conditions and home leaves and increased profit sharing maybe there's danger of riots and what not johnny anyhow mr mahoney said that we should keep on exercising all reasonable caution mr mahoney is very nice ain't he endlick growled you stop that johnny rose ordered but her husband had already passed beyond thoughts of jealousy he was thinking of the time when neely would have worked out his sentence and would be free to roam around again no doubt with increased annoyance at the endlick clan for causing his restraint if a riot or something didn't spring him beforehand john endlick itched to try to tear his hat off but of course the same consequences as before still applied for what it was worth they accomplished a great deal in their great plastic greenhouse supported like a colossal bubble by the humid artificially warmed air inside it long troughs were filled with pebbles and hydroponic solution and therein tomatoes were planted and lettuce radishes corn onions melons just about everything in the vegetable wine there remained plenty of ground left over from the five acres so john endlich tinkered with that fifty million year old tractor he added commercial fertilizers and nitrates to it the nitrates were of course distinct from the gaseous nitrogen that had been held sponge-like by the subsoil and had helped supply the greenhouse with atmosphere then he harrowed the ground again he repeated his planting in the old-fashioned manner under ideal conditions the inside of the great bubble was soon a mass of growing things rose had planted flowers to be admired and to help out the hive of bees which were essential to some of the other plants as well nor was the flora limited to the earthly some seeds or spores had survived here from the mother world of the asteroids they came out of their eons of suspended animation to become root and tough spiky stalk and to mix themselves sparsely with vegetation that had emigrated from earth now that livable conditions had been restored over this little piece of ground sometimes john endlich was misled sometimes listening to familiar sounds and smelling familiar odors toward the latter part of his reprieve he almost imagined that he'd accomplished his basic desires here on vesta when he had always failed on earth there was the smell of warm soil flowers greenery he heard irrigation water trickling the sweet corn rustled in the wind of fans he'd set up to circulate the air bees buzzed chickens approaching adolescence peeped contentedly as they dusted themselves and stretched luxuriously in the shadows of the cornfield for john endlich it was all like the echo of a somnambulant summer of his boyhood there was peace in it it was like a yearning fulfilled an end of wanderlust for him here on vesta in contrast to the airless desolation outside the interior of this five-acre greenhouse was the one most desirable place to be so except for the vaguest of stirrings sometimes in his mind there was not much incentive to seek fun elsewhere if he ever had time maybe there'd be a lot more of all that soon when the rumored major influx of homesteaders reached vesta yes johnny rose said once legendary is a lot nicer word than ghostly rose had to teach the kids their regular lessons in make-believe they took their excursions far back to former ages they played that they were old people endlick having repaired his atomic battery didn't draw power any more from the unit that had supplied the ancient buildings from a device like a phonograph there was even a bell-like voice that chanted when a lever was pressed and it was the kids who found the first tey tey bug a day after its trills were heard from among the new foliage a one-legged hopper with a thin but rigid gliding wing of horn it had evidently hatched from a tiny egg preserved by the cold for ages Wise enough not to clutch it with his bare hands, Bubbs came running with it held in a leaf. It proved harmless. It was ugly. And beautiful. Its great charm was that it was a vocal echo from the far past. Sure, life got to be fairly okay in spite of hard work. The Endlicks had conquered the awful stillness with life sounds. Growing plants kept the air in their greenhouse fresh and breathable by photosynthesis. John Endlick did a lot of grinning and whistling. His temper never flared once. Deep down in him there was only a brooding certainty that the calm couldn't last. For, from all reports, trouble seethed at the mining camp. At any time there might be a blow-up, a rain of terror that would roll over all of Vesta. A thing to release pent-up forces in men who had seen too many hard stars and had heard too much stillness. They were like the stuff inside a complaining volcano. The Endlicks had sought to time their various crops so that they would all be ready for market on as nearly as possible the same day. So one morning in a jet-equipped space suit—six tomatoes. Beauties. Have luck with them, Johnny. But watch out! Rose flung after him by helmet phone. With a warm laugh, just for a moment, he felt maybe a little silly. Tomatoes. But they were what he was banking on and had forced toward maturity most, because they were too busy chasing mineral wealth to keep a decent hydroponic garden going, would be hungriest for. Well, he was rather too right in some ways to be fortunate. Yeah, they still call what happened the Tomato War. Poor Johnny Endlich! He was headed for the commissary dome to display his wares, vague urges side-tracked him and into the bar the petty sin of two drinks hardly merits the punishing trouble which came his way as at least partially a result with his face window open he stood at the bar with men whom he had never seen before and he began to have minor delusions of grandeur he became a little too proud of his accomplishments his wariness slipped into abeyance he had a queer idea that as a farmer with concrete evidence of his skills to show he would win respect that had been denied him dread of consequences of some things that he might do became blurred his hot temper began to smolder under the spark of memory and the fury of insult and malicious tricks that considering the safety of his loved ones he had had no way to fight back against frustration is a dangerous force released a little it excited him more and the tense mood of the camp a thing in the very air of the domes stirred him up more the camp ready to explode into sudden open barbarism for days was now at a point where nothing so dramatic as fresh tomatoes and farmers in a bar was needed to set the fireworks off john endlich had his two drinks then with calm and foolhardy detachment he set the six tomatoes out in a row before him on the synthetic mahogany he didn't have to wait at all for results bloodshot eyes some of them belonging to men who had been as gentle as lambs in their ordinary lives on earth bristly faces showed swift changes of expression surprise interest greed for possession but most of all aggressive and satanic humor jeez tomatoes somebody growled amazed under the circumstances to be aware of opportunity was to act big paws some bare and calloused some in the gloves of space suits reached out grabbed teeth bit juice squirted landing on hard metal shaped for the interplanetary regions so far fine john endlich felt prouder of himself he'd expected a certain fierceness and lack of manners but knowing all he did know he should have taken time to visualize the inevitable chain reaction thanks pal you're a prince sure but the thanks were more of a mockery than a formality none for me shut up mick who's dis guy friend you wouldn't be that punkin head we been hearin about would you well my gracious bet you are dis'll be nice to watch where's alf neely cranston what we need is excitement seen him out by the slot machines the bar is still out of bounds for him he can't come in here says who boss man mahoney for this much sport neely can go straight to hell and take boss man with him on a pitchfork the big man whose name was called lumbered to the window at the entrance to the bar and peered inside during the last couple of months he'd been in a perpetual grouch over his deprivation of liberty which had rankled him more as an affront to his dignity neely let out a yell of sheer glee his huge shoulders hunched his pendulous nose wobbled his squinty eyes gleamed and he charged into the bar john endlich's first reaction was curiously similar to neely's he felt a flash of savage triumph under the stimulus of the thought of immediate battle with the cause of most of his troubles temper blazed in him belatedly however the awareness came into his mind that he had started an emotional avalanche that went far beyond the weight and fury of one man like neely lord wouldn't he ever learn it was tough as hell to crawl but how could a man put his wife and kids in awful jeopardy at the hands of a flock of guys whom space had turned into guerrillas endlick tried for peace it was to his credit that he did so quite coolly he turned toward his charging adversary and grinned hi neely he said have a drink on me the big man stopped short almost in unbelief that anyone could stoop so low as to offer appeasement then he laughed uproariously why i'd be delighted mr punkins he said in a poisonous sweet tone let bygones be bygones hey charlie hear what punkin says the drinks are all on him lonesome i bet glad to hear it i'm going to fix that with a sudden lunge neely gripped endlich's hand and gave it a savage if momentary twist that sent needles of pain shooting up the homesteader's arm it was a goading invitation to battle which grim knowledge of the sequel now compelled endlich to pass up don't call him punkins neely somebody yelled it ain't polite to mispronounce a name it's mr tomatoes i just saw bet he's got a million of em out there on the farm the whole crowd in the bar broke into coarse shouts and laughs and comments we ain't good neighbors neglecting our social duties let's pay em a visit pumpkins what else you got besides tomatoes let's go on a picnic hell with the boss man i'm not goin on shift come on everybody there's gonna be a fight hell with the boss man like the flicker of flame flashing through dry gunpowder you could feel the excitement spread out of the bar out of the wreck dome it would soon ignite the whole tent's camp john endlich's heart was in his mouth as his mind pictured the part of all this that would affect him and his a bunch of men gone wild kicking over the traces arcing around vesta sacking and destroying in sheer exuberance like brats on halloween they would stop at nothing and rose and the kids this was it what he'd been so scared of all along it was at least partly his own fault and there was no way to stop it now i love tomatoes mr punkins neely rumbled at endlich's side reaching for the drink that had been set before him but first i'm going to smear you all over the camp take my time do a good job because you didn't give me any tomatoes with all the strength of his muscular body backed up by dread and pent-up fury he sent a gloved fist crashing straight into neely's open-faced window even the pang in his well-protected knuckles was a satisfaction for he knew that the damage to neely's ugly features must be many times greater the blow occurring under the conditions of vesta's tiny gravity had an entirely unearthly effect neely eyes glazing floated gently up and away and endlich since he had at the last instant clutched neely's arm was drawn along with the miner in a graceful arcing flight through the smoky air of the bar both armored bodies lacking nothing in inertia tore through the tough plastic window and they bounced lightly on the pavement of the main section of the wreck dome neely was as limp as a wet rag sleeping peacefully blood all over his crushed face but that he was out of action signified no peace when so many of his buddies were nearby and beginning to seethe like a swarm of hornets so there was an element of despair in endlich's quick actions as he slammed neely's face window and his own shut picked up his enemy and used his jets to propel him in the long leap to the airlock of the dome he had no real plan he just had the ragged and all but hopeless thought of using neely as a hostage as a weapon in the bitter and desperate attempt to defend his wife and children from the mob that would be following close behind him tumbling end over end with his light but bulky burden he sprawled at the threshold of the airlock where the guard posted there had stepped hastily out of his way again capricious luck surprise and swift action were on his side he pressed the control button of the lock and squirmed through its double valves before the startled guard could stop him then he slammed his jets wide and aimed for the horizon the journey was made then not in a smooth arc but in a series of erratic waverings from the very start of that wild flight he heard voices in his helmet phones damn pumpkinhead greenhorn did you see how he hit neely schmidt yeah by surprise damn yellow yokel who's coming along to get him sure there was another side to it other voices shucks neely had it coming to him i hope the farmer really murders that big lunkhead you ain't kidding muir i was glad to see his face splatter like a rotten tomato okay fine it was good to know you had some sensible guys on your side but what good was it when the camp as a whole was boiling over from its internal troubles there were more than enough roughnecks to do a mighty messy job fast panting with tension endlich swooped down before his greenhouse and dragged neely inside through the airlock for a fleeting instant the sights and sounds and smells that impinged on his senses as he opened his face window once more brought him a regret the rustle of corn the odor of greenery the chicken voices there was home in all of this something pastoral and beautiful and orderly gained with hard work and something brought back restored from the remote past the buzzing of the tei tei bug was even a real echo from that smashed yet undoubtedly once beautiful world of antiquity but these were fragile concerns beside the desperate question of the immediate safety of rose and the kids already cries and shouts and comments were coming faintly through his helmet-phones again get the yokel get the bum we'll fix his wagon good the pack was on the way getting closer with every heartbeat never in his life had endlich experienced so harrowing a time as this never if by some miracle he lived could he expect another equal to it to stand and fight as he would have done if he were alone would mean simply that he would be cut down to try the peacemaking of appeasement would have probably the same result plus for himself the dishonor of contempt so where was there to turn with grim unanswering blankness on every side john endlich felt mightily an old yearning that of a fundamentally peaceful man for a way to oppose and win against brutal overpowering odds without using either serious violence or the even more futile course of supine submission here on vesta this had been the issue he had faced all along in many ages and many nations and probably on many planets throughout the universe others had faced it before him to his straining and tortured mind the trite and somewhat mocking answers came psychology salesmanship the selling of respect for one's self these were fine words glib words but the question how was more bitter and derisive than ever still he had to try something to make at least a forlorn effort for him it always meant trouble and he was now about to make his last great gamble if he lost he wouldn't be alive to gamble again if by great good fortune he won well he was certain that all the charm of unnecessary chance-taking would by the memory of these awful moments be forever poisoned in him now rose and the youngsters came hurrying toward him back so soon johnny rose called what's this what happened who's the guy pop evelyn asked oh baloney knows what're you doing with him but by then they all had guessed some of the tense mood and its probable meaning neely's pals are coming honey endlich said quietly it's the showdown hide the kids and yourself quick under the house maybe rose's pale eyes met his they were comprehending they were worried but they were cool he could see that she didn't want to leave him evelyn looked as though she might begin to whimper but her small jaw hardened bub's lower lip trembled but he said valiantly i'll get the guns pop i'm stayin with you no you're not son john endlich answered get going orders get the guns to keep with you to watch out for mom and sis rose took the kids away with her without a word endlick wondered how to describe what was maybe her last look at him there were no fancy words in his mind just love and deep concern alf neely was showing signs of returning consciousness which was good still dragging him endlick went and got a bushel basket it was filled to the brim with ripe red tomatoes but he could carry its tiny weight on the palm of one hand scarcely noticing that it was there for an instant endlich scanned the sky through the clear plastic roof of the great bubble he saw at least a score of shapes in space armor arcing nearer specks in human form glowing with reflected sunlight like little hurling moons among the stars neely's pals in a moment they would arrive endlich took neely and the loaded basket close to the transparent side of the greenhouse nearest the approaching roughnecks there he removed neely's oxygen helmet hoping that maybe this might deter his friends a little from rupturing the plastic of the huge bubble and letting the air out it was a feeble safeguard for in all probability in case of such rupture neely would be rescued from death by smothering and cold and the boiling of his blood simply by having his helmet slammed back on again next endlich dumped the contents of the basket on the ground inverted it and sat neely upon it the big man had recovered consciousness enough to be nearly groggy by now endlich slapped his battered face vigorously to help clear his head after having of course relieved him of the blaster at his belt endlick left his own face window open so that the sounds of neely's voice could penetrate to the mike of his own helmet phone thus to be transmitted to the helmet phones of neely's buddies endlick was anything but calm inside with the wild horde as irresponsible in their present state of mind as a pack of idiot baboons bearing down on him but he forced his tone to be conversational when he spoke hello neely he said you mentioned you liked tomatoes maybe you were kidding here on the ground right in front of you is a whole bushel the regular asteroid price considering the trouble it takes to grow em and the amount of dough a guy like you can make for himself out here is five bucks apiece but for you right now they're all free here have a nice fresh ripe one neely The big man glared at his captor for a second. After he had looked dazedly around, he would have leaped to his feet, except that the muzzle of his own blaster was leveled at the center of his chest at a range of not over twenty inches. For a fleeting instant, Neely looked scared and prudent. Then he saw his pals landing like a flock of birds just beyond the transparent side of the greenhouse. Neely said, We'll get the damned yokel off your neck. Come on, guys, let's turn the damned place upside down. He grew courageous. Yes, maybe it did take a certain animal nerve to do what he did. His battered and bloody lip curled. He snarled slowly, his tone dripping contempt for the insanely foolish. Then his face twisted into a confident and mocking leer. To carry the mockery farther, a big paw reached out and grabbed the proffered tomato from Endlick's hand. Sure. Thanks. Anything to oblige. He took a great bite from the fruit, clowning the action with a forced expression of relish. He grunted in danger, playing for the approval of his pals. He was proving his comic coolness, that even now he was master of the situation and was in no hurry to be rescued. \"'Come on, punk,' he ordered Endlick. \"'Where's the next one? Seeing you're so generous, be polite to your guest.' Endlick handed him a second tomato, but as he did so it seemed all the things he dreaded would happen were breathing down his back, for the faces that he glimpsed beyond the plastic showed the twisted expressions that betray the point where savage humor imperceptibly becomes murderous. A dozen blasters were leveled at him. They stood still for a moment, watching, commenting. Hey, Neely! Don't eat them all, Neely. Save some for us. Endlick was following no complete plan. He had only the feeling that somewhere here there might be a dramatic touch that by a long chance would yield him a toehold on the situation. Without a word he gave Neely a third tomato, then a fourth and a fifth. Neely kept gobbling and clowning. The question began to shine speculatively in the faces of the onlookers. It began to appeal to their wolfish sense of comedy. After the fifteenth tomato he burped and balked. that's enough kiddin around punkin head he growled get away with your damned garden truck i should be beatin you to a grease spot right this minute why i then neely tried to lunge for the blaster as endlich squeezed the trigger he turned the weapon aside a trifle so that the beam of energy flicked past neely's ear and splashed garden soil that turned incandescent instantly john endlich might have died in that moment cut down from behind that he wasn't probably meant that from the position of complete underdog among the spectators his popularity had risen some neely he said with a grin how can you start beatin when you ain't done eatin neely here i am trying to be friendly and hospitable and you aren't cooperating a whole bushel of juicy tomatoes symbols of civilization way the hell out here in the asteroids and you haven't even made a dent in em yet what's the matter neely who's your appetite here endlick's tone was falsely persuasive for there was a steely note of command in it and the blaster in endlick's hand was pointed straight at neely's chest neely's eyes began to look frightened and sullen he shifted uncomfortably and the bushel basket creaked under his weight your yella is any damn punkin he said loudly you don't fight fair guys what's the matter with you get this nut with the blaster offa me yella endlich seemed to muse call me yella neely hollered why you lousy damn yokel if you didn't have that blaster endlick said grimly but i got it friend he sent a stream of energy from the blaster right past neely's head so close that a shock of the other's hair smoked and curled into black wisps and watch your language my wife and kids can hear you neely's thick shoulders hunched he ducked nervously rubbing his head and for the first time there was a hint of genuine alarm in his voice all right he growled all right take it easy something deep within john endlich relaxed a cold tight knot seemed to unwind for at that moment he knew that neely was beginning to lose the big man's evident discomfort and fear were the marks of weakness to his followers at least and with them he could never be a leader again by his own code must be followed up to its nasty if interesting outcome the spectators began to resemble romans at the circus with neely the victim and the victim's downfall was tragically swift come on neely you heard what punkin said somebody yelled damned if this ain't going to be rich don't let us down neely nobody's hurtin you all you have to do is eat all them nice tomatoes neely if that bushel ain't enough for you i'll personally buy you another at the regular price lucky neely look at him having a swell banquet come on punkins make a meet yeah under certain conditions human nature can be pretty fickle wonderingly john endlich felt himself to be respected the top man the guy who had shown courage and ingenuity and was winning by the harsh code of men who had been roughened and soured by space by life among the asteroids for a little while then he had to be hard he thrust another tomato toward neely at the same time directing a thin stream from the blaster just past the big nose neely ate six more tomatoes with a will his eyes popping sweat streaming down his forehead endlick's next blaster stream barely missed neely's booted toe the persuasive shot was worth fifty-five more dollars in garden fruit consumed the crowd gave with mock cheers and bravos and demanded more action to goad neely on in this ludicrous and savage game It isn't to be said that Endlich didn't enjoy his revenge for all the anguish and real danger that Neely had caused him. He'd always be a hot-tempered guy. He couldn't help that. Still, for a little more, he had to go on. Again and again, as before he used that blaster. But as he did so, he talked ramblingly, knowing that the audience, too, would hear what he said. Maybe, in a way, it was a lecture. But he couldn't help that. have another tomato neely sorry to do things like this but it's your own way so why should you complain funny ain't it a man can get even too many tomatoes civilized tomatoes part of something most guys around here have been homesick for for a long time maybe that's what has been most of the trouble out here in the asteroids not enough civilization on earth we were used to certain standards in spite of being rough enough there too here the traces got kicked over but on this side of vesta an idea begins to soak in this used to be a nice country blue sky trees growing some of that is coming back neely and order with it because deep in our guts that's what we all want and fresh vegetables'll help have another tomato neely or should we call it enough guys neely you ain't going to quit now somebody guffawed you're doing almost good neely's face was purple his eyes were bloodshot his mouth hung partly open god no please he croaked an embarrassed hush fell over the crowd finally someone said expressing the intrusion among them of the better dignity of man then and there john endlich sold what was left of his first bushel of tomatoes pumpkins you're all right soiling the inside of his helmet's face window so that he could scarcely see out of it that amid the raucous laughter of his companions which still sounded slightly self-conscious and pitying thus alf neely sank at last to the level of helpless oblivion and nonentity a week of vestal days later in the afternoon rose and the kids came to john endlich who was toiling over his cucumbers their name is harper pop bubs shouted and they've got three children evelyn added john endlich straightened shaking a kink out of his tired back who he questioned the people who are going to be our new neighbors johnny rose said happily we just picked up the news on the radio from their ship which is approaching from space right now i hope they're nice folks and johnny there used to be country schools with no more than five pupils sure john endlich said something felt warm around his heart leave it to a woman to think of a school the symbol of civilization marching now across the void john endlich thought of the trouble at the mining camp which his first load of fresh vegetables picked up by a small spaceboat had perhaps helped to end he thought of the relics in this strange land things that were like legends of a lost pastoral beauty things that could come back the second family of homesteaders was almost here endlich was reconciled to domesticity he felt at home he felt proud bees buzzed near him a taytay bug from a perished era hummed and scraped out a mournful sound i wonder if the harper kids'll call you mr punkins pop bubs remarked john endlich laughed but somehow he was prouder than ever maybe the name would be a legend too"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/AUD0000001381.mp3": {
        "gt": "YOU'VE NOT BEEN LONG AWAY   THIS TIME   I REMARKED   AS I FINISHED MY SOUP FORGETTING MOMENTARILY CARNACKI'S DISLIKE OF BEING ASKED EVEN TO SKIRT THE BORDERS OF HIS STORY UNTIL SUCH TIME AS HE WAS READY  THEN HE WOULD NOT STINT WORDS  THAT'S ALL   HE REPLIED   WITH BREVITY AND I CHANGED THE SUBJECT  REMARKING THAT I HAD BEEN BUYING A NEW GUN  TO WHICH PIECE OF NEWS HE GAVE AN INTELLIGENT NOD  AND A SMILE WHICH I THINK SHOWED A GENUINELY GOOD-HUMORED APPRECIATION OF MY INTENTIONAL CHANGING OF THE CONVERSATION  LATER   WHEN DINNER WAS FINISHED  CARNACKI SNUGGED HIMSELF COMFORTABLY DOWN IN HIS BIG CHAIR  ALONG WITH HIS PIPE  AND BEGAN HIS STORY  WITH VERY LITTLE CIRCUMLOCUTIONAS DODGSON WAS REMARKING JUST NOW   I'VE ONLY BEEN AWAY A SHORT TIME   AND FOR A VERY GOOD REASON TOO I'VE ONLY BEEN AWAY A SHORT DISTANCE  AND IT IS A STORY TOO  ONE OF THE MOST EXTRAORDINARY THINGS EVER I HAVE RUN AGAINST  I RECEIVED A LETTER A FORTNIGHT AGO FROM A MAN I MUST CALL ANDERSON  ASKING FOR AN APPOINTMENT  I ARRANGED A TIME  AND WHEN HE CAME   I FOUND THAT HE WISHED ME TO INVESTIGATE AND SEE WHETHER I COULD NOT CLEAR UP A LONG-STANDING AND WELL TOO WELL AUTHENTICATED CASE OF WHAT HE TERMED HAUNTING  HE GAVE ME VERY FULL PARTICULARS   AND   FINALLY   AS THE CASE SEEMED TO PRESENT SOMETHING UNIQUE  I DECIDED TO TAKE IT UP  TWO DAYS LATER   I DROVE TO THE HOUSE LATE IN THE AFTERNOON  ANDERSON HAD LEFT A LETTER WITH THE BUTLER   I FOUND  PLEADING EXCUSES FOR HIS ABSENCE  AND LEAVING THE WHOLE HOUSE AT MY DISPOSAL FOR MY INVESTIGATIONS  THE BUTLER EVIDENTLY KNEW THE OBJECT OF MY VISIT  AND I QUESTIONED HIM PRETTY THOROUGHLY DURING DINNER  WHICH I HAD IN RATHER LONELY STATE  HE IS AN OLD AND PRIVILEGED SERVANT  AND HAD THE HISTORY OF THE GREY ROOM EXACT IN DETAIL  FROM HIM I LEARNED MORE PARTICULARS REGARDING TWO THINGS THAT ANDERSON HAD MENTIONED IN BUT A CASUAL MANNER  THE FIRST WAS THAT THE DOOR OF THE GREY ROOM WOULD BE HEARD IN THE DEAD OF NIGHT TO OPEN  AND SLAM HEAVILY  AND THIS EVEN THOUGH THE BUTLER KNEW IT WAS LOCKED  AND THE KEY ON THE BUNCH IN HIS PANTRY  THE SECOND WAS THAT THE BEDCLOTHES WOULD ALWAYS BE FOUND TORN OFF THE BED  BUT IT WAS THE DOOR SLAMMING THAT CHIEFLY BOTHERED THE OLD BUTLER  FROM ANDERSON   I KNEW ALREADY THAT THE ROOM HAD A HISTORY EXTENDING BACK OVER A HUNDRED AND FIFTY YEARS  THREE PEOPLE HAD BEEN STRANGLED IN IT AN ANCESTOR OF HIS AND HIS WIFE AND CHILD  THIS IS AUTHENTIC   AS I HAD TAKEN VERY GREAT PAINS TO DISCOVERPETER   THE OLD BUTLER   WAS IN RATHER A STATE ABOUT MY GOING  NO ONE HAD EVER ENTERED THAT ROOM AFTER NIGHTFALL  HE BEGGED ME   IN QUITE A FATHERLY WAY  TO WAIT TILL THE MORNING  OF COURSE   I SMILED A LITTLE AT HIM   AND TOLD HIM NOT TO BOTHER  I EXPLAINED THAT I SHOULD DO NO MORE THAN LOOK ROUND A BIT   AND   PERHAPS   AFFIX A FEW SEALS  HE NEED NOT FEAR I WAS USED TO THAT SORT OF THING  BUT HE SHOOK HIS HEAD WHEN I SAID THAT  THERE ISN'T MANY GHOSTS LIKE OURS   SIR HE ASSURED ME   WITH MOURNFUL PRIDE  AND   BY JOVE   HE WAS RIGHT   AS YOU WILL SEE  I TOOK A COUPLE OF CANDLES   AND PETER FOLLOWED WITH HIS BUNCH OF KEYS  HE UNLOCKED THE DOOR BUT WOULD NOT COME INSIDE WITH ME  HE WAS EVIDENTLY IN A FRIGHT   AND HE RENEWED HIS REQUEST THAT I WOULD PUT OFF MY EXAMINATION UNTIL DAYLIGHT  OF COURSE   I LAUGHED AT HIM AGAIN  AND TOLD HIM HE COULD STAND SENTRY AT THE DOOR   AND CATCH ANYTHING THAT CAME OUT  IT NEVER COMES OUTSIDE   SIR HE SAID   IN HIS FUNNY   OLD   SOLEMN MANNER  SOMEHOW   HE MANAGED TO MAKE ME FEEL AS IF I WERE GOING TO HAVE THE CREEPS RIGHT AWAY  ANYWAY  IT WAS ONE TO HIM   YOU KNOW  I LEFT HIM THERE   AND EXAMINED THE ROOM  IT IS A BIG APARTMENT   AND WELL FURNISHED IN THE GRAND STYLE   WITH A HUGE FOUR-POSTER   WHICH STANDS WITH ITS HEAD TO THE END WALL  THERE WERE TWO CANDLES ON THE MANTELPIECE   AND TWO ON EACH OF THE THREE TABLES THAT WERE IN THE ROOM  I LIT THE LOT   AND AFTER THAT  THE ROOM FELT A LITTLE LESS INHUMANLY DREARY THOUGH   MIND YOU   IT WAS QUITE FRESH   AND WELL KEPT IN EVERY WAY  AFTER I HAD TAKEN A GOOD LOOK ROUND   I SEALED LENGTHS OF BABY RIBBON ACROSS THE WINDOWS  ALONG THE WALLS   OVER THE PICTURES   AND OVER THE FIREPLACE AND THE WALL CLOSETS  ALL THE TIME   AS I WORKED   THE BUTLER STOOD JUST WITHOUT THE DOOR   AND I COULD NOT PERSUADE HIM TO ENTER THOUGH I JESTED HIM A LITTLE  AS I STRETCHED THE RIBBONS  AND WENT HERE AND THERE ABOUT MY WORK  EVERY NOW AND AGAIN   HE WOULD SAY YOU'LL EXCUSE ME   I'M SURE   SIR BUT I DO WISH YOU WOULD COME OUT   SIR  I'M FAIR IN A QUAKE FOR YOUI TOLD HIM HE NEED NOT WAIT BUT HE WAS LOYAL ENOUGH IN HIS WAY TO WHAT HE CONSIDERED HIS DUTY  HE SAID HE COULD NOT GO AWAY AND LEAVE ME ALL ALONE THERE  HE APOLOGIZED BUT MADE IT VERY CLEAR THAT I DID NOT REALIZE THE DANGER OF THE ROOM AND I COULD SEE   GENERALLY   THAT HE WAS IN A PRETTY FRIGHTENED STATE  ALL THE SAME   I HAD TO MAKE THE ROOM SO THAT I SHOULD KNOW IF ANYTHING MATERIAL ENTERED IT SO I ASKED HIM NOT TO BOTHER ME   UNLESS HE REALLY HEARD OR SAW SOMETHING  HE WAS BEGINNING TO GET ON MY NERVES   AND THE FEEL OF THE ROOM WAS BAD ENOUGH   WITHOUT MAKING IT ANY NASTIER  FOR A TIME FURTHER   I WORKED   STRETCHING RIBBONS ACROSS THE FLOOR   AND SEALING THEM   SO THAT THE MEREST TOUCH WOULD HAVE BROKEN THEM  WERE ANYONE TO VENTURE INTO THE ROOM IN THE DARK WITH THE INTENTION OF PLAYING THE FOOL  ALL THIS HAD TAKEN ME FAR LONGER THAN I HAD ANTICIPATED AND   SUDDENLY   I HEARD A CLOCK STRIKE ELEVEN  I HAD TAKEN OFF MY COAT SOON AFTER COMMENCING WORK NOW   HOWEVER   AS I HAD PRACTICALLY MADE AN END OF ALL THAT I INTENDED TO DO  I WALKED ACROSS TO THE SETTEE   AND PICKED IT UP  THERE'S SOMETHING GOING TO HAPPENJOVE   BUT I JUMPED  AND THEN   IN THE SAME MOMENT   ONE OF THE CANDLES ON THE TABLE TO THE LEFT WENT OUT  JUST FOR A MOMENT   I WAS ENOUGH STARTLED TO MAKE A RUN FOR THE DOOR THOUGH I AM GLAD TO SAY THAT I PULLED UP   BEFORE I REACHED IT  I SIMPLY COULD NOT BUNK OUT   WITH THE BUTLER STANDING THERE   AFTER HAVING   AS IT WERE  AND WALKED ACROSS TO THE TABLE NEAR THE BED  WELL   I SAW NOTHING  I BLEW OUT THE CANDLE THAT WAS STILL ALIGHT THEN I WENT TO THOSE ON THE TWO TABLES   AND BLEW THEM OUT  ALL RIGHT   PETER I SAID   AND BY JOVE   MY VOICE WAS NOT AS STEADY AS I SHOULD HAVE LIKED  I MADE FOR THE DOOR   AND HAD A BIT OF WORK NOT TO START RUNNING  I TOOK SOME THUNDERING LONG STRIDES   AS YOU CAN IMAGINE  NEAR THE DOOR   I HAD A SUDDEN FEELING THAT THERE WAS A COLD WIND IN THE ROOM  IT WAS ALMOST AS IF THE WINDOW HAD BEEN SUDDENLY OPENED A LITTLE  I GOT TO THE DOOR   AND THE OLD BUTLER GAVE BACK A STEP   IN A SORT OF INSTINCTIVE WAY  COLLAR THE CANDLES   PETER I SAID   PRETTY SHARPLY  AND SHOVED THEM INTO HIS HANDS  I TURNED   AND CAUGHT THE HANDLE   AND SLAMMED THE DOOR SHUT   WITH A CRASH  SOMEHOW   DO YOU KNOW   AS I DID SO   I THOUGHT I FELT SOMETHING PULL BACK ON IT BUT IT MUST HAVE BEEN ONLY FANCY  I TURNED THE KEY IN THE LOCK  AND THEN AGAIN  DOUBLE-LOCKING THE DOOR  I FELT EASIER THEN  POOR OLD BEGGAR  IT HAD NOT STRUCK ME UNTIL THAT MOMENT THAT HE HAD BEEN ENDURING A CONSIDERABLE STRAIN DURING THE LAST TWO OR THREE HOURS  ABOUT MIDNIGHT   I WENT TO BED  MY ROOM LAY AT THE END OF THE CORRIDOR UPON WHICH OPENS THE DOOR OF THE GREY ROOM  I COUNTED THE DOORS BETWEEN IT AND MINE   AND FOUND THAT FIVE ROOMS LAY BETWEEN  AND I AM SURE YOU CAN UNDERSTAND THAT I WAS NOT SORRY  THEN  JUST AS I WAS BEGINNING TO UNDRESS   AN IDEA CAME TO ME  AND I TOOK MY CANDLE AND SEALING WAX   AND SEALED THE DOORS OF ALL FIVE ROOMS  IF ANY DOOR SLAMMED IN THE NIGHT   I SHOULD KNOW JUST WHICH ONE  I RETURNED TO MY ROOM   LOCKED THE DOOR   AND WENT TO BED  I WAS WAKED SUDDENLY FROM A DEEP SLEEP BY A LOUD CRASH SOMEWHERE OUT IN THE PASSAGE  I SAT UP IN BED   AND LISTENED   BUT HEARD NOTHING  THEN I LIT MY CANDLE  I WAS IN THE VERY ACT OF LIGHTING IT WHEN THERE CAME THE BANG OF A DOOR BEING VIOLENTLY SLAMMED   ALONG THE CORRIDOR  I JUMPED OUT OF BED   AND GOT MY REVOLVER  I UNLOCKED THE DOOR   AND WENT OUT INTO THE PASSAGE   HOLDING MY CANDLE HIGH   AND KEEPING THE PISTOL READY  THEN A QUEER THING HAPPENED  I COULD NOT GO A STEP TOWARD THE GREY ROOM  YOU ALL KNOW I AM NOT REALLY A COWARDLY CHAP  I'VE GONE INTO TOO MANY CASES CONNECTED WITH GHOSTLY THINGS   TO BE ACCUSED OF THAT BUT I TELL YOU I FUNKED IT SIMPLY FUNKED IT  JUST LIKE ANY BLESSED KID  THERE WAS SOMETHING PRECIOUS UNHOLY IN THE AIR THAT NIGHT  I RAN BACK INTO MY BEDROOM   AND SHUT AND LOCKED THE DOOR  THEN I SAT ON THE BED ALL NIGHT   AND LISTENED TO THE DISMAL THUDDING OF A DOOR UP THE CORRIDOR  DAYLIGHT CAME AT LAST   AND I WASHED AND DRESSED  THE DOOR HAD NOT SLAMMED FOR ABOUT AN HOUR   AND I WAS GETTING BACK MY NERVE AGAIN  I FELT ASHAMED OF MYSELF THOUGH   IN SOME WAYS IT WAS SILLY FOR WHEN YOU'RE MEDDLING WITH THAT SORT OF THING  YOUR NERVE IS BOUND TO GO   SOMETIMES  AND YOU JUST HAVE TO SIT QUIET AND CALL YOURSELF A COWARD UNTIL DAYLIGHT  SOMETIMES IT IS MORE THAN JUST COWARDICE   I FANCY  I BELIEVE AT TIMES IT IS SOMETHING WARNING YOU   AND FIGHTING FOR YOU  BUT   ALL THE SAME   I ALWAYS FEEL MEAN AND MISERABLE   AFTER A TIME LIKE THAT  WHEN THE DAY CAME PROPERLY  I OPENED MY DOOR   AND   KEEPING MY REVOLVER HANDY  WENT QUIETLY ALONG THE PASSAGE  HE HAD MERELY TUCKED HIS NIGHTSHIRT INTO HIS TROUSERS   AND HE HAD AN OLD PAIR OF CARPET SLIPPERS ON  HULLO   PETER I SAID   FEELING SUDDENLY CHEERFUL FOR I WAS AS GLAD AS ANY LOST CHILD TO HAVE A LIVE HUMAN BEING CLOSE TO ME   WHERE ARE YOU OFF TO WITH THE REFRESHMENTSTHE OLD MAN GAVE A START   AND SLOPPED SOME OF THE COFFEE  HE STARED UP AT ME   AND I COULD SEE THAT HE LOOKED WHITE AND DONE-UP  HE CAME ON UP THE STAIRS   AND HELD OUT THE LITTLE TRAY TO ME  I'M VERY THANKFUL INDEED   SIR   TO SEE YOU SAFE AND WELL HE SAID  I FEARED   ONE TIME   YOU MIGHT RISK GOING INTO THE GREY ROOM   SIR  I'VE LAIN AWAKE ALL NIGHT   WITH THE SOUND OF THE DOOR  AND WHEN IT CAME LIGHT   I THOUGHT I'D MAKE YOU A CUP OF COFFEE  I KNEW YOU WOULD WANT TO LOOK AT THE SEALS  AND SOMEHOW IT SEEMS SAFER IF THERE'S TWO   SIRPETER   I SAID   YOU'RE A BRICK  THIS IS VERY THOUGHTFUL OF YOU AND I DRANK THE COFFEE  COME ALONG I TOLD HIM   AND HANDED HIM BACK THE TRAY  I'M GOING TO HAVE A LOOK AT WHAT THE BRUTES HAVE BEEN UP TO  I SIMPLY HADN'T THE PLUCK TO IN THE NIGHTI'M VERY THANKFUL   SIR HE REPLIED  FLESH AND BLOOD CAN DO NOTHING   SIR   AGAINST DEVILS AND THAT'S WHAT'S IN THE GREY ROOM AFTER DARKI EXAMINED THE SEALS ON ALL THE DOORS   AS I WENT ALONG   AND FOUND THEM RIGHT BUT WHEN I GOT TO THE GREY ROOM   THE SEAL WAS BROKEN THOUGH THE CARD   OVER THE KEYHOLE   WAS UNTOUCHED  I RIPPED IT OFF   AND UNLOCKED THE DOOR   AND WENT IN   RATHER CAUTIOUSLY   AS YOU CAN IMAGINE BUT THE WHOLE ROOM WAS EMPTY OF ANYTHING TO FRIGHTEN ONE  AND THERE WAS HEAPS OF LIGHT  I EXAMINED ALL MY SEALS   AND NOT A SINGLE ONE WAS DISTURBED  THE OLD BUTLER HAD FOLLOWED ME IN  AND   SUDDENLY   HE CALLED OUT THE BEDCLOTHES   SIR I RAN UP TO THE BED   AND LOOKED OVER AND   SURELY   THEY WERE LYING IN THE CORNER TO THE LEFT OF THE BED  JOVE   YOU CAN IMAGINE HOW QUEER I FELT  SOMETHING HAD BEEN IN THE ROOM  I STARED FOR A WHILE   FROM THE BED   TO THE CLOTHES ON THE FLOOR  I HAD A FEELING THAT I DID NOT WANT TO TOUCH EITHER  OLD PETER   THOUGH   DID NOT SEEM TO BE AFFECTED THAT WAY  HE WENT OVER TO THE BED COVERINGS   AND WAS GOING TO PICK THEM UP   AS   DOUBTLESS   HE HAD DONE EVERY DAY THESE TWENTY YEARS BACK BUT I STOPPED HIM  I WANTED NOTHING TOUCHED   UNTIL I HAD FINISHED MY EXAMINATION  THIS   I MUST HAVE SPENT A FULL HOUR OVER  AND THEN I LET PETER STRAIGHTEN UP THE BED AFTER WHICH WE WENT OUT   AND I LOCKED THE DOOR FOR THE ROOM WAS GETTING ON MY NERVES  I HAD A SHORT WALK   AND THEN BREAKFAST AFTER WHICH I FELT MORE MY OWN MAN  AND SO RETURNED TO THE GREY ROOM   AND   WITH PETER'S HELP  AND ONE OF THE MAIDS   I HAD EVERYTHING TAKEN OUT OF THE ROOM   EXCEPT THE BED EVEN THE VERY PICTURES  I EXAMINED THE WALLS   FLOOR AND CEILING THEN   WITH PROBE   HAMMER AND MAGNIFYING GLASS BUT FOUND NOTHING SUSPICIOUS  AND I CAN ASSURE YOU   I BEGAN TO REALIZE   IN VERY TRUTH  THAT SOME INCREDIBLE THING HAD BEEN LOOSE IN THE ROOM DURING THE PAST NIGHT  AFTER DINNER   PETER AND I UNPACKED SOME OF MY STUFF  AND I FIXED UP MY CAMERA AND FLASHLIGHT OPPOSITE TO THE DOOR OF THE GREY ROOM  WITH A STRING FROM THE TRIGGER OF THE FLASHLIGHT TO THE DOOR  THEN   YOU SEE   IF THE DOOR WERE REALLY OPENED   THE FLASHLIGHT WOULD BLARE OUT  AND THERE WOULD BE   POSSIBLY   A VERY QUEER PICTURE TO EXAMINE IN THE MORNING  THE LAST THING I DID   BEFORE LEAVING   WAS TO UNCAP THE LENS AND AFTER THAT I WENT OFF TO MY BEDROOM   AND TO BED FOR I INTENDED TO BE UP AT MIDNIGHT AND TO ENSURE THIS   I SET MY LITTLE ALARM TO CALL ME ALSO I LEFT MY CANDLE BURNING  THE CLOCK WOKE ME AT TWELVE   AND I GOT UP AND INTO MY DRESSING GOWN AND SLIPPERS  THEN   I LIT MY DARKROOM LAMP   AND WITHDREW THE SLIDE   SO THAT IT WOULD GIVE A CLEAR LIGHT  I CARRIED IT UP THE CORRIDOR   ABOUT THIRTY FEET   AND PUT IT DOWN ON THE FLOOR  THEN I WENT BACK   AND SAT IN THE DOORWAY OF MY ROOM   WITH MY REVOLVER HANDY  STARING UP THE PASSAGE TOWARD THE PLACE WHERE I KNEW MY CAMERA STOOD OUTSIDE THE DOOR OF THE GREY ROOM  I SHOULD THINK I HAD WATCHED FOR ABOUT AN HOUR AND A HALF   WHEN   SUDDENLY   I HEARD A FAINT NOISE   AWAY UP THE CORRIDOR  I WAS IMMEDIATELY CONSCIOUS OF A QUEER PRICKLING SENSATION ABOUT THE BACK OF MY HEAD  AND MY HANDS BEGAN TO SWEAT A LITTLE  THE FOLLOWING INSTANT   THE WHOLE END OF THE PASSAGE FLICKED INTO SIGHT IN THE ABRUPT GLARE OF THE FLASHLIGHT  THERE CAME THE SUCCEEDING DARKNESS   AND I PEERED NERVOUSLY UP THE CORRIDOR   LISTENING TENSELY  AND TRYING TO FIND WHAT LAY BEYOND THE FAINT GLOW OF MY DARK-LAMP  WHICH NOW SEEMED RIDICULOUSLY DIM BY CONTRAST WITH THE TREMENDOUS BLAZE OF THE FLASH-POWER  AND THEN   AS I STOOPED FORWARD   STARING AND LISTENING  THERE CAME THE CRASHING THUD OF THE DOOR OF THE GREY ROOM  THE SOUND SEEMED TO FILL THE WHOLE OF THE LARGE CORRIDOR  AND GO ECHOING HOLLOWLY THROUGH THE HOUSE  I TELL YOU   I FELT HORRIBLE AS IF MY BONES WERE WATER  SIMPLY BEASTLY  JOVE   HOW I DID STARE   AND HOW I LISTENED  AND THEN IT CAME AGAIN THUD   THUD   THUD  AND THEN A SILENCE THAT WAS ALMOST WORSE THAN THE NOISE OF THE DOOR FOR I KEPT FANCYING THAT SOME AWFUL THING WAS STEALING UPON ME ALONG THE CORRIDOR  AND THEN   SUDDENLY   MY LAMP WAS PUT OUT  I REALIZED ALL AT ONCE THAT I WAS DOING A VERY SILLY THING   SITTING THERE   AND I JUMPED UP  EVEN AS I DID SO   I THOUGHT I HEARD A SOUND IN THE PASSAGE   AND QUITE NEAR ME  I MADE ONE BACKWARD SPRING INTO MY ROOM   AND SLAMMED AND LOCKED THE DOOR  I HAD MY REVOLVER IN MY HAND BUT IT SEEMED AN ABOMINABLY USELESS THING  I FELT THAT THERE WAS SOMETHING THE OTHER SIDE OF THAT DOOR  FOR SOME UNKNOWN REASON I KNEW IT WAS PRESSED UP AGAINST THE DOOR   AND IT WAS SOFT  THAT WAS JUST WHAT I THOUGHT  MOST EXTRAORDINARY THING TO THINK  PRESENTLY I GOT HOLD OF MYSELF A BIT   AND MARKED OUT A PENTACLE HURRIEDLY WITH CHALK ON THE POLISHED FLOOR AND THERE I SAT IN IT ALMOST UNTIL DAWN  AND ALL THE TIME   AWAY UP THE CORRIDOR   THE DOOR OF THE GREY ROOM THUDDED AT SOLEMN AND HORRID INTERVALS  IT WAS A MISERABLE   BRUTAL NIGHT  WHEN THE DAY BEGAN TO BREAK   THE THUDDING OF THE DOOR CAME GRADUALLY TO AN END   AND   AT LAST   I GOT HOLD OF MY COURAGE  AND WENT ALONG THE CORRIDOR IN THE HALF LIGHT TO CAP THE LENS OF MY CAMERA  I CAN TELL YOU   IT TOOK SOME DOING BUT IF I HAD NOT DONE SO MY PHOTOGRAPH WOULD HAVE BEEN SPOILT   AND I WAS TREMENDOUSLY KEEN TO SAVE IT  HALF AN HOUR LATER THERE WAS A TAP AT MY DOOR  IT WAS PETER WITH MY COFFEE  WHEN I HAD DRUNK IT  WE BOTH WENT ALONG TO THE GREY ROOM  AS WE WENT   I HAD A LOOK AT THE SEALS ON THE OTHER DOORS BUT THEY WERE UNTOUCHED  THE SEAL ON THE DOOR OF THE GREY ROOM WAS BROKEN  I RIPPED IT OFF   AND OPENED THE DOOR  NOTHING UNUSUAL WAS TO BE SEEN UNTIL WE CAME TO THE BED THEN I SAW THAT   AS ON THE PREVIOUS DAY  THE BEDCLOTHES HAD BEEN TORN OFF   AND HURLED INTO THE LEFT-HAND CORNER  EXACTLY WHERE I HAD SEEN THEM BEFORE  I FELT VERY QUEER BUT I DID NOT FORGET TO LOOK AT ALL THE SEALS   ONLY TO FIND THAT NOT ONE HAD BEEN BROKEN  THEN I TURNED AND LOOKED AT OLD PETER  AND HE LOOKED AT ME   NODDING HIS HEAD  LET'S GET OUT OF HERE I SAID  IT'S NO PLACE FOR ANY LIVING HUMAN TO ENTER   WITHOUT PROPER PROTECTIONWE WENT OUT THEN   AND I LOCKED AND SEALED THE DOOR   AGAIN  AFTER BREAKFAST   I DEVELOPED THE NEGATIVE BUT IT SHOWED ONLY THE DOOR OF THE GREY ROOM   HALF OPENED  THEN I LEFT THE HOUSE   AS I WANTED TO GET CERTAIN MATTERS AND IMPLEMENTS THAT MIGHT BE NECESSARY TO LIFE PERHAPS TO THE SPIRIT FOR I INTENDED TO SPEND THE COMING NIGHT IN THE GREY ROOM  I GOT BACK IN A CAB   ABOUT HALF-PAST FIVE   WITH MY APPARATUS   AND THIS   PETER AND I CARRIED UP TO THE GREY ROOM  WHERE I PILED IT CAREFULLY IN THE CENTER OF THE FLOOR  WHEN EVERYTHING WAS IN THE ROOM   INCLUDING A CAT WHICH I HAD BROUGHT  I LOCKED AND SEALED THE DOOR   AND WENT TOWARD THE BEDROOM  TELLING PETER I SHOULD NOT BE DOWN FOR DINNER  HE SAID   YES   SIR AND WENT DOWNSTAIRS   THINKING THAT I WAS GOING TO TURN IN  WHICH WAS WHAT I WANTED HIM TO BELIEVE  AS I KNEW HE WOULD HAVE WORRIED BOTH ME AND HIMSELF  IF HE HAD KNOWN WHAT I INTENDED  BUT I MERELY GOT MY CAMERA AND FLASHLIGHT FROM MY BEDROOM   AND HURRIED BACK TO THE GREY ROOM  I LOCKED AND SEALED MYSELF IN   AND SET TO WORK  FOR I HAD A LOT TO DO BEFORE IT GOT DARK  WHICH I SWEPT WITH A BROOM OF HYSSOPABOUT THIS   I DREW A CIRCLE OF CHALK   TAKING CARE NEVER TO STEP OVER THE CIRCLE  BEYOND THIS I SMUDGED   WITH A BUNCH OF GARLIC  A BROAD BELT RIGHT AROUND THE CHALKED CIRCLE  AND WHEN THIS WAS COMPLETE   I TOOK FROM AMONG MY STORES IN THE CENTER A SMALL JAR OF A CERTAIN WATER  I BROKE AWAY THE PARCHMENT   AND WITHDREW THE STOPPER  THEN   DIPPING MY LEFT FOREFINGER IN THE LITTLE JAR  I WENT ROUND THE CIRCLE AGAIN   MAKING UPON THE FLOOR  JUST WITHIN THE LINE OF CHALK  THE SECOND SIGN OF THE SAAAMAAA RITUAL  I CAN TELL YOU   I FELT EASIER WHEN THIS WAS DONE   AND THE WATER CIRCLE COMPLETE  THEN   I UNPACKED SOME MORE OF THE STUFF THAT I HAD BROUGHT  AFTER THAT   I DREW A PENTACLE   SO THAT EACH OF THE FIVE POINTS OF THE DEFENSIVE STAR TOUCHED THE CHALK CIRCLE  IN THE FIVE POINTS OF THE STAR I PLACED FIVE PORTIONS OF THE BREAD  EACH WRAPPED IN LINEN   AND IN THE FIVE VALES  FIVE OPENED JARS OF THE WATER I HAD USED TO MAKE THE WATER CIRCLE AND NOW I HAD MY FIRST PROTECTIVE BARRIER COMPLETE  NOW   ANYONE   EXCEPT YOU WHO KNOW SOMETHING OF MY METHODS OF INVESTIGATION  MIGHT CONSIDER ALL THIS A PIECE OF USELESS AND FOOLISH SUPERSTITION BUT YOU ALL REMEMBER THE BLACK VEIL CASE  IN WHICH I BELIEVE MY LIFE WAS SAVED BY A VERY SIMILAR FORM OF PROTECTION  WHILST ASTER   WHO SNEERED AT IT  AND WOULD NOT COME INSIDE   DIED  IN THE FOURTEENTH CENTURY  AS I'VE JUST SAID   IN THAT HORRIBLE BLACK VEIL BUSINESS  YOU KNOW HOW THAT TURNED OUT  LATER   I USED IT SEVERAL TIMES   AND ALWAYS I CAME THROUGH SAFE   UNTIL THAT MOVING FUR CASE  IT WAS ONLY A PARTIAL DEFENSE THEREFORE   AND I NEARLY DIED IN THE PENTACLE  AFTER THAT I CAME ACROSS PROFESSOR GARDER'S EXPERIMENTS WITH A MEDIUMWHEN THEY SURROUNDED THE MEDIUM WITH A CURRENT   IN VACUUM  HE LOST HIS POWER ALMOST AS IF IT CUT HIM OFF FROM THE IMMATERIAL  THAT MADE ME THINK A LOT AND THAT IS HOW I CAME TO MAKE THE ELECTRIC PENTACLE  WHICH IS A MOST MARVELOUS DEFENSE AGAINST CERTAIN MANIFESTATIONS  CURIOUS THING FOR A TWENTIETH CENTURY MAN TO ADMIT   IS IT NOT  BUT   THEN   AS YOU ALL KNOW   I NEVER DID   AND NEVER WILL   ALLOW MYSELF TO BE BLINDED BY THE LITTLE CHEAP LAUGHTER  I ASK QUESTIONS   AND KEEP MY EYES OPEN  IN THIS LAST CASE I HAD LITTLE DOUBT THAT I HAD RUN UP AGAINST A SUPERNATURAL MONSTER  AND I MEANT TO TAKE EVERY POSSIBLE CARE FOR THE DANGER IS ABOMINABLE  THEN I CONNECTED UP THE BATTERY   AND THE NEXT INSTANT THE PALE BLUE GLARE FROM THE INTERTWINING VACUUM TUBES SHONE OUT  I GLANCED ABOUT ME THEN   WITH SOMETHING OF A SIGH OF RELIEF   AND REALIZED SUDDENLY THAT THE DUSK WAS UPON ME  FOR THE WINDOW WAS GREY AND UNFRIENDLY  THEN ROUND AT THE BIG   EMPTY ROOM   OVER THE DOUBLE BARRIER OF ELECTRIC AND CANDLE LIGHT  I HAD AN ABRUPT   EXTRAORDINARY SENSE OF WEIRDNESS THRUST UPON ME IN THE AIR   YOU KNOW AS IT WERE   A SENSE OF SOMETHING INHUMAN IMPENDING  I TURNED NOW TO THE CAMERA   AND SAW THAT IT AND THE FLASHLIGHT WERE IN ORDER  THEN I TESTED MY REVOLVER   CAREFULLY   THOUGH I HAD LITTLE THOUGHT THAT IT WOULD BE NEEDED  YET   TO WHAT EXTENT MATERIALIZATION OF AN AB-NATURAL CREATURE IS POSSIBLE  GIVEN FAVORABLE CONDITIONS   NO ONE CAN SAY AND I HAD NO IDEA WHAT HORRIBLE THING I WAS GOING TO SEE   OR FEEL THE PRESENCE OF  I MIGHT   IN THE END   HAVE TO FIGHT WITH A MATERIALIZED MONSTER  I DID NOT KNOW   AND COULD ONLY BE PREPARED  YOU SEE   I NEVER FORGOT THAT THREE OTHER PEOPLE HAD BEEN STRANGLED IN THE BED CLOSE TO ME  AND THE FIERCE SLAMMING OF THE DOOR I HAD HEARD MYSELF  I HAD NO DOUBT THAT I WAS INVESTIGATING A DANGEROUS AND UGLY CASE  BY THIS TIME   THE NIGHT HAD COME THOUGH THE ROOM WAS VERY LIGHT WITH THE BURNING CANDLES AND I FOUND MYSELF GLANCING BEHIND ME   CONSTANTLY  AND THEN ALL ROUND THE ROOM  IT WAS NERVY WORK WAITING FOR THAT THING TO COME  THEN   SUDDENLY  I WAS AWARE OF A LITTLE   COLD WIND SWEEPING OVER ME   COMING FROM BEHIND  AND A PRICKLY FEELING WENT ALL OVER THE BACK OF MY HEAD  THEN I HOVE MYSELF ROUND WITH A SORT OF STIFF JERK   AND STARED STRAIGHT AGAINST THAT QUEER WIND  IT SEEMED TO COME FROM THE CORNER OF THE ROOM TO THE LEFT OF THE BED THE PLACE WHERE BOTH TIMES I HAD FOUND THE HEAP OF TOSSED BEDCLOTHES  YET   I COULD SEE NOTHING UNUSUAL NO OPENING NOTHING  ABRUPTLY   I WAS AWARE THAT THE CANDLES WERE ALL A-FLICKER IN THAT UNNATURAL WIND  I SHALL NEVER BE ABLE TO LET YOU KNOW HOW DISGUSTINGLY HORRIBLE IT WAS SITTING IN THAT VILE   COLD WIND  AND THEN  FLICK   FLICK   FLICK   ALL THE CANDLES ROUND THE OUTER BARRIER WENT OUT AND THERE WAS I  LOCKED AND SEALED IN THAT ROOM  AND WITH NO LIGHT BEYOND THE WEAKISH BLUE GLARE OF THE ELECTRIC PENTACLE  A TIME OF ABOMINABLE TENSENESS PASSED  AND STILL THAT WIND BLEW UPON ME AND THEN   SUDDENLY  I KNEW THAT SOMETHING STIRRED IN THE CORNER TO THE LEFT OF THE BED  I WAS MADE CONSCIOUS OF IT  YET   AS I STARED   SOMETHING BEGAN SLOWLY TO GROW UPON MY SIGHT A MOVING SHADOW  A LITTLE DARKER THAN THE SURROUNDING SHADOWS  I LOST THE THING AMID THE VAGUENESS   AND FOR A MOMENT OR TWO I GLANCED SWIFTLY FROM SIDE TO SIDE  WITH A FRESH   NEW SENSE OF IMPENDING DANGER  THEN MY ATTENTION WAS DIRECTED TO THE BED  ALL THE COVERING'S WERE BEING DRAWN STEADILY OFF   WITH A HATEFUL   STEALTHY SORT OF MOTION  I HEARD THE SLOW   DRAGGING SLITHER OF THE CLOTHES BUT I COULD SEE NOTHING OF THE THING THAT PULLED  I WAS AWARE IN A FUNNY   SUBCONSCIOUS   INTROSPECTIVE FASHION THAT THE CREEP HAD COME UPON ME YET THAT I WAS COOLER MENTALLY THAN I HAD BEEN FOR SOME MINUTES SUFFICIENTLY SO TO FEEL THAT MY HANDS WERE SWEATING COLDLY  AND TO SHIFT MY REVOLVER   HALF-CONSCIOUSLY  WHILST I RUBBED MY RIGHT HAND DRY UPON MY KNEE THOUGH NEVER   FOR AN INSTANT   TAKING MY GAZE OR MY ATTENTION FROM THOSE MOVING CLOTHES  THE FAINT NOISES FROM THE BED CEASED ONCE  AND THERE WAS A MOST INTENSE SILENCE  WITH ONLY THE SOUND OF THE BLOOD BEATING IN MY HEAD  IN THE MIDST OF MY NERVOUS TENSION I REMEMBERED THE CAMERA  AND REACHED ROUND FOR IT BUT WITHOUT LOOKING AWAY FROM THE BED  AND THEN   YOU KNOW   ALL IN A MOMENT  THE WHOLE OF THE BED COVERINGS WERE TORN OFF WITH EXTRAORDINARY VIOLENCE  AND I HEARD THE FLUMP THEY MADE AS THEY WERE HURLED INTO THE CORNER  THERE WAS A TIME OF ABSOLUTE QUIETNESS THEN FOR PERHAPS A COUPLE OF MINUTES AND YOU CAN IMAGINE HOW HORRIBLE I FELT  THE BEDCLOTHES HAD BEEN THROWN WITH SUCH SAVAGENESS  AND   THEN AGAIN   THE BRUTAL UNNATURALNESS OF THE THING THAT HAD JUST BEEN DONE BEFORE ME  ABRUPTLY   OVER BY THE DOOR   I HEARD A FAINT NOISE A SORT OF CRICKLING SOUND  AND THEN A PITTER OR TWO UPON THE FLOOR  A GREAT NERVOUS THRILL SWEPT OVER ME  SEEMING TO RUN UP MY SPINE AND OVER THE BACK OF MY HEAD FOR THE SEAL THAT SECURED THE DOOR HAD JUST BEEN BROKEN  SOMETHING WAS THERE  I COULD NOT SEE THE DOOR AT LEAST   I MEAN TO SAY THAT IT WAS IMPOSSIBLE TO SAY HOW MUCH I ACTUALLY SAW  AND HOW MUCH MY IMAGINATION SUPPLIED  I MADE IT OUT   ONLY AS A CONTINUATION OF THE GREY WALLS  AND THEN IT SEEMED TO ME THAT SOMETHING DARK AND INDISTINCT MOVED AND WAVERED THERE AMONG THE SHADOWS  ABRUPTLY   I WAS AWARE THAT THE DOOR WAS OPENING  AND WITH AN EFFORT I REACHED AGAIN FOR MY CAMERA BUT BEFORE I COULD AIM IT THE DOOR WAS SLAMMED WITH A TERRIFIC CRASH THAT FILLED THE WHOLE ROOM WITH A SORT OF HOLLOW THUNDER  I JUMPED   LIKE A FRIGHTENED CHILD  THERE SEEMED SUCH A POWER BEHIND THE NOISE AS THOUGH A VAST   WANTON FORCE WERE OUT  CAN YOU UNDERSTAND  THE DOOR WAS NOT TOUCHED AGAIN BUT  DIRECTLY AFTERWARD   I HEARD THE BASKET   IN WHICH THE CAT LAY   CREAK  I TELL YOU   I FAIRLY PRINGLED ALL ALONG MY BACK  I KNEW THAT I WAS GOING TO LEARN DEFINITELY WHETHER WHATEVER WAS ABROAD WAS DANGEROUS TO LIFE  FROM THE CAT THERE ROSE SUDDENLY A HIDEOUS CATERWAUL  THAT CEASED ABRUPTLY AND THEN TOO LATE I SNAPPED OFF THE FLASHLIGHT  IN THE GREAT GLARE   I SAW THAT THE BASKET HAD BEEN OVERTURNED  AND THE LID WAS WRENCHED OPEN  WITH THE CAT LYING HALF IN   AND HALF OUT UPON THE FLOOR  DURING THE NEXT TWO OR THREE MINUTES   THERE WAS AN ODD   NOTICEABLE QUIETNESS IN THE ROOM  AND YOU MUCH REMEMBER I WAS HALF-BLINDED   FOR THE TIME   BECAUSE OF THE FLASHLIGHT SO THAT THE WHOLE PLACE SEEMED TO BE PITCHY DARK JUST BEYOND THE SHINE OF THE PENTACLE  I TELL YOU IT WAS MOST HORRIBLE  I JUST KNELT THERE IN THE STAR   AND WHIRLED ROUND   TRYING TO SEE WHETHER ANYTHING WAS COMING AT ME  MY POWER OF SIGHT CAME GRADUALLY  AND I GOT A LITTLE HOLD OF MYSELF AND ABRUPTLY I SAW THE THING I WAS LOOKING FOR  CLOSE TO THE WATER CIRCLE IT WAS BIG AND INDISTINCT   AND WAVERED CURIOUSLY  AS THOUGH THE SHADOW OF A VAST SPIDER HUNG SUSPENDED IN THE AIR   JUST BEYOND THE BARRIER  THEN   JUST OPPOSITE TO ONE OF THE VALES' IN THE PENTACLES  IT SEEMED TO PAUSE   AS THOUGH PRELIMINARY TO A TREMENDOUS EFFORT  IT RETIRED ALMOST BEYOND THE GLOW OF THE VACUUM LIGHT  AND THEN CAME STRAIGHT TOWARD ME  APPEARING TO GATHER FORM AND SOLIDITY AS IT CAME  THERE SEEMED A VAST   MALIGN DETERMINATION BEHIND THE MOVEMENT   THAT MUST SUCCEED  I WAS ON MY KNEES   AND I JERKED BACK  FALLING ON TO MY LEFT HAND   AND HIP   IN A WILD ENDEAVOR TO GET BACK FROM THE ADVANCING THING  WITH MY RIGHT HAND I WAS GRABBING MADLY FOR MY REVOLVER  WHICH I HAD LET SLIP  THE BRUTAL THING CAME WITH ONE GREAT SWEEP STRAIGHT OVER THE GARLIC AND THE WATER CIRCLE ALMOST TO THE VALE OF THE PENTACLE  I BELIEVE I YELLED  THEN   JUST AS SUDDENLY AS IT HAD SWEPT OVER  IT SEEMED TO BE HURLED BACK BY SOME MIGHTY   INVISIBLE FORCE  IT MUST HAVE BEEN SOME MOMENTS BEFORE I REALIZED THAT I WAS SAFE AND THEN I GOT MYSELF TOGETHER IN THE MIDDLE OF THE PENTACLES   FEELING HORRIBLY GONE AND SHAKEN  AND GLANCING ROUND AND ROUND THE BARRIER BUT THE THING HAD VANISHED  YET   I HAD LEARNT SOMETHING  FOR I KNEW NOW THAT THE GREY ROOM WAS HAUNTED BY A MONSTROUS HAND  SUDDENLY   AS I CROUCHED THERE  I SAW WHAT HAD SO NEARLY GIVEN THE MONSTER AN OPENING THROUGH THE BARRIER  IN MY MOVEMENTS WITHIN THE PENTACLE I MUST HAVE TOUCHED ONE OF THE JARS OF WATER FOR JUST WHERE THE THING HAD MADE ITS ATTACK THE JAR THAT GUARDED THE DEEP OF THE VALE HAD BEEN MOVED TO ONE SIDE  AND THIS HAD LEFT ONE OF THE FIVE DOORWAYS UNGUARDED  I PUT IT BACK   QUICKLY   AND FELT ALMOST SAFE AGAIN  FOR I HAD FOUND THE CAUSE   AND THE DEFENSE WAS STILL GOOD  WHEN I SAW THAT THING SO NEARLY SUCCEED   I HAD AN AWFUL   WEAK   OVERWHELMING FEELING THAT THE BARRIERS COULD NEVER BRING ME SAFE THROUGH THE NIGHT AGAINST SUCH A FORCE  YOU CAN UNDERSTAND  FOR A LONG TIME I COULD NOT SEE THE HAND BUT   PRESENTLY  A LITTLE LATER   AS THOUGH IN A SUDDEN FIT OF MALIGNANT RAGE  THE DEAD BODY OF THE CAT WAS PICKED UP  AND BEATEN WITH DULL   SICKENING BLOWS AGAINST THE SOLID FLOOR  THAT MADE ME FEEL RATHER QUEER  A MINUTE AFTERWARD   THE DOOR WAS OPENED AND SLAMMED TWICE WITH TREMENDOUS FORCE  THE NEXT INSTANT THE THING MADE ONE SWIFT   VICIOUS DART AT ME   FROM OUT OF THE SHADOWS  INSTINCTIVELY   I STARTED SIDEWAYS FROM IT   AND SO PLUCKED MY HAND FROM UPON THE ELECTRIC PENTACLE   WHERE FOR A WICKEDLY CARELESS MOMENT I HAD PLACED IT  THE MONSTER WAS HURLED OFF FROM THE NEIGHBORHOOD OF THE PENTACLES THOUGH OWING TO MY INCONCEIVABLE FOOLISHNESS IT HAD BEEN ENABLED FOR A SECOND TIME TO PASS THE OUTER BARRIERS  I CAN TELL YOU   I SHOOK FOR A TIME   WITH SHEER FUNK  I MOVED RIGHT TO THE CENTER OF THE PENTACLES AGAIN   AND KNELT THERE   MAKING MYSELF AS SMALL AND COMPACT AS POSSIBLE  AS I KNELT   THERE CAME TO ME PRESENTLY   A VAGUE WONDER AT THE TWO ACCIDENTS WHICH HAD SO NEARLY ALLOWED THE BRUTE TO GET AT ME  WAS I BEING INFLUENCED TO UNCONSCIOUS VOLUNTARY ACTIONS THAT ENDANGERED ME  THE THOUGHT TOOK HOLD OF ME   AND I WATCHED MY EVERY MOVEMENT  ABRUPTLY   I STRETCHED A TIRED LEG   AND KNOCKED OVER ONE OF THE JARS OF WATER  SOME WAS SPILLED BUT   BECAUSE OF MY SUSPICIOUS WATCHFULNESS   I HAD IT UPRIGHT AND BACK WITHIN THE VALE WHILE YET SOME OF THE WATER REMAINED  EVEN AS I DID SO   THE VAST   BLACK   HALF-MATERIALIZED HAND BEAT UP AT ME OUT OF THE SHADOWS  AND SEEMED TO LEAP ALMOST INTO MY FACESO NEARLY DID IT APPROACH BUT FOR THE THIRD TIME IT WAS THROWN BACK BY SOME ALTOGETHER ENORMOUS   OVERMASTERING FORCE  YET   APART FROM THE DAZED FRIGHT IN WHICH IT LEFT ME  I HAD FOR A MOMENT THAT FEELING OF SPIRITUAL SICKNESS  WHICH IS FELT ONLY UPON THE TOO NEAR APPROACH OF THE AB-HUMAN   AND IS MORE DREADFUL   IN A STRANGE WAY  THAN ANY PHYSICAL PAIN THAT CAN BE SUFFERED  I KNEW BY THIS MORE OF THE EXTENT AND CLOSENESS OF THE DANGER AND FOR A LONG TIME I WAS SIMPLY COWED BY THE BUTT-HEADED BRUTALITY OF THAT FORCE UPON MY SPIRIT  I CAN PUT IT NO OTHER WAY  I KNELT AGAIN IN THE CENTER OF THE PENTACLES   WATCHING MYSELF WITH MORE FEAR   ALMOST   THAN THE MONSTER FOR I KNEW NOW THAT   UNLESS I GUARDED MYSELF FROM EVERY SUDDEN IMPULSE THAT CAME TO ME  I MIGHT SIMPLY WORK MY OWN DESTRUCTION  I SPENT THE REST OF THE NIGHT IN A HAZE OF SICK FRIGHT   AND SO TENSE THAT I COULD NOT MAKE A SINGLE MOVEMENT NATURALLY  I WAS IN SUCH FEAR THAT ANY DESIRE FOR ACTION THAT CAME TO ME MIGHT BE PROMPTED BY THE INFLUENCE THAT I KNEW WAS AT WORK ON ME  AND OUTSIDE OF THE BARRIER THAT GHASTLY THING WENT ROUND AND ROUND  GRABBING AND GRABBING IN THE AIR AT ME  TWICE MORE WAS THE BODY OF THE DEAD CAT MOLESTED  THE SECOND TIME   I HEARD EVERY BONE IN ITS BODY SCRUNCH AND CRACK  AND ALL THE TIME THE HORRIBLE WIND WAS BLOWING UPON ME FROM THE CORNER OF THE ROOM TO THE LEFT OF THE BED  THEN   JUST AS THE FIRST TOUCH OF DAWN CAME INTO THE SKY  THAT UNNATURAL WIND CEASED  IN A SINGLE MOMENT AND I COULD SEE NO SIGN OF THE HAND  THE DAWN CAME SLOWLY  AND PRESENTLY THE WAN LIGHT FILLED ALL THE ROOM  AND MADE THE PALE GLARE OF THE ELECTRIC PENTACLE LOOK MORE UNEARTHLY  YET  IT WAS NOT UNTIL THE DAY HAD FULLY COME   THAT I MADE ANY ATTEMPT TO LEAVE THE BARRIER  FOR I DID NOT KNOW BUT THAT THERE WAS SOME METHOD ABROAD   IN THE SUDDEN STOPPING OF THAT WIND  TO ENTICE ME FROM THE PENTACLES  AT LAST   WHEN THE DAWN WAS STRONG AND BRIGHT  I TOOK ONE LAST LOOK ROUND   AND RAN FOR THE DOOR  I GOT IT UNLOCKED   IN A NERVOUS AND CLUMSY FASHION  THEN LOCKED IT HURRIEDLY   AND WENT TO MY BEDROOM  WHERE I LAY ON THE BED   AND TRIED TO STEADY MY NERVES  PETER CAME   PRESENTLY   WITH THE COFFEE  AND WHEN I HAD DRUNK IT  I TOLD HIM I MEANT TO HAVE A SLEEP   AS I HAD BEEN UP ALL NIGHT  HE TOOK THE TRAY   AND WENT OUT QUIETLY  AND AFTER I HAD LOCKED MY DOOR I TURNED IN PROPERLY  AND AT LAST GOT TO SLEEP  I WOKE ABOUT MIDDAY   AND AFTER SOME LUNCH   WENT UP TO THE GREY ROOM  I SWITCHED OFF THE CURRENT FROM THE PENTACLE   WHICH I HAD LEFT ON IN MY HURRY ALSO   I REMOVED THE BODY OF THE CAT  YOU CAN UNDERSTAND I DID NOT WANT ANYONE TO SEE THE POOR BRUTE  AFTER THAT   I MADE A VERY CAREFUL SEARCH OF THE CORNER WHERE THE BEDCLOTHES HAD BEEN THROWN  I MADE SEVERAL HOLES   AND PROBED   AND FOUND NOTHING  THEN IT OCCURRED TO ME TO TRY WITH MY INSTRUMENT UNDER THE SKIRTING  I DID SO   AND HEARD MY WIRE RING ON METAL  I TURNED THE HOOK END THAT WAY   AND FISHED FOR THE THING  AT THE SECOND GO   I GOT IT  IT WAS A SMALL OBJECT   AND I TOOK IT TO THE WINDOW  I FOUND IT TO BE A CURIOUS RING   MADE OF SOME GREYING MATERIAL  THE CURIOUS THING ABOUT IT WAS THAT IT WAS MADE IN THE FORM OF A PENTAGON THAT IS   THE SAME SHAPE AS THE INSIDE OF THE MAGIC PENTACLE  BUT WITHOUT THE MOUNTS   WHICH FORM THE POINTS OF THE DEFENSIVE STAR  YOU WILL UNDERSTAND THAT I WAS EXCITED   WHEN I TELL YOU THAT I FELT SURE I HELD IN MY HAND THE FAMOUS LUCK RING OF THE ANDERSON FAMILY WHICH   INDEED   WAS OF ALL THINGS THE ONE MOST INTIMATELY CONNECTED WITH THE HISTORY OF THE HAUNTING  THIS RING WAS HANDED ON FROM FATHER TO SON THROUGH GENERATIONS   AND ALWAYS IN OBEDIENCE TO SOME ANCIENT FAMILY TRADITION EACH SON HAD TO PROMISE NEVER TO WEAR THE RING  THE RING   I MAY SAY   WAS BROUGHT HOME BY ONE OF THE CRUSADERS   UNDER VERY PECULIAR CIRCUMSTANCES BUT THE STORY IS TOO LONG TO GO INTO HERE  IT APPEARS THAT YOUNG SIR HULBERT   AN ANCESTOR OF ANDERSON'S   MADE A BET   IN DRINK   YOU KNOW  THAT HE WOULD WEAR THE RING THAT NIGHT  HE DID SO   AND IN THE MORNING HIS WIFE AND CHILD WERE FOUND STRANGLED IN THE BED  IN THE VERY ROOM IN WHICH I STOOD  MANY PEOPLE   IT WOULD SEEM   THOUGHT YOUNG SIR HULBERT WAS GUILTY OF HAVING DONE THE THING IN DRUNKEN ANGER AND HE   IN AN ATTEMPT TO PROVE HIS INNOCENCE  SLEPT A SECOND NIGHT IN THE ROOM  HE ALSO WAS STRANGLED  SINCE THEN   AS YOU MAY IMAGINE   NO ONE HAS EVER SPENT A NIGHT IN THE GREY ROOM   UNTIL I DID SO  THE RING HAD BEEN LOST SO LONG   THAT IT HAD BECOME ALMOST A MYTH AND IT WAS MOST EXTRAORDINARY TO STAND THERE   WITH THE ACTUAL THING IN MY HAND   AS YOU CAN UNDERSTAND  IT WAS WHILST I STOOD THERE   LOOKING AT THE RING   THAT I GOT AN IDEA  SUPPOSING THAT IT WERE   IN A WAY   A DOORWAY YOU SEE WHAT I MEAN   A SORT OF GAP IN THE WORLD-HEDGE  YOU SEE  THE WIND HAD COME FROM THAT PART OF THE ROOM WHERE THE RING LAY  I THOUGHT A LOT ABOUT IT  THEN THE SHAPE THE INSIDE OF A PENTACLE  YOU SEE  I UNMADE THE PENTACLE   FOR IT MUST BE MADE AFRESH AND AROUND THE ONE TO BE PROTECTED  THEN I WENT OUT AND LOCKED THE DOOR AFTER WHICH I LEFT THE HOUSE   TO GET CERTAIN MATTERS  I RETURNED ABOUT SEVEN THIRTY   AND AS SOON AS THE THINGS I HAD BROUGHT HAD BEEN CARRIED UP TO THE GREY ROOM   I DISMISSED PETER FOR THE NIGHT  JUST AS I HAD DONE THE EVENING BEFORE  WHEN HE HAD GONE DOWNSTAIRS   I LET MYSELF INTO THE ROOM   AND LOCKED AND SEALED THE DOOR  I WENT TO THE PLACE IN THE CENTER OF THE ROOM WHERE ALL THE STUFF HAD BEEN PACKED  AND SET TO WORK WITH ALL MY SPEED TO CONSTRUCT A BARRIER ABOUT ME AND THE RING  I DO NOT REMEMBER WHETHER I EXPLAINED IT TO YOU   BUT I HAD REASONED THAT  IF THE RING WERE IN ANY WAY A MEDIUM OF ADMISSION AND IT WERE ENCLOSED WITH ME IN THE ELECTRIC PENTACLE  IT WOULD BE   TO EXPRESS IT LOOSELY   INSULATED  DO YOU SEE  THE FORCE   WHICH HAD VISIBLE EXPRESSION AS A HAND  WOULD HAVE TO STAY BEYOND THE BARRIER WHICH SEPARATES THE AB FROM THE NORMAL FOR THE GATEWAY WOULD BE REMOVED FROM ACCESSIBILITY  AS I WAS SAYING   I WORKED WITH ALL MY SPEED TO GET THE BARRIER COMPLETED ABOUT ME AND THE RING  FOR IT WAS ALREADY LATER THAN I CARED TO BE IN THAT ROOM UNPROTECTED  ALSO   I HAD A FEELING THAT THERE WOULD BE A VAST EFFORT MADE THAT NIGHT TO REGAIN THE USE OF THE RING  FOR I HAD THE STRONGEST CONVICTION THAT THE RING WAS A NECESSITY TO MATERIALIZATION  YOU WILL SEE WHETHER I WAS RIGHT  I COMPLETED THE BARRIERS IN ABOUT AN HOUR   AND YOU CAN IMAGINE SOMETHING OF THE RELIEF I FELT WHEN I FELT THE PALE GLARE OF THE ELECTRIC PENTACLE ONCE MORE ALL ABOUT ME  FROM THEN   ONWARD   FOR ABOUT TWO HOURS   I SAT QUIETLY  FACING THE CORNER FROM WHICH THE WIND CAME  ABOUT ELEVEN O'CLOCK A QUEER KNOWLEDGE CAME THAT SOMETHING WAS NEAR TO ME YET NOTHING HAPPENED FOR A WHOLE HOUR AFTER THAT  THEN   SUDDENLY   I FELT THE COLD   QUEER WIND BEGIN TO BLOW UPON ME  TO MY ASTONISHMENT   IT SEEMED NOW TO COME FROM BEHIND ME  AND I WHIPPED ROUND   WITH A HIDEOUS QUAKE OF FEAR  THE WIND MET ME IN THE FACE  IT WAS BLOWING UP FROM THE FLOOR CLOSE TO ME  I STARED DOWN   IN A SICKENING MAZE OF NEW FRIGHTS  WHAT ON EARTH HAD I DONE NOW  THE RING WAS THERE   CLOSE BESIDE ME   WHERE I HAD PUT IT  SUDDENLY   AS I STARED   BEWILDERED  I WAS AWARE THAT THERE WAS SOMETHING QUEER ABOUT THE RING FUNNY SHADOWY MOVEMENTS AND CONVOLUTIONS  I LOOKED AT THEM   STUPIDLY  AND THEN   ABRUPTLY   I KNEW THAT THE WIND WAS BLOWING UP AT ME FROM THE RING  A QUEER INDISTINCT SMOKE BECAME VISIBLE TO ME  SEEMING TO POUR UPWARD THROUGH THE RING  AND MIX WITH THE MOVING SHADOWS  SUDDENLY   I REALIZED THAT I WAS IN MORE THAN ANY MORTAL DANGER FOR THE CONVOLUTING SHADOWS ABOUT THE RING WERE TAKING SHAPE  AND THE DEATH-HAND WAS FORMING WITHIN THE PENTACLE  MY GOODNESS   DO YOU REALIZE IT  I HAD BROUGHT THE GATEWAY INTO THE PENTACLES   AND THE BRUTE WAS COMING THROUGH POURING INTO THE MATERIAL WORLD   AS GAS MIGHT POUR OUT FROM THE MOUTH OF A PIPE  I SHOULD THINK THAT I KNELT FOR A MOMENT IN A SORT OF STUNNED FRIGHT  THEN   WITH A MAD   AWKWARD MOVEMENT   I SNATCHED AT THE RING   INTENDING TO HURL IT OUT OF THE PENTACLE  YET IT ELUDED ME   AS THOUGH SOME INVISIBLE   LIVING THING JERKED IT HITHER AND THITHER  AT LAST   I GRIPPED IT YET   IN THE SAME INSTANT   IT WAS TORN FROM MY GRASP WITH INCREDIBLE AND BRUTAL FORCE  A GREAT   BLACK SHADOW COVERED IT   AND ROSE INTO THE AIR   AND CAME AT ME  I SAW THAT IT WAS THE HAND   VAST AND NEARLY PERFECT IN FORM  I GAVE ONE CRAZY YELL   AND JUMPED OVER THE PENTACLE AND THE RING OF BURNING CANDLES   AND RAN DESPAIRINGLY FOR THE DOOR  AND ALL THE TIME I STARED   WITH A FEAR THAT WAS LIKE INSANITY   TOWARD THE BARRIERS  THE HAND WAS PLUNGING TOWARD ME YET   EVEN AS IT HAD BEEN UNABLE TO PASS INTO THE PENTACLE WHEN THE RING WAS WITHOUT  SO   NOW THAT THE RING WAS WITHIN  IT HAD NO POWER TO PASS OUT  THE MONSTER WAS CHAINED   AS SURELY AS ANY BEAST WOULD BE  EVEN THEN   I GOT A FLASH OF THIS KNOWLEDGE BUT I WAS TOO UTTERLY SHAKEN WITH FRIGHT   TO REASON AND THE INSTANT I MANAGED TO GET THE KEY TURNED   I SPRANG INTO THE PASSAGE   AND SLAMMED THE DOOR WITH A CRASH  I LOCKED IT   AND GOT TO MY ROOM SOMEHOW FOR I WAS TREMBLING SO THAT I COULD HARDLY STAND   AS YOU CAN IMAGINE  AND KEPT QUIET FOR AN HOUR OR TWO  AND SO I GOT STEADIED  I GOT A LITTLE SLEEP   LATER BUT WOKE WHEN PETER BROUGHT MY COFFEE  WHEN I HAD DRUNK IT I FELT ALTOGETHER BETTER   AND TOOK THE OLD MAN ALONG WITH ME WHILST I HAD A LOOK INTO THE GREY ROOM  I OPENED THE DOOR   AND PEEPED IN  THE CANDLES WERE STILL BURNING   WAN AGAINST THE DAYLIGHT AND BEHIND THEM WAS THE PALE   GLOWING STAR OF THE ELECTRIC PENTACLE  AND THERE   IN THE MIDDLE   WAS THE RING  THE GATEWAY OF THE MONSTER  LYING DEMURE AND ORDINARY  NOTHING IN THE ROOM WAS TOUCHED   AND I KNEW THAT THE BRUTE HAD NEVER MANAGED TO CROSS THE PENTACLES  THEN I WENT OUT   AND LOCKED THE DOOR  I HAD WITH ME AN OXY-HYDROGEN JET   AND TWO CYLINDERS   CONTAINING THE GASES  I CARRIED THE THINGS INTO THE GREY ROOM   AND THERE   IN THE CENTER OF THE ELECTRIC PENTACLE  I ERECTED THE LITTLE FURNACE  FIVE MINUTES LATER THE LUCK RING   ONCE THE LUCK   BUT NOW THE BANE   OF THE ANDERSON FAMILY  WAS NO MORE THAN A LITTLE SOLID SPLASH OF HOT METAL  CARNACKI FELT IN HIS POCKET   AND PULLED OUT SOMETHING WRAPPED IN TISSUE PAPER  HE PASSED IT TO ME  I OPENED IT   AND FOUND A SMALL CIRCLE OF GREYISH METAL   SOMETHING LIKE LEAD   ONLY HARDER AND RATHER BRIGHTER  WELL   I ASKED   AT LENGTH   AFTER EXAMINING IT AND HANDING IT ROUND TO THE OTHERS  DID THAT STOP THE HAUNTING  CARNACKI NODDED  YES   HE SAID  I SLEPT THREE NIGHTS IN THE GREY ROOM   BEFORE I LEFT  OLD PETER NEARLY FAINTED WHEN HE KNEW THAT I MEANT TO BUT BY THE THIRD NIGHT HE SEEMED TO REALIZE THAT THE HOUSE WAS JUST SAFE AND ORDINARY  AND   YOU KNOW   I BELIEVE   IN HIS HEART   HE HARDLY APPROVED  CARNACKI STOOD UP AND BEGAN TO SHAKE HANDS  OUT YOU GO   HE SAID   GENIALLY  AND PRESENTLY WE WENT   PONDERING  THIS IS A CURIOUS YARN THAT I AM GOING TO TELL YOU   SAID CARNACKI   AS AFTER A QUIET LITTLE DINNER WE MADE OURSELVES COMFORTABLE IN HIS COZY DINING ROOM  I HAVE JUST GOT BACK FROM THE WEST OF IRELAND   HE CONTINUED  WENTWORTH   A FRIEND OF MINE   HAS LATELY HAD RATHER AN UNEXPECTED LEGACY   IN THE SHAPE OF A LARGE ESTATE AND MANOR  THIS PLACE IS NAMED GANNINGTON MANOR   AND HAS BEEN EMPTY A GREAT NUMBER OF YEARS AS YOU WILL FIND IS ALMOST ALWAYS THE CASE WITH HOUSES REPUTED TO BE HAUNTED  AS IT IS USUALLY TERMED  IT SEEMS THAT WHEN WENTWORTH WENT OVER TO TAKE POSSESSION   HE FOUND THE PLACE IN VERY POOR REPAIR  AND THE ESTATE TOTALLY UNCARED FOR  AND   AS I KNOW   LOOKING VERY DESOLATE AND LONESOME GENERALLY  HE WENT THROUGH THE BIG HOUSE BY HIMSELF   AND HE ADMITTED TO ME THAT IT HAD AN UNCOMFORTABLE FEELING ABOUT IT BUT   OF COURSE   THAT MIGHT BE NOTHING MORE THAN THE NATURAL DISMALNESS OF A BIG   EMPTY HOUSE   WHICH HAS BEEN LONG UNINHABITED   AND THROUGH WHICH YOU ARE WANDERING ALONE  WHEN HE HAD FINISHED HIS LOOK ROUND   HE WENT DOWN TO THE VILLAGE   MEANING TO SEE THE ONE-TIME AGENT OF THE ESTATE  AND ARRANGE FOR SOMEONE TO GO IN AS CARETAKER  THE AGENT  WHO PROVED BY THE WAY TO BE A SCOTCHMAN  WAS VERY WILLING TO TAKE UP THE MANAGEMENT OF THE ESTATE ONCE MORE BUT HE ASSURED WENTWORTH THAT THEY WOULD GET NO ONE TO GO IN AS CARETAKER AND THAT HIS THE AGENT'S ADVICE WAS TO HAVE THE HOUSE PULLED DOWN   AND A NEW ONE BUILT  THIS   NATURALLY   ASTONISHED MY FRIEND   AND   AS THEY WENT DOWN TO THE VILLAGE  HE MANAGED TO GET A SORT OF EXPLANATION FROM THE MAN  IT SEEMS THAT THERE HAD BEEN ALWAYS CURIOUS STORIES TOLD ABOUT THE PLACE  WHICH IN THE EARLY DAYS WAS CALLED LANDRU CASTLE  AND THAT WITHIN THE LAST SEVEN YEARS THERE HAD BEEN TWO EXTRAORDINARY DEATHS THERE  IN EACH CASE THEY HAD BEEN TRAMPS   WHO WERE IGNORANT OF THE REPUTATION OF THE HOUSE  AND HAD PROBABLY THOUGHT THE BIG EMPTY PLACE SUITABLE FOR A NIGHT'S FREE LODGING  THERE HAD BEEN ABSOLUTELY NO SIGNS OF VIOLENCE TO INDICATE THE METHOD BY WHICH DEATH WAS CAUSED  AND ON EACH OCCASION THE BODY HAD BEEN FOUND IN THE GREAT ENTRANCE HALL  BY THIS TIME THEY HAD REACHED THE INN WHERE WENTWORTH HAD PUT UP   AND HE TOLD THE AGENT THAT HE WOULD PROVE THAT IT WAS ALL RUBBISH ABOUT THE HAUNTING   BY STAYING A NIGHT OR TWO IN THE MANOR HIMSELF  THE DEATH OF THE TRAMPS WAS CERTAINLY CURIOUS BUT DID NOT PROVE THAT ANY SUPERNATURAL AGENCY HAD BEEN AT WORK  THEY WERE BUT ISOLATED ACCIDENTS   SPREAD OVER A LARGE NUMBER OF YEARS BY THE MEMORY OF THE VILLAGERS  WHICH WAS NATURAL ENOUGH IN A LITTLE PLACE LIKE KORUNTON  TRAMPS HAD TO DIE SOME TIME   AND IN SOME PLACE   AND IT PROVED NOTHING THAT TWO   OUT OF POSSIBLY HUNDREDS WHO HAD SLEPT IN THE EMPTY HOUSE  HAD HAPPENED TO TAKE THE OPPORTUNITY TO DIE UNDER SHELTER  BUT THE AGENT TOOK HIS REMARK VERY SERIOUSLY   AND BOTH HE AND DENNIS THE LANDLORD OF THE INN  TRIED THEIR BEST TO PERSUADE HIM NOT TO GO  FOR HIS SOWL'S SAKE IRISH DENNIS BEGGED HIM TO DO NO SUCH THING AND BECAUSE OF HIS LIFE'S SAKE THE SCOTCHMAN WAS EQUALLY IN EARNEST  HE FELT FULL OF PLUCK   AND HE MADE UP HIS MIND HE WOULD SMASH THE STORY OF THE HAUNTING   AT ONCE BY STAYING THAT VERY NIGHT   IN THE MANOR  HE MADE THIS QUITE CLEAR TO THEM   AND TOLD THEM THAT IT WOULD BE MORE TO THE POINT AND TO THEIR CREDIT  IF THEY OFFERED TO COME UP ALONG WITH HIM   AND KEEP HIM COMPANY  BUT POOR OLD DENNIS WAS QUITE SHOCKED   I BELIEVE   AT THE SUGGESTION AND THOUGH TABBIT   THE AGENT  TOOK IT MORE QUIETLY   HE WAS VERY SOLEMN ABOUT IT  IT SEEMS THAT WENTWORTH DID GO AND THOUGH   AS HE SAID TO ME   WHEN THE EVENING BEGAN TO COME ON   IT SEEMED A VERY DIFFERENT SORT OF THING TO TACKLE  A WHOLE CROWD OF THE VILLAGERS ASSEMBLED TO SEE HIM OFF FOR BY THIS TIME THEY ALL KNEW OF HIS INTENTION  WENTWORTH HAD HIS GUN WITH HIM   AND A BIG PACKET OF CANDLES AND HE MADE IT CLEAR TO THEM ALL THAT IT WOULD NOT BE WISE FOR ANYONE TO PLAY ANY TRICKS AS HE INTENDED TO SHOOT AT SIGHT AND THEN   YOU KNOW   HE GOT A HINT OF HOW SERIOUS THEY CONSIDERED THE WHOLE THING FOR ONE OF THEM CAME UP TO HIM  \n",
        "transcription_base": " He'd not been long away this time, I remarked, as I finished my soup. Forgetting momentarily, Karnek is dislike of being asked even to skirt the borders of his story until such time as he was ready, then he would not stint words. That's all he replied, with brevity, and I changed the subject, remarking that I had been buying a new gun, to which piece of news he gave an intelligent nod, and a smile which I think showed a genuinely good humored appreciation of my intentional changing of the conversation. Later, when dinner was finished, Karnaki snuck himself comfortably down in his big chair, along with his pipe, and began his story, with very little circumlocution. As Dodgson was remarking just now, I've only been away a short time, and for a very good reason too, I've only been away a short distance. And it is a story too, one of the most extraordinary things ever I've run against. I received a letter a fortnight ago from a man I must call Anderson, asking for an appointment. I arranged a time, and when he came, I found that he wished me to investigate, and see whether I could not clear up a long-standing and well, too well, authenticated case of what he termed haunting. He gave me very full particulars, and finally, as the case seemed to present something unique, I decided to take it up. Two days later, I drove to the house, late in the afternoon, Anderson had left a letter with the butler I found, pleading excuses for his absence, and leaving the whole house at my disposal for my investigations. The Butler evidently knew the object of my visit, and I questioned him pretty thoroughly during dinner, which I had in rather lonely state. He is an old and privileged servant, and had the history of the Grey Room exact in detail. From him I learned more particulars regarding two things that Anderson had mentioned in but a casual manner. The first was that the door of the Grey Room would be heard in the the dead of night to open, and slam heavily, and this even though the Butler knew it was locked, and the key on the bunch in his pantry, the second was that the bedclothes would always be found torn off the bed, but it was the door slamming that chiefly bothered the old Butler. From Anderson I knew already that the room had a history extending back over 150 years. Three people had been strangled in it. An ancestor of his and his wife and child. This is authentic, as I had taken very great pains to discover. Peter, the old butler, was in rather a state about my going. No one had ever entered that room after nightfall. He begged me in quite a fatherly way, to wait till the morning. Of course I smiled a little at him and told him not to bother. I explained that I should do no more than look round a bit, and perhaps a fix a few seals. He need not fear. I was used to that sort of thing, he shook his head when I said that. There isn't many ghosts like ours, sir. He assured me with mournful pride, and by jove he was right, as you will see. I took a couple of candles and Peter followed with his bunch of keys. He unlocked the door, but would not come inside with me. He was evidently in a fright, and he renewed his request that I would put off my examination until daylight. Of course I laughed at him again, and told him he could stand sentry at the door and catch anything that came out. It never comes outside, sir,\" he said, in his funny old solemn manner. Somehow he managed to make me feel as if I were going to have the creeps right away. Anyway, it was one to him, you know. I left him there and examined the room. It is a big apartment and well furnished in the grand style with a huge four-poster which stands with its head to the end wall. There were two candles on the mantelpiece, and two on each of the three tables that were in the room. I lit the lot, and after that, the room felt a little less inhumanly dreary, though mind you, it was quite fresh and well kept in every way. After I had taken a good look round, I sealed lengths of baby ribbon across the windows, along the walls, over the pictures, and over the fireplace in the wall closets. All the time as I worked, the butters stood just without the door, and I could not persuade him to enter, though I gested him a little, as I stretched the ribbons, and went here and there about my work. Every now and again he would say. You'll excuse me, I'm sure, sir, but I do wish you would come out, sir. I'm fair and a quake for you. I told him he need not wait, but he was loyal enough in his way to what he considered his duty. He said he could not go away and leave me all alone there. He apologized, but made it very clear that I did not realize the danger of the room, and I could see generally that he was in a pretty frightened state. All the same, I had to make the room so that I should know if anything material entered it. asked him not to bother me unless he really heard or saw something. He was beginning to get on my nerves and the feel of the room was bad enough without making it any nastier. For a time further I worked stretching ribbons across the floor and sealing them so that the nearest touch would have broken them, where anyone'd venture into the room in the dark with the intention of playing the fool. All this had taken me far longer than I had anticipated, and suddenly I heard a clock strike eleven. I had taken off my coat soon after commencing work. Now, however, as I had practically made an end of all that I intended to do, I walked across to the setty and picked it up. There's something going to happen! Jove, but I jumped, and then, in the same moment, one of the candles on the table to the left went out. Just for a moment I was enough startled to make a run for the door. Though I'm glad to say that I pulled up before I reached it. I simply could not bunk out, with the butler standing there after having as it were and walked across to the table near the bed. Well, I saw nothing. I blew out the candle that was still a light. Then I went to those on the two tables and blew them out. All right, Peter, I said, and by jove, my voice was not as steady as I should have liked. I made for the door, and had a bit of work not to start running. I took some thundering long scribes, as you can imagine. Near the door, I had a sudden feeling that there was a cold wind in the room. It was almost as if the window had been suddenly opened a little. I got to the door and the old Butler gave back a step, in a sort of instinctive way. Call her the handle, speeder, I said pretty sharply, and shoved them into his hands. I turned and caught the handle, and slammed the door shut with a crash. Somehow, do you know, as I did so, I thought I felt something pulled back on it, but it must have been only fancy. I turned the key in the lock, and then again, double locking the door. I felt easier then. Poor old Beger. He did not struck me until that moment that he had been enduring a considerable strain during the last two or three hours. About midnight I went to bed. My room lay at the end of the corridor upon which opens the door of the grey room. I counted the doors between it in mind, and found that five rooms lay between. And I am sure you can understand that I was not sorry. Then, just as I was beginning to undress, an idea came to me, and I took my candle and ceiling wax, and sealed the doors of all five rooms. If any door slammed in the night, I should know just which one. I returned to my room, locked to the door, and went to bed. I was wakes suddenly from a deep sleep by a loud crash somewhere out in the passage. I sat up in bed and listened, but heard nothing. Then I lit my candle. I was in the very act of lighting it when there came the bang of a door being violently slammed along the corridor. I jumped out of bed and got my revolver. I unlocked the door and went out into the passage, holding my candle high and keeping the pistol ready. Then, a queer thing happened. I could not go a step towards the grey room. You all know I'm not really a cowardly chap. I've gone into too many cases connected with ghostly things to be accused of that. But I tell you I've just func'd it, simply func'd it, just like any blessed kid. There was something precious unholy in the air that night. I ran back into my bedroom and shut and locked the door. Then I sat on the bed all night and listened to the dismal thudding of a door up the corridor. daylight came at last and I washed and dressed. The door had not slammed for about an hour, and I was getting back my nerve again. I felt ashamed of myself, though, in some ways it was silly for when you're meddling with that sort of thing, your nervous bound to go sometimes. And you just have to sit quiet and call yourself a coward until daylight. Sometimes it is more than just cowardice, I fancy. I believe at times it is something warning you and fighting for you. But all the same, I always feel mean and miserable after a time like that. When the day came properly, I opened my door, and, keeping my revolver handy, went quietly along the passage. He had merely tucked his night shirt into his trousers, and he had an old pair of carpet slippers on. Hello, Peter, I said, feeling suddenly cheerful. For I was as glad as any lost child to have a live human being close to me. Where are you off to with the refreshments? The old man gave a start and slopped some of the coffee. He stared up at me, and I could see that he looked white and done up. He came on up the stairs and held up the little tray to me. I'm very thankful indeed, sir, to see you safe and well,\" he said. I feared one time you might risk going into the grey room, sir. I've lain awake all night with the sound of the door, and when it came light I thought I'd make you a cup of coffee. I knew you would want to look at the seals, and somehow it seemed safer if there's two, sir. Peter, I said, you're a brick. This is very thoughtful of you, and I drank the coffee. Come along, I told him, and hand it him back the tray. I'm going to have a look at what the brutes have been up to. I simply hadn't the pluck too in the night. I'm very thankful, sir, he replied. Flesh and blood can do nothing, sir, against devils. And that's what's in the grey room after dark. I examine the seals on all the doors as I went along, and found them right. But when I got to the grey room, the seal was broken. Though the card over the keyhole was untouched, I ripped it off and unlocked the door and went in, rather cautiously, as you can imagine. But the whole room was empty of anything to frighten one, and there was heaps of light. I examined all my seals, and not a single one was disturbed. The old butler had followed me in, and suddenly he called out. The bed closed, sir. I ran up to the bed and looked over, and, surely, they were lying in the corner to the left of the bed. Joe, if you can imagine how queer I felt, something had been in the room. I stared for a while from the bed to the clothes on the floor. I had a feeling that I did not want to touch either. Old Peter though did not seem to be affected that way. He went over to the bed-coverings and was going to pick them up, as doubtless he had done every day these twenty years back, but I stopped him. I wanted nothing touched until I had finished my examination. This I must have spent a full hour over, and then I let Peter straighten up the bed, which we went out, and I locked the door, so the room was getting on my nerves. I had a short walk, and then breakfast, after which I felt more my own man, and so returned to the grey room, and, with Peter's help, and one of the maids, I had everything taken out of the room, except the bed. Even the very pictures, I examined the walls, floor, and ceiling, then, with probe, hammer, and magnifying glass, but found nothing suspicious, and I can assure you, I began to realize, in very truth that some incredible thing had been loose in the room during the past night. After dinner Peter and I unpacked some of my stuff and I fixed up my camera and flashlight opposite to the door of the grey room with a string from the trigger of the flashlight to the door. Then you see if the door were really opened the flashlight would blare out and there would be possibly a very queer picture to examine in the morning. The last thing I did before leaving was to uncap the lens. And after that I went off to my bedroom and to bed. For I intended to be up at midnight. And to ensure this I set my little alarm to call me. Also I left my candle burning. The clock woke me at twelve and I got up in into my dressing-down-and-slippers. Then I lit my dark room lamp and withdrew the slide so that it would give a clear light. I carried it up the corridor about thirty feet and put it down on the floor. Then I went back and sat in the doorway of my room with my revolver handy, staring up the passage towards the place where I knew my camera stood outside the door of the grey room. I should think I had watched for about an hour and a half when suddenly I heard a faint noise away up the corridor. I was immediately conscious of a queer prickling sensation about the back of my head, and my hands began to sweat a little. The following instant, the whole end of the passage flipped into sight in the abrupt glare of the flashlight. There came this exceeding darkness, and I peered nervously up the corridor, listening intensely, and trying to find what lay beyond the faint glow of my dark lamp, which now seemed ridiculously dim by contrast with the tremendous blaze of the flashpower. And then, as I stooped forward, staring and listening, there came the crashing thud of the door of the grey room. The sound seemed to fill the hole of the large corridor, and go echoing hollowly through the house. I tell you I felt horrible, as if my bones were water, simply beastly, jove how I did stare and how I listened, and then it came again, thud, thud, thud, and then a silence that was almost worse than the noise of the door. For I kept fencing that some awful thing was stealing upon me along the corridor, and then suddenly my lamp was put out. I realized all at once that I was doing a very silly thing sitting there, and I jumped up. Even as I did so, I thought I heard a sound in the passage, and quite near me. I made one backward spring into my room and slammed and locked the door. I had my revolver in my hand, but it seemed an abominably useless thing. I felt that there was something the other side of that door. For some unknown reason I knew it was pressed up against the door, and it was soft. That was just what I thought. Most extraordinary thing to think. Presently I got hold of myself a bit and marked out a pentacle hurriedly with chalk on the polished floor, and there I sat in it almost until dawn, and all the time away up the corridor, the door of the grey room thudded its solemn and hard intervals. It was a miserable brutal night. When the day began to break, the thudding of the door came gradually to an end, and, at last, I got hold of my courage, and went along corridor in the half-light to cap the lens of my camera. I can tell you it took some doing, but if I had not done so, my photograph would have been spoiled, and I was tremendously keen to save it. Half an hour later, there was a tap at my door, It was Peter with my coffee. When I had drunk it, we both went along to the grey room. As we went, I had a look at the seals on the other doors, but they were untouched. The seal on the door of the grey room was broken. I ripped it off and opened the door. Nothing unusual was to be seen until we came to the bed. Then I saw that, as on the previous day, the bedclothes had been torn off and hurled into the left-hand corner, exactly where I had seen them before. I felt very queer, but I did not forget to look at all the seals, only to find that not one had been broken. Then I turned and looked at old Peter, and he looked at me, nodding his head. Let's get out of here, I said, it's no place for any living human to enter without proper protection. We went out then, and I locked and sealed the door, again. After breakfast I developed the negative, but it showed only the door of the grey room half opened. Then I left the house, as I wanted to get certain matters and implements that might be necessary to life. to the spirit, for I intended to spend the coming night in the grey room. I got back in a cab about half past five with my apparatus, and this, Peter and I carried up to the grey room, where I piled it carefully in the center of the floor. When everything was in the room, including a cat which I had brought, I locked and sealed the door and went towards the bedroom, telling Peter I should not be down for dinner. He said, yes, sir. And went downstairs, thinking that I was going to turn in, which was what I wanted him to believe, I knew he would have worried both me and himself if he had known what I intended. But I merely got my camera and flashlight from my bedroom, and hurried back to the grey room. I locked and sealed myself in and set to work, for I had a lot to do before it got dark, which I swept with a broom of hiss up. About this I drew a circle of chalk, taking care never to step over the circle. Beyond this I smudged with a bunch of garlic, a broad belt right around the chalked circle, and when this was complete I took from among my stores in the center, a small jar of a certain water. I broke away the parchment and withdrew the stopper. Then, dipping my left forefinger in the little jar, I went round the circle again, making upon the floor, just within the line of chalk, the second sign of the Samah ritual. I can tell you I felt easier when this was done, and the water circle complete. Then, I unpacked some more of the stuff that I had brought. After that, I drew a pentacle, so that each of the five points of the defensive star touched the chalk circle. In the five points of the star, I placed five portions of the bread, each wrapped in linen, and in the five veils, five opened jars of the water I had used to make the water circle. And now I had my first protective barrier complete. Now anyone except you who know something of my methods of investigation might consider all this a piece of useless and foolish superstition, but you all remember the the black veil case, in which I believe my life was saved by a very similar form of protection, most aster who sneered at it and would not come inside, died. In the 14th century, as I've just said in that horrible black veil business, you know how that turned out. Later I used it several times and always I came through safe until that moving fur case. It was only a partial defense, therefore, and I nearly died in the pentacle. After that I came across Professor Garder's experiments with a medium. When they surrounded the medium with a current in vacuum, he lost his power. Almost as if it cut him off from the immaterial. That made me think a lot, and that is how I came to make the electric pentacle, which is a most marvelous defense against certain manifestations. Curious thing for a 20th century man to admit is it not? But then, as you all know, I never did and never will allow myself to be blinded by the little cheap laughter. I asked questions and keep my eyes open. In this last case I had little doubt that I had run up against a supernatural monster and I meant to take every possible care for the danger is abominable. Then I connected up the battery and the next instant the pale blue glare from the intertwining vacuum tubes shown out. I glanced about me then with something of a sigh of relief and realized suddenly that the dusk was upon me for the window window was gray and unfriendly, then round at the big empty room, over the double barrier of electric and candlelight, I had an abrupt, extraordinary sense of weirdness thrust upon me. In the air, you know, as it were, a sense of something inhuman impending, I turned now to the camera and saw that it and the flashlight were in order, then I tested my revolver, carefully, though I had little thought that it would be needed. Yet, to what extent materialization of an abnatural creature as possible, given favorable conditions no one can say. And I had no idea what horrible thing I was going to see, or feel the presence of. I might, in the end, have to fight with a materialized monster. I did not know and could only be prepared. You see, I never forgot that three other people had been strangled in the bed close to me, and the fierce slamming of the door I had heard myself. I had no doubt that I was investigating a dangerous and ugly case. By this time the night had come, though the room was very light with the burning candles. And I found myself glancing behind me constantly, and then all around the room. It was nervy work waiting for that thing to come. Then suddenly I was aware of a little cold wind sweeping over me, coming from behind, and a prickly feeling went all over the back of my head. Then I hoved myself round with a sort of stiff jerk and stared straight against that queer wind. seemed to come from the corner of the room to the left of the bed. The place where both times I had found the heap of tossed-bed clothes. Yet I could see nothing unusual, no opening, nothing. abruptly I was aware that the candles were all flicker in that unnatural wind. I shall never be able to let you know how disgustingly horrible it was sitting in that vile cold wind. And then, flick, flick, flick, all the candles round the outer barrier went out, and there was I, locked and sealed in that room, and with no light beyond the weakish blue glare of the electric pentacle, a time of abominable tenseness passed, and still that wind blew upon me. And then, suddenly, I knew that something stirred in the corner to the left of the bed, I was made conscious of it, yet as I stared, something began slowly to grow upon my sight. A moving shadow, a little darker than the surrounding shadows, I I lost the thing amid the vagueness, and for a moment or two I glanced swiftly from side to side, with a fresh new sense of impending danger. Then my attention was directed to the bed. All the coverings were being drawn steadily off, with a hateful, stealthy sort of motion. I heard the slow, dragging slither of the clothes, but I could see nothing of the thing that pulled. I was aware in a funny, subconscious, introspective fashion that the creep had come upon me. that I was cooler mentally than I had been for some minutes. Sufficiently so to feel that my hands were sweating coldly, and to shift my revolver half consciously, whilst I rubbed my right hand dry upon my knee. Though never for an instant, taking my gaze were my attention from those moving clothes. The faint noises from the bed ceased once, and there was a most intense silence, with only the sound of the blood beating in my head. In the midst of my nervous tension I remembered the camera, and reached round for it, but without looking away from the bed. And then, you know, all in a moment, the whole of the bed coverings were torn off with extraordinary violence, and I heard the flump they made as they were hurled into the corner. There was a time of absolute quietness then for perhaps a couple of minutes, and you can imagine how horrible I felt. The bed clothes had been thrown with such savageness, and then again the brutal unnaturalness of the thing that had just been done before me. Abruptly, over by the door, I heard a faint noise, a sort of crickling sound, and then a pitter or two upon the floor. A great nervous thrill swept over me, seeming to run up my spine and over the back of my head. For the seal that secured the door had just been broken, something was there. I could not see the door, at least, I mean to say that it was impossible to say how much I actually saw and how much my imagination supplied. I made it out, only as a continuation of the grey walls, and then it seemed to me that something dark and indistinct moved and wavered there among the shadows. Abruptly I was aware that the door was opening, and with an effort I reached again from my camera, but before I could aim at the door was slammed with a terrific crash that filled the whole room with a sort of hollow thunder. I jumped like a frightened child, there seemed such a power behind the noise, as though a vast want and force were out. Can you understand? The door was not touched again, but, directly afterwards, I heard the basket in which the cat lay, creek, I tell you I fairly pringled all along my back. I knew that I was going to learn definitely whether whatever was abroad was dangerous to life. From the cat there rose suddenly a hideous catter-wall that ceased abruptly, and then, too late, I snapped off the flashlight. In the great glare, I saw that the basket had been overturned, and the lid was wrenched open, with a cat lying half in and half out upon the floor. During the next two or three minutes there was an odd noticeable quietness in the room, and you much remember I was half blinded for the time because of the flashlight, so that the whole place seemed to be pitchy-dark just beyond the shine of the pentacle. I tell you it was most horrible. I just knelt there in the star and whirled around trying to see whether anything was coming at me. The power of sight came gradually, and I got a little hold of myself, and abruptly I saw the thing I was looking for, close to the water circle. It was big and indistinct and wavered curiously, as though the shadow of a vast spider hunks has spended in the air just beyond the barrier. Then just opposite to one of the veils and the pentacles, it seemed to pause, as though preliminary to a tremendous effort, it retired almost beyond the glow of the vacuum light, And then came straight towards me, appearing to gather form and solidity as it came. There seemed a vast malign determination behind the movement that must succeed. I was on my knees and I jerked back, falling onto my left hand and hip, in a wild and ever to get back from the advancing thing. With my right hand I was grabbing madly from my revolver, which I had let slip. The brutal thing came with one great sweep straight over the garlic and the water circle, almost to the veil of the pentacle. I believe I yelled. then, just as suddenly as it had swept over, it seemed to be hurled back by some mighty invisible force. It must have been some moments before I realized that I was safe, and then I got myself together in the middle of the pentacles, feeling horribly gone and shaken, and glancing round and round the barrier, but the thing had vanished, yet I had learned something, for I knew now that the grey room was haunted by a monstrous hand. Suddenly, as I crouched there, I saw what had so nearly given the monster an opening through the barrier. In my movements within the pentacle I must have touched one of the jars of water, for just where the thing had made its attack the jar that guarded the deep of the veil had been moved to one side, and this had left one of the five doorways unguarded. I put it back quickly and felt almost safe again, for I had found the cause, and the defense was still good. When I saw that thing so nearly succeed I had an awful week overwhelming feeling that the barriers could never bring me safe through the night against such a force. You can understand? For a long time I could not see the hand, but presently, a little later as though in a sudden fit of malignant rage, the dead body of the cat was picked up, and beaten with delves sickening blows against the solid floor. That made me feel rather queer. A minute afterwards the door was opened and slammed twice with tremendous force. The next instant the thing made one swift vicious start at me from out of the shadows. Instinctively I started sideways from it, and so plucked my hand from upon the electric pentacle, where, for a wickedly careless moment I had placed it, the monster was hurled off from the neighborhood of the pentacles. Though owing to my inconceivable foolishness, it had been enabled for a second time to pass the outer barriers. I can tell you I shook for a time, with sheer funk. I moved right to the center of the pentacles again and knelt there, making myself as small and compact as possible. As I knelt, there came to me presently a vague wonder at the two accidents which had so nearly allowed the brute to get at me. Was I being influenced to unconscious voluntary actions that endangered me? The thought took hold of me and I watched my every movement. abruptly I stretched a tired leg and knocked over one of the jars of water. Some was spilled, but because of my suspicious watchfulness, I had it upright and back within the veil, while yet some of the water remained. And as I did so, the vast, black, half-materialized hand beat up at me out of the shadows, and seemed to leap almost into my face. So nearly did it approach, but for the third time it was thrown back by some altogether enormous, over-mastering force. Yet apart from the dazed fright in which it left me, I head for a moment that feeling of spiritual sickness, which is felt only upon the two-near approach of the abhuman, and is more dreadful and a strange way than any physical pain that can be suffered. I knew by this more of the extent and closeness of the danger, and for a long time I was simply cowed by the butt-headed brutality of that force upon my spirit, I can put it no other way. I knelt again in the center of the pentacles, watching myself with more fear almost than the monster. For I knew now that, unless I guarded myself from every sudden impulse that came to me, I might simply work my own destruction. I spent the rest of the night in a haze of sick fright, and so tense that I could not make a single movement naturally, I was in such fear that any desire for action that came to me might be prompted by the influence that I knew was at work on me, and outside of the bury that ghastly thing that round and round, grabbing and grabbing in the air at me. Twice more was the body of the dead cat molested. The second time I heard every bone in its body scrunch and crack, and all the time the horrible wind was blowing upon me from the corner of the room to the left of the bed. Then, just as the first touch of dawn came into the sky, that unnatural wind ceased in a single moment. And I could see no sign of the hand. The dawn came slowly, and presently the one light filled all the room, and made the pale glare of the electric pentacle look more unearthly. Yet, it was not until the day had fully come that I made any attempt to leave the barrier, for I did not know but that there was some method abroad in the sudden stopping of that wind, to entice me from the pentacles. At last, when the dawn was strong and bright, I took one last look around and ran for the door. I got it unlocked in a nervous and clumsy fashion, then locked it hurriedly and went to my bedroom, where I lay on the bed and tried to steady my nerves. came presently with the coffee, and when I had drunk it, I told him I meant to have a sleep as I had been up all night. He took the tray and went out quietly, and after I had locked my door I turned in properly, and it last got to sleep. I woke about midday, and after some lunch, I went up to the grey room. I switched off the courage from the pentacle, which I had left on in my hurry. Also I removed the body of the cat. You can understand I did not want anyone to see the poor brute. After that I made a very careful search of the corner where the bedclothes had been thrown. I made several holes and probed and found nothing. Then it occurred to me to try with my instrument under the scirting. I did so and heard my wire ring on metal. I turned the hook end that way and fished for the thing. At the second go I got it. It was a small object and I took it to the window. I found it to be a curious This ring, made of some graying material. The curious thing about it was that it was made in the form of a pentagon. That is, the same shape as the inside of the magic pentacle, but without the mounts, which form the points of the defensive star. You will understand that I was excited when I tell you that I felt sure I held in my hand the famous luck ring of the Anderson family. Which indeed was of all things the one most intimately connected with the history of the haunting. This ring was handed on from father to son through generations, and always, in obedience to some ancient family tradition, each son had to promise never to wear the ring. The ring, I may say, was brought home by one of the crusaders under very peculiar circumstances, but the story is too long to go into here. It appears that young Sir Holbert, an ancestor of Anderson's, made a bet, in drink, you know, that he would wear the ring that night. He did so, and in the morning his wife and child were found strangled in the band, in the very room in which I stood. Many people it would seem thought young Sir Hulbert was guilty of having done the thing in drunken anger, and he, in an attempt to prove his innocence, slept a second night in the room. He also was strangled. Since then, as you may imagine, no one has ever spent a night in the grey room until I did so. The ring had been lost so long that it had become almost a myth, and it was most extraordinary to stand there with the actual thing in my hand as you can understand. It was whilst I stood there looking at the ring that I got an idea, supposing that it were in a way a doorway. You see what I mean? A sort of gap in the world hedge? You see, the wind had come from that part of the room where the ring lay. I fought a lot about it. Then the shape, the inside of a pentacle. You see, I unmade the pentacle, for it must be made fresh and around the one to be protected. I went out and locked the door. After which I left the house to get certain matters. I returned about 730 and as soon as the things I had brought had been carried up to the grey room, I dismissed Peter for the night, just as I had done the evening before. When he had gone downstairs I let myself into the room and locked and sealed the door. I went to the place in the center of the room where all the stuff had been packed and set to work with all my speed to construct a barrier about me and the ring. I do not remember whether I explained it to you, but I had reasoned that, if the ring were in any way a medium of admission, and it were enclosed with me in the electric pinticle, it would be to express it loosely, insulated. Do you see? The force, which had visible expression as a hand, would have to stay beyond the barrier which separates the ab from the normal, for the gateway would be removed from accessibility. As I was saying, I worked with all my speed to get the barrier completed about me and the ring, for it was already later than I cared to be in that room unprotected. Also, I had a feeling that there would be a vast effort made that night to regain the use of the ring, for I had the strongest conviction that the ring was a necessity to materialization. You will see whether I was right. I completed the barriers in about an hour, and you can imagine something of the relief I felt when I felt the pale glare of the electric pentacle once more all about me. And then onwards, for about two hours, I sat quietly, facing the corner from which the wind came. About eleven o'clock, a queer knowledge came that something was near to me. Yet nothing happened for a whole hour after that. Then suddenly, I felt the cold, queer wind begin to blow upon me. To my astonishment, it seemed now, to come from behind me, and I whipped around with the hideous quake of fear. The wind met me in the face. It was blowing up from the floor close to me. I stared down in a sickening maze of new frights. What on earth had I done now? The ring was there close beside me where I had put it. Suddenly as I stared bewildered, I was aware that there was something queer about the ring. Funny shadowy movements and convolutions. I looked at them stupidly, and then abruptly I knew that the wind was blowing up at me from the ring. A queer, indistinct smoke became visible to me, seeming to pour upwards through the ring, mixed with the moving shadows. Suddenly I realized that I was in more than any mortal danger. For the convoluting shadows about the ring were taking shape, and the death-hand was forming within the Pentacle. My goodness, do you realize it? I had brought the gateway into the Pentacles, and the brute was coming through, pouring into the material world as gas might pour out from the mouth of a pipe. I should think that I knelt for a moment in a sort of stunned right. Then, with a mad awkward movement, I snatched at the ring, intending to hurl it out of the pentacle. Yet it eluded me, as though some invisible living thing jerked it hither and thither. At last I gripped it. Yet, in the same instant, it was torn from my grasp, with incredible and brutal force. A great black shadow covered it, and rose into the air, and came at me. I saw that it was the hand, fast and nearly perfect in form. I gave one crazy yell, and jumped over the pentacle in the ring of burning candles. and ran despairingly for the door, and all the time I stared with a fear that was like insanity towards the barriers. The hand was plunging towards me, yet even as it had been unable to pass into the pentacle when the ring was without, so now that the ring was within, it had no power to pass out. The monster was chained as surely as any beast would be. Even then I got a flash of this knowledge, but I was too utterly shaken with fright to reason. In the instant I managed to get the key turned, I sprang into the passage and slammed the door with a crash. I locked it and got to my room somehow, for I was trembling so that I could hardly stand as you can imagine, and kept quiet for an hour or two. And so I got steadyed. I got a little sleep later, but Woke when Peter brought my coffee. When I had drunk it I felt all together better, and took the old man along with me whilst I had a look into the grey room. I opened the door and peeped in. The candles were still burning, won against the daylight, and behind them was the pale glowing star of the electric pentacle, and there, in the middle, was the ring, the gateway of the monster, lying to meur and ordinary. Nothing in the room was touched, and I knew that the brute had never managed to cross the pentacles. Then I went out and locked the door. I had with me an oxyhydrogen jet and two cylinders containing the gases. I carried the things into the grey room, and there, in the center of the electric pentacle, I erected a little furnace. Five minutes later the luk ring, once the luk, but now the bane of the Anderson family, was no more than a little solid splash of hot metal. Karnaki fell in his pocket and pulled out something wrapped in tissue paper. He passed it to me. I opened it and found a small circle of grayish metal, something like lead only harder and rather brighter. Well, I asked at length, after examining it and handing it round to the others. Did that stop the haunting? Naki nodded. Yes, he said. I slept three nights in the grey room before I left. Old Peter nearly fainted when he knew that I meant to, but by the third night he seemed to realize that the house was just safe and ordinary. And, you know, I believe in his heart, he hardly approved. Karnaki stood up and began to shake hands. Out you go, he said, geniusly, and presently we went, pondering. This is a curious yarn that I'm going to tell you, said Karnaki, as after a quiet little dinner we made ourselves comfortable in his cozy dining room. I have just got back from the west of Ireland, he continued, went worth a friend of mine, has lately had rather an unexpected legacy in the shape of a large estate in Manor. This place is named Gannington Manor, and has been empty a great number of years, as you will find as almost always the case with houses reputed to be haunted, as it is usually termed. It seems that when Wentworth went over to take possession, he found the place in very poor repair, and the estate totally uncared for, and, as I know, looking very desolate in Lonesome generally. He went through the big house by himself, and he admitted to me that it had had an uncomfortable feeling about it. But, of course, that might be nothing more than the natural dismalness of a big empty house, which has been long uninhabited, and through which you are wandering alone. When he had finished his look-round, he went down to the village, meaning to see the one-time agent of the estate, and arranged for some to go in as caretaker. The agent, who proved, by the way, to be a scotchman, was very willing to take up the management of the estate once more, but he assured Wentworth that they would get no one to go in as caretaker, and that his, the agent's, advice was to have the house pulled down in a new one built. This naturally astonished my friend, and as they went down to the village, he managed to get a sort of explanation from the man. It seems that there had been always curious stories told about the place, which in the early days was called Landrue Castle, and that within the last seven years there had been two extraordinary deaths there. In each case they had been tramps who were ignorant of the reputation of the house, and had probably thought the big empty place suitable for a night's free lodging. There had been absolutely no signs of violence to indicate the method by which death was caused, on each occasion, the body had been found in the great entrance hall. By this time they had reached the inn where Wentworth had put up, and he told the agent that he would prove that it was all rubbish about the haunting by staying a night or two in the manner himself. The death of the tramps was certainly curious, but did not prove that any supernatural agency had been at work. They were but isolated accidents spread over a large number of years by the memory of the villagers, which was natural enough in a little place like Corruntan. Tramps had to die sometime and in some place, and it proved nothing that two out of possibly hundreds who had slept in the empty house had happened to take the opportunity to die under shelter. But the agent took his remark very seriously, and both he and Dennis, the landlord of the inn, tried their best to persuade him not to go. For his soul is sake, Irish Dennis begged him to do no such thing, and because of his life's sake, this conchman was equally unearnest. He felt full of pluck, and he made up his mind, he would smash the story of the hunting at once by staying that very night in the manner. He made this quite clear to them and told them that it would be more to the point and to their credit if they offered to come up along with him and keep him company. But poor old Dennis was quite shocked, I believe, at the suggestion, and though Tabet, the agent, took it more quietly, he was very solemn about it. It seems that Wentworth did go, and though, as he said to me, when the evening began to come on, it seemed a very different sort of thing to tackle. A whole crowd of the villagers assembled to see him off, for by this time they all knew of his intention. Wentworth had his gun with him and a big packet of candles, and he made it clear to them all that it would not be wise for anyone to play any tricks, as he intended to shoot at sight. And then you know he got a hint of how seriously considered the whole thing, for one of them came up to them.",
        "transcription_medium": " You've not been long away this time,\" I remarked, as I finished my soup, forgetting momentarily Carnegie's dislike of being asked even to skirt the borders of his story until such time as he was ready. Then he would not stint words. That's all, he replied, with brevity, and I changed the subject, remarking that I had been buying a new gun, to which piece of news he gave an intelligent nod, and a smile which I think showed a genuinely good-humoured appreciation of my intentional changing of the conversation. later, when dinner was finished, Carnacchi snugged himself comfortably down in his big chair along with his pipe and began his story, with very little circumlocution. As Dodgson was remarking just now, I've only been away a short time, and for a very good reason too. I've only been away a short distance. And it is a story too, one of the most extraordinary things ever I've run against. I received a letter a fortnight ago from a man I must call Anderson, asking for an appointment. I arranged a time, and when he came, I found that he wished me to investigate, and see whether I could not clear up a long-standing and well-too-well authenticated case of what he termed haunting. He gave me very full particulars, and finally, as the case seemed to present something unique, I decided to take it up. Two days later I drove to the house, late in the afternoon. Anderson had left a letter with the butler, I found, pleading excuses for his absence, leaving the whole house at my disposal for my investigations. The butler evidently knew the object of my visit, and I questioned him pretty thoroughly during dinner, which I had in rather lonely state. He is an old and privileged servant, and had the history of the grey room exact in detail. From him I learned more particulars regarding two things that Anderson had mentioned in but a casual manner. The first was that the door of the grey room would be heard in the dead of night to open and slam heavily, and this even though the butler knew it was locked, and the key on the bunch in his pantry. The second was that the bedclothes would always be found torn off the bed. But it was the door slamming that chiefly bothered the old butler. From Anderson I knew already that the room had a history extending back over a hundred and fifty years. Three people had been strangled in it, an ancestor of his and his wife and child. This is authentic, as I had taken very great pains to discover. Peter, the old butler, was in rather a state about my going. No one had ever entered that room after nightfall. He begged me, in quite a fatherly way, to wait till the morning. Of course, I smiled a little at him, and told him not to bother. I explained that I should do no more than look round a bit, and perhaps affix a few seals. He need not fear. I was used to that sort of thing. But he shook his head when I said that. \"'There isn't many ghosts like ours, sir,' he assured me, with mournful pride. And by Jove he was right, as you will see. I took a couple of candles, and Peter followed with his bunch of keys. He unlocked the door, but would not come inside with me. He was evidently in a fright, and he renewed his request that I would put off my examination until daylight. Of course I laughed at him again, and told him he could stand sentry at the door and catch anything that came out. \"'It never comes outside, sir,' he said, in his funny old solemn manner. Somehow he managed to make me feel as if I were going to have the creeps right away. Anyway, it was one to him, you know. I left him there and examined the room. It is a big apartment and well furnished in the grand style with a huge four-poster which stands with its head to the end wall. There were two candles on the mantelpiece and two on each of the three tables that were in the room. I lit the lot and after that the room felt a little less inhumanly dreary, though, mind you, it was quite fresh and well kept in every way. After I had taken a good look round, I sealed lengths of baby ribbon across the windows, along the walls, over the pictures, and over the fireplace and the wall closets. All the time as I worked the butler stood just without the door, and I could not persuade him to enter, though I jested him a little as I stretched the ribbons and went here and there about my work. Every now and again he would say, \"'You'll excuse me, I'm sure, sir, but I do wish you would come out, sir. I'm fair in a quake for you.' I told him he need not wait, but he was loyal enough in his way to what he considered his duty. He said he could not go away and leave me all alone there. He apologized, but made it very clear that I did not realize the danger of the room, and I could see, generally, that he was in a pretty frightened state. All the same, I had to make the room so that I should know if anything material entered it, so I asked him not to bother me unless he really heard or saw something. He was beginning to get on my nerves, and the feel of the room was bad enough without making it any nastier. For a time further I worked, stretching ribbons across the floor and sealing them, so that the merest touch would have broken them, or anyone to venture into the room in the dark with the intention of playing the fool. All this had taken me far longer than I had anticipated, and suddenly I heard a clock strike eleven. I had taken off my coat soon after commencing work. Now however, as I had practically made an end of all that I intended to do, I walked across to the settee and picked it up. There's something going to happen!\" Jove! but I jumped, and then in the same moment one of the candles on the table to the left went out. Just for a moment I was enough startled to make a run for the door, though I'm glad to say that I pulled up before I reached it. I simply could not bunk out, with the butler standing there after having, as it were, and walked across to the table near the bed. Well, I saw nothing. I blew out the candle that was still alight. Then I went to those on the two tables and blew them out. \"'All right, Peter,' I said, and by Jove my voice was not as steady as I should have liked. I made for the door and had a bit of work not to start running. I took some thundering long strides as you can imagine. Near the door I had a sudden feeling that there was a cold wind in the room. It was almost as if the window had been suddenly opened a little. I got to the door and the old butler gave back a step in a sort of instinctive way. \"'Collar the handles, Peter,' I said pretty sharply, and shoved them into his hands. I turned and caught the handle and slammed the door shut with a crash. Somehow, do you know, as I did so, I thought I felt something pull back on it, but it must have been only fancy. I turned the key in the lock, and then again, double-locking the door. I felt easier then. Poor old beggar! It had not struck me until that moment that he had been enduring a considerable strain during the last two or three hours. About midnight I went to bed. My room lay at the end of the corridor upon which opens the door of the grey room. I counted the doors between it and mine, and found that five rooms lay between, and I am sure you can understand that I was not sorry. Then, just as I was beginning to undress, an idea came to me, and I took my candle and sealing-wax, and sealed the doors of all five rooms. If any door slammed in the night, I should know just which one. I returned to my room, locked the door, and went to bed. I was waked suddenly from a deep sleep by a loud crash somewhere out in the passage. I sat up in bed and listened, but heard nothing. Then I lit my candle. I was in the very act of lighting it when there came the bang of a door being violently slammed along the corridor. I jumped out of bed and got my revolver. I unlocked the door and went out into the passage, holding my candle high and keeping the pistol ready. Then a queer thing happened. I could not go a step towards the grey room. You all know I am not really a cowardly chap. I've gone into too many cases connected with ghostly things to be accused of that. But I tell you I funked it, simply funked it, just like any blessed kid. There was something precious unholy in the air that night. I ran back into my bedroom and shut and locked the door. Then I sat on the bed all night and listened to the dismal thudding of a door up the corridor. Daylight came at last and I washed and dressed. The door had not slammed for about an hour and I was getting back my nerve again. I felt ashamed of myself, though. In some ways it was silly, for when you're meddling with that sort of thing, your nerve is bound to go sometimes, and you just have to sit quiet and call yourself a coward until daylight. Sometimes it is more than just cowardice, I fancy. I believe at times it is something warning you and fighting for you. But all the same, I always feel mean and miserable after a time like that. When the day came properly, I opened my door and, keeping my revolver handy, went quietly along the passage. He had merely tucked his night-shirt into his trousers, and he had an old pair of carpet slippers on. \"'Hullo, Peter,' I said, feeling suddenly cheerful, for I was as glad as any lost child to have a live human being close to me. \"'Where are you off to with the refreshments?' The old man gave a start and slopped some of the coffee. He stared up at me, and I could see that he looked white and done up. He came on up the stairs and held up the little tray to me. \"'I'm very thankful indeed, sir, to see you safe and well,' he said. I feared one time you might risk going into the gray room, sir. I've lain awake all night with the sound of the door, and when it came light I thought I'd make you a cup of coffee. I knew you would want to look at the seals, and somehow it seemed safer if there's two, sir.\" Peter, I said, you're a brick. This is very thoughtful of you. And I drank the coffee. Come along, I told him, and handed him back the tray. I'm going to have a look at what the brutes have been up to. I simply hadn't the pluck to in the night. \"'I'm very thankful, sir,' he replied. \"'Flesh and blood can do nothing, sir, against devils. And that's what's in the gray room after dark.' I examined the seals on all the doors as I went along, and found them right. But when I got to the gray room the seal was broken, though the card over the keyhole was untouched. I ripped it off and unlocked the door and went in, rather cautiously, as you can imagine. But the whole room was empty of anything to frighten one, and there was heaps of light. I examined all my seals, and not a single one was disturbed. The old butler had followed me in, and suddenly he called out, \"'The bedclothes, sir!' I ran up to the bed and looked over, and, surely, they were lying in the corner to the left of the bed. Jove, you can imagine how queer I felt. Something had been in the room. I stared for a while, from the bed to the clothes on the floor. I had a feeling that I did not want to touch either. Old Peter, though, did not seem to be affected that way. He went over to the bed coverings and was going to pick them up, as doubtless he had done every day these twenty years back, but I stopped him. I wanted nothing touched until I had finished my examination. This I must have spent a full hour over, and then I let Peter straighten up the bed, after which we went out and I locked the door, till the room was getting on my nerves. I had a short walk and then breakfast, after which I felt more my own man, and so returned to the grey room, and, with Peter's help and one of the maid's, I had everything taken out of the room except the bed, even the very pictures. I examined the walls, floor, and ceiling, then, with probe, hammer, and magnifying glass, but found nothing suspicious. And I can assure you, I began to realize, in very truth, that some incredible thing had been loose in the room during the past night. After dinner, Peter and I unpacked some of my stuff, and I fixed up my camera and flashlight opposite to the door of the gray room, with a string from the trigger of the flashlight to the door. Then you see if the door were really opened the flashlight would blare out and there would be possibly a very queer picture to examine in the morning. The last thing I did before leaving was to uncap the lens, and after that I went off to my bedroom and to bed, for I intended to be up at midnight, and to ensure this I set my little alarm to call me. Also I left my candle burning. The clock woke me at twelve and I got up and into my dressing gown and slippers. Then I lit my darkroom lamp and withdrew the slide so that it would give a clear light. I carried it up the corridor about thirty feet and put it down on the floor. Then I went back and sat in the doorway of my room, with my revolver handy, staring up the passage towards the place where I knew my camera stood outside the door of the grey room. I should think I had watched for about an hour and a half when, suddenly, I heard a faint noise away up the corridor. I was immediately conscious of a queer prickling sensation about the back of my head, and my my hands began to sweat a little. The following instant the whole end of the passage flicked into sight in the abrupt glare of the flashlight. There came the succeeding darkness, and I peered nervously up the corridor, listening tensely and trying to find what lay beyond the faint glow of my dark lamp, which now seemed ridiculously dim by contrast with the tremendous blaze of the flash power. And then, as I stooped forward, staring and listening, there came the crashing thud of the door of the grey room. The sound seemed to fill the hole of the large corridor and go echoing hollowly through the house. I tell you I felt horrible as if my bones were water, simply beastly, Jove how I did stare and how I listened, and then it came again, thud, thud, thud, and then a silence that was almost worse than the noise of the door, for I kept fancying that some awful thing was stealing upon me along the corridor. And then, suddenly, my lamp was put out. I realized all at once that I was doing a very silly thing sitting there, and I jumped up. Even as I did so, I thought I heard a sound in the passage, and quite near me, I made one backward spring into my room and slammed and locked the door. I had my revolver in my hand, but it seemed an abominably useless thing. I felt that there was something the other side of that door. For some unknown reason I knew it was pressed up against the door, and it was soft. That was just what I thought. Most extraordinary thing to think. Finally I got hold of myself a bit, and marked out a pentacle hurriedly with chalk on the polished floor, and there I sat in it almost until dawn, and all the time, away up the corridor, the door of the grey room thudded at solemn and horrid intervals. It was a miserable, brutal night. When the day began to break, the thudding of the door came gradually to an end, and, at last, I got hold of my courage, and went along the corridor in the half-light to cap the lens of my camera. I can tell you it took some doing, but if I had not done so my photograph would have been spoiled, and I was tremendously keen to save it. Half an hour later there was a tap at my door. It was Peter with my coffee. When I had drunk it, we both went along to the grey room. As we went, I had a look at the seals on the other doors, but they were untouched. The seal on the door of the grey room was broken. I ripped it off and opened the door. Nothing unusual was to be seen until we came to the bed. And I saw that, as on the previous day, the bedclothes had been torn off and hurled into the left-hand corner exactly where I had seen them before. I felt very queer, but I did not forget to look at all the seals, only to find that not one had been broken. Then I turned and looked at old Peter, and he looked at me, nodding his head. \"'Let's get out of here,' I said. \"'It's no place for any living human to enter without proper protection.' We went out then, and I locked and sealed the door again. After breakfast I developed the negative, but it showed only the door of the grey room half opened. Then I left the house, as I wanted to get certain matters and implements that might be necessary to life, perhaps to the spirit, for I intended to spend the coming night in the grey room. I got back in a cab about half past five with my apparatus, and this Peter and I carried up to the grey room, where I piled it carefully in the centre of the floor. When everything was in the room, including a cat which I had brought, I locked and sealed the door and went towards the bedroom, telling Peter I should not be down for dinner. He said, Yes, sir, and went downstairs, thinking that I was going to turn in, which was what I wanted him to believe, as I knew he would have worried both me and himself if he had known what I intended. But I merely got my camera and flashlight from my bedroom and hurried back to the grey room. I locked and sealed myself in and set to work, for I had a lot to do before it got dark, which I swept with a broom of hyssop. About this I drew a circle of chalk, taking care never to step over the circle. Beyond this I smudged with a bunch of garlic a broad belt right around the chalked circle, and when this was complete I took from among my stores in the center a small jar of a certain water. I broke away the parchment and withdrew the stopper. Then, dipping my left forefinger in the little jar, I went round the circle again, making upon the floor, just within the line of chalk, the second sign of the Sama ritual. I can tell you I felt easier when this was done, and the water circle complete. Then I unpacked some more of the stuff that I had brought. After that I drew a pentacle so that each of the five points of the defensive star touched the chalk circle. In the five points of the star I placed five portions of the bread, each wrapped in linen, and in the five veils five opened jars of the water I had used to make the water circle. And now I had my first protective barrier complete. Now anyone except you who know something of my methods of investigation might consider all this a piece of useless and foolish superstition. But you all remember the Black Veil case, in which I believe my life was saved by a very similar form of protection, whilst Aster, who sneered at it and would not come inside, died in the fourteenth century, as I've just end in that horrible black veil business. You know how that turned out. Later I used it several times, and always I came through safe until that moving fur case. It was only a partial defense, therefore, and I nearly died in the pentacle. After that I came across Professor Garder's experiments with a medium. When they surrounded the medium with a current in vacuum, he lost his power, almost as if it cut him off from the immaterial. That made me think a lot, and that is how I came to make the electric pentacle, which is a most marvelous defense against certain manifestations. Curious thing for a twentieth century man to admit, is it not? But then, as you all know, I never did, and never will, allow myself to be blinded by the little cheap laughter. I ask questions, and keep my eyes open. In this last case I had little doubt that I had run up against a supernatural monster, and I meant to take every possible care, for the danger is abominable. Then I connected up the battery, and the next instant the pale blue glare from the intertwining vacuum tubes shone out. I glanced about me then with something of a sigh of relief, and realized suddenly that the dusk was upon me, for the window was gray and unfriendly. Then round at the big empty room, over the double barrier of electric and candlelight, I had an abrupt, extraordinary sense of weirdness thrust upon me. In the air, you know, as it were, a sense of something inhuman impending. I turned now to the camera and saw that it and the flashlight were in order. Then I tested my revolver, carefully, though I had little thought that it would be needed. Yet to what extent materialization of an ab-natural creature is possible, given favorable conditions no one can say. And I had no idea what horrible thing I was going to see or feel the presence of. I might, in the end, have to fight with a materialized monster. I did not know and could only be prepared. You see, I never forgot that three other people had been strangled in the bed close to me, and the fierce slamming of the door I had heard myself. I had no doubt that I was investigating a dangerous and ugly case. By this time the night had come, though the room was very light with the burning candles, and I found myself glancing behind me, constantly, and then all around the room. It was nervy work waiting for that thing to come. Then suddenly I was aware of a little cold wind sweeping over me, coming from behind, and a prickly feeling went all over the back of my head. Then I hoved myself round with a sort of stiff jerk and stared straight against that queer wind. It seemed to come from the corner of the room to the left of the bed, the place where both times I had found the heap of tossed bedclothes. Yet I could see nothing unusual, no opening, nothing. I was aware that the candles were all a flicker in that unnatural wind. I shall never be able to let you know how disgustingly horrible it was sitting in that vile cold wind. And then, flick, flick, flick, all the candles round the outer barrier went out, and there was I, locked and sealed in that room, and with no light beyond the weakish blue glare of the electric pentacle. A time of abominable tenseness passed, and still that wind blew upon me. And then, suddenly, I knew that something stirred in the corner to the left of the bed. I was made conscious of it, yet as I stared something began slowly to grow upon my sight, a moving shadow a little darker than the surrounding shadows. I lost the thing amid the vagueness, and for a moment or two I glanced swiftly from side to side with a fresh new sense of impending danger. Then my attention was directed to the bed. All the coverings were being drawn steadily off with a hateful, stealthy sort of motion. I heard the slow dragging slither of the clothes, but I could see nothing of the thing that pulled. I was aware in a funny subconscious introspective fashion that the creep had come upon me, yet that I was cooler mentally than I had been for some minutes, sufficiently so to feel that my hands were sweating coldly and to shift my revolver half-consciously whilst First I rubbed my right hand dry upon my knee, though never for an instant taking my gaze or my attention from those moving clothes. The faint noises from the bed ceased once, and there was a most intense silence, with only the sound of the blood beating in my head. In the midst of my nervous tension I remembered the camera and reached round for it, but without looking away from the bed. And then, you know, all in a moment, the whole of the bed coverings were torn off with extraordinary violence, and I heard the flump they made as they were hurled into the corner. There was a time of absolute quietness then for perhaps a couple of minutes, and you can imagine how horrible I felt. The bedclothes had been thrown with such savageness, and then again the brutal unnaturalness of the thing that had just been done before me. Abruptly over by the door I heard a faint noise, a sort of crinkling sound, and then a pitter or two upon the floor. A great nervous thrill swept over me, seeming to run up my spine and over the back of my head, for the seal that secured the door had just been broken. Something was there. I could not see the door. At least, I mean to say that it was impossible to say how much I actually saw, and how much my imagination supplied. I made it out, only as a continuation of the gray walls, and then it seemed to me that something dark and indistinct moved and wavered there among the shadows. Abruptly I was aware that the door was opening, and with an effort I reached again for my camera. But before I could aim it the door was slammed with a terrific crash that filled the whole room with a sort of hollow thunder. I jumped like a frightened child. There seemed such a power behind the noise as though a vast wanton force were out. Can you understand? The door was not touched again, but directly afterwards I heard the basket in which the cat lay, creak. I tell you I fairly pringled all along my back. I knew that I was going to learn definitely whether whatever was abroad was dangerous to life. From the cat there rose suddenly a hideous catarwalled that ceased abruptly, and then, too late, I snapped off the flashlight. In the great glare I saw that the basket had been overturned, and the lid was wrenched open, with the cat lying half in and half out upon the floor. During the next two or three minutes there was an odd, noticeable quietness in the room, and you much remember I was half-blinded for the time because of the flashlight, so that the whole place seemed to be pitchy dark just beyond the shine of the pentacle. I tell you it was most horrible. I just knelt there in the star and whirled around trying to see whether anything was coming at me. My power of sight came gradually, and I got a little hold of myself, and abruptly I saw the thing I was looking for, close to the water circle. It was big and indistinct, and wavered curiously, as though the shadow of a vast spider hung suspended in the air just beyond the barrier. Then, just opposite to one of the veils and the pentacles, it seemed to pause, as though preliminary to a tremendous effort. It retired almost beyond the glow of the vacuum light, and then came straight towards me, appearing to gather form and solidity as it came. There seemed a vast malign determination behind the movement that must succeed. I was on my knees and I jerked back, falling onto my left hand and hip in a wild endeavor to get back from the advancing thing. With my right hand I was grabbing madly from my revolver, which I had let slip. The brutal thing came with one great sweep straight over the garlic and the water circle, almost to the veil of the pentacle. I believe I yelled. Then, just as suddenly as it had swept over, it seemed to be hurled back by some mighty invisible force. It must have been some moments before I realized that I was safe, and then I got myself together in the middle of the pentacles, feeling horribly gone and shaken, and glancing round and round the barrier. But the thing had vanished, yet I had learned something, for I knew now that the gray room was haunted by a monstrous hand. Suddenly, as I crouched there, I saw what had so nearly given the monster an opening through the barrier. In my movements within the pentacle I must have touched one of the jars of water, for For just where the thing had made its attack the jar that guarded the deep of the veil had been moved to one side, and this had left one of the five doorways unguarded. I put it back quickly, and felt almost safe again, for I had found the cause, and the defense was still good. When I saw that thing so nearly succeed I had an awful, weak, overwhelming feeling that the barriers could never bring me safe through the night against such a force. You can understand? For a long time I could not see the hand, but presently, a little later, as though in a sudden fit of malignant rage, the dead body of the cat was picked up and beaten with dull sickening blows against the solid floor. That made me feel rather queer. A minute afterwards the door was opened and slammed twice with tremendous force. The next instant the thing made one swift vicious dart at me from out of the shadows. Instinctively I started sideways from it and so plucked my hand from upon the electropentacle where, for a wickedly careless moment, I had placed it. The monster was hurled off from the neighborhood of the pentacles, though, owing to my inconceivable foolishness, it had been enabled for a second time to pass the outer barriers. I can tell you I shook for a time, with sheer funk. I moved right to the center of the pentacles again, and knelt there, making myself as small and compact as possible. As I knelt, there came to me presently a vague wonder at the two accidents which had so nearly allowed the brute to get at me. Was I being influenced to unconscious voluntary actions that endangered me? The thought took hold of me, and I watched my every movement. Abruptly I stretched a tired leg and knocked over one of the jars of water. Some was spilled, but because of my suspicious watchfulness, I had it upright and back within the veil, while yet some of the water remained. Even as I did so, the vast, black, half-materialized hand beat up at me out of the shadows, and seemed to leap almost into my face. So nearly did it approach, but for the third time it was thrown back by some altogether enormous overmastering force. Yet, apart from the dazed fright in which it left me, I had for a moment that feeling of spiritual sickness, which is felt only upon the too near approach of the abhuman, and is more dreadful in a strange way than any physical pain that can be suffered. I knew by this more of the extent and closeness of the danger, and for a long time I was simply cowed by the butt-headed brutality of that force upon my spirit, I can put it no other way. I knelt again in the center of the pentacles, watching myself with more fear almost than the monster, for I knew now that unless I guarded myself from every sudden impulse that came to me, I might simply work my own destruction. I spent the rest of the night in a haze of sick fright, and so tense that I could not make a single movement naturally, I was in such fear that any desire for action that came to me might be prompted by the influence that I knew was at work on me. And outside of the berry that ghastly thing went round and round, grabbing and grabbing in the air at me. Twice more was the body of the dead cat molested. The second time I heard every bone in its body scrunch and crack, and all the time the horrible wind was blowing upon me from the corner of the room to the left of the bed. Then just as the first touch of dawn came into the sky, that unnatural wind ceased in in a single moment, and I could see no sign of the hand. The dawn came slowly, and presently the wan light filled all the room and made the pale glare of the electric pentacle look more unearthly. Yet it was not until the day had fully come that I made any attempt to leave the barrier, for I did not know but that there was some method abroad in the sudden stopping of that wind to entice me from the pentacles. At last, when the dawn was strong and bright, I took one last look around and ran for the door. I got it unlocked in a nervous and clumsy fashion, then locked it hurriedly and went to my bedroom, where I lay on the bed and tried to steady my nerves. Peter came presently with the coffee, and when I had drunk it, I told him I meant to have a sleep, as I had been up all night. He took the tray and went out quietly, and after I had locked my door I turned in properly, and at last got to sleep. I woke about midday and after some lunch went up to the grey room. I switched off the courage from the pentacle, which I had left on in my hurry. Also I removed the body of the cat. You can understand I did not want anyone to see the poor brute. After that I made a very careful search of the corner where the bedclothes had been thrown. I made several holes and probed and found nothing. Then it occurred to me to try with my instrument under the skirting. I did so and heard my wire ring on metal. I turned the hook end that way and fished for the thing. At the second go I got it. It was a small object, and I took it to the window. I found it to be a curious ring made of some graying material. The curious thing about it was that it was made in the form of a pentagon, that it is the same shape as the inside of the magic pentacle, but without the mounts which form the points of the defensive star. You will understand that I was excited when I tell you that I felt sure I held in my hand the famous luck ring of the Anderson family, which indeed was of all things the one most intimately connected with the history of the haunting. This ring was handed on from father to son through generations, and always, in obedience to some ancient family tradition, each son had to promise never to wear the ring. The I may say, was brought home by one of the crusaders under very peculiar circumstances, but the story is too long to go into here. It appears that young Sir Hulbert, an ancestor of Anderson's, made a bet, in drink, you know, that he would wear the ring that night. He did so, and in the morning his wife and child were found strangled in the bed, in the very room in which I stood. Many people, it would seem, thought young Sir Hulbert was guilty of having done the thing in drunken anger, and he, in an attempt to prove his innocence, slept a second night in the room. He also was strangled. Since then, as you may imagine, no one has ever spent a night in the gray room until I did so. The ring had been lost so long that it had become almost a myth, and it was most extraordinary to stand there with the actual thing in my hand, as you can understand. It was whilst I stood there looking at the ring that I got an idea, supposing that it were, in a way, a doorway. You see what I mean? A sort of gap in the world hedge. You see, the wind had come from that part of the room where the ring lay. I thought a lot about it. Then the shape, the inside of a pentacle. You see, I unmade the pentacle, for it must be made fresh and around the one to be protected. Then I went out and locked the door. After which I left the house to get certain matters. I returned about seven-thirty, and as soon Soon as the things I had brought had been carried up to the gray room, I dismissed Peter for the night, just as I had done the evening before. When he had gone downstairs, I let myself into the room, and locked and sealed the door. I went to the place in the center of the room where all the stuff had been packed, and set to work with all my speed to construct a barrier about me and the ring. I do not remember whether I explained it to you, but I had reasoned that, if the ring were in any way a medium of admission, and it were enclosed with me in the electric pentacle, it would be, to express it loosely, insulated. Do you see? The force, which had visible expression as a hand, would have to stay beyond the barrier which separates the ab from the normal, for the gateway would be removed from accessibility. As I was saying, I worked with all my speed to get the barrier completed about me and the ring, for it was already later than I cared to be in that room unprotected. Also, I had a feeling that there would be a vast effort made that night to regain the use of the ring, for I had the strongest conviction that the ring was a necessity to materialization. You will see whether I was right. I completed the barriers in about an hour, and you can imagine something of the relief I felt when I felt the pale glare of the electric pentacle once more all about me. From then onwards, for about two hours, I sat quietly, facing the corner from which the wind came. About eleven o'clock a queer knowledge came that something was near to me, yet nothing Something happened for a whole hour after that. Then suddenly I felt the cold, queer wind begin to blow upon me. To my astonishment it seemed now to come from behind me, and I whipped around with a hideous quake of fear. The wind met me in the face. It was blowing up from the floor close to me. I stared down in a sickening maze of new frights. What on earth had I done now? The ring was there close beside me where I had put it. Suddenly as I stared, bewildered, I was aware that there was something queer about the ring. ring, funny shadowy movements and convolutions. I looked at them stupidly, and then, abruptly, I knew that the wind was blowing up at me from the ring. A queer, indistinct smoke became visible to me, seeming to pour upwards through the ring, and mix with the moving shadows. Suddenly I realized that I was in more than any mortal danger, for the convoluting shadows about the ring were taking shape, and the death hand was forming within the pentacle. My goodness, do you realize it? I had brought the gateway into the pentacles, and the brute was coming through, pouring into the material world as gas might pour out from the mouth of a pipe. I should think that I knelt for a moment in a sort of stunned fright. Then, with a mad, awkward movement, I snatched at the ring, intending to hurl it out of the pentacle. Yet it eluded me, as though some invisible, living thing jerked it hither and thither. At last I gripped it. Yet in the same instant it was torn from my grasp with incredible and brutal force. A great black shadow covered it and rose into the air and came at me. I saw that it was the hand, vast and nearly perfect in form. I gave one crazy yell and jumped over the pentacle in the ring of burning candles and ran despairingly for the door, and all the time I stared with a fear that was like insanity towards the barriers. The hand was plunging towards me. Yet, even as it had been unable to pass into the pentacle when the ring was without, so now that the ring was within, it had no power to pass out. The monster was chained, as surely as any beast would be. Even then I got a flash of this knowledge, but I was too utterly shaken with fright to reason. In the instant I managed to get the key turned, I sprang into the passage and slammed the door with a crash. I locked it and got to my room somehow, for I was trembling so that I could hardly stand, as you can imagine, and kept quiet for an hour or two. And so I got steadied. I got a little sleep later, but woke when Peter brought my coffee. When I had drunk it I felt altogether better, and took the old man along with me whilst I had a look into the grey room. I opened the door and peeped in. The candles were still burning, one against the daylight, and behind them was the pale glowing star of the electric pentacle, and there, in the middle, was the ring, the gateway of the monster, lying demure and ordinary. Nothing in the room was touched, and I knew that the brute had never managed to cross the pentacles. Then I went out and locked the door. I had with me an oxyhydrogen jet and two cylinders containing the gases. I carried the things into the grey room, and there, in the center of the electric pentacle, I erected a little furnace. Five minutes later the luck ring, once the luck, but now the bane, of the Anderson family, was no more than a little solid splash of hot metal. Carnacchi felt in his pocket and pulled out something wrapped in tissue paper. He passed it to me. I opened it and found a small circle of grayish metal, something like lead, only harder and rather brighter. Well, I asked at length, after examining it and handing it round to the others, did that stop the haunting? Carnacchi nodded. Yes, he said. I slept three nights in the gray room before I left. Little Peter nearly fainted when he knew that I meant to, but by the third night he seemed to realize that the house was just safe and ordinary, and, you know, I believe in his heart, he hardly approved. Karnacki stood up and began to shake hands. \"'Out you go,' he said genially, and presently we went, pondering. \"'This is a curious yarn that I am going to tell you,' said Karnacki, as after a quiet little dinner we made ourselves comfortable in his cosy dining-room. \"'I have just got back from the west of Ireland,' he continued. Wentworth, a friend of mine, has lately had rather an unexpected legacy, in the shape of a large estate and manor. This place is named Gannington Manor, and has been empty a great number of years, as you will find is almost always the case with houses reputed to be haunted, as it is usually termed. It seems that when Wentworth went over to take possession he found the place in very poor repair, and the estate totally uncared for, and, as I know, looking very desolate and lonesome generally. He went through the big house by himself, and he admitted to me that it had an uncomfortable feeling about it. But of course that might be nothing more than the natural dismalness of a big empty house, which has been long uninhabited, and through which you are wandering alone. When he had finished his look round, he went down to the village, meaning to see the one-time agent of the estate, and arrange for some one to go in as caretaker. The agent, who proved, by the way, to be a Scotchman, was very willing to take up the management of the estate once more, but he assured Wentworth that they would get no one to go in as caretaker, and that his, the agent's, advice was to have the house pulled down and a new one built. This naturally astonished my friend, and as they went down to the village, he managed to get a sort of explanation from the man. It seems that there had been always curious stories told about the place, which in the early days was called Landrew Castle, and that within the last seven years there had been two extraordinary deaths there. In each case they had been tramps, who were ignorant of the reputation of the house, and had probably thought the big empty place suitable for a night's free lodging. There had been absolutely no signs of violence to indicate the method by which death was caused, and on each occasion the body had been found in the great entrance hall. By this time they had reached the inn where Wentworth had put up, and he told the agent that he would prove that it was all rubbish about the haunting by staying a night or two in the manor himself. The death of the Tramps was certainly curious, but did not prove that any supernatural agency had been at work. They were but isolated accidents spread over a large number of years by the memory of the villagers, which was natural enough in a little place like Carrunton. Tramps had to die some time, and in some place, and it proved nothing that two out of possibly hundreds who had slept in the empty house had happened to take the opportunity to die under shelter. But the agent took his remark very seriously, and both he and Dennis, the landlord of the inn, tried their best to persuade him not to go. For his soul's sake, Irish Dennis begged him to do no such thing, and because of his life's sake the Scotchman was equally in earnest. He felt full of pluck, and he made up his mind he would smash the story of the hunting at once by staying that very night in the manor. He made this quite clear to them, and told them that it would be more to the point, and to their credit, if they offered to come up along with him and keep him company. The poor old Dennis was quite shocked, I believe, at the suggestion, and though Tabot, the agent, took it more quietly, he was very solemn about it. It seems that Wentworth did go, and though, as he said to me, when the evening began to come on, it seemed a very different sort of thing to tackle. A whole crowd of the villagers assembled to see him off, for by this time they all knew of his intention. Wentworth had his gun with him and a big packet of candles, and he made it clear to them all that it would not be wise for any one to play any tricks, as he intended to shoot at sight. And then, you know, he got a hint of how serious they considered the whole thing, for one of them came up to him.",
        "transcription_large_v3": " you've not been long away this time i remarked as i finished my soup forgetting momentarily carnegie's dislike of being asked even to skirt the borders of his story until such time as he was ready then he would not stint words that's all he replied with brevity and i changed the subject remarking that i had been buying a new gun to which piece of news he gave an intelligent nod and a smile which i think showed a genuinely good-humoured appreciation of my intentional changing of the conversation later when dinner was finished carnacki snugged himself comfortably down in his big chair along with his pipe and began his story with very little circumlocution as dodgson was remarking just now i've only been away a short time and for a very good reason too i've only been away a short distance and it is a story too one of the most extraordinary things ever i have run against i received a letter a fortnight ago from a man i must call anderson asking for an appointment i arranged a time and when he came i found that he wished me to investigate and see whether i could not clear up a long-standing and well too well authenticated case of what he termed haunting he gave me very full particulars and finally as the case seemed to present something unique i decided to take it up two days later i drove to the house late in the afternoon anderson had left a letter with the butler i found pleading excuses for his absence and leaving the whole house at my disposal for my investigations the butler evidently knew the object of my visit and i questioned him pretty thoroughly during dinner which i had in rather lonely state he is an old and privileged servant and had the history of the grey room exact in detail from him i learned more particulars regarding two things that anderson had mentioned in but a casual manner the first was that the door of the grey room would be heard in the dead of night to open and slam heavily and this even though the butler knew it was locked and the key on the bunch in his pantry the second was that the bedclothes would always be found torn off the bed but it was the door slamming that chiefly bothered the old butler from anderson i knew already that the room had a history extending back over a hundred and fifty years three people had been strangled in it an ancestor of his and his wife and child this is authentic as i had taken very great pains to discover peter the old butler was in rather a state about my going no one had ever entered that room after nightfall he begged me in quite a fatherly way to wait till the morning of course i smiled a little at him and told him not to bother i explained that i should do no more than look round a bit and perhaps affix a few seals he need not fear i was used to that sort of thing but he shook his head when i said that there isn't many ghosts like ours sir he assured me with mournful pride and by jove he was right as you will see i took a couple of candles and peter followed with his bunch of keys he unlocked the door but would not come inside with me he was evidently in a fright and he renewed his request that i would put off my examination until daylight of course i laughed at him again and told him he could stand sentry at the door and catch anything that came out it never comes outside sir he said in his funny old solemn manner somehow he managed to make me feel as if i were going to have the creeps right away anyway it was one to him you know i left him there and examined the room it is a big apartment and well furnished in the grand style with a huge four-poster which stands with its head to the end wall there were two candles on the mantelpiece and two on each of the three tables that were in the room i lit the lot and after that the room felt a little less inhumanly dreary though mind you it was quite fresh and well kept in every way after i had taken a good look round i sealed lengths of baby ribbon across the windows along the walls over the pictures and over the fireplace and the wall closets all the time as i worked the butler stood just without the door and i could not persuade him to enter though i jested him a little as i stretched the ribbons and went here and there about my work every now and again he would say you'll excuse me i'm sure sir but i do wish you would come out sir i'm fair in a quake for you i told him he need not wait but he was loyal enough in his way to what he considered his duty he said he could not go away and leave me all alone there he apologised but made it very clear that i did not realize the danger of the room and i could see generally that he was in a pretty frightened state all the same i had to make the room so that i should know if anything material entered it so i asked him not to bother me unless he really heard or saw something he was beginning to get on my nerves and the feel of the room was bad enough without making it any nastier for a time further i worked stretching ribbons across the floor and sealing them so that the merest touch would have broken them were any one to venture into the room in the dark with the intention of playing the fool all this had taken me far longer than i had anticipated and suddenly i heard a clock strike eleven i had taken off my coat soon after commencing work now however as i had practically made an end of all that i intended to do i walked across to the settee and picked it up there's something going to happen jove but i jumped and then in the same moment one of the candles on the table to the left went out just for a moment i was enough startled to make a run for the door though i am glad to say that i pulled up before i reached it i simply could not bunk out with the butler standing there after having as it were and walked across to the table near the bed well i saw nothing i blew out the candle that was still alight then i went to those on the two tables and blew them out all right peter i said and by jove my voice was not as steady as i should have liked i made for the door and had a bit of work not to start running i took some thundering long strides as you can imagine near the door i had a sudden feeling that there was a cold wind in the room it was almost as if the window had been suddenly opened a little i got to the door and the old butler gave back a step in a sort of instinctive way collar the handles peter i said pretty sharply and shoved them into his hands i turned and caught the handle and slammed the door shut with a crash somehow do you know as i did so i thought i felt something pull back on it but it must have been only fancy i turned the key in the lock and then again double-locking the door i felt easier then poor old beggar it had not struck me until that moment that he had been enduring a considerable strain during the last two or three hours about midnight i went to bed my room lay at the end of the corridor upon which opens the door of the grey room i counted the doors between it and mine and found that five rooms lay between and i am sure you can understand that i was not sorry then just as i was beginning to undress an idea came to me and i took my candle and sealing-wax and sealed the doors of all five rooms if any door slammed in the night i should know just which one i returned to my room locked the door and went to bed i was waked suddenly from a deep sleep by a loud crash somewhere out in the passage i sat up in bed and listened but heard nothing then i lit my candle i was in the very act of lighting it when there came the bang of a door being violently slammed along the corridor i jumped out of bed and got my revolver i unlocked the door and went out into the passage holding my candle high and keeping the pistol ready then a queer thing happened i could not go a step towards the grey room You all know I am not really a cowardly chap. I've gone into too many cases connected with ghostly things to be accused of that. But I tell you I funked it, simply funked it, just like any blessed kid. There was something precious unholy in the air that night. I ran back into my bedroom and shut and locked the door. Then I sat on the bed all night and listened to the dismal thudding of a door up the corridor. Daylight came at last and I washed and dressed. The door had not slammed for about an hour, and I was getting back my nerve again. I felt ashamed of myself, though. In some ways it was silly, for when you're meddling with that sort of thing, your nerve is bound to go sometimes, and you just have to sit quiet and call yourself a coward until daylight. Sometimes it is more than just cowardice, I fancy. I believe at times it is something warning you and fighting for you, but all the same, I always feel mean and miserable after a time like that. when the day came properly i opened my door and keeping my revolver handy went quietly along the passage he had merely tucked his night-shirt into his trousers and he had an old pair of carpet slippers on hello peter i said feeling suddenly cheerful for i was as glad as any lost child to have a live human being close to me where are you off to with the refreshments the old man gave a start and slopped some of the coffee he stared up at me and i could see that he looked white and done up he came on up the stairs and held out the little tray to me i'm very thankful indeed sir to see you safe and well he said i feared one time you might risk going into the grey room sir i've lain awake all night with the sound of the door and when it came light i thought i'd make you a cup of coffee i knew you would want to look at the seals and somehow it seems safer if there's two sir peter i said you're a brick this is very thoughtful of you and i drank the coffee come along i told him and handed him back the tray i'm going to have a look at what the brutes have been up to i simply hadn't the pluck to in the night i'm very thankful sir he replied flesh and blood can do nothing sir against devils and that's what's in the grey room after dark i examined the seals on all the doors as i went along and found them right but when i got to the grey room the seal was broken though the card over the keyhole was untouched i ripped it off and unlocked the door and went in rather cautiously as you can imagine but the whole room was empty of anything to frighten one and there was heaps of light i examined all my seals and not a single one was disturbed the old butler had followed me in and suddenly he called out the bedclothes sir i ran up to the bed and looked over and surely they were lying in the corner to the left of the bed jove you can imagine how queer i felt something had been in the room i stared for a while from the bed to the clothes on the floor i had a feeling that i did not want to touch either old peter though did not seem to be affected that way he went over to the bed coverings and was going to pick them up as doubtless he had done every day these twenty years back but i stopped him i wanted nothing touched until i had finished my examination this i must have spent a full hour over and then i let peter straighten up the bed after which we went out and i locked the door for the room was getting on my nerves i had a short walk and then breakfast after which i felt more my own man and so returned to the grey room and with peter's help and one of the maids i had everything taken out of the room except the bed even the very pictures i examined the walls floor and ceiling then with probe hammer and magnifying-glass but found nothing suspicious and i can assure you i began to realize in very truth that some incredible thing had been loose in the room during the past night After dinner, Peter and I unpacked some of my stuff, and I fixed up my camera and flashlight opposite to the door of the grey room, with a string from the trigger of the flashlight to the door. Then, you see, if the door were really opened, the flashlight would blare out, and there would be, possibly, a very queer picture to examine in the morning. The last thing I did before leaving was to uncap the lens, and after that I went off to my bedroom and to bed, for I intended to be up at midnight, and to ensure this I set my little alarm to call me, also I left my candle burning. The clock woke me at twelve, and I got up and into my dressing gown and slippers. Then I lit my darkroom lamp and withdrew the slide so that it would give a clear light. I carried it up the corridor about thirty feet and put it down on the floor. Then I went back and sat in the doorway of my room, with my revolver handy, staring up the passage towards the place where I knew my camera stood outside the door of the grey room. I should think I had watched for about an hour and a half when, suddenly, I heard a faint noise away up the corridor. I was immediately conscious of a queer prickling sensation about the back of my head, and my hands began to sweat a little. The following instant, the whole end of the passage flicked into sight in the abrupt glare of the flashlight. There came the succeeding darkness, and I peered nervously up the corridor, listening tensely, and trying to find what lay beyond the faint glow of my dark lamp, which now seemed ridiculously dim by contrast with the tremendous blaze of the flash power, and then, as I stooped forward, staring and listening, there came the crashing thud of the door of the grey room. The sound seemed to fill the whole of the large corridor, and go echoing hollowly through the house. I tell you I felt horrible, as if my bones were water, simply beastly, jove how I did stare, and how I listened, and then it came again, thud, thud, thud, and then a silence that was almost worse than the noise of the door, for I kept fancying that some awful thing was stealing upon me along the corridor. And then, suddenly, my lamp was put out. I realized all at once that I was doing a very silly thing sitting there, and I jumped up. Even as I did so, I thought I heard a sound in the passage, and quite near me. I made one backward spring into my room and slammed and locked the door. I had my revolver in my hand, but it seemed an abominably useless thing. I felt that there was something the other side of that door. For some unknown reason, I knew it was pressed up against the door, and it was soft. That was just what I thought. Most extraordinary thing to think. Presently I got hold of myself a bit, and marked out a pentacle hurriedly with chalk on the polished floor, and there I sat in it almost until dawn, and all the time, away up the corridor, the door of the grey room thudded at solemn and horrid intervals. It was a miserable, brutal night. when the day began to break the thudding of the door came gradually to an end and at last i got hold of my courage and went along the corridor in the half-light to cap the lens of my camera i can tell you it took some doing but if i had not done so my photograph would have been spoiled and i was tremendously keen to save it half an hour later there was a tap at my door it was peter with my coffee when i had drunk it we both went along to the grey room as we went i had a look at the seals on the other doors but they were untouched the seal on the door of the grey room was broken i ripped it off and opened the door nothing unusual was to be seen until we came to the bed then i saw that as on the previous day the bedclothes had been torn off and hurled into the left-hand corner exactly where i had seen them before i felt very queer but i did not forget to look at all the seals only to find that not one had been broken then i turned and looked at old peter and he looked at me nodding his head let's get out of here i said it's no place for any living human to enter without proper protection we went out then and i locked and sealed the door again after breakfast i developed the negative but it showed only the door of the grey room half opened then i left the house as i wanted to get certain matters and implements that might be necessary to life perhaps to the spirit for i intended to spend the coming night in the grey room i got back in a cab about half-past five with my apparatus and this peter and i carried up to the grey room where i piled it carefully in the centre of the floor when everything was in the room including a cat which i had brought i locked and sealed the door and went towards the bedroom telling peter i should not be down for dinner he said yes sir and went downstairs thinking that i was going to turn in which was what i wanted him to believe as i knew he would have worried both me and himself if he had known what i intended but i merely got my camera and flashlight from my bedroom and hurried back to the grey room i locked and sealed myself in and set to work for i had a lot to do before it got dark which i swept with a broom of hyssop about this i drew a circle of chalk taking care never to step over the circle beyond this i smudged with a bunch of garlic a broad belt right around the chalked circle and when this was complete i took from among my stores in the centre a small jar of a certain water i broke away the parchment and withdrew the stopper then dipping my left forefinger in the little jar i went round the circle again making upon the floor just within the line of chalk the second sign of the summa ritual i can tell you i felt easier when this was done and the water circle complete then i unpacked some more of the stuff that i had brought after that i drew a pentacle so that each of the five points of the defensive star touched the chalk circle in the five points of the star i placed five portions of the bread each wrapped in linen and in the five veils five opened jars of the water i had used to make the water circle and now i had my first protective barrier complete now any one except you who know something of my methods of investigation might consider all this a piece of useless and foolish superstition but you all remember the black veil case in which i believe my life was saved by a very similar form of protection whilst astor who sneered at it and would not come inside died in the fourteenth century as i've just said in that horrible black veil business you know how that turned out later i used it several times and always i came through safe until that moving fur case it was only a partial defence therefore and i nearly died in the pentacle after that i came across professor garders's experiments with a medium when they surrounded the medium with a current in vacuum he lost his power almost as if it cut him off from the immaterial that made me think a lot and that is how i came to make the electric pentacle which is a most marvellous defence against certain manifestations curious thing for a twentieth-century man to admit is it not but then as you all know i never did and never will allow myself to be blinded by the little cheap laughter i ask questions and keep my eyes open in this last case i had little doubt that i had run up against a supernatural monster and i meant to take every possible care for the danger is abominable then i connected up the battery and the next instant the pale blue glare from the intertwining vacuum tubes shone out i glanced about me then with something of a sigh of relief and realized suddenly that the dusk was upon me for the window was gray and unfriendly then round at the big empty room over the double barrier of electric and candle-light i had an abrupt extraordinary sense of weirdness thrust upon me in the air you know as it were a sense of something inhuman impending i turned now to the camera and saw that it and the flashlight were in order then i tested my revolver carefully though i had little thought that it would be needed yet to what extent materialization of an unnatural creature is possible given favorable conditions no one can say and i had no idea what horrible thing i was going to see or feel the presence of i might in the end have to fight with a materialized monster i did not know and could only be prepared you see i never forgot that three other people had been strangled in the bed close to me and the fierce slamming of the door i had heard myself i had no doubt that i was investigating a dangerous and ugly case by this time the night had come though the room was very light with the burning candles and i found myself glancing behind me constantly and then all around the room it was nervy work waiting for that thing to come then suddenly i was aware of a little cold wind sweeping over me coming from behind and a prickly feeling went all over the back of my head then i hove myself round with a sort of stiff jerk and stared straight against that queer wind it seemed to come from the corner of the room to the left of the bed the place where both times i had found the heap of tossed bedclothes yet i could see nothing unusual no opening nothing abruptly i was aware that the candles were all a-flicker in that unnatural wind i shall never be able to let you know how disgustingly horrible it was sitting in that vile cold wind and then flick flick flick all the candles round the outer barrier went out and there was i locked and sealed in that room and with no light beyond the weakish blue glare of the electric pentacle a time of abominable tenseness passed and still that wind blew upon me and then suddenly i knew that something stirred in the corner to the left of the bed i was made conscious of it yet as i stared something began slowly to grow upon my sight a moving shadow a little darker than the surrounding shadows i lost the thing amid the vagueness and for a moment or two i glanced swiftly from side to side with a fresh new sense of impending danger then my attention was directed to the bed all the coverings were being drawn steadily off with a hateful stealthy sort of motion i heard the slow dragging slither of the clothes but i could see nothing of the thing that pulled i was aware in a funny subconscious introspective fashion that the creep had come upon me yet that i was cooler mentally than i had been for some minutes sufficiently so to feel that my hands were sweating coldly and to shift my revolver half consciously whilst i rubbed my right hand dry upon my knee though never for an instant taking my gaze or my attention from those moving clothes the faint noises from the bed ceased once and there was a most intense silence with only the sound of the blood beating in my head in the midst of my nervous tension i remembered the camera and reached round for it but without looking away from the bed and then you know all in a moment the whole of the bed coverings were torn off with extraordinary violence and i heard the flump they made as they were hurled into the corner there was a time of absolute quietness then for perhaps a couple of minutes and you can imagine how horrible i felt the bedclothes had been thrown with such savageness and then again the brutal unnaturalness of the thing that had just been done before me abruptly over by the door i heard a faint noise a sort of crinkling sound and then a pitter or two upon the floor a great nervous thrill swept over me seeming to run up my spine and over the back of my head for the seal that secured the door had just been broken something was there i could not see the door at least i mean to say that it was impossible to say how much i actually saw and how much my imagination supplied i made it out only as a continuation of the grey walls and then it seemed to me that something dark and indistinct moved and wavered there among the shadows abruptly i was aware that the door was opening and with an effort i reached again for my camera but before i could aim it the door was slammed with a terrific crash that filled the whole room with a sort of hollow thunder I jumped like a frightened child. There seemed such a power behind the noise, as though a vast, wanton force were out. Can you understand? The door was not touched again, but directly afterwards I heard the basket in which the cat lay creak. I tell you I fairly pringled all along my back. I knew that I was going to learn definitely whether whatever was abroad was dangerous to life. From the cat there rose suddenly a hideous caterwaul that ceased abruptly, and then, too late, I snapped off the flashlight. In the great glare, I saw that the basket had been overturned, and the lid was wrenched open, with the cat lying half in and half out upon the floor. During the next two or three minutes, there was an odd, noticeable quietness in the room, and you much remember I was half-blinded for the time because of the flashlight, so that the whole place seemed to be pitchy dark just beyond the shine of the pentacle. I tell you it was most horrible. I just knelt there in the star and whirled around trying to see whether anything was coming at me. My power of sight came gradually, and I got a little hold of myself, and abruptly I saw the thing I was looking for, close to the water circle. It was big and indistinct and wavered curiously, as though the shadow of a vast spider hung suspended in the air just beyond the barrier. Then, just opposite to one of the veils in the pentacles, it seemed to pause, as though preliminary to a tremendous effort. It retired almost beyond the glow of the vacuum light, and then came straight towards me, appearing to gather form and solidity as it came. There seemed a vast, malign determination behind the movement that must succeed. I was on my knees, and I jerked back, falling onto my left hand and hip, in a wild endeavor to get back from the advancing thing. With my right hand I was grabbing madly from my revolver, which I had let slip, the brutal thing came with one great sweep straight over the garlic and the water circle, almost to the veil of the pentacle. I believe I yelled. Then, just as suddenly as it had swept over, it seemed to be hurled back by some mighty invisible force. It must have been some moments before I realized that I was safe, and then I got myself together in the middle of the pentacles, feeling horribly gone and shaken, and glancing round and round the barrier. But the thing had vanished. Yet I had learned something, for I knew now that the grey room was haunted by a monstrous hand. Suddenly, as I crouched there, I saw what had so nearly given the monster an opening through the barrier. In my movements within the pentacle I must have touched one of the jars of water, for just where the thing had made its attack the jar that guarded the deep of the veil had been moved to one side, and this had left one of the five doorways unguarded. I put it back quickly, and felt almost safe again, for I had found the cause, and the defence was still good. When I saw that thing so nearly succeed, I had an awful, weak, overwhelming feeling that the barriers could never bring me safe through the night against such a force. You can understand? For a long time I could not see the hand, but presently, a little later, as though in a sudden fit of malignant rage, the dead body of the cat was picked up and beaten with dull, sickening blows against the solid floor. That made me feel rather queer. A minute afterwards the door was opened and slammed twice with tremendous force. The next instant the thing made one swift, vicious dart at me from out of the shadows. Instinctively I started sideways from it and so plucked my hand from upon the electric pentacle, where, for a wickedly careless moment, I had placed it. The monster was hurled off from the neighborhood of the pentacles, though, owing to my inconceivable foolishness, it had been enabled for a second time to pass the outer barriers. I can tell you I shook for a time, with sheer funk. I moved right to the center of the pentacles again and knelt there, making myself as small and compact as possible. As I knelt, there came to me presently a vague wonder at the two accidents which had so nearly allowed the brute to get at me. Was I being influenced to unconscious voluntary actions that endangered me? The thought took hold of me, and I watched my every movement. Abruptly I stretched a tired leg and knocked over one of the jars of water. some was spilled but because of my suspicious watchfulness i had it upright and back within the veil while yet some of the water remained even as i did so the vast black half-materialized hand beat up at me out of the shadows and seemed to leap almost into my face so nearly did it approach but for the third time it was thrown back by some altogether enormous overmastering force yet apart from the dazed fright in which it left me i had for a moment that feeling of spiritual sickness which is felt only upon the too near approach of the abhuman and is more dreadful in a strange way than any physical pain that can be suffered i knew by this more of the extent and closeness of the danger and for a long time i was simply cowed by the butt-headed brutality of that force upon my spirit i can put it no other way i knelt again in the centre of the pentacles watching myself with more fear almost than the monster for i knew now that unless i guarded myself from every sudden impulse that came to me i might simply work my own destruction i spent the rest of the night in a haze of sick fright and so tense that i could not make a single movement naturally i was in such fear that any desire for action that came to me might be prompted by the influence that i knew was at work on me and outside of the berry that ghastly thing went round and round grabbing and grabbing in the air at me twice more was the body of the dead cat molested the second time i heard every bone in its body scrunch and crack and all the time the horrible wind was blowing upon me from the corner of the room to the left of the bed then just as the first touch of dawn came into the sky that unnatural wind ceased in a single moment and i could see no sign of the hand the dawn came slowly and presently the wan light filled all the room and made the pale glare of the electric pentacle look more unearthly yet it was not until the day had fully come that i made any attempt to leave the barrier for i did not know but that there was some method abroad in the sudden stopping of that wind to entice me from the pentacles at last when the dawn was strong and bright i took one last look around and ran for the door i got it unlocked in a nervous and clumsy fashion then locked it hurriedly and went to my bedroom where i lay on the bed and tried to steady my nerves peter came presently with the coffee and when i had drunk it i told him i meant to have a sleep as i had been up all night he took the tray and went out quietly and after i had locked my door i turned in properly and at last got to sleep i woke about mid-day and after some lunch went up to the grey room i switched off the carriage from the pentacle which i had left on in my hurry also i removed the body of the cat you can understand i did not want any one to see the poor brute after that i made a very careful search of the corner where the bedclothes had been thrown i made several holes and probed and found nothing then it occurred to me to try with my instrument under the skirting i did so and heard my wire ring on metal i turned the hook end that way and fished for the thing at the second go i got it it was a small object and i took it to the window i found it to be a curious ring made of some graying material the curious thing about it was that it was made in the form of a pentagon that it is the same shape as the inside of the magic pentacle but without the mounts which form the points of the defensive star you will understand that i was excited when i tell you that i felt sure i held in my hand the famous luck ring of the anderson family which indeed was of all things the one most intimately connected with the history of the haunting this ring was handed on from father to son through generations and always in obedience to some ancient family tradition each son had to promise never to wear the ring the ring i may say was brought home by one of the crusaders under very peculiar circumstances but the story is too long to go into here it appears that young sir hulbert an ancestor of anderson's made a bet in drink you know that he would wear the ring that night he did so and in the morning his wife and child were found strangled in the bed in the very room in which i stood many people it would seem thought young sir hulbert was guilty of having done the thing in drunken anger and he in an attempt to prove his innocence slept a second night in the room he also was strangled since then as you may imagine no one has ever spent a night in the grey room until i did so the ring had been lost so long that it had become almost a myth and it was most extraordinary to stand there with the actual thing in my hand as you can understand it was whilst i stood there looking at the ring that i got an idea supposing that it were in a way a doorway you see what i mean a sort of gap in the world hedge you see the wind had come from that part of the room where the ring lay i've thought a lot about it then the shape the inside of a pentacle you see i unmade the pentacle for it must be made fresh and around the one to be protected then i went out and locked the door after which i left the house to get certain matters i returned about seven-thirty and as soon as the things i had brought had been carried up to the grey room i dismissed peter for the night just as i had done the evening before when he had gone downstairs i let myself into the room and locked and sealed the door i went to the place in the centre of the room where all the stuff had been packed and set to work with all my speed to construct a barrier about me and the ring i do not remember whether i explained it to you but i had reasoned that if the ring were in any way a medium of admission and it were enclosed with me in the electric pentacle it would be to express it loosely insulated do you see the force which had visible expression as a hand would have to stay beyond the barrier which separates the ab from the normal for the gateway would be removed from accessibility as i was saying i worked with all my speed to get the barrier completed about me and the ring for it was already later than i cared to be in that room unprotected also i had a feeling that there would be a vast effort made that night to regain the use of the ring for i had the strongest conviction that the ring was a necessity to materialization you will see whether i was right i completed the barriers in about an hour and you can imagine something of the relief i felt when i felt the pale glare of the electric pentacle once more all about me from then onwards for about two hours i sat quietly facing the corner from which the wind came about eleven o'clock a queer knowledge came that something was near to me yet nothing happened for a whole hour after that then suddenly i felt the cold queer wind begin to blow upon me to my astonishment it seemed now to come from behind me and i whipped around with a hideous quake of fear the wind met me in the face it was blowing up from the floor close to me i stared down in a sickening maze of new frights what on earth had i done now The ring was there, close beside me, where I had put it. Suddenly, as I stared, bewildered, I was aware that there was something queer about the ring. Funny, shadowy movements and convolutions. I looked at them stupidly, and then, abruptly, I knew that the wind was blowing up at me from the ring. A queer, indistinct smoke became visible to me, seeming to pour upwards through the ring and mix with the moving shadows. Suddenly, I realized that I was in more than any mortal danger. for the convoluting shadows about the ring were taking shape, and the death-hand was forming within the pentacle. My goodness, do you realize it? I had brought the gateway into the pentacles, and the brute was coming through, pouring into the material world as gas might pour out from the mouth of a pipe. I should think that I knelt for a moment in a sort of stunned fright. Then, with a mad, awkward movement, I snatched at the ring, intending to hurl it out of the pentacle, yet it eluded me as though some invisible living thing jerked it hither and thither. At last I gripped it, yet in the same instant it was torn from my grasp with incredible and brutal force. A great black shadow covered it and rose into the air and came at me. I saw that it was the hand, vast and nearly perfect in form. I gave one crazy yell and jumped over the pentacle and the ring of burning candles and ran despairingly for the door, and all the time I stared with a fear that was like insanity, towards the barriers. The hand was plunging towards me, yet even as it had been unable to pass into the pentacle when the ring was without, so now that the ring was within, it had no power to pass out. The monster was chained, as surely as any beast would be. Even then I got a flash of this knowledge, but I was too utterly shaken with fright to reason. In the instant I managed to get the key turned, I sprang into the passage and slammed the door with a crash. I locked it and got to my room somehow, for I was trembling so that I could hardly stand, as you can imagine, and kept quiet for an hour or two, and so I got steadied. I got a little sleep later, but woke when Peter brought my coffee. When I had drunk it I felt altogether better, and took the old man along with me whilst I had a look into the grey room. I opened the door and peeped in. The candles were still burning, one against the daylight, and behind them was the pale glowing star of the electric pentacle, and there, in the middle, was the ring, the gateway of the monster, lying demure and ordinary. Nothing in the room was touched, and I knew that the brute had never managed to cross the pentacles. Then I went out and locked the door. I had with me an oxy-hydrogen jet and two cylinders containing the gases. I carried the things into the grey room, and there, in the centre of the electric pentacle, I erected a little furnace. Five minutes later the luck ring, once the luck but now the bane of the Anderson family, was no more than a little solid splash of hot metal. Carnacki felt in his pocket and pulled out something wrapped in tissue paper. He passed it to me. I opened it and found a small circle of grayish metal, something like lead, only harder and rather brighter. Well, I asked at length, after examining it and handing it round to the others. Did that stop the haunting? Karnacki nodded. Yes, he said. I slept three nights in the grey room before I left. Old Peter nearly fainted when he knew that I meant to, but by the third night he seemed to realize that the house was just safe and ordinary, and, you know, I believe, in his heart, he hardly approved. Karnacki stood up and began to shake hands. Out you go, he said genially, and presently we went, pondering. This is a curious yarn that I am going to tell you,\" said Carnacki, as after a quiet little dinner we made ourselves comfortable in his cosy dining-room. I have just got back from the west of Ireland, he continued. Wentworth, a friend of mine, has lately had rather an unexpected legacy, in the shape of a large estate and manor. This place is named Gannington Manor, and has been empty a great number of years, as you will find is almost always the case with houses reputed to be haunted, as it is usually termed. It seems that when Wentworth went over to take possession he found the place in very poor repair, and the estate totally uncared for, and, as I know, looking very desolate and lonesome generally. He went through the big house by himself, and he admitted to me that it had an uncomfortable feeling about it, but, of course, that might be nothing more than the natural dismalness of a big empty house, which has been long uninhabited, and through which you are wandering alone. When he had finished his look round, he went down to the village, meaning to see the one-time agent of the estate, and arrange for someone to go in as caretaker. The agent, who proved, by the way, to be a Scotchman, was very willing to take up the management of the estate once more, but he assured Wentworth that they would get no one to go in as caretaker, and that his, the agent's, advice was to have the house pulled down and a new one built. This naturally astonished my friend, and as they went down to the village, he managed to get a sort of explanation from the man. It seems that there had been always curious stories told about the place, which in the early days was called Landrew Castle, and that within the last seven years there had been two extraordinary deaths there. In each case they had been tramps, who were ignorant of the reputation of the house, and had probably thought the big empty place suitable for a night's free lodging. There had been absolutely no signs of violence to indicate the method by which death was caused, and on each occasion the body had been found in the great entrance hall. By this time they had reached the inn where Wentworth had put up, and he told the agent that he would prove that it was all rubbish about the haunting by staying a night or two in the manor himself. The death of the tramps was certainly curious, but did not prove that any supernatural agency had been at work. They were but isolated accidents spread over a large number of years by the memory of the villagers, which was natural enough in a little place like Carunton. Tramps had to die sometime and in some place, and it proved nothing that two out of possibly hundreds who had slept in the empty house had happened to take the opportunity to die under shelter. But the agent took his remark very seriously, and both he and Dennis, the landlord of the inn, tried their best to persuade him not to go. for his soul's sake Irish Dennis begged him to do no such thing, and because of his life's sake the Scotchman was equally in earnest. He felt full of pluck, and he made up his mind he would smash the story of the haunting at once by staying that very night in the manor. He made this quite clear to them, and told them that it would be more to the point, and to their credit, if they offered to come up along with him and keep him company. But poor old Dennis was quite shocked, I believe, at the suggestion, and though Tabot, the agent, took it more quietly, he was very solemn about it. It seems that Wentworth did go, and though, as he said to me, when the evening began to come on, it seemed a very different sort of thing to tackle. A whole crowd of the villagers assembled to see him off, for by this time they all knew of his intention. Wentworth had his gun with him, and a big packet of candles, and he made it clear to them all that it would not be wise for anyone to play any tricks, as he intended to shoot at sight. And then, you know, he got a hint of how serious they considered the whole thing, for one of them came up to him."
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        "gt": "IN OTHER WORDS   GET OFF MY TRIANGLE   JERKS  IT'S STILL THERE   BY THE WAY   ON THE CORNER OF CHRISTOPHER STREET AND SEVENTH AVENUE IN THE WEST VILLAGE  PEOPLE LIKE DAVID HESS WHO REFUSE TO SELL THEIR PROPERTIES   ARE CALLED HOLDOUTS  AND EMINENT DOMAIN ONLY COMES INTO PLAY WHEN THE GOVERNMENT WANTS YOUR PROPERTY FOR PUBLIC USE  IF IT'S A PRIVATE DEVELOPMENT THAT WANTS YOUR PLACE AND YOU REFUSE TO SELL   THERE'S NOT MUCH THEY CAN DO  ALTHOUGH   THERE HAD BEEN CASES WHERE EMINENT DOMAIN HAS BEEN CONTROVERSIALLY USED FOR PRIVATE DEVELOPMENT   BUT THAT'S ANOTHER STORY  IN CHINA   THEY CALL THEIR HOLDOUT HOUSES NAIL HOUSES  EDITH MACEFIELD  SO IT HAD THE FEEL OF A SMALL TOWN  A LOT OF SINGLE-FAMILY HOMES AND SMALL BUSINESSES  A DEVELOPER WANTED TO BUILD A SHOPPING CENTER THAT WOULD TAKE UP THE ENTIRE BLOCK WHERE EDITH MACEFIELD HAVE LIVED FOR THE LAST FIFTY YEARS  EDITH MACEFIELD'S HOUSE WAS IN A MORE INDUSTRIAL SECTION OF BALLARD AND HER BLOCK WAS MOSTLY EMPTY BESIDES HER TINY HOUSE JUST SO YOU CAN PICTURE HER HOUSE   YOU KNOW  WHEN YOU ARE A KID AND YOU DRAW A PICTURE OF A HOUSE USING A LITTLE SQUARE WITH A TRIANGLE ON TOP  SHE SAID NO  ALL AROUND YOU  HI I'M BARRY MARTIN  YOU KNOW   IT ALL GETS DONE  BARRY WAS HIRED TO OVERSEE THE SHOPPING CENTER PROJECT  AND HE HEARD THAT SOME BALLARD RESIDENTS WEREN'T HAPPY ABOUT ALL THE NEW DEVELOPMENT BUT HE WASN'T TOO WORRIED  YOU KNOW   I DIDN'T REALLY THINK ABOUT IT  SO WHEN I GOT CLOSER TO WHERE I WAS GOING TO START THE PROJECT  I SAID   NO THAT WAS NOT IT BECAUSE   YOU KNOW  HERE'S MRS   MACEFIELD TURNING DOWN HELP FROM A CBS REPORTER AS SHE TOOK OUT SOME TRASH IN HER FRONT YARD  LATER IN THE SEGMENT   HE KNOCKS ON HER DOOR AND YOU CAN HEAR A MUFFLED  UNFORTUNATELY   THAT MUFFLED RECORDING OF A CRANKY MRS   MACEFIELD IS THE ONLY ONE WE COULD FIND OF HER  SHE PASSED AWAY IN TWO THOUSAND AND EIGHT WHICH WE'LL TALK ABOUT MORE LATER  SHE'D GET UP IN THE MORNING AND FEED THE BIRDS AND THROW BIRD SEED OUT ON THE SIDEWALK   MOST OF THE TIME   THE BIRD SEED WOULD BE THERE WHEN WE GOT TO WORK AND IF THE BIRD SEED WASN'T THERE BY TEN O'CLOCK  YOU KNOW   OKAY   I'M JUST CHECKING ON YOU  A LOT OF PEOPLE THOUGHT THAT ONCE THE CONSTRUCTION STARTED IN EARNEST   EDITH MACEFIELD WOULD FOLD  THE NOISE AND THE ENCROACHMENT ON HER PRIVACY WOULD JUST BE TOO MUCH  THE ARCHITECTS EVEN DESIGNED THE BUILDING IN SUCH A WAY THAT IF MRS   MACEFIELD EVER DECIDED TO MOVE  THEY COULD EASILY INCORPORATE THE SPACE WHERE HER HOUSE WAS INTO THE BUILDING BUT SHE DIDN'T FOLD   THE DEVELOPERS UPPED THEIR OFFER TO ONE MILLION DOLLARS PLUS THEY OFFERED TO FIND HER A SIMILAR HOME SOMEWHERE ELSE   AND PAY FOR A HOME HEALTH-CARE WORKER  SHE TURNED THEM DOWN A YEAR PASSED AND THE BUILDING AROUND EDITH MACEFIELD'S HOUSE GOT BIGGER AND BIGGER  YOU MAY HAVE SEEN PICTURES OF THE HOUSE ESPECIALLY IF YOU'RE FROM SEATTLE  IT WAS A BIG BUILDING COMPLETELY ENVELOPING A TINY HOUSE ON THREE SIDES  YOU KNOW   BALLARD WAS CHANGING  SHE WASN'T EVEN ANGRY ABOUT THE MALL THEY WERE BUILDING MORE OR LESS ON TOP OF HER HOUSE  I FELT LIKE SHE WAS HAPPY THAT WE WERE THERE  ANDSHE'D BEEN THERE FOR FIFTY YEARS   AT THAT POINT IN TIME   YOU KNOW   SHE WAS EIGHTY SIX YEARS OLD  SHE KNEW WHERE EVERYTHING WAS IN HER HOUSE  SHE HAD NO REASON TO MOVE  SHE DIDN'T HAVE ANY FAMILY  MRS   MACEFIELD DIDN'T HAVE ANY LIVING FAMILY TO LEAVE ANY MONEY TO AND BY THE SAME TOKEN  SHE DIDN'T HAVE ANY FAMILY TO HELP TAKE CARE OF HER IN HER OLD AGE  BECAUSE  SOMETIMES SHE'D CALL IN THE MIDDLE OF THE NIGHT AND TELL HIM SHE'D HAD AN ACCIDENT AND SHE NEEDED HIM  YOU KNOW   SHE HAD VERY FEW WISHES ONE   SHE WANTED TO DIE IN HER HOUSE  YOU KNOW   LIVE OUT HER LAST DAYS IN HER HOUSE BUT IF I WOULDN'T HAVE BEEN THERE AT SOME POINT IN TIME   THEY WOULD HAVE PUT HER IN A STATE-RUN FACILITY AND THERE WASN'T ANY REASON FOR THAT AND THEN SHE'S GOING TO BE UNHAPPY THE LAST DAYS OF HER LIFE  WHEN SHE WAS DIAGNOSED WITH PANCREATIC CANCER AND BEGAN TO DIE   SHE FINALLY AGREED TO A HOME HEALTHCARE WORKER BUT BARRY BECAME HER POWER OF ATTORNEY  SHE WAS EIGHTY SIX YEARS OLD  SHE LEFT HER HOUSE TO BARRY MARTIN  THE CONSTRUCTION SUPERINTENDENT WHO BECAME HER FRIEND WHILE SIMULTANEOUSLY SANDWICHING HER HOUSE BETWEEN A TRADER JOE'S AND AN LA FITNESS  AFTER SHE DIED   BARRY BEGAN PACKING UP HER HOUSE AND HE LOOKED FOR THINGS THAT WOULD CONFIRM MRS   MACEFIELD'S CRAZY STORIES ABOUT HER PAST  HE NEVER FOUND ANYTHING ABOUT HER ESCAPING DACHAU OR CARING FOR ANY WAR ORPHANS BUT HE DID FIND A BENNY GOODMAN RECORD WITH A WRITTEN INSCRIPTION THAT SAID  TO MY COUSIN EDITH  WITH LOVE  AFTER PEOPLE FOUND OUT THAT EDITH MACEFIELD HAD LEFT HER HOUSE TO BARRY MARTIN  THERE WERE SOME WHO CALLED HIM AN OPPORTUNIST  NONE OF WHICH HAVE MATERIALIZED  SHE TOLD ME TO HOLD OUT UNTIL I GOT MY PRICE AND THEN TO  YOU KNOW  USE THE MONEY TO HELP GET MY KIDS THROUGH SCHOOL  THAT SHE NEVER REALLY CARED ABOUT THE BIGGER STORY THAT THE OUTSIDE WORLD HAD CREATED ABOUT HER  SHE HAD HER OWN PERSONAL REASONS FOR STAYING IN HER HOUSE AND THEY HAD NOTHING TO DO WITH THAT NARRATIVE BUT   WHATEVER HER REASONS WERE FOR DOING IT  SHE STOOD HER GROUND  THERE'S EVEN A TATTOO SHOP IN SEATTLE THAT DOES A SPECIAL TATTOO IN HONOR OF THE LEGACY OF EDITH MACEFIELD  \n",
        "transcription_base": " In other words, get off my f***ing triangle, Jerks. It's still there, by the way, on the corner of Christopher Street and 7th Avenue in the West Village. People like David Hess, who refuse to sell their properties are called holdouts. An eminent domain only comes into play when the government wants your property for public use. If it's a private development that wants your place and you refuse to sell, there's not much they can do. Although there have been cases where eminent domain has been controversially used for private development, but that's another story. In China, they call their holdout houses, nail houses, Edith Mace Field. So it had the feel of a small town, a lot of single family homes and small businesses. A developer wanted to build a shopping center that would take up the entire block where Edith Mace Field had lived for the last 50 years. Edith Mace Field's house was in a more industrial section of Ballard and her block was mostly empty besides her tiny house. Just so you can picture her house. You know when you're a kid and you draw a picture of a house, using a little square with a triangle on top. She said no. All around you. Hi, I'm Barry Martin. You know, it all gets done. Barry was hired to oversee the shopping center project. And he'd heard that some ballered residents weren't happy about all the new development. But he wasn't too worried. You know, I didn't really think about it. So when I got closer to where I was going to start the project, I said no that because not it because, you know. Here's Mrs. Nasefield turning down help from a CBS reporter as she took out some trash in her front yard. Later in the segment, he knocks on her door and you can hear a muffled. Unfortunately, that muffled recording of a cranky Mrs. Mace field is the only one we could find of her. She passed away in 2008, which we'll talk about more later. She'd get up in the morning and feed the birds and throw a bird seed out on the sidewalk. Most of the time, the bird seed would be there when we got to work. And if the bird seed wasn't there by 10 o'clock, okay, I'll just check it on you. A lot of people thought that once the construction started in earnest, Edith Macefield would fold. The noise and the encroachment on her privacy would just be too much. The architect even designed the building in such a way that if Mrs. Macefield ever decided to move, they could easily incorporate the space where her house was into the building. But she didn't fold. The developers up to their offer to $1 million. Plus they offered to find her a similar home somewhere else and pay for a home healthcare worker. She turned them down. A year passed, and the building around Edith Maysfield's house got bigger and bigger. You may have seen pictures of the house, especially if you're from Seattle. It was a big building completely enveloping a tiny house on three sides. You know, Ballard was changing. She wasn't even angry about them all. They were building more or less on top of her house. I felt like she was happy that we were there. She'd been there for 50 years. At that point in time, you know, she was 86 years old. She knew where everything was in her house. She had no reason to move. She didn't have any family. Mrs. Maysfield didn't have any living family to leave any money to. And by the same token, she didn't have any family to help take care of her in her old age because... Sometimes she'd call in the middle of the night and tell him she'd had an accident and she needed him. You know, she had very few wishes, one she wanted to die in her house, you know, live out her last days in her house. But if I wouldn't have been there, at some point in time, they would have put her in a state-run facility. And there wasn't any reason for that. And then she's gonna be unhappy the last days of her life. When she was diagnosed with pancreatic cancer and began to die, she finally agreed to a home healthcare worker, but Barry became her power of attorney. She was 86 years old. She left her house to Barry Martin, the construction superintendent who became her friend, while simultaneously sandwiching her house between a Trader Joe's and an LA fitness. After she died, Barry began packing up her house, and he looked for things that would confirm Mrs. Macefield's crazy stories about her past. He never found anything about her escaping Dacau or caring for any war orphans. But he did find a Benny Goodman record, with a written inscription that said to my cousin Edith with love. After people found out that Edith Maysfield had left her house to Barry Martin, there were some who called him an opportunist. None of which have materialized. She told me to hold out until I got my price and then to, you know, use the money to help get my kids through school. That she never really cared about the bigger story that the outside world had created about her. She had her own personal reasons for staying in her house, and they had nothing to do with that narrative. But whatever her reasons were for doing it, she stood her ground. There's even a tattoo shop in Seattle that does a special tattoo in honor of the legacy of Edith Macefield.",
        "transcription_medium": " In other words, get off my f***ing triangle, jerks. It's still there, by the way, on the corner of Christopher Street and 7th Avenue in the West Village. People like David Hess, who refuse to sell their properties, are called holdouts. An eminent domain only comes into play when the government wants your property for public use. If it's a private development that wants your place and you refuse to sell, there's not much they can do. Although there have been cases where eminent domain has been controversially used for private development, but that's another story. In China, they call their holdout houses nail houses. Edith Masefield. So it had the feel of a small town. A lot of single-family homes and small businesses. A developer wanted to build a shopping center that would take up the entire block where Edith Masefield had lived for the last 50 years. Edith Masefield's house was in a more industrial section of Ballard and her block was mostly empty besides her tiny house. Just so you can picture her house. You know, when you're a kid and you draw a picture of a house using a little square with a triangle on top. She said no. All around you. Hi, I'm Barry Martin. You know, it all gets done. Barry was hired to oversee the shopping center project, and he'd heard that some Ballard residents weren't happy about all the new development, but he wasn't too worried. You know, I didn't really think about it. So when I got closer to where I was going to start the project, I said no, that's not it, because, you know. Here's Mrs. Masefield turning down help from a CBS reporter as she took out some trash in her front yard. Later in the segment, he knocks on her door and you can hear a muffled. Unfortunately, that muffled recording of a cranky Mrs. Macefield is the only one we could find of her. She passed away in 2008, which we'll talk about more later. She'd get up in the morning and feed the birds and throw bird seed out on the sidewalk. Most of the time the bird seed would be there when we got to work. and if the bird seed wasn't there by 10 o'clock, you know, okay, I'll just check it on you. A lot of people thought that once the construction started in earnest, Edith Masefield would fold. The noise and the encroachment on her privacy would just be too much. The architects even designed the building in such a way that if Mrs. Masefield ever decided to move, they could easily incorporate the space where her house was into the building. But she didn't fold. The developers upped their offer to $1 million. Plus, they offered to find her a similar home somewhere else and pay for a home health care worker. She turned them down. A year passed, and the building around Edith Masefield's house got bigger and bigger. You may have seen pictures of the house, especially if you're from Seattle. It was a big building, completely enveloping a tiny house on three sides. You know, Ballard was changing. She wasn't even angry about them all. They were building more or less on top of her house. I felt like she was happy that we were there. And... She'd been there for 50 years. At that point in time, you know, she was 86 years old. She knew where everything was in her house. She had no reason to move. She didn't have any family. Mrs. Masefield didn't have any living family to leave any money to. And by the same token, she didn't have any family to help take care of her in her old age. Because... Sometimes she'd call in the middle of the night and tell him she'd had an accident and she needed him. You know, she had very few wishes. One, she wanted to die in her house, live out her last days in her house. But if I wouldn't have been there, at some point in time, they would have put her in a state-run facility. And there wasn't any reason for that. And then she's going to be unhappy the last days of her life. When she was diagnosed with pancreatic cancer and began to die, she finally agreed to a home health care worker. But Barry became her power of attorney. She was 86 years old. She left her house to Barry Martin, the construction superintendent who became her friend while simultaneously sandwiching her house between a Trader Joe's and an LA Fitness. After she died, Barry began packing up her house and he looked for things that would confirm Mrs. Macefield's crazy stories about her past. He never found anything about her escaping Dachau or caring for any war orphans, but he did find a Benny Goodman record with a written inscription that said, to my cousin Edith, with love. After people found out that Edith Masefield had left her house to bury Martin, there were some who called him an opportunist. None of which have materialized. She told me to hold out until I got my price, and then to, you know, use the money to help get my kids through school. That she never really cared about the bigger story that the outside world had created about her. She had her own personal reasons for staying in her house, and they had nothing to do with that narrative.",
        "transcription_large_v3": " In other words, get off my f***ing triangle, jerks. It's still there, by the way, on the corner of Christopher Street and 7th Avenue in the West Village. People like David Hess who refuse to sell their properties are called holdouts. An eminent domain only comes into play when the government wants your property for public use. If it's a private development that wants your place and you refuse to sell, there's not much they can do. Although there have been cases where eminent domain has been controversially used for private development, but that's another story. In China, they call their holdout houses nail houses. Edith Macefield. So it had the feel of a small town. A lot of single family homes and small businesses. A developer wanted to build a shopping center that would take up the entire block where Edith Macefield had lived for the last 50 years. Edith Macefield's house was in a more industrial section of Ballard, and her block was mostly empty besides her tiny house. Just so you can picture her house. You know when you're a kid and you draw a picture of a house using a little square with a triangle on top? She said no. All around you. Hi, I'm Barry Martin. You know, it all gets done. Barry was hired to oversee the shopping center project, and he'd heard that some Ballard residents weren't happy about all the new development. But he wasn't too worried. You know, I didn't really think about it. So when I got closer to where I was going to start the project, I said no, that's not it, because, you know. Here's Mrs. Macefield turning down help from a CBS reporter as she took out some trash in her front yard. Later in the segment, he knocks on her door and you can hear a muffled. Unfortunately, that muffled recording of a cranky Mrs. Macefield is the only one we could find of her. She passed away in 2008, which we'll talk about more later. She'd get up in the morning and feed the birds and throw bird seed out on the sidewalk. Most of the time, the bird seed would be there when we got to work. and if the birdseed wasn't there by 10 o'clock, you know, okay, I'm just checking on you. A lot of people thought that once the construction started in earnest, Edith Macefield would fold. The noise and the encroachment on her privacy would just be too much. The architects even designed the building in such a way that if Mrs. Macefield ever decided to move, they could easily incorporate the space where her house was into the building. But she didn't fold. The developers upped their offer to $1 million. dollars. Plus, they offered to find her a similar home somewhere else and pay for a home health care worker. She turned them down. A year passed, and the building around Edith Macefield's house got bigger and bigger. You may have seen pictures of the house, especially if you're from Seattle. It was a big building completely enveloping a tiny house on three sides. You know, Ballard was changing. She wasn't even angry about the mall. They were building more or less on top of her house. I felt like she was happy that we were there. And she'd been there for 50 years. At that point in time, you know, she was 86 years old. She knew where everything was in her house. She had no reason to move. She didn't have any family. Mrs. Maysfield didn't have any living family to leave any money to. And by the same token, she didn't have any family to help take care of her in her old age. Because sometimes she'd call in the middle of the night and tell him she'd had an accident and she needed him. You know, she had very few wishes. One, she wanted to die in her house, you know, live out her last days in her house. But if I wouldn't have been there, at some point in time, they would have put her in a state-run facility. And there wasn't any reason for that. And then she's going to be unhappy the last days of her life. When she was diagnosed with pancreatic cancer and began to die, she finally agreed to a home health care worker. But Barry became her power of attorney. She was 86 years old. She left her house to Barry Martin, the construction superintendent who became her friend while simultaneously sandwiching her house between a Trader Joe's and an LA Fitness. After she died, Barry began packing up her house and he looked for things that would confirm Mrs. Macefield's crazy stories about her past. He never found anything about her escaping Dachau or caring for any war orphans, but he did find a Benny Goodman record with a written inscription that said, To my cousin Edith, with love. After people found out that Edith Macefield had left her house to bury Martin, there were some who called him an opportunist. None of which have materialized. She told me to hold out until I got my price and then to, you know, use the money to help get my kids through school. That she never really cared about the bigger story that the outside world had created about her. She had her own personal reasons for staying in her house, and they had nothing to do with that narrative. But whatever her reasons were for doing it, she stood her ground. There's even a tattoo shop in Seattle that does a special tattoo in honor of the legacy of Edith Macefield."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000031.mp3": {
        "gt": "THIS ONE WAS SPECIAL  EVERYONE WANTED TO READ IT  OF THE GREAT PRICE MAKER  THE SEARS AND ROEBUCK MAIL ORDER CATALOG WAS NEARLY OMNIPRESENT IN EARLY TWENTIETH CENTURY AMERICAN LIFE  LOOK THROUGH IT   AND THEN HAVE ANYTHING THEIR HEART DESIRED DELIVERED DIRECTLY TO THEIR DOORSTEP  LIKE SERIOUSLY   ANYTHING  HEADSTONES  ITEMIZED  SEARS ACTUALLY PROVIDED AN ENTIRELY SEPARATE CATALOG FOR THESE KIT HOMES   FEATURING DOZENS OF DIFFERENT DESIGNS ALL YOU HAD TO DO WAS SELECT YOUR PREFERRED MODEL FROM THE CATALOG   FILL OUT THE PROVIDED FORM   SEND IN A CHECK  A FOLD-AWAY IRONING BOARD FOR YOUR KITCHEN  ALONG WITH   IN TRUE IKEA STYLE   AN INSTRUCTION BOOKLET  IF YOU PROVIDED THE FOUNDATION   SEARS PROMISED THAT WORKING WITHOUT A CARPENTER   AND ONLY RUDIMENTARY SKILLS  YOU COULD FINISH YOUR SEARS MAIL-ORDER HOME IN LESS THAN NINETY DAYS  ALTHOUGH ROSEMARY SAYS THOSE INSTRUCTIONS ALSO CAME WITH WARNING DO NOT ACCEPT ANYONE'S ADVICE ON HOW THIS HOUSE SHOULD BE BUILT   FOLLOW THIS INSTRUCTION MANUAL AND DO NOT DEVIATE   SO IF THE OLD WIZENED CARPENTER COMES BY AND SAYS  SEARS IS WARNING YOU UP FRONT DO NOT LISTEN TO THAT MAN  SEARS WOULD GO ON TO SHIP OUT SOME SEVENTY FIVE THOUSAND HOMES ACROSS THE COUNTRY  WAS THAT THING THAT SO MANY PEOPLE WOULD CLAIM TO BE OVER THE COURSE OF THE TWENTIETH CENTURY  SO HE PURPOSEFULLY MADE HIS CATALOG JUST A LITTLE BIT LESS WIDE AND A LITTLE BIT LESS TALL THAN THE MONTGOMERY WARD CATALOG  KNOWING THAT WHEN THE FARM HOUSE WIFE WAS TIDYING THINGS UP SHE WOULD NATURALLY PUT THE SEARS ROEBUCK CATALOGUE ON TOP OF THE MONTGOMERY WARD CATALOG  MOST AMERICAN FAMILIES WERE STILL LIVING IN MULTI-GENERATIONAL HOUSING  THE REIGNING PARADIGM OF THE MIDDLE CLASS WAS THE VICTORIAN HOME   WITH IT'S MANY LITTLE ROOMS DIVVYING UP CHILDREN   UNCLES AND GRANDPARENTS  FROM SEARS  AND THUS THE SEARS MODERN HOME PROGRAM WAS BORN  AND IT WAS A HIT  PARTICULARLY AFTER THE END OF WORLD WAR ONE  WHEN THE INFLUX OF RETURNING VETERANS TRIGGERED A NEED FOR MORE HOUSING  IF YOU REALLY WANT TO DO RIGHT BY AMERICA  BUY A HOUSE   BUILD A HOUSE  AND THAT'S WHEN KIT HOMES REALLY TOOK OFF  THE LARGEST   IN CAIRO   ILLINOIS   AT THE CONFLUENCE OF THE MISSISSIPPI AND OHIO RIVERS  COVERED NEARLY FORTY ACRES  EVERY HOUSE IN THE CATALOG HAD A NAME BEFITTING ITS ARCHITECTURAL ASPIRATIONS   SO IF YOU ALWAYS DREAMED OF LIVING IN A CALIFORNIA MISSION STYLE HOME   BUT YOU COULDN'T ACTUALLY MOVE TO CALIFORNIA  YOU MIGHT CONSIDER PURCHASING SEARS' ALHAMBRA MODEL  OTHER STYLES INCLUDED THE CRAFTSMAN STYLE WINONA  THEY RANGE FROM EVERYTHING FROM WHAT I WOULD CALL A HUNTER'S CABIN   LITERALLY   A TWO ROOM HOUSE FOR TWO OR THREE HUNDRED DOLLARS   TO THE SEARS MAGNOLIA WHICH WAS TWO THOUSAND NINE HUNDRED SQUARE FEET   TWO FULL BATHROOMS UPSTAIRS   A HALF BATHROOM DOWNSTAIRS   TWO FULL FIREPLACES  BUT MOSTLY IT WAS HOMES   BIG   BEAUTIFUL  A WHOLE NEW LIFE  YOU DIDN'T NEED AN ARCHITECT  YOU COULD TREAT IT LIKE ANY OTHER CONSUMER ITEM  SEARS EVEN HAD THIS AD IN THE FRONT OF THE CATALOG   SHOWED TWO RODESSA MODELS   ONE OF SEARS MOST POPULAR HOUSES   BEING BUILT SIDE BY SIDE  ONE WAS BUILT FROM SCRATCH ESSENTIALLY   USING ORDINARY BUILDING MATERIALS AND UNCUT STICK LUMBER  THE OTHER WITH PRE-CUT LUMBER  THEY'RE SITTING ON THE PORCH WITH A MINT JULEP YOU KNOW   HAVING JUST THE TIME OF THEIR LIFE  MANY DID NOT  AND I HAVE HEARD MANY STORIES ABOUT FAMILIES RECEIVING THEIR KIT HOME AND CALLING ON NEIGHBORS TO HELP THEM COME OUT AND START THE PROCESS OF BUILDING THE HOUSE FOR MANY FAMILIES   THESE WERE THEIR FIRST HOMES WITH THINGS LIKE CENTRAL HEATING   AND INSULATION  IN SOME NEIGHBORHOODS   A SEARS KIT HOME MIGHT BE THE ONLY HOUSE ON THE BLOCK WITH ELECTRICITY  MEN AND WOMEN OF COLOR   AND SINGLE WOMEN WHO WOULD OTHERWISE NEVER HAVE A CHANCE OF BECOMING A HOMEOWNER  TO HAVE INDOOR PLUMBING FOR THE FIRST TIME BUT THEN THE COMPANY DISCOVERED THAT IT HAD MADE A MISTAKE  ONE THAT WILL PROBABLY SOUND ALL TOO FAMILIAR  FROM THE BEGINNING   SEARS HAD MADE SURE THEIR MORTGAGE POLICY WAS LIKE EVERYTHING ELSE IN THEIR CATALOG  THINGS GOT UGLY FAST  THE VERY SAME HOME SEARS HAD SOLD THEM A DECADE EARLIER  AND HE SAID   FOR TWO GENERATIONS OUR FAMILY NEVER PATRONIZED SEARS EVER AGAIN  A FEW OTHER KIT HOME MANUFACTURERS   ONES THAT HADN'T SOLD MORTGAGES  THEY SURVIVED  BUT THE SEARS KIT HOME BOOM WAS OVER  THE NEXT MODERN HOUSING BOOM  FEATURING THE RISE OF THE SUBURBS AND THE PRE-FAB HOME  THE HOMES SO MANY OF US LIVE IN TODAY MEANWHILE   MOST OF THE SEARS HOMES THE ALHAMBRAS   THE ARGYLES   THE MAGNOLIAS  OR DIDN'T CARE TO KNOW  DESPITE THE HIGH QUALITY OF THE MATERIALS  OVER THE DECADES   AS THE COMPANY BECAME ASSOCIATED WITH CONVENIENCE OVER AND ABOVE QUALITY  NO ONE WANTED TO ADMIT THAT THEY LIVED IN HOME THAT CAME FROM THE SEARS CATALOG  IT WAS EMBARRASSING  SO A LOT OF THEM ENDED UP BEING RENOVATED BEYOND RECOGNITION  MANY WERE TORN DOWN  OTHERS WERE SIMPLY ABANDONED  SO THE ONLY WAY TO FIND THESE HOUSES TODAY IS LITERALLY ONE BY ONEWITH THE TWO HOMES BEING BUILT   ONE FAST   ONE SLOW   SIDE BY SIDE  IT WAS STILL SAFE  GUY RAN INTO THE OWNER A LITTLE WHILE LATER  AND THE OWNER SAID TO HIM   HOW ABOUT I SELL YOU THE PLACE   AND YOU FIX IT UP  HE SAYS   I'M TALKING ABOUT HUNDREDS  EVENTUALLY   HE'D BUY THE RODESSA NEXT TO IT   TOO   THE TWIN  TRYING TO MAKE IT RIGHT  BUT HE ALWAYS TOLD ME THE BAD STUFFAS WITH A LOT OF MILLS IN THE AREA   IT WASN'T UNCOMMON TO SEE EMPLOYEES MISSING FINGERS  A LITTLE SHOTGUN HOUSE  SEARS DOORNOW MAYBE ONLY A THIRD OF THEM ARE LEFT  YOU COULD SEE EVERY MONTH OR SO THERE'D BE ANOTHER BUSINESS GONE  MOST SAT UNDISCOVERED  IF YOU LIVED IN A SEARS HOUSE   CHANCES ARE YOU DIDN'T EVEN KNOW IT  BUT A LITTLE OVER TWENTY YEARS AGO  ONE WOMAN TOOK A BIG STEP TOWARDS CHANGING THAT  ALTHOUGH  SHE DIDN'T REALLY MEAN TO IT'S PURE SERENDIPITY THAT I ENDED UP IN THIS FIELD  THIS IS REBECCA HUNTER  BUT SHE DOES LIVE IN A TOWN ON THE OTHER END OF ILLINOIS  A LITTLE WEST OF CHICAGO   ON THE FOX RIVER  IT'S CALLED ELGIN  AND UNLIKE CAIRO   ELGIN WAS NOT KNOWN FOR SEARS HOMES  WHICH WOULD MEAN NOTHING  EXCEPT THAT ONE BITTERLY COLD DAY IN FEBRUARY  AND THEN   AFTER OH I DON'T KNOW  I WAS WALKING DOWN PLUM STREET AND I SAW THIS HOUSE AND I INSTANTLY KNEW IT WAS A SEARS  RIGHT THERE   AFTER ALMOST ZERO EFFORT  BOOM  A SEARS HOUSE  AND IT'S MATCH  CRAFTSMAN STYLE   TAPERED PORCH COLUMNS  OTHERS FOUND SHIPPING LABELS FROM SEARS ON THE BACK OF ATTIC BASEBOARDS  STILL OTHERS MANAGED TO FIND THEIR HOME'S ORIGINAL SEARS BLUEPRINTS  AND REBECCA'S NOT EVEN DONE  THERE ARE STILL MORE HOUSES WAITING TO BE INVESTIGATED  AT THE MOMENT I THINK WE'RE AT TWO HUNDRED AND THIRTY SEVEN SEARS HOUSES   AND ABOUT A HUNDRED FROM OTHER COMPANIES WHAT'S MORE  MOST OF THE HOMES REBECCA FOUND LOOKED LIKE THEY WERE STRAIGHT OUT OF THE CATALOG  THEY HAD BARELY BEEN ALTERED SINCE THE NINETEEN TWENTY S  THAT'S WHY SHE WAS ABLE TO FIND SO MANY BECAUSE THE HOMES COULD STILL BE RECOGNIZED  ELGIN ENTERED A LOCALIZED RECESSION  SPARING IT FROM THE RENOVATION CRAZE OF THE SIXTY S AND SEVENTY S  INSTEAD  ELGIN'S SEARS HOMES SIMPLY SAT THERE THROUGH THE DECADES   UNTOUCHED  REBECCA'S STUDY OF THE ELGIN HOMES   ALONG WITH THE WORK OF OTHER RESEARCHERS LIKE ROSE THORTON   OUR ARCHITECTURAL HISTORIAN  WOULD HELP TO LAUNCH WHAT HAS BECOME A SEARS HOUSE HUNTING MOVEMENT  PEOPLE WHOSE CHIEF PASSION IN LIFE IS TO SCOUR THE LAND  TRYING TO FIND AS MANY KIT HOMES AS POSSIBLE  INCLUDING ROSE  SOME PEOPLE DO CROSSWORD PUZZLES   AND SOME PEOPLE DO JIGSAW PUZZLES   I GUESS I LOOK FOR SEARS HOMES   WELL ACTUALLY   ME AND ROSE   AND DALE   AND WENDY   AND ANDREW  AND NIGEL  EACH MEMBER HAS THEIR SPECIALTY  SO FAR   SHE SAYS  HE'S CURRENTLY WORKING WITH ABOUT HALF A DOZEN PEOPLE ON A DATABASE THAT WOULD LIST EVERY SINGLE SEARS  HAS FOUND OVER ONE THOUSAND KIT HOMES WITHOUT EVEN LEAVING HIS DESK  EACH WITH THE CAMERA   AND EVERYBODY'S LOOKING OUT THE WINDOW AND SOMEBODY SAYS   HEY WHAT'S THAT OVER THERE ON THE RIGHT  ALTHOUGH   LET'S FACE IT   THEY'RE NOT EXACTLY BOUNTY HUNTERS  DON'T BE FRIGHTENED  YOU MIGHT EVEN BE STANDING IN AN UNDISCOVERED MODEL  \n",
        "transcription_base": " This one was special. Everyone wanted to read it. Of the great price maker! The Sears and Doro Buck mail-order catalog was nearly omnipresent in early 20th century American life. Look through it and then have anything there art desired delivered directly to their doorstep, like seriously, anything. Headstones. Itemized. Sears actually provided an entirely separate catalog for these kid homes, featuring dozens of different designs. All you had to do was select your preferred model from the catalog. Fill out the provided form, send in the check. A fold-way ironing board for your kitchen, along with, in true IKEA style, an instruction booklet. If you provided the foundation, Sears promised that working without a carpenter and only rudimentary skills, you could finish your Sears mail order home in less than 90 days. Although Rosemary says those instructions also came with a warning. Do not accept anyone's advice on how this house should be built. Follow this instruction manual and do not deviate. So if the old wise encarpenter comes by and says, Sears is warning you up front, do not listen to that man. Sears would go on to ship out some 75,000 homes across the country. Was that thing that so many people would claim to be over the course of the 20th century? So he purposefully made his catalog just a little bit less wide and a little bit less tall than the Montgomery Ward catalog. Knowing that when the farmhouse wife was tidying things up, she would naturally put the Sears Robot catalog on top of the Montgomery Ward catalog. Most American families were still living in multi-generational housing. The reigning paradigm of the middle class was the Victorian home with its many little rooms divvying up children, uncles, and grandparents from Sears. And thus, the Sears Modern Home Program was born. And it was a hit, particularly after the end of World War I. When the influx of returning veterans triggered a need for more housing. If you really want to do right by America, buy a house, build a house, and that's when Kid Homes really took off. The largest in Carole Illinois at the confluence of the Mississippi and Ohio rivers covered nearly 40 acres. Every house in the catalog had a name fitting its architectural aspirations. So if you always dreamed of living in a California mission style home, but you couldn't actually move to California, you might consider purchasing Sears Alhambra model. Other styles included the Craftsman style Winona. They range from everything from what I would call a Hunter's Cabin, literally a two room house for two or three hundred dollars to the Sears Magnolia, which was two thousand nine hundred square feet, two full bathrooms upstairs, a half bathroom downstairs, two full fireplaces. But mostly it was Harms. Big, beautiful, a whole new life. You didn't need an architect. You could treat it like any other consumer item. Sears even had this ad in the front of the catalog. It showed two rodesa models, one of Sears' most popular houses being built side by side. One was built from scratch essentially, using ordinary building materials and uncut stick lumber, the other with pre-cut lumber. They're sitting on the porch with a mint jewel up, you know, having just the time of their life. Many did not. And I have heard many stories about families receiving their kit home and calling on neighbors to help them come out and start the process of building the house. For many families, these were their first homes with things like central heating and insulation. In some neighborhoods, a Sears kit home might be the only house on the block with electricity. Men and women of color and single women who would otherwise never have a chance of becoming a homeowner to have indoor plumbing for the first time. But then the company discovered that it had made a mistake. One that will probably sound all too familiar. From the beginning, Sears had made sure their mortgage policy was like everything else in their catalog. Things got ugly fast. The very same home, Sears had sold them a decade earlier. And he said for two generations, our family never patronized Sears ever again. A few other kit home manufacturers, ones that hadn't sold mortgages, they survived. But the Sears kit home boom was over. next modern housing boom between the rise of the suburbs and the prefab home. The homes so many of us live in today. Meanwhile, most of the Sears homes, the Alhambres, the Arguiles, the Magnolias, or didn't care to know. Despite the high quality of the materials, over the decades as the company became associated with convenience over and above quality, no one wanted to admit that they lived in a home that came from the Sears catalog. It was embarrassing. So a lot of them ended up being being renovated beyond recognition. Many were torn down. Others were simply abandoned. So the only way to find these houses today is literally one by one. With the two homes being built, one fast, one slow, side by side. It was still safe. Guy ran into the owner a little while later. And the owner said to him, how about I sell you the place? And you fix it up. He said, I'm talking about hundreds. Eventually, he'd buy the redessa next to it, too, the twin. Trying to make it right. But he always told me the bad stuff. As with a lot of mills in the area, it wasn't uncommon to see employees missing fingers. A little shotgun house, a serious door. Now maybe only a third of them are left. You can see every month or so they'd be another business gone. Most sat undiscovered. If you lived in a serious house, chances are you didn't even know it. But a little over 20 years ago, one woman took a big step towards changing that. Although, she didn't really mean to. It's pure serendipity that I ended up in this field. This is Rebecca Hunter, but she does live in a town on the other end of Illinois, a little western Chicago on the Fox River. It's called Elgin. And unlike Carol, Elgin was not known for Sears Homes. Which would mean nothing, except that one bitterly cold day in February. And then after, oh, I don't know. I was walking down Plum Street and I saw this house and I instantly knew it was a Sears. there after almost zero effort, boom, a Sears house. And it's a match. Craftsman style, tapered porch columns. Others found shipping labels from Sears on the back of attic baseboards. Still others managed to find their home's original Sears blueprints, and Rebecca's not even done. There are still more houses waiting to be investigated. At the moment, I think we are at 237 Sears houses and about 100 from other companies. What's more, most of the homes Rebecca found looked like they were straight out of the catalog. They'd barely been altered since the 1920s. That's why she was able to find so many, because the homes could still be recognized. Elgin entered a localized recession, spurring it from the renovation craze of the 60s and 70s. Instead, Elgin Sears' home simply sat there through the decades untouched. Rebecca's study of the Elgin Homes, along with the work of other researchers like Rose Thornton, our architectural historian would help to launch what has become a Sears House hunting movement. People whose chief passion in life is to scour the land, trying to find as many kid homes as possible, including Rose. Some people do crossword puzzles and some people do jigsaw puzzles. I guess I look for Sears homes. Well actually you me and Rose and Dale and Wendy and Andrew and Nigel. Each member has their specialty so far she says. He's currently working with about half a dozen people on a database that would list every single sears. He's found over 1,000 kid homes without even leaving his desk. Each with a camera and everybody's looking out the window and somebody says, Hey, what's that over there on the right? Although, let's face it, they're not exactly bounty hunters. Don't be frightened. You might even be standing in an undiscovered model.",
        "transcription_medium": " This one was special. Everyone wanted to read it. Of the great price maker! The Sears and Roebuck mail order catalog was nearly omnipresent in early 20th century American life. Look through it and then have anything their heart desired delivered directly to their doorstep. Like, seriously, anything. Headstones. Itemized. Sears actually provided an entirely separate catalog for these kit homes featuring dozens of different designs. All you had to do was select your preferred model from the catalog, fill out the provided form, send in a check, a fold-away ironing board for your kitchen, along with, in true Ikea style, an instruction booklet. If you provided the foundation, Sears promised that, working without a carpenter and only rudimentary skills, you could finish your Sears mail order home in less than 90 days. Although Rosemary says those instructions also came with a warning. Do not accept anyone's advice on how this house should be built. this instruction manual and do not deviate. So if the old Weissen carpenter comes by and says, Sears is warning you up front, do not listen to that man. Sears would go on to ship out some 75,000 homes across the country. Was that thing that so many people would claim to be over the course of the 20th century. So he purposefully made his catalog just a little bit less wide and a little bit less tall than the Montgomery Ward catalog, knowing that when the farmhouse wife was tidying things up, she would naturally put the Sears robot catalog on top of the Montgomery Ward catalog. Most American families were still living in multi-generational housing. The reigning paradigm of the middle class was the Victorian home with its many little rooms divvying up children, uncles, and grandparents from Sears. And thus the Sears Modern Home Program was born. And it was a hit, particularly after the end of World War I, when the influx of returning veterans triggered a need for more housing. If you really want to do right by America, buy a house, build a house. And that's when Kit Homes really took off. The largest in Carroll, Illinois, at the confluence of the Mississippi and Ohio rivers, covered nearly 40 acres. Every house in the catalog had a name befitting its architectural aspirations. So if you always dreamed of living in a California mission style home, but you couldn't actually move to California, you might consider purchasing Sears Alhambra model. Other styles included the craftsman style Winona. They range from everything from what I would call a hunter's cabin, literally a two room house for $200 or $300, to the Sears Magnolia which was 2,900 square feet, two full bathrooms upstairs, a half bathroom downstairs, two full fireplaces. But mostly, it was homes. Big, beautiful. A whole new life. You didn't need an architect. You could treat it like any other consumer item. Sears even had this ad in the front of the catalog. It showed two Rhodessa models, one of Sears' most popular houses, being built side by side. One was built from scratch, essentially, using ordinary building materials and uncut stick lumber. The other with pre-cut lumber. They're sitting on the porch with a mint julep, you know, having just the time of their life. Many did not. And I have heard many stories about families receiving their kit home and calling on neighbors to help them come out and start the process of building the house. For many families, these were their first homes with things like central heating and insulation. In some neighborhoods, a Sears kid home might be the only house on the block with electricity. Men and women of color and single women who would otherwise never have a chance of becoming a homeowner to have indoor plumbing for the first time. But then the company discovered that it had made a mistake, one that will probably sound all too familiar. From the beginning, Sears had made sure their mortgage policy was like everything else in their catalog. Things got ugly fast. The very same home Sears had sold them a decade earlier. And he said for two generations, our family never patronized Sears ever again. A few other kit home manufacturers, ones that hadn't sold mortgages, they survived. But the Sears kit home boom was over. The next modern housing boom, featuring the rise of the suburbs and the prefab home. the homes so many of us live in today. Meanwhile, most of the Sears homes, the Alhambras, the Argyles, the Magnolias, are didn't care to know. Despite the high quality of the materials, over the decades, as the company became associated with convenience over and above quality, no one wanted to admit that they lived in a home that came from the Sears catalog. It was embarrassing. So a lot of them ended up being renovated beyond recognition. Many were torn down. Others were simply abandoned. So the only way to find these houses today is literally one by one. With the two homes being built, one fast, one slow, side by side. It was still safe. Guy ran into the owner a little while later, and the owner said to him, how about I sell you the place, and you fix it up. He said, I'm talking about hundreds. Eventually he bought the Rodeca next to it too, the twin. Trying to make it right, but he always told me the bad stuff. As with a lot of mills in the area, it wasn't uncommon to see employees missing fingers. A little shotgun house. A Sears door. Now maybe only a third of them are left. You could see every month or so there'd be another business gone. Most sat undiscovered. If you lived in a Sears house, chances are you didn't even know it. But a little over 20 years ago, one woman took a big step towards changing that. Although, she didn't really mean to. It's pure serendipity that I ended up in this field. This is Rebecca Hunter. But she does live in a town on the other end of Illinois, a little west of Chicago, on the Fox River. It's called Elgin. And unlike Caro, Elgin was not known for Sears Homes. Which would mean nothing, except that one bitterly cold day in February. And then after, oh, I don't know. I was walking down Plum Street and I saw this house and I instantly knew it was a Sears. Right there, after almost zero effort, boom, a Sears house. And it's a match. Craftsman style, tapered porch columns. Others found shipping labels from Sears on the back of attic baseboards. Still others managed to find their home's original Sears blueprints. And Rebecca's not even done. There are still more houses waiting to be investigated. At the moment, I think we are at 237 Sears houses and about 100 from other companies. What's more, most of the homes Rebecca found looked like they were straight out of the catalog. had barely been altered since the 1920s. That's why she was able to find so many, because the homes could still be recognized. Elgin entered a localized recession, sparing it from the renovation craze of the 60s and 70s. Instead, Elgin Sears' homes simply sat there through the decades, untouched. Rebecca's study of the Elgin homes, along with the work of other researchers, like Rose Thornton, our architectural historian, would help to launch what has become a Sears house hunting movement. People whose chief passion in life is to scour the land, trying to find as many kit homes as possible, including Rose. Some people do crossword puzzles, and some people do jigsaw puzzles. I guess I look for Sears homes. Well, actually, me and Rose and Dale and Wendy and Andrew and Nigel. Each member has their specialty. So far, she says, He's currently working with about half a dozen people on a database that would list every single Sears. He's found over 1,000 kit homes without even leaving his desk. with a camera and everybody's looking out the window and somebody says, hey, what's that over there on the right? Although, let's face it, they're not exactly bounty hunters. Don't be frightened. You might even be standing in an undiscovered model.",
        "transcription_large_v3": " This one was special. Everyone wanted to read it. Of the great price maker. The Sears and Roebuck mail order catalog was nearly omnipresent in early 20th century American life. Look through it and then have anything their heart desired delivered directly to their doorstep. Like, seriously, anything. Headstones. Itemized. Sears actually provided an entirely separate catalog for these kid homes, featuring dozens of different designs. All you had to do was select your preferred model from the catalog, fill out the provided form, send in a check, a foldaway ironing board for your kitchen, along with, in true IKEA style, an instruction booklet. If you provided the foundation, Sears promised that working without a carpenter and only rudimentary skills, you could finish your Sears mail order home in less than 90 days. Although Rosemary says those instructions also came with a warning. Do not accept anyone's advice on how this house should be built. follow this instruction manual and do not deviate. So if the old wise and carpenter comes by and says, Sears is warning you up front, do not listen to that man. Sears would go on to ship out some 75,000 homes across the country. Was that thing that so many people would claim to be over the course of the 20th century. So he purposefully made his catalog just a little bit less wide and a little bit less tall than the Montgomery Ward catalog, knowing that when the farmhouse wife was tidying things up, She would naturally put the Sears robot catalog on top of the Montgomery Ward catalog. Most American families were still living in multi-generational housing. The reigning paradigm of the middle class was the Victorian home, with its many little rooms divvying up children, uncles, and grandparents from Sears. And thus, the Sears Modern Home Program was born. And it was a hit, particularly after the end of World War I, when the influx of returning veterans triggered a need for more housing. If you really want to do right by America, buy a house, build a house. And that's when Kit Homes really took off. The largest, in Carroll, Illinois, at the confluence of the Mississippi and Ohio rivers, covered nearly 40 acres. Every house in the catalog had a name befitting its architectural aspirations. So if you always dreamed of living in a California mission-style home, but you couldn't actually move to California, you might consider purchasing Sears' Alhambra model. Other styles included the Craftsman-style Winona. They range from everything from what I would call a hunter's cabin, literally a two-room house for $200 or $300, to the Sears Magnolia, which was 2,900 square feet, two full bathrooms upstairs, a half-bathroom downstairs, two full fireplaces. But mostly, it was homes. Big, beautiful. A whole new life. You didn't need an architect. You could treat it like any other consumer item. Sears even had this ad in the front of the catalog. It showed two Rodessa models, one of Sears' most popular houses being built side by side. One was built from scratch, essentially, using ordinary building materials and uncut stick lumber. The other with pre-cut lumber. They're sitting on the porch with a mint julep, you know, having just the time of their life. Many did not. And I have heard many stories about families receiving their kid home and calling on neighbors to help them come out and start the process of building the house. For many families, these were their first homes with things like central heating and insulation. In some neighborhoods, a Sears kit home might be the only house on the block with electricity. Men and women of color and single women who would otherwise never have a chance of becoming a homeowner to have indoor plumbing for the first time. But then the company discovered that it had made a mistake, one that will probably sound all too familiar. From the beginning, Sears had made sure their mortgage policy was like everything else in their catalog. Things got ugly fast. The very same home Sears had sold them a decade earlier. And he said for two generations, our family never patronized Sears ever again. A few other kit home manufacturers, ones that hadn't sold mortgages, they survived. But the Sears kit home boom was over. The next modern housing boom, featuring the rise of the suburbs and the prefab home. The homes so many of us live in today. Meanwhile, most of the Sears homes, the Alhambras, the Argyles, the Magnolias, didn't care to know. Despite the high quality of the materials, over the decades as the company became associated with convenience over and above quality, no one wanted to admit that they lived in a home that came from the Sears catalog. It was embarrassing. So a lot of them ended up being renovated beyond recognition. Many were torn down. Others were simply abandoned. So the only way to find these houses today is literally one by one. With the two homes being built, one fast, one slow, side by side. It was still safe. Guy ran into the owner a little while later, and the owner said to him, how about I sell you the place and you fix it up? He said, I'm talking about hundreds. Eventually, he'd buy the Redessa next to it, too, the twin. Trying to make it right. But he always told me the bad stuff. As with a lot of mills in the area, it wasn't uncommon to see employees missing fingers. A little shotgun house. Sears door. Now maybe only a third of them are left. You could see every month or so there'd be another business gone. Most sat undiscovered. If you lived in a Sears house, chances are you didn't even know it. But a little over 20 years ago, one woman took a big step towards changing that. Although she didn't really mean to. It's pure serendipity that I ended up in this field. This is Rebecca Hunter. But she does live in a town on the other end of Illinois, a little west of Chicago on the Fox River. It's called Elgin. And unlike Caro, Elgin was not known for Sears homes. Which would mean nothing, except that one bitterly cold day in February. And then after, oh, I don't know. I was walking down Plum Street and I saw this house and I instantly knew it was a Sears. Right there, after almost zero effort, boom, a Sears house. And it's a match. Craftsman style, tapered porch columns. Others found shipping labels from Sears on the back of attic baseboards. Still others managed to find their home's original Sears blueprints. And Rebecca's not even done. There are still more houses waiting to be investigated. At the moment, I think we are at 237 Sears houses and about 100 from other companies. What's more, most of the homes Rebecca found looked like they were straight out of the catalog. They'd barely been altered since the 1920s. That's why she was able to find so many. because the homes could still be recognized. Elgin entered a localized recession, sparing it from the renovation craze of the 60s and 70s. Instead, Elgin Sears Homes simply sat there, through the decades, untouched. Rebecca's study of the Elgin Homes, along with the work of other researchers, like Rose Thornton, our architectural historian, would help to launch what has become a Sears house-hunting movement. People whose chief passion in life is to scour the land, trying to find as many kid homes as possible, including Rose. Some people do crossword puzzles and some people do jigsaw puzzles. I guess I look for Sears homes. Well, actually, me and Rose and Dale and Wendy and Andrew and Nigel. Each member has their specialty. So far, she says. He's currently working with about half a dozen people on a database that would list every single Sears. He's found over 1,000 kit homes without even leaving his desk. Each with a camera and everybody's looking out the window and somebody says, Hey, what's that over there on the right? Although, let's face it, they're not exactly bounty hunters. Don't be frightened. You might even be standing in an undiscovered model."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000048.mp3": {
        "gt": "LAWYERS HAVE AN ETHICS CODE   JOURNALISTS HAVE AN ETHICS CODE  SO IT SHOULDN'T SURPRISE YOU THAT ARCHITECTS DO AS WELL  HUMAN RIGHTS  MEMBERS SHOULD UPHOLD HUMAN RIGHTS IN ALL THEIR PROFESSIONAL ENDEAVORSA NUMBER OF ARCHITECTS HAVE TAKEN A STANCE THAT THERE ARE SOME BUILDINGS THAT JUST SHOULD NOT HAVE BEEN BUILT  HE'S TALKING ABOUT PRISONS SPECIFICALLY   PRISONS THAT KEEP INMATES ALONE IN CELLS WITH LITTLE TO DO AND WITH MINIMAL HUMAN CONTACT  INMATES HAVE NAMES FOR THESE PLACES   THE BOX OR THE BING  REASON BEING   AND THIS IS SOMETHING WEIRD WE FOUND WHILE RESEARCHING THE STORY  THE UN DOESN'T HAVE ONE   THE DEPARTMENT OF JUSTICE DOESN'T HAVE ONE  DO CALL THE SHU SOLITARY CONFINEMENT  THEY ARE ONLY ALLOWED OUT OF THEIR CELLS FOR VERY SHORT PERIODS OF TIME FOR CONSTITUTIONALLY REQUIRED EXERCISE PERIODS  SHE WENT INSIDE ONE OF THE CELLS AND HAD AN INMATE   ROBERT LUCA  DESCRIBE THE ROOMTHE OFFICIAL MEASUREMENTS ARE ACTUALLY SEVEN AND A HALF BY TWELVE FEET  IT'S NOT A SPACE THAT'S DESIGNED TO KEEP YOU COMFORTABLE  BUT IT'S NOT THESE ARCHITECTURAL FEATURES THAT CONCERN HUMANITARIAN ACTIVISTS AND PSYCHIATRISTS  IT'S THE AMOUNT OF TIME MANY PRISONERS SPEND IN THAT CELL   ALONE  WITHOUT ANY MEANINGFUL ACTIVITY  HE SERVED AS AN EXPERT WITNESS ON MORE THAN TWENTY CLASS ACTION LAWSUITS CONCERNING PRISON CONDITIONS  HE SAYS THERE'S A WHOLE LITANY OF EFFECTS THAT SOLITARY CAN HAVE ON A PERSON MASSIVE FREE-FLOATING ANXIETY   PARANOID IDEAS   INSOMNIA   DEPRESSION   AND SUICIDAL THOUGHTS ARE VERY PROMINENT   THEIR EYES ARE DESTROYED  BECAUSE IF YOU DO NOT LOOK AT A DISTANCE FOR A LONG LENGTH OF TIME  YOUR EYE DETERIORATES  FOR PRISONERS WITH A HISTORY OF OR PREDISPOSITION TO MENTAL ILLNESS  SOLITARY CAN BRING ON A BREAKDOWN  NOW AGAIN   THERE IS NO UNIVERSALLY ACCEPTED DEFINITION OF SOLITARY CONFINEMENT  INMATES CAN GET NATURAL LIGHT FROM SKYLIGHTS OUTSIDE OF THEIR CELLS   WHICH DRIFTS INTO THE DOORS MADE OF PERFORATED METAL  THESE POROUS DOORS ALLOW FOR INMATES TO COMMUNICATE WITH EACH OTHER   EVEN THOUGH THERE ARE NO LINES OF SIGHT TO ANY PRISONER FROM WITHIN THE CELL  BUT ON THE OTHER HAND   CELLS DON'T HAVE WINDOWS  INMATES NEVER GET TO SEE THE HORIZON  THE ONLY TIME PRISONERS GET TO LEAVE THE CELL IS TO VISIT THE SHOWER OR THE EXERCISE YARD  NOT MUCH BIGGER THAN A CELL WITH TWENTY FOOT HIGH CONCRETE WALLS  TERRY KUPERS SAYS   SHARING A CELL IS OFTEN WORSE THAN BEING ALONE  SO   IF THAT'S NOT SOLITARY CONFINEMENT PER SE  NOW   VARIOUS OTHER COMMENTATORS HAVE SAID THAT MEANS IT'S TORTURE FIFTEEN DAYS SAYS THE UN  WHAT IS THEIR RESPONSIBILITY TO THE PEOPLE WHO ARE INCARCERATED IN THEIR BUILDINGS  IN ARGENTINA   THE MILITARY REGIME TORTURED PEOPLE IN A FORMER AUTO BODY SHOP   THAT WAS ONE OF THEIR BIG TORTURE CENTERS  I'M NOT GOING TO NOBODY'S GOING TO SAY THAT THE ARCHITECTS WHO DESIGNED THE AUTO BODY SHOP OR SOMEHOW RESPONSIBLE  THEN THAT IS A DESIGNED INTENT   WHEN USED AS INTENDED  A FEW YEARS BACK   RAPHAEL HAD BEEN FOLLOWING THE NEWS FROM GUANTANAMO BAY AND READING UP ON MASS INCARCERATION IN THE US  NOT NECESSARILY AS AN ARCHITECT   PER SE   JUST AS A CIVIC-MINDED   SOCIAL JUSTICE ORIENTED KIND OF GUY  AND I WAS LIKE  THEY'RE USING THE SAME TOOLS THAT I USE TO MAKE RESIDENTIAL ADDITIONS FOR PEOPLE   TO MAKE SCHOOLS  ONLY THIS PROJECT IS GOING TO KILL PEOPLE  THAT WAS TOTALLY SHOCKING SEEING THE REMODEL OF THE DEATH CHAMBER WAS THE CATALYZING EVENT   BUT YOU COULD ARGUE THAT THERE'S A DIFFERENCE BETWEEN DESIGNING A DEATH ROOM AND DESIGNING A SHU  BUT SPERRY VIEWS BOTH AS IMMORAL   AND IN VIOLATION OF THE HUMAN RIGHTS THAT ARCHITECTS SWEAR TO UPHOLD  RAPHAEL SPERRY WANTS ARCHITECTS AND THE PROFESSION OF ARCHITECTURE AS A WHOLE   AT LEAST IN THE US  HOURS FROM ANY MAJOR CITY  SUSPECTED GANG MEMBERS AND PEOPLE WHO ARE SEEN TO POSE THE GREATEST THREAT TO OFFICERS AND OTHER INMATES  EVEN BUILDINGS IN GUANTANAMO BAYTHE WAY THAT PELICAN BAY OR ANY PRISON IS MANAGED IS REALLY THE DETERMINING FACTOR IN WHAT LIFE IS LIKE FOR PRISONERS  SAY IT'S TIME TO STOP BUILDING THE PRISONS THAT ARE DESIGNED FOR WHAT HE SEES AS SOLITARY CONFINEMENT OR ANY OTHER KIND OF TORTURE OR EXECUTION  IT WOULD SEEM LIKE THE LEAST THAT ARCHITECTS COULD DO WOULD SAY TO DEMONSTRATE OUR COMMITMENT TO PUBLIC HEALTH   SAFETY AND WELL BEING IS TO SAY   WHEN YOU ENTER ONE OF OUR BUILDINGS   IT'S NOT INTENDED TO KILL YOU OR TO TORTURE YOU  ETHICAL STANDARD ONE POINT FOUR  MEMBERS SHOULD UPHOLD HUMAN RIGHTS IN ALL THEIR PROFESSIONAL ENDEAVORS  THAT'S IT  IT'S IMPORTANT TO KEEP IN MIND THAT THESE ATTITUDES CHANGE OVER TIME   FROM AROUND THE EIGHTEEN NINETY S TO THE NINETEEN FIFTY S   THE US HAD A REALLY DIFFERENT TAKE ON PRISON  THE EMPHASIS WAS ON CURING   OR REHABILITATING PEOPLE FROM A LIFE OF CRIME  GRANTED   THERE WERE SOME REALLY TERRIBLE THINGS THAT HAPPENED IN PRISONS DURING THAT TIME  BUT THE EMPHASIS AT LEAST WAS ON GETTING PRISONERS TO BECOME PRODUCTIVE MEMBERS OF SOCIETY AGAIN  A BIG SHIFT HAPPENED WITH THE WAR ON DRUGS WHICH SENT A LOT MORE PEOPLE TO JAIL  LOCKING PEOPLE UP IN THEIR CELLS FROM MOST THE TIME STARTED LOOKING LIKE A GOOD OPTION HENCE THE SHU  BUT WHEN YOU CREATE A BUILDING WITH A VERY EXTREME DESIGN INTENT WITH LITTLE VARIABILITY  YOU'RE LOCKING PRISONERS INTO THAT CURRENT MINDSET FOR THE LIFESPAN OF THE PRISON  IT TURNS OUT HOUSING A SHU PRISONER IS NEARLY TWICE AS EXPENSIVE AS HOUSING A GENERAL POPULATION INMATE  WIDESPREAD BUDGETARY PRESSURE AND POSSIBLY THE INFLUENCE OF ANTI-SOLITARY CONFINEMENT ACTIVISTS IS ALSO CAUSING STATE GOVERNMENTS TO REDUCE THE NUMBER OF SUPERMAX PRISONERS IN MISSISSIPPI  MAINE   AND COLORADO  RAPHAEL SPERRY MAY FIND HE HAS A STRANGE AND POWERFUL ALLY IN HIS FIGHT TO STOP ARCHITECTS BUILDING SUPERMAX PRISONS  YOUR GROUP HAS A MONOPOLY TO PROVIDE SERVICES IN THAT SECTOR  YOU CAN HEAR THEIR SHOW AT LIFEOFTHELAW DOT ORG  \n",
        "transcription_base": " Lawyers have an ethics code, journalists have an ethics code, so it shouldn't surprise you that architects do as well. Human rights. Members should uphold human rights in all their professional endeavors. A number of architects have taken a stance that there are some buildings that just should not have been built. He's talking about prison. Specifically, prisons that keep inmates alone in cells with little to do and with minimal human contact. inmates have names for these places, the box, or the bing. Reason being, and this is something weird we found while researching the story. The UN doesn't have one, the Department of Justice doesn't have one, do call the shoe solitary confinement. They are only allowed out of their cells for very short periods of time for constitutionally required exercise periods. She went inside one of the cells and had an inmate, Robert Luca, describe the room. The official measurements are actually 7.5 by 12 feet. It's not a space that's designed to keep you comfortable, but it's not these architectural features that concern humanitarian activists and psychiatrists. It's the amount of time many prisoners spend in that cell alone, without any meaningful activity. He served as an expert witness on more than 20 class action lawsuits concerning prison conditions. He says there's a whole litany of effects that solitary can have on a person. massive free-floating anxiety, paranoid ideas, insomnia, depression, and suicidal thoughts are very prominent. Their eyes are destroyed because if you do not look at a distance for a long length of time, your eye deteriorates. For prisoners with a history of or predisposition to mental illness, solitary can bring on a breakdown. Now again, there is no universally accepted definition of solitary confinement. Mates can get natural light from skylights outside of their cells, which drifts into the doors made of perforated metal. These porous doors allow for inmates to communicate with each other, even though there are no lines of sight to any prisoner from within the cell. But on the other hand, cells don't have windows. Inmates never get to see the horizon. The only time prisoners get to leave the cell is to visit the shower or the exercise yard. Not much bigger than a cell, with 20 foot high concrete walls. Cooopers says sharing a cell is often worse than being alone. So if that's not solitary confinement per se, now various other commentators have said that means it's torture. 15 days says the UN. What is their responsibility to the people who are incarcerated in their buildings? In Argentina, the military regime tortured people in a former auto body shop. That was one of their big torture centers. I'm not going to, nobody's going to say that the architects who designed the auto body shop or somehow responsible, then that is a design intent. When used as intended, a few years back, Rafael have been following the news from Guantanamo Bay and reading up on mass incarceration in the US, not necessarily as an architect per say, just as a civic-minded social justice-oriented kind of guy. And I was like, they're using the same tools that I use to make residential additions for people, to make schools. Only this project is going to kill people. That was totally shocking. Seeing the remodel of the death chamber was the catalyzed event, but you could argue that there's a difference between designing a death room and designing a shoe. But Sparry views both as immoral and in violation of the human rights that architects swear to uphold. Rafael Sparry wants architects and the profession of architecture as a whole, at least in the US, hours from any major city, suspected gang members, and people who are seen to pose the greatest threat to officers and other inmates. Even buildings in Guantanamo Bay. The way that Pelican Bay or any prison is managed is really the determining factor in what life is like for prisoners. Say it's time to stop building the prisons that are designed for what he sees as solitary confinement or any other kind of torture or execution. It would seem like the least that architects could do would say to demonstrate our commitment to public health safety and well-being is to say, when you enter one of our buildings, not intended to kill you or torture you. Ethical Standard 1.4. Members should uphold human rights in all their professional endeavors. That's it. It's important to keep in mind that these attitudes change over time. From around the 1890s to the 1950s, the US had a really different take on prison. The emphasis was on curing or rehabilitating people from a life of crime. Granted, there were some really terrible things that happened in prisons during that time, But the emphasis, at least, was on getting prisoners to become productive members of society again. A big shift happened with the war on drugs, which sent a lot more people to jail. Locking people up in their cells for most of the time started looking like a good option. Hence the shoe. But when you create a building with a very extreme design intent with little variability, you're locking prisoners into that current mindset for the lifespan of the prison. It turns out housing a shoe prisoner is nearly twice as expensive as housing a general population inmate. Wide spread budgetary pressure and possibly the influence of anti-solitary confinement activists is also causing state governments to reduce the number of supermax prisoners in Mississippi, Maine, and Colorado. Rafael Sparrow may find he has a strange and powerful ally in his fight to stop architects building supermax prisons. group has a monopoly to provide services in that sector.",
        "transcription_medium": " Lawyers have an ethics code, journalists have an ethics code, so it shouldn't surprise you that architects do as well. Human rights. Members should uphold human rights in all their professional endeavors. A number of architects have taken a stance that there are some buildings that just should not have been built. He's talking about prisons. Specifically, prisons that keep inmates alone in cells with little to do and with minimal human contact. Inmates have names for these places, the Box or the Bing. Reason being, and this is something weird we found while researching the story, the UN doesn't have one, the Department of Justice doesn't have one, do call the SHU solitary confinement. They are only allowed out of their cells for very short periods of time for constitutionally required exercise periods. She went inside one of the cells and had an inmate, Robert Luca, describe the room. The official measurements are actually seven and a half by twelve feet. It's It's not a space that's designed to keep you comfortable. But it's not these architectural features that concern humanitarian activists and psychiatrists. It's the amount of time many prisoners spend in that cell alone, without any meaningful activity. He served as an expert witness on more than 20 class action lawsuits concerning prison conditions. He says there's a whole litany of effects that solitary can have on a person. massive free-floating anxiety, paranoid ideas, insomnia, depression, and suicidal thoughts are very prominent. Their eyes are destroyed because if you do not look at a distance for a long length of time, your eye deteriorates. For prisoners with a history of or predisposition to mental illness, solitary can bring on a breakdown. Now again, there is no universally accepted definition of solitary confinement. inmates can get natural light from skylights outside of their cells which drifts in through the doors made of perforated metal. These porous doors allow for inmates to communicate with each other even though there are no lines of sight to any prisoner from within the cell. But on the other hand cells don't have windows. Inmates never get to see the horizon. The only time prisoners get to leave the cell is to visit the shower or the exercise yard. Not much bigger than a cell with 20 foot high concrete walls. Terry Cooper's says sharing a cell is often worse than being alone. So if that's not solitary confinement per se, now various other commentators have said that means it's torture. 15 days, says the UN. What is their responsibility to the people who are incarcerated in their buildings? In Argentina, the military regime tortured people in a former auto body shop. That was one of their big torture centers. I'm not gonna, nobody's gonna say that the architects who designed the auto body shop are somehow responsible. then that is a design intent when used as intended. A few years back, Rafael had been following the news from Guantanamo Bay and weeding up on mass incarceration in the US, not necessarily as an architect per se, just as a civic minded, social justice oriented kind of guy. And I was like, they're using the same tools that I use to make residential additions for people, to make schools, only this project is gonna kill people. That was totally shocking. Seeing the remodel of the death chamber was the catalyzing event, but you could argue that there's a difference between designing a death room and designing a shoe. But Sperry views both as immoral and in violation of the human rights that architects swear to uphold. Raphael Sperry wants architects and the profession of architecture as a whole, at least in the US, hours from any major city, suspected gang members, and people who are seen to pose the greatest threat to officers and other inmates, even buildings in Guantanamo Bay. The way that Pelican Bay or any prison is managed is really the determining factor in what life is like for prisoners. Say it's time to stop building the prisons that are designed for what he sees as solitary confinement or any other kind of torture or execution. It would seem like the least that architects could do would say to demonstrate our commitment to public health, safety and well-being is to say when you enter one of our buildings, it's not intended to kill you or to torture you. Until standard 1.4, members should uphold human rights in all their professional endeavors. That's it. It's important to keep in mind that these attitudes change over time. From around the 1890s to the 1950s, the US had a really different take on prison. The emphasis was on curing or rehabilitating people from a life of crime. Granted, there were some really terrible things that happened in prisons during that time, But the emphasis, at least, was on getting prisoners to become productive members of society again. A big shift happened with the war on drugs, which sent a lot more people to jail. Locking people up in their cells for most of the time started looking like a good option. Hence the shoe. But when you create a building with a very extreme design intent, with little variability, you're locking prisoners into that current mindset for the lifespan of the prison. It turns out housing a shoe prisoner is nearly twice as expensive as housing a general population inmate. Widespread budgetary pressure and possibly the influence of anti-solitary confinement activists is also causing state governments to reduce the number of supermax prisoners in Mississippi, Maine, and Colorado. Rafael Sperry may find he has a strange and powerful ally in his fight to stop architects building supermax prisons. group has a monopoly to provide services in that sector.",
        "transcription_large_v3": " Lawyers have an ethics code. Journalists have an ethics code. So it shouldn't surprise you that architects do as well. Human rights. Members should uphold human rights in all their professional endeavors. A number of architects have taken a stance that there are some buildings that just should not have been built. He's talking about prisons. Specifically, prisons that keep inmates alone in cells with little to do and with minimal human contact. Inmates have names for these places, the box or the bing. Reason being, and this is something weird we found while researching the story, the UN doesn't have one, the Department of Justice doesn't have one, do call the shoe solitary confinement. They are only allowed out of their cells for very short periods of time for constitutionally required exercise periods. She went inside one of the cells and had an inmate, Robert Luca, describe the room. The official measurements are actually 7.5 by 12 feet. It's not a space that's designed to keep you comfortable. But it's not these architectural features that concern humanitarian activists and psychiatrists. It's the amount of time many prisoners spend in that cell alone, without any meaningful activity. He served as an expert witness on more than 20 class action lawsuits concerning prison conditions. He says there's a whole litany of effects that solitary can have on a person. Massive free-floating anxiety, paranoid ideas, insomnia, depression, and suicidal thoughts are very prominent. Their eyes are destroyed because if you do not look at a distance for a long length of time, your eye deteriorates. For prisoners with a history of or predisposition to mental illness, solitary can bring on a breakdown. Now again, there is no universally accepted definition of solitary confinement. Inmates can get natural light from skylights outside of their cells, which drifts in through the doors made of perforated metal. These porous doors allow for inmates to communicate with each other, even though there are no lines of sight to any prisoner from within the cell. But on the other hand, cells don't have windows. Inmates never get to see the horizon. The only time prisoners get to leave the cell is to visit the shower or the exercise yard. Not much bigger than a cell with 20-foot-high concrete walls. Terry Coopers says sharing a cell is often worse than being alone. So if that's not solitary confinement per se. Now, various other commentators have said that means it's torture. 15 days, says the UN. What is their responsibility to the people who are incarcerated in their buildings? In Argentina, the military regime tortured people in a former auto body shop. That was one of their big torture centers. I'm not going to, nobody's going to say that the architects who designed the auto body shop are somehow responsible. then that is a design intent when used as intended. A few years back, Rafael had been following the news from Guantanamo Bay and weeding up on mass incarceration in the U.S. Not necessarily as an architect per se, just as a civic-minded, social justice-oriented kind of guy. And I was like, they're using the same tools that I use to make residential additions for people, to make schools. Only this project is going to kill people. That was totally shocking. Seeing the remodel of the death chamber was the catalyzing event, but you could argue that there's a difference between designing a death room and designing a shoe. But Sperry views both as immoral and in violation of the human rights that architects swear to uphold. Raphael Sperry wants architects and the profession of architecture as a whole, at least in the U.S., hours from any major city, suspected gang members, and people who are seen to pose the greatest threat to officers and other inmates. even buildings in Guantanamo Bay. The way that Pelican Bay or any prison is managed is really the determining factor in what life is like for prisoners. Say it's time to stop building the prisons that are designed for what he sees as solitary confinement or any other kind of torture or execution. It would seem like the least that architects could do would say to demonstrate our commitment to public health, safety and well-being is to say when you enter one of our buildings it's not intended to kill you or to torture you. Ethical standard 1.4. Members should uphold human rights in all their professional endeavors. That's it. It's important to keep in mind that these attitudes change over time. From around the 1890s to the 1950s, the U.S. had a really different take on prison. The emphasis was on curing or rehabilitating people from a life of crime. Granted, there were some really terrible things that happened in prisons during that time, But the emphasis, at least, was on getting prisoners to become productive members of society again. A big shift happened with the war on drugs, which sent a lot more people to jail. Locking people up in their cells for most of the time started looking like a good option. Hence the shoe. But when you create a building with a very extreme design intent with little variability, you're locking prisoners into that current mindset for the lifespan of the prison. It turns out housing a SHU prisoner is nearly twice as expensive as housing a general population inmate. Widespread budgetary pressure and possibly the influence of anti-solitary confinement activists is also causing state governments to reduce the number of Supermax prisoners in Mississippi, Maine, and Colorado. Raphael Sperry may find he has a strange and powerful ally in his fight to stop architects building Supermax prisons. Your group has a monopoly to provide services in that sector. You can hear their show at lifeofthelaw.org."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000064.mp3": {
        "gt": "HERE'S A LITTLE END NOTE SUPPORT FOR NINETY NINE PERCENT INVISIBLE IS PROVIDED IN PART BY TINY LETTER EMAIL FOR PEOPLE WITH SOMETHING TO SAY MY BOY CARVER ALWAYS HAS SOMETHING TO SAY  \n",
        "transcription_base": " Here's a little end note.",
        "transcription_medium": " Here's a little end note.",
        "transcription_large_v3": " Here's a little end note. Support for 99% Invisible is provided in part by Tiny Letter, email for people with something to say. My boy Carver always has something to say."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000080.mp3": {
        "gt": "A PLACE WHERE PEOPLE OF LIKE-MIND COULD ABANDON THE MAINSTREAM AND LIVE THEIR OWN WAY AND ALMOST AS QUICKLY AS THIS PLACE WENT FROM MUDHOLE TO CITY  THE STORY REALLY BEGINS WITH ONE MAN  SARITA FOUND IT IN INDIA WHEN SHE MET BHAGWAN SHREE RAJNEESH SO OF COURSE YOU'VE HEARD OF JESUS   YOU'VE HEARD OF BUDDHA  HE SYNTHESIZED EASTERN AND WESTERN SPIRITUAL THOUGHT AND PSYCHOTHERAPY AND CREATED HIS OWN BRAND OF SPIRITUALITY HE SAID  YOU CANNOT MAKE A DOGMA OUT OF MY WORDS   AS FAR AS I COULD TELL HIS RELIGION WAS A NON-RELIGION HERE'S ARCHIVAL TAPE OF BHAGWAN SHREE RAJNEESH FROM THE OREGON HISTORICAL SOCIETY  AND INSTEAD CURATED AS SPIRITUALITY OF SEX   LAUGHTER AND LUXURY  WHICH   AS YOU CAN IMAGINE   SOUNDED PRETTY APPEALING TO A LOT OF PEOPLE RAJNEESH HAD A MEDITATION CENTER IN INDIA WHERE IN THE SEVENTY S LOTS OF WESTERNERS PAID GOOD MONEY FOR SPIRITUAL INSTRUCTION RAJNEESH'S DISCIPLES DRESSED IN RED CLOTHING AND WORE LOCKETS WITH HIS PHOTO INSIDE  THEY CALLED THEMSELVES SANNYASINS   A HINDU TERM FOR A KIND OF SPIRITUAL SEEKER  THEY EVEN TOOK NEW NAMES GIVEN TO THEM BY THE GURU  THE WOMEN WERE GIVEN THE TITLE MA  ONE COULD EXPERIENCE THE WHOLE UNIVERSE  PULSING THERE  RAJNEESH WAS KNOWN FOR A TECHNIQUE CALLED DYNAMIC MEDITATION   IT WAS INTENDED TO QUIET THE MIND PRACTITIONERS CLOSE THEIR EYES AND CONCENTRATE ON THEIR BREATHING  SILENCEWHICH WOULD MEAN HE OWED SEVERAL MILLION DOLLARS IN BACK TAXES SO THE GURU AND HIS FOLLOWERS STARTED LOOKING FOR A NEW HOME BASE AND THEY FOUND IT IN THE UNITED STATES  A SIXTY FOUR THOUSAND ACRE RANCH WAY OUT IN THE RANGE COUNTRY OF NORTH CENTRAL OREGON  SOON AFTER THEY ARRIVED   MILT RITTER WENT OUT TO INVESTIGATE WHEN WE FIRST TOOK THAT TRIP  IT WAS ALMOST LIKE  HE WAS THE WASCO COUNTY PLANNER AT THE TIME AND THE SANNYASINS' NEW RANCH WAS LOCATED IN HIS JURISDICTION WHEN THEY FIRST WALKED INTO THE OFFICE  THEY WERE ALL DRESSED IN RED   THEY HAD STRANGE NAMES   AT ONE POINT IN THE CONVERSATION   DUROW ASKED IF THEY WERE A RELIGIOUS ORGANIZATION AND THE ANSWER WAS   OH   NO   ABSOLUTELY NOT  WELL  ACCORDING TO STATE LAW   IF THEY BECAME THEIR OWN CITY   THEY COULD HAVE THEIR OWN PLANNING OFFICE AND ISSUE THEIR OWN PERMITS  EFFECTIVELY SKIRTING COUNTY OVERSIGHT AND THE LAND USE LAWS AND IN OREGON AT THE TIME   TO INCORPORATE A CITY   ALL YOU NEEDED WAS ONE HUNDRED AND FIFTY PEOPLE  ONCE THEY MET THE BASIC REQUIREMENTS FOR INCORPORATION  THEY CALLED IT RAJNEESHPURAMTHAT BUILDINGS STARTED SPRINGING UP AND GARDENS STARTED BEING PLANTED   HOUSES  EVERY SUMMER THOUSANDS OF DISCIPLES CAME FOR RAJNEESH'S ANNUAL FESTIVAL   IN THE OFF SEASON   PEOPLE CAME TO TAKE MEDITATION COURSES AND EXPERIENCE LIFE IN THE CITY THEY BUILT A STRIP MALL AND A HOTEL   BUILDINGS FOR RELIGIOUS CEREMONIES   A CREMATORIUM  A DISCOTHEQUE   A POST OFFICE  MANY OF THE BUILDINGS WERE DESIGNED IN A RUSTIC ALPINE-STYLE WITH WOOD IN-SIDING  A JUDGE RULED THAT THE SANNYASINS COULD KEEP BUILDING THEIR CITY DESPITE THE PENDING LAWSUIT  ALMOST EVERYTHING THEY BUILT WOULD HAVE TO COME DOWN THE SANNYASINS WERE UNDAUNTED   THEY WORKED SIXTEEN HOUR DAYS   SIX DAYS A WEEK   BUILDING UP THEIR CITY  HERE'S MA ANANDA SARITA AGAIN AND SO WE WOULD WORK ALL DAY AND USUALLY THAT WOULD GO ON TILL MIDNIGHTOF COURSE   ALL THAT CONSTRUCTION COSTS A LOT OF MONEY LUCKILY   RAJNEESH HAD A GLOBAL NETWORK OF LUCRATIVE COMMUNES THAT SENT THEIR REVENUE TO RAJNEESHPURAM  PLUS   THE GURU'S FOLLOWERS SURRENDERED EVERYTHING FROM THEIR FORMER LIVES  THEY SOLD THEIR JEWELRY   THEIR CARS   THEIR HOMES  THE RANCH WAS CHANGING FAST  AND IT WORKED  THE DUSTY GOLDEN VALLEY WAS GREEN WE HAD AN AMAZING ORGANIC FARMTHEY BUILT A FORTY FIVE ACRE RESERVOIR HELD BY A FOUR HUNDRED FOOT EARTHEN DAM   NOT TO MENTION A MASS TRANSIT SYSTEM COMPOSED OF EIGHTY FIVE SCHOOL BUSES THAT ZIGZAGGED AROUND RAJNEESHPURAM  BUT WHILE THE CITIZENS GOT AROUND IN SCHOOL BUSES  THE GURU PREFERRED A ROLLS ROYCE IN FACT   HE OWNED NINETY THREE ROLLS ROYCES AND EVERY DAY IN A KIND OF RITUAL   HE'D DRIVE AROUND THE CITY IN ONE OF THEM AT NOON AND THEN AGAIN LIKE AT FIVE O'CLOCK HE WOULD DRIVE THE ROADS AND PEOPLE   THE SANNYASINS   WOULD LINE UP ALONG THE ROADS  SO THESE SO CALLED DRIVE-BYS WERE ONE OF THE WAYS THAT RAJNEESH COMMUNICATED WITH HIS FOLLOWERS  SHEELA WAS RAJNEESH'S SECRETARY AND CHIEF SPOKESPERSON  MY PURPOSE IS TO LIVE WITH THE LIVING MASTER   BHAGWAN SHREE RAJNEESH  HARMONIOUSLY WITH HIS PEOPLE AROUND HERE AND LIVE A VERY BEAUTIFUL   RICH LIFE WHICH WE HAVE HERE  WHENEVER MILT RITTER CAME TO REPORT ON THE RANCH   SHEELA WOULD TRY TO CONVINCE HIM TO JOIN THE SANNYASINS AND SHE SAYS   YOU KNOW   COME ON   IT'S  SHEELA DIDN'T CONVINCE MILT RITTER TO MOVE   BUT SHE HAD A VERY PERSUASIVE WAY ABOUT HER AND SHE WAS BECOMING MORE AND MORE POWERFUL THERE WAS A KIND OF WHAT WE COULD CALL A POWER ELITE   SO SHEELA WAS CONSIDERED TO BE THE BOSS   AND ESPECIALLY WHEN BHAGWAN WAS IN SILENCE  ANTELOPE WAS A SMALL COMMUNITY OF ABOUT FORTY PEOPLE  MOSTLY RETIREES IT WAS KIND OF A DEPRESSED LITTLE COMMUNITY AND HAD A GROCERY STORE ANDMAYBE A GAS STATION   I THINK   AND NOT A WHOLE LOT MORE THE SANNYASINS SAW AN OPPORTUNITY IN ANTELOPE  THEY KNEW THE FUTURE OF THEIR COMMUNE WAS SUBJECT TO THE COUNTY'S LAWS  IF THEY HAD CONTROL OF A TOWN   AN ESTABLISHED TOWN WHOSE INCORPORATION WASN'T HANGING IN THE BALANCE  THEY HARASSED LOCALS CONSTANTLY   PARTIED IN THEIR DRIVEWAYS   MADE FUN OF THEM ON THE STREET  AND   JUST TO INTIMIDATE PEOPLE  THEY TOOK PHOTOS OF LICENSE PLATES AND VIDEOTAPED CITY COUNCIL MEETINGS THEY WERE OBVIOUSLY GIVEN A MISSIONYOU STARTED SEEING BUMPER STICKERS THAT SAID BETTER DEAD THAN RED  A REFERENCE TO THE SANNYASINS' RED CLOTHING AND SOME OF THIS ANTI-RAJNEESH SENTIMENT TURNED VIOLENT  SHEELA FELT THEY WERE UNDER ATTACK STOP PERSECUTING US ONCE AND FOR ALL  RAJNEESHPURAM'S POLICE FORCE   THEY CALLED IT THE PEACE FORCE   STARTED BUYING MORE AND MORE WEAPONS  STATE AND COUNTY POLITICIANS GOT TOGETHER AND PUT THE BUREAUCRATIC SMACK DOWN ON RAJNEESHPURAM FIRST   THE OREGON LAND CONSERVATION AND DEVELOPMENT COMMISSION AMENDED THEIR RULES  NOW COUNTIES WOULD HAVE TO CHECK WITH THE STATE BEFORE ALLOWING A NEW CITY TO INCORPORATE THE NEW RULE WAS RETROACTIVE TO RIGHT AROUND THE TIME RAJNEESHPURAM WAS INCORPORATED AND THEN A COUNTY JUDGE STALLED ALL CONSTRUCTION IN RAJNEESHPURAM  NO MORE BUILDING UNTIL THEIR STATUS AS A CITY WAS SORTED OUT RAJNEESHPURAM SEEMED TO BE LOSING THE BATTLE TO EXIST AS A CITY  HERE'S COUNTY PLANNER   DAN DUROW AGAIN AND IT WASN'T LONG AFTER THAT TOO   I THINK   THAT THEY THEN BEGAN TO MOVE IN THE STREET PEOPLE FROM AROUND THE COUNTRY  SHE CLAIMED SHE WANTED TO SHARE THE BOUNTY WITH THEM AND NAMED THE INITIATIVE   THE SHARE A HOME PROGRAM NOBODY ELSE IS TAKING CARE OF THEM   SOMEBODY HAS TO DO IT  BUT BEHIND THE SCENES   THE NEW RESIDENTS WEREN'T TREATED WELL  RAJNEESHPURAM LEADERSHIP TRIED TO KEEP THEM IN LINE BY DRUGGING THEM WITH HALDOL   A POWERFUL ANTI-PSYCHOTIC  AND THEY WOULD JUST SPRAY THIS OVER THE SALAD BARAND THEN SLIP IT BACK IN THEIR POCKET AND NOBODY KNEW THERE WERE NO FATALITIES   BUT SEVEN HUNDRED AND FIFTY PEOPLE WERE POISONED  THE SANNYASIN POWER ELITE WOULDN'T BE CONNECTED TO THE POISONINGS FOR ANOTHER YEAR TO THIS DAY   IT IS THE LARGEST ACT OF BIOTERRORISM ON US SOIL  SHEELA COULDN'T SPEAK ON HIS BEHALF ANYMORE AND THEN I THINK SHE STARTED GETTING MORE AND MORE NERVOUS   AS HE CAME OUT MORE  A PLOT TO MURDER THE GURUS PHYSICIAN AND OREGON'S ATTORNEY GENERAL  AND THE FIREBOMBING OF WASCO COUNTY'S PLANNING DEPARTMENT  DAN DUROW'S OFFICE THERE WERE ALSO RUMORS OF CRIMES SHEELA AND HER INNER CIRCLE PERPETRATED AGAINST SANNYASINS SEDATING PEOPLE FOR DAYS AGAINST THEIR WILL  AND TO THEM THIS WAS SHOCKING LIKE COMPLETE SHOCK ANDDISBELIEF  AND THEN AT THE SAME TIME ONCE IT STARTED COMING TO LIGHT   THERE WAS RELIEF THAT SHE WAS GONE THE GURU STARTED TALKING TO REPORTERS  THAT'S AN ARCHIVAL RECORDING OF BHAGWAN SHREE RAJNEESH SOON SHEELA WAS EXTRADITED FROM WEST GERMANY ON A SLEW OF CHARGES  SHE PLED GUILTY   BUT SAID RAJNEESH WAS THE MASTERMIND  THAT SHE WAS ONLY ACTING ON BEHALF OF HER SPIRITUAL MASTER HER SENTENCE  THREE CONCURRENT TWENTY YEAR TERMS TO BE SERVED IN PLEASANTON   CALIFORNIA THE GURU WAS ALSO CHARGED   BUT FOR LESSER CRIMES   HE GOT FIVE YEARS PROBATION   FOUR HUNDRED THOUSAND DOLLARS IN FINES  THESE PEOPLE WERE GRIEVINGEVERYTHING WAS BEING AUCTIONED OFF  EVERYTHING FROM ROLLS ROYCES TO POLICE UNIFORMS  IT WAS A GHOST TOWNSARITA WAS ONE OF THE LAST SANNYASINS TO LEAVE  SHE ADMITS THINGS WENT TERRIBLY AWRY  SO THIS WAS AN AMAZING ACHIEVEMENT AND I THINK IT CAN SERVE AS A MODEL  SHE WAS RELEASED EARLY FOR GOOD BEHAVIOR  NOW SHE LIVES IN SWITZERLAND WHERE SHE OWNS NURSING HOMES FOR THE ELDERLY AND DISABLEDWE DROVE DOWN THE LONG GRAVEL ROAD AND DESCENDED DOWN INTO THE VALLEY THAT IS NOW HOME TO ONE OF THE LARGEST YOUTH CHRISTIAN CAMPS IN THE COUNTRY  OWNED AND OPERATED BY AN ORGANIZATION CALLED YOUNG LIFE  THE MEDITATION HALL WHERE SANNYASINS USED TO GATHER IS NOW A MASSIVE SPORTS COMPLEX WITH A BATTING CAGE   FOUR BASKETBALL COURTS   PING PONG TABLES   YOU NAME IT  THE OLD HOTEL IS NOW A DORMITORY  OCCASIONALLY THEY USE THE AIRSTRIP THE SANNYASINS LEFT BEHIND TO FLY IN INTERNATIONAL CAMPERSRAJNEESHPURAM ISN'T A CITY ANYMORE  IT'S NOW CALLED THE WASHINGTON FAMILY RANCH AND IS UNDER A COUNTY JURISDICTION  IT'S STILL A PLACE FOR RELIGIOUS SEEKERS   BUT NOT THE KIND THAT WANTS TO BUILD A UTOPIA  JUST THOUSANDS OF CHRISTIAN TEENS LOOKING TO HAVE THE BEST WEEK OF THEIR LIVES  NINETY NINE PERCENT INVISIBLE WAS PRODUCED THIS WEEK BY CHLOE PRASINOS AND STEVEN JACKSON   WITH KATIE MINGLE   AVERY TRUFELMAN   SAM GREENSPAN   KURT KOHLSTEDT   AND ME   ROMAN MARS  I LIKE THE ALBUM SO MUCH I DECIDED TO PUT THE FULL VOCAL VERSION OF THE FIRST SONG ON THE ALBUM AT THE END OF THIS EPISODE   SO STAY TUNED AND YOU'RE GOING TO HAVE YOUR NEW FAVORITE SONG  \n",
        "transcription_base": " A place where people of like-mind could abandon the mainstream and live their own way. And almost as quickly as this place went from mudhole to city. The story really begins with one man, Sarita found it in India when she met Bhagwan Sri Rajnish. So of course you're proud of Jesus, you're proud of Buddha. He synthesized Eastern and Western spiritual thought and psychotherapy and created his own brand of spirituality. He said, you cannot make a dogma out of my words. As far as I could tell, his religion was a non-religion. Here's archival tape of Bhagwan Sri Rajnich from the Oregon Historical Society, and instead curated a spirituality of sex, laughter, and luxury, which as you can imagine sounded pretty appealing to a lot of people. Rajneesh had a meditation center in India, where in the 70s, lots of Westerners paid good money for spiritual instruction. Rajneesh's disciples dressed in red clothing and wore lockets with his photo inside. They called themselves Sanyasins, a new term for a kind of spiritual seeker. They even took new names given to them by the Guru. The women were given the title Ma. One could experience the whole universe pulsing there. The Gourouin is a new home base, founded in the United States. A 64,000 acre ranch away out in the ranged country of North Central Oregon. Soon after they arrived, Milton Ritter went out to investigate. When we first took that trip, it was almost like, he was the Wasco County Planner at the time, and the Sinyasins new ranch was located in his jurisdiction. When they first walked into the office, they were all dressed in red. They had strange names. At one point in the conversation, Duro asked if they were a religious organization. And the answer was, oh no, absolutely not. Well, according to state law, if they became their own city, they could have their own planning office and issue their own permits, effectively scurrying county oversight and the land use laws. And in Oregon at the time, to incorporate a city all you needed was 150 people. Once they met the basic requirements for incorporation, they called it Rajneeshboro. That building started springing up and garden started being planted, houses every summer thousands of disciples came for Rajnisha's annual festival. In the offseason, people came to take meditation courses and experience life in the city. They built a strip mall and a hotel, buildings for religious ceremonies, a crematorium, a discotech, a post office. Many of the buildings were designed in a rustic, alpine style with wooden siding. A judge ruled that the Sinyasins could keep building their city despite the pending lawsuit. Almost everything they built would have to come down. The Saniasans were undaughted. They worked 16 hour days, six days a week, building up their city. Here's Ma Ananda Sarita again. And so we would work all day and usually that would go on till midnight. Of course, all that construction cost a lot of money. Luckily Rajneesh had a global network of lucrative communes that sent their revenue to Rajneesh Purim. Plus, the Gurus followers surrendered everything from their former lives. They sold their jewelry, their cars, their homes. The ranch was changing fast, and it worked. The dusty golden valley was green. We had an amazing organic farm. They built a 45 acre reservoir held by a 400 foot earthen dam. Not to mention a mass transit system composed of 85 school buses that zigzagged around Rajneespuram. But while the citizens got around in school buses, the Guru preferred a Rolls Royce. In fact, he owned 93 rolls' voices, and every day, in a kind of ritual, he'd drive around the city in one of them. At noon, and then again, like at 5 o'clock, he would drive the roads and people, the Sinyasins would line up along the roads. So these so-called drive-bys were one of the ways that Rajneesh communicated with his followers. Sheila was Rajneesh's secretary and chief spokesperson. My purpose is to live with a living master, but once you write niche harmoniously with his people around here and live a very beautiful rich life which we have here. Whenever Milterritor came to report on the ranch, Sheila would try to convince him to join this in Yossens. And she says, you know, come on, Sheila didn't convince Milterritor to move, but she had a very persuasive way about her. And she was becoming more and more powerful. There was a kind of, we could call a power elite, so Sheila was considered to be the boss and especially when a one was in silence. Anelope was a small community of about 40 people, mostly retirees. It was kind of a depressed little community and had a grocery store and maybe a gas station I think, and not a whole lot more. Soniaz and Saul in opportunity in Aelot. They knew the future of their commune was subject to the county's laws. If they had control of a town, an established town whose incorporation wasn't hanging in the balance. They harassed locals constantly, partied in their driveways, made fun of them on the street, and just to intimidate people, they took photos of license plates and videotaped city council meetings. They were obviously given a mission. You started seeing bumper stickers that said, better dead than red. A reference to the Sinyasins red clothing. In some of this anti-Rajni's sentiment turned violent. Sheila felt they were under attack. Stop persecuting us, once and for all. Rajni's prongs police force, they called it the peace force, started buying more and more weapons. State and county politicians got together and put the bureaucratics smack down on Rajni's prong. First, the Oregon Land Conservation and Development Commission amended their rules. Now counties would have to check with the state before allowing a new city to incorporate. The new rule was retroactive. To write around the time Rajneesh Purim was incorporated. And then, a county judge stalled all construction in Rajneesh Purim. No more building until their status as a city was sorted out. Rajneesh Purim seemed to be losing the battle to exist as a city. County Planner Dan Derogan. And it wasn't long after that too, I think that they then began to move in the street people from around the country. She claimed she wanted to share the bounty with them, and named the initiative the Chera Home Program. Nobody else is taking care of them. Somebody has to do it. But behind the scenes, the new residents weren't treated well. Rajneesh Param leadership tried to keep them in line by drugging them with Haldole, a powerful anti-psychonic and they would just spray this over the salad bar and then slip it back in their pocket and nobody knew. There were no fatalities but 750 people were poisoned. The Sinyasin power elite wouldn't be connected to the Poisonings for another year. To this day it is the largest act of bioterism on U.S. soil. Sheila couldn't speak on his behalf anymore and then I think she started getting more and more nervous as he came out more. A plot to murder the Guru's physician and Oregon's attorney general, and the fire bombing of Wasko County's planning department, Dan Dero's office. There are also rumors of crimes Sheila and her inner circle perpetrated against Sinyasans, sedating people for days against their will. And to them, this was shocking. Like complete shock and disbelief, And then at the same time, once it started coming to light, there was relief that she was gone. The guru started talking to reporters. That's an archival recording of Bhagwan Sri Rajnish. Soon, Shila was extradited from West Germany on a slew of charges. She pled guilty, but said Rajnish was the mastermind, that she was only acting on behalf of her spiritual master. Her sentence? Three concurrent 20-year terms, to be served in Pleasanton, California. The guru was also charged, but for lesser crimes. He got five years probation, $400,000 in fines. These people were grieving. Everything was being auctioned off. Everything from roles, voices to police uniforms. It was a ghost town. Sarita was one of the last in Yossin's to leave. She admits things went terribly awry. So this was an amazing achievement. and I think it can serve as a model. She was released early for good behavior. Now she lives in Switzerland, where she owns nursing homes for the elderly and disabled. We drove down the long gravel road and descended down into the valley that is now home to one of the largest youth Christian camps in the country, owned and operated by an organization called Young Life. The meditation hall where Sinyasins used to gather is now a massive sports complex with a batting cage for basketball courts ping pong tables you name it. The old hotel is now a dormitory. Occasionally they use the airstrip this in Yossin's left behind to fly in international campers. Rajni Spurum isn't a sit anymore. It's now called the Washington Family Ranch and is under a county jurisdiction. It's still a place for religious seekers but not the kind that want to build a utopia. Just thousands of Christian teens looking to have quote the best week of their lives. 99% Invisible Was Produced as Week by Chloe Prasinos and Steven Jackson, with Katie Mingle, Avery Trouffleman, Same Green Span, Kurt Colstead, and me, Roman Mars. I like the album so much I decided to put the full vocal version of the first song on the album at the end of this episode, so stay tuned and you're gonna have your new favorite song.",
        "transcription_medium": " a place where people of like mind could abandon the mainstream and live their own way. And almost as quickly as this place went from mud hole to city. The story really begins with one man. Sarita found it in India when she met Bhagwan Sri Rajneesh. So of course you've heard of Jesus, you've heard of Buddha. He synthesized eastern and western spiritual thought and psychotherapy, and created his own brand of spirituality. He said, you cannot make a dogma out of my words. As far as I could tell, his religion was a non-religion. Here's archival tape of Bhagwan Sri Rajneesh from the Oregon Historical Society, and instead curated as spirituality of sex, laughter, and luxury, which as you can imagine, sounded pretty appealing to a lot of people. Rajneesh had a meditation center in India, where in the 70s, lots of Westerners paid good money for spiritual instruction. Rajneesh's disciples dressed in red clothing and wore lockets with his photo inside. They called themselves sannyasins, a Hindu term for a kind of spiritual seeker. They even took new names given to them by the guru. The women were given the title ma. One could experience the whole universe pulsing there. Rajneesh was known for a technique called dynamic meditation. It was intended to quiet the mind. Practitioners close their eyes and concentrate on their breathing. Silence. Which would mean he owed several million dollars in back taxes. So the guru and his followers started looking for a new home base. And they found it in the United States. A 64,000 acre ranch way out in the range country of north Central Oregon. Soon after they arrived, Milt Ritter went out to investigate. When we first took that trip, it was almost like... He was the Wasco County Planner at the time, and the Sinyassin's New Ranch was located in his jurisdiction. When they first walked into the office, they were all dressed in red. They had strange names. At one point in the conversation, Durow asked if they were a religious organization. And the answer was, oh no, absolutely not. Well... According to state law, if they became their own city, they could have their own planning office and issue their own permits, effectively skirting county oversight and the land use laws. And in Oregon at the time, to incorporate a city, all you needed was 150 people. Once they met the basic requirements for incorporation, they called it Rajneeshpuram. That building started springing up and gardens started being planted, houses. Every summer, thousands of disciples came for Rajneesha's annual festival. In the off season, people came to take meditation courses and experience life in the city. They built a strip mall and a hotel, buildings for religious ceremonies, a crematorium, a discotheque, a post office. Many of the buildings were designed in a rustic, alpine style with wooden siding. A judge ruled that the sannyasins could keep building their city, despite the pending lawsuit. Almost everything they built would have to come down. The Sannyasins were undaunted. They worked 16-hour days, six days a week, building up their city. Here's Ma Ananda Sarita again. And so we would work all day and usually that would go until midnight. Of course, all that construction cost a lot of money. Luckily, Rajneesh had a global network of lucrative communes that sent their revenue to Rajneeshpuram. Plus, the Guru's followers surrendered everything from their former lives. They sold their jewelry, their cars, their homes. The ranch was changing fast. And it worked. The dusty Golden Valley was green. We had an amazing organic farm. They built a 45-acre reservoir held by a 400-foot earthen dam. Not to mention a mass transit system composed of 85 school buses that zigzagged around Rajneeshpuram. But while the citizens got around in school buses, the guru preferred a Rolls Royce. In fact, he owned 93 Rolls Royces, and every day in a kind of ritual, he'd drive around the city in one of them. At noon, and then again like at five o'clock, he would drive the roads and people, the Sinyasans would line up along the roads. So these so-called drive-bys were one of the ways that Rajneesh communicated with his followers. Sheila was Rajneesh's secretary and chief spokesperson. My purpose is to live with a living master, Bhagwan Sri Rajneesh, harmoniously with his people around here, and live a very beautiful, rich life which we have here. Whenever Milt Ritter came to report on the ranch, Sheila would try to convince him to join the Sannyasins. And she says, you know, come on, it's... Sheila didn't convince Milt Ritter to move, but she had a very persuasive way about her. and she was becoming more and more powerful. There was a kind of, we could call a power elite. So Sheila was considered to be the boss, and especially when Aguan was in silence. Antelope was a small community of about 40 people, mostly retirees. It was kind of a depressed little community. It had a grocery store and maybe a gas station, I think, and not a whole lot more. The Sannyasins saw an opportunity in Antelope. They knew the future of their commune was subject to the county's laws. If they had control of a town, an established town whose incorporation wasn't hanging in the balance, they harassed locals constantly, partied in their driveways, made fun of them on the street. And just to intimidate people, they took photos of license plates and videotaped city council meetings. They were obviously given a mission. You started seeing bumper stickers that said, Better Dead Than Red, a reference to the Sinyasins' red clothing. And some of this anti-Rajneesh sentiment turned violent. Sheila felt they were under attack. Stop persecuting us once and for all. Rajneesh Paroom's police force, they called it the Peace Force, started buying more and more weapons. State and county politicians got together and put the bureaucratic smackdown on Rajneeshpuram. First, the Oregon Land Conservation and Development Commission amended their rules. Now counties would have to check with the state before allowing a new city to incorporate. The new rule was retroactive to right around the time Rajneeshpuram was incorporated. And then a county judge stalled all construction in Rajneeshpuram. No more building until their status as a city was sorted out. Rajneesh Parham seemed to be losing the battle to exist as a city. Here's County Planner Dan Dura again. And it wasn't long after that too, I think, that they then began to move in the street people from around the country. She claimed she wanted to share the bounty with them and named the initiative the Share a Home Program. Nobody else is taking care of them. Somebody has to do it. But behind the scenes, the new residents weren't treated well. Rajneesh Perham leadership tried to keep them in line by drugging them with Haldol, a powerful anti-psychotic. And they would just spray this over the salad bar and then slip it back in their pocket and nobody knew. There were no fatalities, but 750 people were poisoned. The Sinyasan Power elite wouldn't be connected to the poisonings for another year. To this day, it is the largest act of bioterrorism on US soil. Sheila couldn't speak on his behalf anymore. And then I think she started getting more and more nervous as he came out more. A plot to murder the guru's physician and Oregon's attorney general. And the firebombing of Wasco County's planning department, Dan Durow's office. There were also rumors of crimes Sheila and her inner circle perpetrated against Sinyasans, sedating people for days against their will. And to them, this was shocking. complete shock and disbelief. And then at the same time, once it started coming to light, there was relief that she was gone. The guru started talking to reporters. That's an archival recording of Bhagwan Sri Rajneesh. Soon, Sheila was extradited from West Germany on a slew of charges. She pled guilty, but said Rajneesh was the mastermind, that she was only acting on behalf of her spiritual master. Her sentence? Three concurrent 20-year terms to be served in Pleasanton, California. The guru was also charged, but for lesser crimes. He got five years probation, $400,000 in fines. These people were grieving. Everything was being auctioned off. Everything from Rolls-Royces to police uniforms. It was a ghost town. Serita was one of the last sinyasins to leave. She admits things went terribly awry. So this was an amazing achievement, and I think it can serve as a model. She was released early for good behavior. Now she lives in Switzerland, where she owns nursing homes for the elderly and disabled. We drove down the long gravel road and descended down into the valley that is now home to one of the largest youth Christian camps in the country, owned and operated by an organization called Young Life. The meditation hall where sannyasins used to gather is now a massive sports complex with a batting cage, four basketball courts, ping pong tables, you name it. The old hotel is now a dormitory. Occasionally they use the airstrip the sannyasins left behind to fly in international campers. Rajneeshpuram isn't a city anymore. It's now called the Washington Family Ranch and is under a county jurisdiction. It's still a place for religious seekers, but not the kind that want to build a utopia. Just thousands of Christian teens looking to have, quote, the best week of their lives. 99% Invisible was produced this week by Chloe Prasinos and Steven Jackson with Katie Mingle, Avery Truffleman, same Greenspan, Kurt Kohlstedt, and me, Roman Mars. I like the album so much I decided to put the full vocal version of the first song on the album at the end of this episode, so stay tuned and you're gonna have your new favorite song.",
        "transcription_large_v3": " A place where people of like mind could abandon the mainstream and live their own way. And almost as quickly as this place went from mud hole to city. The story really begins with one man. Sarita found it in India when she met Bhagwan Sri Rajneesh. So, of course, you've heard of Jesus, you've heard of Buddha. He synthesized Eastern and Western spiritual thought and psychotherapy and created his own brand of spirituality. He said, you cannot make a dogma out of my words. As far as I could tell, his religion was a non-religion. Here's archival tape of Bhagwan Sri Rajneesh from the Oregon Historical Society, and instead curated a spirituality of sex, laughter, and luxury, which as you can imagine, sounded pretty appealing to a lot of people. Rajneesh had a meditation center in India, where in the 70s, lots of Westerners paid good money for spiritual instruction. Rajneesh's disciples dressed in red clothing and wore lockets with his photo inside. They called themselves sannyasins, a Hindu term for a kind of spiritual seeker. They even took new names given to them by the guru. The women were given the title Ma. One could experience the whole universe pulsing there. Rajneesh was known for a technique called dynamic meditation. It was intended to quiet the mind. Practitioners close their eyes and concentrate on their breathing. Silence. Which would mean he owed several million dollars in back taxes. So the guru and his followers started looking for a new home base. And they found it in the United States. A 64,000 acre ranch way out in the range country of north central Oregon. Soon after they arrived, Milt Ritter went out to investigate. When we first took that trip, it was almost like... He was the Wasco County Planner at the time, and the Sinyasin's new ranch was located in his jurisdiction. When they first walked into the office, they were all dressed in red. They had strange names. At one point in the conversation, Duro asked if they were a religious organization. And the answer was, oh no, absolutely not. Well, according to state law, if they became their own city, they could have their own planning office and issue their own permits, effectively skirting county oversight and the land use laws. And in Oregon at the time, to incorporate a city, all you needed was 150 people. Once they met the basic requirements for incorporation. They called it Rajneeshpuram. That buildings started springing up and gardens started being planted, houses. Every summer, thousands of disciples came for Rajneesh's annual festival. In the off-season, people came to take meditation courses and experience life in the city. They built a strip mall and a hotel, buildings for religious ceremonies, a crematorium, a discotheque, a post office. Many of the buildings were designed in a rustic, alpine style with wooden siding. A judge ruled that the Sannyasins could keep building their city, despite the pending lawsuit. Almost everything they built would have to come down. The Sannyasins were undaunted. They worked 16-hour days, six days a week, building up their city. Here's Ma Ananda Sarita again. And so we would work all day, and usually that would go until midnight. Of course, all that construction cost a lot of money. Luckily, Rajneesh had a global network of lucrative communes that sent their revenue to Rajneeshpuram. Plus, the guru's followers surrendered everything from their former lives. They sold their jewelry, their cars, their homes. The ranch was changing fast. And it worked. The dusty Golden Valley was green. We had an amazing organic farm. They built a 45-acre reservoir held by a 400-foot earthen dam. Not to mention a mass transit system composed of 85 school buses that zigzagged around Rajneeshpuram. But while the citizens got around in school buses, the guru preferred a Rolls Royce. In fact, he owned 93 Rolls Royces. And every day, in a kind of ritual, he'd drive around the city in one of them. At noon and then again like at five o'clock, he would drive the roads. And people, the sannyasins, would line up along the roads. So these so-called drive-bys were one of the ways that Rajneesh communicated with his followers. Sheila was Rajneesh's secretary and chief spokesperson. My purpose is to live with the living master, Bhagwanchi Rajneesh, harmoniously with his people around here, and live a very beautiful, rich life which we have here. Whenever Milt Ritter came to report on the ranch, Sheila would try to convince him to join the sannyasins. And she says, you know, come on. Sheila didn't convince Milt Ritter to move, but she had a very persuasive way about her. And she was becoming more and more powerful. There was a kind of what we could call a power elite. So Sheila was considered to be the boss, and especially when Aguan was in silence. Antelope was a small community of about 40 people, mostly retirees. It was kind of a depressed little community. and had a grocery store and maybe a gas station, I think, and not a whole lot more. The Sanyasins saw an opportunity in Antelope. They knew the future of their commune was subject to the county's laws. If they had control of a town, an established town whose incorporation wasn't hanging in the balance... They harassed locals constantly, partied in their driveways, made fun of them on the street, And, just to intimidate people, they took photos of license plates and videotaped city council meetings. They were obviously given a mission. You started seeing bumper stickers that said, Better Dead Than Red, a reference to the Sinyasins' red clothing. And some of this anti-Rajneesh sentiment turned violent. Sheila felt they were under attack. Stop persecuting us, once and for all. Rajneeshpuram's police force, they called it the Peace Force, started buying more and more weapons. State and county politicians got together and put the bureaucratic smackdown on Rajneeshpuram. First, the Oregon Land Conservation and Development Commission amended their rules. Now counties would have to check with the state before allowing a new city to incorporate. The new rule was retroactive to right around the time Rajneeshpuram was incorporated. And then a county judge stalled all construction in Rajneeshpuram. No more building until their status as a city was sorted out. Rajneeshpuram seemed to be losing the battle to exist as a city. Here's county planner Dan Duro again. And it wasn't long after that, too, I think that they then began to move in the street people from around the country. She claimed she wanted to share the bounty with them and named the initiative the Share a Home program. Nobody else is taking care of them. Somebody has to do it. But behind the scenes, the new residents weren't treated well. Rajneesh Param leadership tried to keep them in line by drugging them with Haldol, a powerful antipsychotic. And they would just spray this over the salad bar and then slip it back in their pocket and nobody knew. There were no fatalities, but 750 people were poisoned. The Sinyasin power elite wouldn't be connected to the poisonings for another year. To this day, it is the largest act of bioterrorism on U.S. soil. Sheila couldn't speak on his behalf anymore. And then I think she started getting more and more nervous as he came out more. A plot to murder the guru's physician and Oregon's attorney general, and the firebombing of Wasco County's planning department, Dan Durow's office. There are also rumors of crimes Sheila and her inner circle perpetrated against sannyasins, sedating people for days against their will. And to them, this was shocking. Like complete shock and disbelief. And then at the same time, once it started coming to light, there was relief that she was gone. The guru started talking to reporters. That's an archival recording of Bhagwan Sri Rajneesh. Soon, Sheila was extradited from West Germany on a slew of charges. She pled guilty, but said Rajneesh was the mastermind, that she was only acting on behalf of her spiritual master. Her sentence? Three concurrent 20-year terms to be served in Pleasanton, California. The guru was also charged, but for lesser crimes. He got five years probation, $400,000 in fines. These people were grieving. Everything was being auctioned off. Everything from Rolls Royces to police uniforms. It was a ghost town. Sarita was one of the last Sinyasins to leave. She admits things went terribly awry. So this was an amazing achievement and I think it can serve as a model. She was released early for good behavior. Now she lives in Switzerland, where she owns nursing homes for the elderly and disabled. We drove down the long gravel road and descended down into the valley that is now home to one of the largest youth Christian camps in the country, owned and operated by an organization called Young Life. The meditation hall where Sinyasins used to gather is now a massive sports complex with a batting cage, four basketball courts, ping pong tables, you name it. The old hotel is now a dormitory. Occasionally they use the airstrip that Sinyasins left behind to fly in international campers. Rajneeshpuram isn't a city anymore. It's now called the Washington Family ranch and is under a county jurisdiction. It's still a place for religious seekers, but not the kind that want to build a utopia. Just thousands of Christian teens looking to have, quote, the best week of their lives. 99% Invisible was produced this week by Chloe Prasinos and Steven Jackson, with Katie Mingle, Avery Truffleman, Sam Greenspan, Kurt Kolstad, and me, Roman Mars. I like the album so much, I decided to put the full vocal version of the first song on the album at the end of this episode. So stay tuned and you're going to have your new favorite song."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000096.mp3": {
        "gt": "AUSTIN TEXAS WAS HAUNTED BY THE SERVANT GIRL ANNIHILATOR PRODUCER AVERY TRUFELMAN WOULD LIKE TO REITERATE THAT THESE MURDERS ARE UNSOLVED SO IT'S POSSIBLE THAT THESE WERE INDIVIDUAL MURDERS RATHER THAN THE WORK OF ONE MAN  EIGHT WOMEN  HE'S AN ASSOCIATE PROFESSOR OF THE HISTORY OF PHYSICS AND TECHNOLOGY AT THE UNIVERSITY OF TEXAS   AUSTIN BASICALLY   THERE WAS NO OUTDOOR LIGHTING   THERE WAS MOONLIGHT  VERY INDUSTRIAL LOOKING  MADE OF METAL SCAFFOLDING AND EACH WAS CROWNED WITH A CIRCLE OF SIX LIGHTS SOARING WAY   WAY HIGH ABOVE THE CITYTHE ARC LIGHTS WERE STILL SO BRIGHT  THEY WOULD DROP SHREDS OF ASH   BURNING ASH DOWN ON PEOPLE DOWN BELOW  CARBON ARC LIGHTS WERE STILL SO EXCITING  MANY PEOPLE VOWED THAT THEY WOULD NEVER AGAIN GO NEAR ELECTRIC LIGHT VANITY ASIDE   EVERYONE WAS KIND OF NERVOUS ABOUT THE GENERAL IDEA OF LIGHT AT NIGHT TWAS UNNATURAL   THEY DECREED   THE TOWERS COULD CAUSE SLEEPLESSNESS   CAST EERIE SHADOWS   CROPS WOULD OVERPRODUCE   HENS WOULD OVERLAY  THERE WERE STORIES THAT THE ARC LIGHTS LURED RESTLESS ALLIGATORS TO THE SHORE AND ATTRACTED BIBLICAL PROPORTIONS OF CRICKETS  SO YOU HAD TO GO UP AND CHANGE THEM ABOUT ONCE A DAY AND I CANNOT EMPHASIZE ENOUGH HOW SUPER TALL THESE THINGS ARE  AS TALL AS A FIFTEEN STORY BUILDING  BUT WHILE AUSTIN WAS FUTZING AROUND WITH DIFFERENT BULBS  MOST OTHER CITIES HAD ALREADY REMOVED THEIR TOWER LIGHTS COMPLETELY EVERY PLACE ELSE ABANDONED THEM BY ABOUT THE NINETEEN TWENTY S   BUT AUSTIN KEPT THEM AUSTIN HAD FALLEN ON HARD TIMES AND THE CITY COULDN'T AFFORD TO TEAR DOWN THE TOWERS  AND SO THEY JUST STAYED AND TO THIS DAY   SEVENTEEN OF THE ORIGINAL THIRTY ONE SURVIVE  ALTHOUGH TODAY WITHOUT THE ARC LIGHTS   THE MOONLIGHT TOWERS HAVE A KIND OF WEAK AND DISTANT GLOW  IN REAL LIFE   THESE MOONLIGHT TOWERS WOULD BE REALLY HARD TO CLIMB   WHICH IS WHY FOR THIS SCENE  RICHARD LINKLATER MADE A FAKE MOONLIGHT TOWER THE ONE IN THE MOVIE HAD A LADDER   NOT THE PULLEY THING  AND IT WAS NOWHERE NEAR AS TALL AS A REAL MOONLIGHT TOWER AND I'M TERRIFIED OF HEIGHTS WILEY WOULD HAVE NEVER TRIED THIS STUNT  AND IT'S A SHAME FOR ANYONE WHO HAS WALKED UNDER THEIR GLOW ON A FALL EVENING   WATCHING THE SHADOWS AROUND THEM  KNOWS THE BEAUTY THEY HAVE PROVIDED  AND THERE'S THAT SORT OF TONE THAT THAT'S   WELL   A LITTLE REMNANT OF OUR PAST THAT WE WILL LOSE SOON  WELL   PEOPLE JUST SAID   WHY SHOULD WE LOSE IT  KEEP THEM UP  FUNNELS A LOT OF RESOURCES INTO MAINTAINING THE TOWERS  THE CONTRACTOR HAS TO CAST BOLTS AND PARTS THAT LOOK EXACTLY IDENTICAL TO THE ORIGINAL SO IT CAN KEEP ITS HISTORIC DESIGNATIONEVERY YEAR DURING THE HOLIDAYS AUSTIN ENERGY STRINGS CHRISTMAS LIGHTS FROM THE MOONLIGHT TOWER IN ZILKER PARK  STILL   THE SERVANT GIRL ANNIHILATOR BECAME THE GENESIS STORY THAT AUSTINITES TELL ABOUT THESE LIGHTS AND THE STORY OF THE SERVANT GIRL ANNIHILATOR DOES TRULY ILLUSTRATE THE LIMITATIONS OF NINETEENTH CENTURY NIGHTTIME  A SORT OF NEANDERTHAL IN THE EVOLUTION OF THE STREETLIGHT AND IN AUSTIN WHERE KEEP AUSTIN WEIRD IS AN UNOFFICIAL SLOGAN OF THE CITY PRINTED ON BUMPER STICKERS AND SCROLLED ON BATHROOM WALLS  YOU CAN'T HELP BUT FEEL LIKE THE MOONTOWERS ARE DOING THEIR PART  AFTER EVERY OTHER CITY HAS TORN THEIR TOWERS DOWN  A REMINDER OF THE TIME WHEN THE TEXAS CAPITOL WAS JUST AN ODDBALL LITTLE TOWN THAT BOUGHT THE MOON\n",
        "transcription_base": " Austin, Texas was haunted by the servant girl a narrator. Producer Avery Truffman would like to reiterate that these murders are unsolved. So it's possible that these were individual murders rather than the work of one man, eight women. He's an associate professor of the history of physics and technology at the University of Texas, Austin. Basically there was no outdoor lighting, there was moonlight. Very industrial looking, made of metal scaffolding, and each was crowned with a circle of six lights, soaring way, way high above the city. The arc lights were still so bright. They would drop shreds of ash, burning ash down on people down below. Carbon arc lights were still so exciting. Many people vowed that they would never again go near electric light. Vanity aside, everyone was kind of nervous about the general idea of light at night. To us unnatural they decreed that towers could cause sleeplessness, cast eerie shadows, crops would overproduce, hens would overlay. There were stories that the arc lights lured restless alligators to the shore and attracted biblical proportions of crickets. So you had to go up and change them about once a day? And I cannot emphasize enough how super tall these things are, as tall as a 15 story building. But while Austin was fudging around with different bulbs, most other cities had already removed their tower lights completely. Every place also banned them by about the 1920s, but Austin kept them. Austin had fallen on hard times and the city couldn't afford to tear down the towers. And so they just stayed. And to this day, 17 of the original 31 survived. Although today, without the arc lights, the moonlight towers have a kind of weak and distant glow. life these moonlight towers would be really hard to climb, which is why for this scene, Richard Linklider made a fake moonlight tower. The one in the movie had a ladder, not the pulley thing, and it was nowhere near as tall as a real moonlight tower. And I'm terrified of heights. Wily would have never tried this stunt. And it's a shame. For anyone who has walked into their glow in a fall evening, watching the shadows around him, knows the beauty they have provided. And there's that sort of tone that that's well a little remnant of our past that we will lose soon. Well, people just said why should we lose it? Keep them up. Funnels a lot of resources into maintaining the towers. The contractor has to cast bolts and parts that look exactly identical to the original so you can keep its historic designation. Every year during the holidays, Austin Energy strings Christmas lights from the Moonlight Tower and Zilker Park. Still, the Servant Girl Annihilator became the Genesis story that Austin nights tell about these lights. And in Austin, where keep Austin weird is an unofficial slogan of the city, printed on bumper stickers and sprawled on bathroom walls, you can't help but feel like the moon towers are doing their part. After every other city has torn their towers down, a reminder of the time when the Texas Capitol was just an odd ball of little town. That bought the moon.",
        "transcription_medium": " Austin, Texas was haunted by the servant girl annihilator. Producer Avery Truffleman would like to reiterate that these murders are unsolved. So it's possible that these were individual murders rather than the work of one man. Eight women. He's an associate professor of the history of physics and technology at the University of Texas, Austin. Basically there was no outdoor lighting, there was moonlight. Very industrial looking, made of metal scaffolding, and each was crowned with a circle of six lights soaring way, way high above the city. The arc lights were still so bright. They would drop shreds of ash, burning ash, down on people down below. Carbon arc lights were still so exciting. Many people vowed that they would never again go near electric light. Vanity aside, everyone was kind of nervous about the general idea of light at night. Twas unnatural, they decreed, that towers could cause sleeplessness, cast eerie shadows, crops would overproduce, hens would overlay. There were stories that the arc lights lured restless alligators to the shore and attracted biblical proportions of crickets. So you had to go up and change them about once a day. And I cannot emphasize enough how super tall these things are. As tall as a 15-story building. But while Austin was futzing around with different bulbs, most other cities had already removed their tower lights completely. Every place else abandoned them by about the 1920s, but Austin kept them. Austin had fallen on hard times, and the city couldn't afford to tear down the towers, and so they just stayed. And to this day, 17 of the original 31 survive. Although today, without the arc lights, the moonlight towers have a kind of weak and distant glow. In real life, these moonlight towers would be really hard to climb, which is why, for this scene, Richard Linklater made a fake moonlight tower. The one in the movie had a ladder, not the pulley thing, and it was nowhere near as tall as a real moonlight tower. And I'm terrified of heights. Wiley would have never tried this stunt. And it's a shame, for anyone who has walked under their glow on a fall evening, watching the shadows around him, knows the beauty they have provided. And there's that sort of tone that that's, well, a little remnant of our past that we will lose soon. Well, people just said, why should we lose it? Keep them up. Funnels a lot of resources into maintaining the towers. The contractor has to cast bolts and parts that look exactly identical to the original so it can keep its historic designation. Every year during the holidays, Austin Energy strings Christmas lights from the Moonlight Tower in Zilker Park. Still, the Servant Girl Annihilator became the Genesis story that Austinites tell about these lights. And the story of the Servant Girl Annihilator does truly illustrate the limitations of 19th And in Austin, where keep Austin Weird is an unofficial slogan of the city, printed on bumper stickers and scrawled on bathroom walls, you can't help but feel like the moon towers are doing their part after every other city has torn their towers down. A reminder of the time when the Texas capital was just an oddball little town that bought the moon.",
        "transcription_large_v3": " Austin, Texas, was haunted by the Servant Girl Annihilator. Producer Avery Truffleman would like to reiterate that these murders are unsolved. So it's possible that these were individual murders rather than the work of one man. Eight women. He's an associate professor of the history of physics and technology at the University of Texas, Austin. Basically, there was no outdoor lighting. There was moonlight. Very industrial looking, made of metal scaffolding, and each was crowned with a circle of six lights soaring way, way high above the city. The arc lights were still so bright. They would drop shreds of ash, burning ash down on people down below. Carbon arc lights were still so exciting. Many people vowed that they would never again go near electric light. Vanity aside, everyone was kind of nervous about the general idea of light at night. Twas unnatural, they decreed, that towers could cause sleeplessness, cast eerie shadows, crops would overproduce, hens would overlay. There were stories that the arc lights lured restless alligators to the shore and attracted biblical proportions of crickets. So you had to go up and change them about once a day. And I cannot emphasize enough how super tall these things are. As tall as a 15-story building. But while Austin was futzing around with different bulbs, most other cities had already removed their tower lights completely. Every place else abandoned them by about the 1920s, but Austin kept them. Austin had fallen on hard times, and the city couldn't afford to tear down the towers. And so they just stayed. And to this day, 17 of the original 31 survive. Although today, without the arc lights, the Moonlight Towers have a kind of weak and distant glow. In real life, these Moonlight Towers would be really hard to climb, which is why, for this scene, Richard Linklater made a fake Moonlight Tower. The one in the movie had a ladder, not the pulley thing, and it was nowhere near as tall as a real Moonlight Tower. And I'm terrified of heights. Wiley would have never tried this stunt. And it's a shame, for anyone who has walked under their glow on a fall evening, watching the shadows around him, knows the beauty they have provided. And there's that sort of tone that that's, well, a little remnant of our past that we will lose soon. Well, people just said, why should we lose it? Keep them up. Funnels a lot of resources into maintaining the towers. The contractor has to cast bolts and parts that look exactly identical to the original so it can keep its historic designation. Every year during the holidays, Austin Energy strings Christmas lights from the Moonlight Tower in Zilker Park. Still, the Servant Girl Annihilator became the Genesis story that Austinites tell about these lights. And the story of the Servant Girl Annihilator does truly illustrate the limitations of 19th century nighttime. A sort of Neanderthal in the evolution of the streetlight. And in Austin, where keep Austin weird is an unofficial slogan of the city, printed on bumper stickers and scrawled on bathroom walls. You can't help but feel like the moon towers are doing their part. After every other city has torn their towers down. A reminder of the time when the Texas capital was just an oddball little town that bought the moon."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000112.mp3": {
        "gt": "THOSE VISUAL CUES MAY BE SIMPLE TO PICK UP ON   BUT IT TURNS OUT THE ORIGIN STORIES OF CHINATOWN AND THE ARCHITECTURE AND FOOD THAT COME FROM IT ARE FAR MORE COMPLEX AND INTERESTING THAN YOU CAN IMAGINE  WE DID A COUPLE OF STORIES ON THIS A FEW YEARS AGO AND WE'VE COMPILED THEM TOGETHER INTO THIS EPISODE  YOU KNOW THE STREETS ARE PAVED WITH GOLD THIS IS BONNIE TSUI   GEORGE'S DAUGHTER  SHE'S ALSO THE AUTHOR OF A BOOK ABOUT AMERICAN CHINATOWNS EVEN TODAY   LIKE CHINESE PEOPLE STILL CALL SAN FRANCISCO   GAM SAAN MEANING GOLD MOUNTAIN THIS IS WHERE YOU FIND YOUR FORTUNE IN SAN FRANCISCO GEORGE TSUI'S VERY FIRST STOP IN SAN FRANCISCO   HIS VERY FIRST STOP IN AMERICA  WAS SAN FRANCISCO'S CHINATOWN AND HE WAS NOT IMPRESSEDSAN FRANCISCO'S CHINATOWN AND THE CHINATOWNS IN A LOT OF AMERICAN CITIES  IT'S SO OUT OF CONTEXT TO ANYTHING ELSE NEXT TO IT ON EITHER SIDE THAT'S FILMMAKER FELICIA LOWE  SHE MADE A DOCUMENTARY ABOUT SAN FRANCISCO'S CHINATOWN  SHOPS WITH NEON-LIT NAMES LIKE HEART OF SHANGHAI   SELLING PAPER FANS AND PLASTIC BUDDHAS  WHICH BARRED THE VAST MAJORITY OF CHINESE PEOPLE FROM ENTERING THE STATES AND MADE IT IMPOSSIBLE FOR CHINESE ALREADY IN THE U S   TO BECOME NEW AMERICAN CITIZENS IN SAN FRANCISCO   RACIST HOUSING POLICIES MADE IT ALMOST IMPOSSIBLE FOR PEOPLE OF CHINESE HERITAGE TO LIVE OUTSIDE OF CHINATOWN  AND WHEN THEY DID SET FOOT OUTSIDE THE FIFTEEN SQUARE BLOCKS OF THE CHINESE ENCLAVE  EARLY IN THE MORNING OF APRIL EIGHTEENTH OF THAT YEAR   SAN FRANCISCANS WOKE UP TO A SEVEN POINT EIGHT MAGNITUDE EARTHQUAKE  STILL IS  AND THE GAS THAT LEAKED OUT  SOMEWHERE   IT CONNECTED WITH A SPARK THE MASSIVE FIRES THAT RESULTED LASTED FOR THREE DAYS AND DESTROYED ABOUT FIVE HUNDRED CITY BLOCKS  CHINATOWN WAS ONE OF THE FIRST NEIGHBORHOODS TO GO UP IN SMOKE THE SAFE SPACE FOR CHINESE REALLY IS THAT FIFTEEN BLOCK RADIUS OF THE NEIGHBORHOOD AND WITHOUT IT  SHE SAYS THAT IN THE WAKE OF THE DISASTER  MAN HELPING MAN   AND SO ON BUT WHILE WHITE MAN MAY HAVE HELPED WHITE MAN   NO ONE WAS HELPING THE CHINESE  FIRST WITH INDIVIDUAL WHITE SAN FRANCISCANS THE BUILT ENVIRONMENT KEEPS EVERYONE IN THEIR PLACE  AND ALL THE DYNAMITE GOES INTO CHINATOWN AT THE TIME   FIRE DEPARTMENTS WOULD DYNAMITE BUILDINGS TO KEEP FIRE FROM SPREADING  THRILL-SEEKING WHITE PEOPLE COULD HIRE A GUIDE TO LEAD THEM THROUGH SCENES OF ALLEGED DEPRAVITY  THEY WOULD BE TAKEN THROUGH DIMLY LIT BUILDINGS AND SHOWN OPIUM SMOKERS AND PROSTITUTES AND GAMBLING EVIDENCE SUGGESTS THAT SOME OF THESE SCENES MAY HAVE ACTUALLY BEEN STAGED BY THE GUIDES THEMSELVES  THAT THE CHINESE LIVED UNDERGROUND   AND EVEN TODAY  REAL ESTATE THAT SAN FRANCISCAN ELITES HAD LONG WANTED FOR WHITE BUSINESSES  IN FACT   TWO YEARS BEFORE THE FIRE   THEN-MAYOR JAMES PHELAN HAD HIRED AN ARCHITECT TO DRIVE SKETCHES FOR A NEW DOWNTOWN THE ARCHITECT THEY HIRED   YOU MAY HAVE HEARD OF HIM  DANIEL BURNHAM AND IN HIS PLAN   THERE IS NO CHINATOWN BURNHAM WAS A PROPONENT OF THE CITY BEAUTIFUL MOVEMENT   AN URBAN PLANNING PHILOSOPHY POPULAR IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES AND THIS IDEA OF CITY BEAUTIFUL  IT'S VERY RACIALIZED   THIS VIEW  WITHIN A WEEK OF THE FIRE   CITY HALL CREATED A COMMITTEE DEDICATED SOLELY TO RELOCATING CHINATOWN  SEND MORE REPORTS IMMEDIATELY   GET THEM TO THE HANDS OF THE CITY LEADERS   AND BUSINESS LEADERS  HERE'S OUR PLAN   WE CAN REBUILD   HERE'S THE PERFECT CITY  IT'S WHERE THE CITY'S SLAUGHTERHOUSES WERE  SHE SENT HER CULTURAL GENERAL FROM WASHINGTON TO MEET WITH SAN FRANCISCO OFFICIALS BUT THE COUP DE GRAS WAS FINANCIAL  FOR DECADES   SAN FRANCISCO HAD BEEN A KEY HUB FOR TRADE WITH CHINA  OKAY   YOU DON'T WANT US TO COME BACK   WE'RE NOT GOING TO HUNTER'S POINT  SO THERE'S A PANIC OF A LOSS OF REVENUE FOR THE CITY AND THAT WAS A LOSS THAT CITY LEADERS COULDN'T TAKE  LESS THAN A MONTH AFTER THE QUAKE  BUT THEY DIDN'T STOP THERE THE FIRE HAD LEFT CHINATOWN A BLANK SLATE  AND FOR THE FIRST TIME   THE CHINESE WERE HOLDING THE CHALKTHEY WERE SICK OF CHINATOWN GETTING THIS BAD REP FOR VICE   SICK OF CITY HALL HARASSING THEM   SICK OF VISITORS ASKING THEM IF THEY LIVED IN TUNNELS THE CHINESE WANTED A MAKEOVER FOR THEIR NEIGHBORHOOD  SHE SAYS THAT LOOK TIN ELI FIGURED   HEY   IF TOURISTS ARE ALWAYS GOING TO COME TO CHINATOWN SEEKING A TASTE OF SOME IMAGINARY EAST  EVEN THOUGH HE KNEW IN HIS OWN MIND THAT THE BUILDINGS IN CHINA DIDN'T ALL LOOK LIKE THISNOW   LOOK'S PLAN MIGHT SEEM A BIT COUNTERINTUITIVE AT FIRST  FOR DECADES   THE CHINESE OF SAN FRANCISCO HAD BEEN HARASSED PRECISELY BECAUSE THEY LOOKED AND DRESSED DIFFERENTLY FROM MAINSTREAM WHITE AMERICA  AND HE WAS THE GUY SAYING  LET'S REBUILD OUR NEIGHBORHOOD IN A WAY THAT EMPHASIZES OUR FOREIGNNESS  THAT CARVES OUR DIFFERENCE FROM THE REST OF THE CITY INTO THE VERY FACE OF OUR BUILDINGS BUT BONNIE TSUI   WHOSE FATHER HAD BEEN FLUMMOXED BY THE LOOK OF CHINATOWN WHEN HE ARRIVED IN SAN FRANCISCO  THESE TWO MEN HAD NEVER BEEN TO CHINA AT THE TIME   THE ARCHITECTS WERE NOT TRAINED INTO TRADITION OR ANYTHING ABOUT ORIENTAL ARCHITECTURE BECAUSE ALSO AT THE TIME THE ORIENT WAS CONSIDERED WAY BEHIND THE WEST  SO CULTURALLY   EVERYTHING WAS LOOKED DOWN UPON  LET'S SAY  SING CHONG BECAME A BUSTLING DEPARTMENT STORE   HAWKING ASIAN ART  SOON   SING CHONG'S BOMBASTIC CHINOISERIE LOOK HAD BECOME THE STYLE FOR MOST NEW STRUCTURES GOING UP IN CHINATOWN THE ARCHITECTS WHO ARE TRYING TO REPRODUCE BEIJING IN SAN FRANCISCO MAY HAVE GOTTEN A LOT OF THE DETAILS WRONG BUT FOR THE TOURISTS  THEY WERE WRONG IN ALL THE RIGHT WAYS   TOURISTS LOVED THE NEW CHINATOWN  THIS WAS EXACTLY THE WESTERNER FRIENDLY VERSION OF CHINA THEY WANTED  VAGUELY EXOTIC   BUT SAFE ENOUGH FOR A MIDDLE-CLASS WHITE AMERICA  THE VISITORS BEGAN TO FLOW INTO CHINATOWN AND SO DID THEIR CASH AND CHINATOWN'S PLEASANT NEW APPEARANCE WAS BEGINNING TO CHANGE POPULAR SENTIMENT TOWARDS THE CHINESE PEOPLE  AMERICAN NEWSPAPERS MADE IT EXPLICIT THAT THE NEIGHBORHOOD MAKEOVER WAS CAUSING THEM TO RETHINK THEIR CONTEMPT FOR THE CHINESE  CHINATOWN IS ONE OF THE MOST NOTED PLACES ON THE AMERICAN CONTINENT  WE HAVE HELD UP TO THE PUBLIC GAZE FOR TOO LONG THE RACIAL GRIEF THAT SEPARATES THE YELLOW AND WHITE PEOPLE OF THE EARTH  SHE SAYS THE VISUAL STYLE AND TOURIST-FRIENDLY ATTITUDE THAT SAN FRANCISCO'S CHINATOWN HAD PERFECTED SOON BEGAN TO SPREAD IN FACT   THE NEW CHINATOWN BRAND WAS SO SUCCESSFUL THAT IT'S STILL INFLUENCING CHINATOWN'S BEING BUILT IN OUR OWN TIME  I THINK THAT IT WAS A VICTORY   ABSOLUTELY OF COURSE   THIS ARCHITECTURAL REVENGE DIDN'T INSTANTLY FIX EVERYTHING FOR THE CHINESE IN SAN FRANCISCO  THESE PEOPLE LOOK   LOOK   LOOK   IT'S LIKE THEY NEVER SEEN A CHINESE PERSON BEFORE  SO ONLY THE CHINESE WERE FORCED TO CATER TO WHITE PEOPLE'S FANTASIES AS A SURVIVAL MECHANISM WELL   THAT'S THE IRONY AT THAT TIME   WE HAD TO PROMOTE OUR FOREIGNNESS TO BE ACCEPTEDSAN FRANCISCO'S CHINATOWN HAS MANAGED TO REMAIN A RELATIVELY AFFORDABLE NEIGHBORHOOD FOR LOW-INCOME IMMIGRANTS AND BONNIE SAYS   YES   CHINATOWN HAS BEEN DISNEY-FIED AND REBRANDED TO CATER TO AMERICAN TASTE  A SWEET SURPRISE AWAITS YOU IS UP NEXT AFTER THISTHIS IS STILL NINETY NINE PERCENT INVISIBLE AND I'M STILL ROMAN MARSVERY LUCKY NUMBERS AND SO IT JUST SORT OF MADE YOU REALIZE LIKE HOW MUCH FORTUNE COOKIES AND CHINESE FOOD HAVE BECOME AN AMERICAN RITUAL CHINESE FOOD ALONG WITH PIZZA AND THE FRANKFURTER HAS BEEN ADOPTED AND MODIFIED TO BECOME AMERICAN CUISINE  ROOTED IN SOME GOOD OLD-FASHIONED AMERICAN XENOPHOBIA IN THE EARLY WAVES OF CHINESE IMMIGRATION IN THE EIGHTEEN FIFTY S   THE NEW CHINESE POPULATION WORKED MOSTLY AS MINERS AND FARMERS AND LABORERS AND AMERICANS   AS EVER  CHOP SUEY   THE NAME ACTUALLY MEANS ASSORTED PIECES LIKE ODDS AND ENDS OH   CHOP SUEY IS THE BIGGEST CULINARY JOKE THAT ONE CULTURE HAS EVER PLAYED ON ANOTHER CHOP SUEY IS NOT A REAL CHINESE DISH AT ALL  AMERICANS WANT DESSERT BECAUSE WE ARE AMERICAN AND WE LIKE THINGS WHICH ARE SWEET AND FATTY   SO YOU NEEDED A DESSERT AND AS CHINESE DESSERTS GO  WHERE THEY CAME FROM ORIGINALLY IS A BIT OF A MYSTERY  BUT WE'LL GET TO THAT FIRST   LET'S MAKE THIS PERFECTLY CLEAR  ALL STUFFED FULL OF TINY STRIPS OF FORTUNE PAPER  YOU CAN'T WRITE MESSAGES LIKE   YOU WILL MEET A TALL   DARK STRANGER BECAUSE AN EIGHT-YEAR-OLD COULD READ THAT AND BE LIKE   I DON'T WANT THAT  AMERICANS LIKE THEIR FORTUNES SUNNY SO FORTUNES TEND TO BE VAGUE OR JUST GENERALLY UPLIFTING   LIKE TOMORROW WILL BE BETTER  OR THE FORTUNES ARE NABBED FROM QUOTATION BOOKS  JUST WHATEVER LISA CAN FIND  WHEN I ASKED AROUND   IT TURNS OUT A FEW OF MY FRIENDS DO THIS OR CAN RECITE THEIR FAVORITE FORTUNES FROM MEMORY   AND IT'S CRAZY BECAUSE A LOT OF THESE FORTUNES ARE STEVEN'S  WRITTEN BY HIS DAUGHTER  LISA BUT THERE ARE A FEW WAYS TO TELL WHERE YOUR FORTUNES COME FROM  IF YOU GET ONE WITH BLUE CORNERS ON IT   THAT WAS PRINTED BY A GIANT COMPANY IN NEW YORK CALLED WONTON FOOD  IT CHARGES VISITORS FIFTY CENTS A PHOTO AND DOESN'T ACTUALLY HAVE A VERY BIG COOKIE OUTPUT  ACTUALLY   CALLING THIS PLACE A FACTORY IS KIND OF AN OVERSTATEMENT  IT'S JUST ONE NARROW ROOM WITH MOST OF THE SPACE TAKEN UP BY THREE HULKING FORTUNE COOKIE MACHINES  MET ME AT THE GOLDEN GATE FORTUNE COOKIE COMPANY THESE FORTUNE COOKIE MACHINES ARE PRETTY SIMPLE   THEY FLATTEN ROUND DABS OF BATTER ONTO A CONVEYOR BELT AND A WORKER SITS NEXT TO THIS BELT AND FOLDS THE HOT COOKIES AROUND THE PAPER FORTUNES  THE LOUIE FAMILY USED TO HAVE A FORTUNE COOKIE COMPANY OF THEIR OWN AND IT WAS THEIR WHOLE LIFE EVEN DURING DINNER  WE TOOK SHIFTS  MING'S FATHER LATER DEVELOPED THE NEXT GENERATION OF FORTUNE COOKIE MACHINES  A FULLY AUTOMATED VERSION   WHICH ALSO FOLDS THE COOKIE  AND BECAUSE OF THIS TECHNOLOGY  AND THE FORTUNES WERE STILL IN JAPANESE  AND THEN SOMETHING HAPPENED THAT COMPLETELY DISRUPTED EVERYTHING ABOUT JAPANESE-AMERICAN LIFE IN THIS COUNTRYI WAS NINE YEARS OLD WHEN WE GOT SENT TO THE CONCENTRATION CAMPSSALLY AND HER FAMILY WERE FARMERS IN FRESNO  DESERT IN ARIZONA  THERE WERE RATTLESNAKES AND SCORPIONS WERE THERE  OH   THERE WERE   YEAH   OH YEAH   GILA MONSTERS AND SCORPIONS AND RATTLESNAKES   YEAH IN THE CAMP   HER PARENTS WERE GIVEN JOBS THAT EARNED HARDLY ANY MONEY TOP SALARY WAS LIKE SIXTEEN DOLLARS OR EIGHTEEN DOLLARS A MONTH  A MONTH FOR FOUR YEARS  OUT OF SIGHT  OUT OF COMMUNICATION AND OUT OF BUSINESS INCLUDING A LOT OF JAPANESE BAKERS AND JAPANESE RESTAURANT OWNERS MY RECOLLECTION WAS THAT AFTER WE CAME OUT OF THE CAMPS  IT WAS A CHINESE FORTUNE COOKIE  AS WE NOW KNOW IT  FLOURISHED IT'S NEARLY IMPOSSIBLE TO PIN THE AMERICANIZATION OF THE COOKIE TO ONE SPECIFIC JAPANESE-AMERICAN BAKER OR CHINESE-AMERICAN RESTAURANT  AND THEN SWEPT THE REST OF THE UNITED STATES AND THEN THE WORLD  EXCEPT FOR CHINA  THEY STILL DON'T EAT FORTUNE COOKIES\n",
        "transcription_base": " Those visual cues may be simple to pick up on, but it turns out the origin stories of Chinatown and the architecture and food that come from it are far more complex and interesting than you can imagine. We did a couple stories on this a few years ago and we compiled them together into this episode. You know the streets are paved with gold. This is Bunny Toy, George's daughter. She's also the author of a book about American Chinatowns. Even today, Chinese people still call San Francisco Gumson, meaning gold mountain. This is where you find your fortune in San Francisco. George Toys very first stop in San Francisco. His very first stop in America was San Francisco's Chinatown. And he was not impressed. San Francisco's Chinatown and the Chinatowns in a lot of American cities. It's so out of context to anything else next to it on either side. That's filmmaker Felicia Lowe. She made a documentary about San Francisco's Chinatown. Chinatown. Shops with neon lit names like Heart of Shanghai, selling paper fans and plastic booties, which barred the vast majority of Chinese people from entering the States, and made it impossible for Chinese already in the U.S. to become new American citizens. In San Francisco, racist housing policies made it almost impossible for people of Chinese heritage to live outside of Chinatown. And when they did set foot outside the 15 square blocks of the Chinese enclave, early in the morning of April 18th of that year. San Francisco's woke up to a 7.8 magnitude earthquake. Still is. And the gas that leaked out somewhere, it connected with a spark. The massive fires that resulted lasted for three days and destroyed about 500 city blocks. Chinatown was one of the first neighborhoods to go up and smoke. The safe space for Chinese released that 15 block radius of the neighborhood and without it. says that in the wake of the disaster, man helping man and so on. But while white man may have helped white man, no one was up in the Chinese. First, with individual white San Francisco. The built environment keeps everyone in their place, and all the dynamite goes into Chinatown. At the time, fire departments would dynamite buildings to keep fire from spreading. Thrills seeking white people could hire a guide to lead them through scenes of alleged depravity. They would be taken through dimly lit buildings and shown opium smokers and prostitutes and gambling. Evidence suggests that some of these scenes may have actually been staged by the guides themselves. That the Chinese lived underground and even today. Real estate that San Francisco elites had long wanted for white businesses. In fact, two years before the fire, then Mayor James Feline had hired an architect to draw up sketches for a new downtown. The architect they hired, you may have heard of him. Daniel Burnham. And in his plan there is no Chinatown. Burnham was a proponent of the city beautiful movement, an urban planning philosophy popular in the late 19th and early 20th centuries. And this idea of city beautiful, it's very racialized this view. Within a week of the fire, City Hall created a committee dedicated solely to relocating Chinatown. send more reports immediately, get them in the hands of the city leaders and business leaders. Here's our plan. We can rebuild. Here's the perfect city. It's where the city's slaughterhouses were. She sent her council general from Washington to meet with San Francisco officials. But the coup de Gras was financial. For decades, San Francisco had been a key hub for trade with China. Okay, you don't want us to come back. We're not going to Hunter's Point. So there's a panic of a loss of revenue for the city. And that was a loss that city leaders couldn't take, less than a month after the quake. But they didn't stop there. The fire had left Chinatown a blank slate. And for the first time, the Chinese were holding the chalk. They were sick of Chinatown getting this bad rap for Vice, sick of City Hall harassing them, sick of visitors asking them if they lived in tunnels. The Chinese wanted a makeover for their neighborhood. She says that looked in Eli figured, Hey, if tourists are always going to come to Chinatown, seeking a taste of some imaginary East, even though he knew in his own mind that the buildings in China didn't all look like this. Now, looks plan might seem a bit counterintuitive at first. For decades, the Chinese of San Francisco had been harassed precisely because they looked and dressed differently from mainstream wide-America. And here was a guy saying, Let's rebuild our neighborhood in a way that emphasizes our foreignness, that carves our difference from the rest of the city into the very face of our buildings. Papani Soi, whose father had been flummoxed by the look of Chinatown when he arrived in San Francisco, these two men had never been to China. At the time, the architects were not trained in the tradition or anything about oriental architecture because also at that time the orient was considered way behind the west so culturally everything was looked down upon let's see. singchang became a bustling department store hawking Asian art. soon singchang's bombastic chinoazery look had become the style for most new structures going up in Chinatown. The architects who were trying to reproduce Beijing in San Francisco may have gotten a lot of the details wrong. But for the tourists, they were wrong in all the right ways. Tourists loved the new Chinatown. This was exactly the westerner friendly version of China they wanted, vaguely exotic, but safe enough for middle-class white America. The visitors began to flow into Chinatown, and so did their cash. In Chinatown's pleasant new appearance was beginning to change popular sentiment towards the Chinese people. American newspapers made it explicit that the neighborhood makeover was causing them to rethink their contempt for the Chinese. Chinatown is one of the most noted places on the American continent. We have held up to the public gaze for too long the racial grief that separates the yellow and white people of the earth. She says the visual style and tourist-friendly attitude that San Francisco's Chinatown had perfected, soon began to spread. In fact, the new Chinatown brand was so successful that it's still influencing Chinatown's being built in our own time. I think that it was a victory, absolutely. Of course, this architectural revenge didn't instantly fix everything for the Chinese in San Francisco. These people look, look, look, it's like they've never seen a Chinese person before. So only the Chinese were forced to cater to white people's fantasies as a survival mechanism. Well, that's the irony. At that time, we have to promote our fornicess to be accepted. San Francisco's Chinatown has managed to remain a relatively affordable neighborhood for low-income immigrants. And Bonnie says, yes, Chinatown has been disneyfied and rebranded to cater to American tastes. A sweet surprise awaits you. Is up next. After this, this is still 99% invisible, and I'm still Roman Mars. Very lucky numbers. And so it just sort of made you realize how much fortune cookies and Chinese food have become an American ritual. Chinese food, along with pizza and the Frankfurter, has been adopted and modified to become American cuisine, rooted in some good old-fashioned American xenophobia. In the early waves of Chinese immigration in the 1850s, the new Chinese population worked mostly as miners and farmers and laborers, And Americans, as ever, Chop Sui, the name, actually means assorted pieces, like odds and ends. Oh, Chop Sui's the biggest culinary joke that one culture has ever played on another. Chop Sui is not a real Chinese dish, at all. Americans want dessert because we are American and we like things which are sweet and fatty, so you need it at a dessert. And as Chinese desserts go, where they came from originally is a bit of a mystery, but we'll get to that. First, let's make this perfectly clear. All stuffed full of tiny strips of fortune paper. You can't write messages like you will meet a tall, dark stranger, because an eight-year-old could read that and be like, I don't want that! Americans like their fortunes sunny. So fortunes tend to be vague, or just generally uplifting, like tomorrow will be better. Or the fortunes are nabbed from quotation books, just whatever Lisa can find. When I asked around, it turns out a few of my friends do this, or can recite their favorite fortunes for memory. And it's crazy because a lot of these fortunes are Stevens, written by his daughter, Lisa. But there are a few ways to tell where your fortunes come from. If you get one with blue corners on it, that was printed by a giant company in New York called Wonton Food. It charges visitors 50 cents a photo and doesn't actually have a very big cookie output. Actually calling this place a factory is kind of an overstatement. It's just one narrow room with most of the space taken up by three hulking fortune cookie machines. Met me at the Golden Gate fortune cookie company. These fortune cookie machines are pretty simple. They flatten round dabs of batter onto a conveyor belt and a worker sits next to this belt and folds the hot cookies around the paper fortunes. The Louis family used to have a fortune cookie company of their own and it was their whole life. Even during dinner we took shifts. Ming's father later developed the next generation of fortune cookie machines, a fully automated version which also folds the cookie, and because of this technology. And the fortunes were still in Japanese, and then something happened that completely disrupted everything about Japanese American life in this country. I was nine years old when we got sent to the concentration camps. Sally and her family were farmers in Fresno. Desert in Arizona, there were rattlesnakes and scorpions. Were there? Well, there were, yeah, Oh yeah, he limonsters and scorpions and rattlesnakes here. In the camp her parents were given jobs that earned hardly any money. Top salary was like $16 or $18 a month. A month. For four years out of sight, out of communication and out of business. Including a lot of Japanese bakers and Japanese restaurant owners. My recollection was that after we came out of the camps, It was the Chinese swatching cookie, as we now know it, flourished. It's nearly impossible to pin the Americanization of the cookie to one specific Japanese American baker or Chinese American restaurant, and then swept the rest of the United States, and the New World, except for China, they still don't eat fortune cookies.",
        "transcription_medium": " Those visual cues may be simple to pick up on, but it turns out the origin stories of Chinatown and the architecture and food that come from it are far more complex and interesting than you can imagine. We did a couple of stories on this a few years ago and we compiled them together into this episode. You know, the streets are paved with gold. This is Bonnie Tsui, George's daughter. She's also the author of a book about American Chinatowns. Even today, Chinese people still call San Francisco gum sun. Meaning gold mountain. This is where you find your fortune in San Francisco. George Toys' very first stop in San Francisco, his very first stop in America, was San Francisco's Chinatown. And he was not impressed. San Francisco's Chinatown, and the Chinatowns in a lot of American cities. It's so out of context to anything else next to it on either side. That's filmmaker Felicia Lowe. She made a documentary about San Francisco's Chinatown. with neon lit names like Heart of Shanghai selling paper fans and plastic buddhas, which barred the vast majority of Chinese people from entering the states, and made it impossible for Chinese already in the US to become new American citizens. In San Francisco, racist housing policies made it almost impossible for people of Chinese heritage to live outside of Chinatown. And when they did set foot outside the 15 square blocks of the Chinese enclave, early Early in the morning of April 18th of that year, San Franciscans woke up to a 7.8 magnitude earthquake. Still is. And the gas that leaked out? Somewhere it connected with a spark. The massive fires that resulted lasted for three days and destroyed about 500 city blocks. Chinatown was one of the first neighborhoods to go up and smoke. The safe space for Chinese really is that 15 block radius of the neighborhood and without it. that in the wake of the disaster, man helping man and so on. But while white man may have helped white man, no one was up in the Chinese. First, with individual white San Franciscans. The built environment keeps everyone in their place, and all the dynamite goes into Chinatown. At the time, fire departments would dynamite buildings to keep fire from spreading. Thrill-seeking white people could hire a guide to lead them through scenes of alleged depravity. They would be taken through dimly lit buildings and shown opium smokers and prostitutes and gambling. Evidence suggests that some of these scenes may have actually been staged by the guides themselves. That the Chinese lived underground and even today. Real estate that San Franciscan elites had long wanted for white businesses. In fact, two years before the fire, then Mayor James Phelan had hired an architect to draw up sketches for a new downtown. The architect they hired, you may have heard of him, Daniel Burnham. And in his plan, there is no China down. Burnham was a proponent of the City Beautiful movement, an urban planning philosophy popular in the late 19th and early 20th centuries. And this idea of City Beautiful, it's very racialized, this view. Within a week of the fire, City Hall created a committee dedicated solely to relocating Chinatown. Send more reports immediately. Get them to the hands of the city leaders and business leaders. Here's our plan. We can rebuild. Here's the perfect city. It's where the city's slaughterhouses were. She sent her Consul General from Washington to meet with San Francisco officials. But the coup de grace was financial. For decades, San Francisco had been a key hub for trade with China. Okay, you don't want us to come back. We're not going to Hunters Point. So there's a panic of a loss of revenue for the city. And that was a loss that city leaders couldn't take. Less than a month after the quake. But they didn't stop there. The fire had left Chinatown a blank slate. And for the first time, the Chinese were holding the chalk. They were sick of Chinatown getting this bad rap for vice. Sick of City Hall harassing them. Sick of visitors asking them if they lived in tunnels. The Chinese wanted a makeover for their neighborhood. She says that Lookton Eli figured, hey, if tourists are always going to come to Chinatown seeking a taste of some imaginary East. Even though he knew in his own mind that the buildings in China didn't all look like this. Now, Look's plan might seem a bit counterintuitive at first. For decades, the Chinese of San Francisco had been harassed precisely because they looked and dressed differently from mainstream white America. And here was a guy saying, let's rebuild our neighborhood in a way that emphasizes our foreignness, that carves our difference from the rest of the city into the very face of our buildings. But Bonnie Soi, whose father had been flummoxed by the look of Chinatown when he arrived in San Francisco, these two men had never been to China. At the time, the architects were not trained in the tradition or anything about oriental architecture. because also at that time the Orient was considered way behind the West. So culturally everything was looked down upon, let's say. Xingchang became a bustling department store hawking Asian art. Soon, Xingchang's bombastic chinoiserie look had become the style for most new structures going up in Chinatown. The architects who were trying to reproduce Beijing in San Francisco may have gotten a lot of the details wrong. But for the tourists, they were wrong in all the right ways. Tourists loved the new Chinatown. This was exactly the westerner-friendly version of China they wanted. Vaguely exotic, but safe enough for a middle-class white America. The visitors began to flow into Chinatown, and so did their cash. And Chinatown's pleasant new appearance was beginning to change popular sentiment towards the Chinese people. American newspapers made it explicit that the neighborhood makeover was causing them to rethink their contempt for the Chinese. Chinatown is one of the most noted places on the American continent. We have held up to the public gaze for too long the racial grief that separates the yellow and white people of the earth. She says the visual style and tourist-friendly attitude that San Francisco's Chinatown had perfected soon began to spread. In fact, the new Chinatown brand was so successful that it's still influencing Chinatown's being built in our own time. I think that it was a victory, absolutely. Of course, this architectural revenge didn't instantly fix everything for the Chinese in San Francisco. These people, look, look, look, it's like they've never seen a Chinese person before. So only the Chinese were forced to cater to white people's fantasies as a survival mechanism. Well, that's the irony. At that time, we had to promote our foreignness to be accepted. San Francisco's Chinatown has managed to remain a relatively affordable neighborhood for low-income immigrants. And Bonnie says yes, Chinatown has been Disney-fied and rebranded to cater to American tastes. A sweet surprise awaits you. Is up next, after this. This is still 99% invisible. And I'm still Roman Mars. Very lucky numbers. And so it just sort of made you realize how much fortune cookies and Chinese food have become an American ritual. Chinese food along with pizza and the frankfurter has been adopted and modified to become American cuisine rooted in some good old fashioned American xenophobia. In the early waves of Chinese immigration in the 1850s, the new Chinese population worked mostly as miners and farmers and laborers. And Americans, as ever, chop suey, the name, actually means assorted pieces, like odds and ends. Oh, chop suey is the biggest culinary joke that one culture has ever played on another. Chop suey is not a real Chinese dish at all. Americans want dessert because we are American and we like things which are sweet and fatty. So you needed a dessert. And as Chinese desserts go, Where they came from originally is a bit of a mystery, but we'll get to that. First, let's make this perfectly clear. All stuffed full of tiny strips of fortune paper. You can't write messages like, you will meet a tall dark stranger because an eight year old could read that and be like, I don't want that. Americans like their fortunes sunny. So fortunes tend to be vague or just generally uplifting, like tomorrow will be better. Or the fortunes are nabbed from quotation books, just whatever Lisa can find. When I asked around, it turns out a few of my friends do this or can recite their favorite fortunes from memory. And it's crazy because a lot of these fortunes are Stevens, written by his daughter, Lisa. But there are a few ways to tell where your fortunes come from. If you get one with blue corners on it, that was printed by a giant company in New York called Wanton Food. It charges visitors 50 cents a photo and doesn't actually have a very big cookie output. Actually, calling this place a factory is kind of an overstatement. It's just one narrow room, with most of the space taken up by three hulking, fortune cookie machines, met me at the Golden Gate Fortune Cookie Company. These fortune cookie machines are pretty simple. They flatten round dabs of batter onto a conveyor belt, and a worker sits next to this belt and folds the hot cookies around the paper fortunes. The Louis family used to have a fortune cookie company of their own, and it was their whole life. Even during dinner, we took shifts. Ming's father later developed the next generation of fortune cookie machines, a fully automated version, which also folds the cookie. because of this technology. And the fortunes were still in Japanese. And then something happened that completely disrupted everything about Japanese American life in this country. I was nine years old when we got sent to the concentration camps. Sally and her family were farmers in Fresno. Desert in Arizona, there were rattlesnakes and scorpions. Were there? Oh, there were, yeah. Oh, yeah, Gila monsters and scorpions and rattlesnakes, yeah. In the camp, her parents were given jobs earned hardly any money. Top salary was like $16 or $18 a month a month. For four years, out of sight, out of communication, and out of business. Including a lot of Japanese bakers and Japanese restaurant owners. My recollection was that after we came out of the camps, it was a Chinese fortune cookie. As we now know it, flourished. It's nearly impossible to pin the Americanization of the cookie to one specific Japanese American baker or Chinese American restaurant and then swept the rest of the United States and then the world except for China. They still don't eat fortune cookies.",
        "transcription_large_v3": " Those visual cues may be simple to pick up on, but it turns out the origin stories of Chinatown and the architecture and food that come from it are far more complex and interesting than you can imagine. We did a couple of stories on this a few years ago, and we've compiled them together into this episode. You know, the streets are paved with gold. This is Bonnie Tsui, Georgia's daughter. She's also the author of a book about American Chinatowns. Even today, Chinese people still call San Francisco Gumsan. Meaning Gold Mountain. This is where you find your fortune in San Francisco. George Choi's very first stop in San Francisco, his very first stop in America, was San Francisco's Chinatown. And he was not impressed. San Francisco's Chinatown and the Chinatowns in a lot of American cities. It's so out of context to anything else next to it on either side. That's filmmaker Felicia Lo. She made a documentary about San Francisco's Chinatown. Shops with neon-lit names like Heart of Shanghai selling paper fans and plastic Buddhas, which barred the vast majority of Chinese people from entering the States and made it impossible for Chinese already in the U.S. to become new American citizens. In San Francisco, racist housing policies made it almost impossible for people of Chinese heritage to live outside of Chinatown. And when they did set foot outside the 15 square blocks of the Chinese enclave, Early in the morning of April 18th of that year, San Franciscans woke up to a 7.8 magnitude earthquake. Still is. And the gas that leaked out, somewhere it connected with a spark. The massive fires that resulted lasted for three days and destroyed about 500 city blocks. Chinatown was one of the first neighborhoods to go up in smoke. The safe space for Chinese really is that 15 block radius of the neighborhood. And without it, she says that in the wake of the disaster, man helping man and so on. But while white man may have helped white man, no one was helping the Chinese. First, with individual white San Franciscans. The built environment keeps everyone in their place. And all the dynamite goes into Chinatown. At the time, fire departments would dynamite buildings to keep fire from spreading. Thrill-seeking white people could hire a guide to lead them through scenes of alleged depravity. They would be taken through dimly lit buildings and shown opium smokers and prostitutes and gambling. Evidence suggests that some of these scenes may have actually been staged by the guides themselves. That the Chinese lived underground and even today. Real estate that San Franciscan elites had long wanted for white businesses. In fact, two years before the fire, then-Mayor James Phelan had hired an architect to draw up sketches for a new downtown. The architect they hired, you may have heard of him, Daniel Burnham. And in his plan, there is no Chinatown. Burnham was a proponent of the City Beautiful movement, an urban planning philosophy popular in the late 19th and early 20th centuries. And this idea of City Beautiful, it's very racialized, this view. Within a week of the fire, City Hall created a committee dedicated solely to relocating Chinatown. Send more reports immediately. Get them to the hands of the city leaders and business leaders. Here's our plan. We can rebuild. Here's the perfect city. It's where the city's slaughterhouses were. She sent her consul general from Washington to meet with San Francisco officials. But the coup de grace was financial. For decades, San Francisco had been a key hub for trade with China. Okay, you don't want us to come back? We're not going to Hunter's Point. So there's a panic of a loss of revenue for the city. And that was a loss that city leaders couldn't take. Less than a month after the quake. But they didn't stop there. The fire had left Chinatown a blank slate. And for the first time, the Chinese were holding the chalk. They were sick of Chinatown getting this bad rap for vice. Sick of City Hall harassing them. Sick of visitors asking them if they lived in tunnels. The Chinese wanted a makeover for their neighborhood. She says that Looktin Eli figured, Hey, if tourists are always going to come to Chinatown seeking a taste of some imaginary east. Even though he knew in his own mind that the buildings in China didn't all look like this. Now, Look's plan might seem a bit counterintuitive at first. For decades, the Chinese of San Francisco had been harassed precisely because they looked and dressed differently from mainstream white America. And here was a guy saying, let's rebuild our neighborhood in a way that emphasizes our foreignness, that carves our difference from the rest of the city into the very face of our buildings. But Bonnie Soy, whose father had been flummoxed by the look of Chinatown when he arrived in San Francisco, these two men had never been to China. At the time, the architects were not trained in the tradition or anything about oriental architecture. Because also at that time, the Orient was considered way behind the West. So culturally, everything was looked down upon, let's say. Sing Chong became a bustling department store hawking Asian art. Soon, Sing Chang's bombastic chinoiserie look had become the style for most new structures going up in Chinatown. The architects who were trying to reproduce Beijing in San Francisco may have gotten a lot of the details wrong. But for the tourists, they were wrong in all the right ways. Tourists loved the new Chinatown. This was exactly the westerner-friendly version of China they wanted. Vaguely exotic, but safe enough for a middle-class white America. The visitors began to flow into Chinatown, and so did their cash. And Chinatown's pleasant new appearance was beginning to change popular sentiment towards the Chinese people. American newspapers made it explicit that the neighborhood makeover was causing them to rethink their contempt for the Chinese. Chinatown is one of the most noted places on the American continent. We have held up to the public gaze for too long the racial grief that separates the yellow and white people of the earth. She says the visual style and tourist-friendly attitude that San Francisco's Chinatown had perfected soon began to spread. In fact, the new Chinatown brand was so successful that it's still influencing Chinatown's being built in our own time. I think that it was a victory, absolutely. Of course, this architectural revenge didn't instantly fix everything for the Chinese in San Francisco. These people, look, look, look, it's like they've never seen a Chinese person before. So only the Chinese were forced to cater to white people's fantasies as a survival mechanism. Well, that's the irony. At that time, we had to promote our foreignness to be accepted. San Francisco's Chinatown has managed to remain a relatively affordable neighborhood for low-income immigrants. And Bonnie says yes, Chinatown has been Disney-fied and rebranded to cater to American tastes. A sweet surprise awaits you. It's up next, after this. This is still 99% invisible. And I'm still Roman Mars. Very lucky numbers. And so it just sort of made you realize like how much fortune cookies and Chinese food have become an American ritual. Chinese food along with pizza and the Frankfurter has been adopted and modified to become American cuisine. Rooted in some good old fashioned American xenophobia. In the early waves of Chinese immigration in the 1850s, the new Chinese population worked mostly as miners and farmers and laborers. And Americans, as ever, chop suey, the name, actually means assorted pieces, like odds and ends. Oh, chop suey is the biggest culinary joke that one culture has ever played on another. Chop suey is not a real Chinese dish at all. Americans want dessert because we are American and we like things which are sweet and fatty. So you needed a dessert. And as Chinese desserts go, where they came from originally is a bit of a mystery. But we'll get to that. First, let's make this perfectly clear. All stuffed full of tiny strips of fortune paper. You can't write messages like, you will meet a tall, dark stranger, because an eight-year-old could read that and be like, I don't want that. Americans like their fortunes sunny. So fortunes tend to be vague or just generally uplifting, like tomorrow will be better. Or the fortunes are nabbed from quotation books, just whatever Lisa can find. When I asked around, it turns out a few of my friends do this, or can recite their favorite fortunes from memory. And it's crazy because a lot of these fortunes are Stephen's, written by his daughter, Lisa. But there are a few ways to tell where your fortunes come from. If you get one with blue corners on it, that was printed by a giant company in New York called Wanton Food. It charges visitors 50 cents a photo and doesn't actually have a very big cookie output. Actually, calling this place a factory is kind of an overstatement. It's just one narrow room with most of the space taken up by three hulking fortune cookie machines. Met me at the Golden Gate Fortune Cookie Company. These fortune cookie machines are pretty simple. They flatten round dabs of batter onto a conveyor belt, and a worker sits next to this belt and folds the hot cookies around the paper fortunes. The Louis family used to have a fortune cookie company of their own, and it was their whole life. Even during dinner, we took shifts. Ming's father later developed the next generation of fortune cookie machines, a fully automated version which also folds the cookie. And because of this technology... And the fortunes were still in Japanese. And then something happened that completely disrupted everything about Japanese American life in this country. I was nine years old when we got sent to the concentration camps. Sally and her family were farmers in Fresno. Desert in Arizona, there were rattlesnakes and scorpions. Were there? Oh, there were, yeah. Oh, yeah. Gila monsters and scorpions and rattlesnakes, yeah. In the camp, her parents were given jobs that earned hardly any money. Top salary was like $16 or $18 a month, a month. For four years, out of sight, out of communication, and out of business. Including a lot of Japanese bakers and Japanese restaurant owners. My recollection was that after we came out of the camps, it was a Chinese fortune cookie. As we now know it, flourished. It's nearly impossible to pin the Americanization of the cookie to one specific Japanese American baker or Chinese American restaurant, and then swept the rest of the United States, and then the world, except for China. They still don't eat fortune cookies."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000128.mp3": {
        "gt": "AND I OWN AQUANUTS DIVING IN ROCKY MOUNTAIN HOUSE   ALBERTA   CANADA YEAH   SO DENISE IS FROM ALBERTA   CANADA   WHERE SHE OWNS A SCUBA DIVING COMPANY  AND ALBERTA   AS YOU MAY KNOW   IS NOT A COASTAL PROVINCE  WAS A PROTOTYPE  WOW   SO THERE'S LIKE A HYPERLINK IN THE BOTTOM OF A LAKEGERMAN SUBMARINES  WERE BASICALLY WREAKING HAVOC ON ALLIED SHIPS IN THE ATLANTIC OCEAN   JUST SINKING THEM LEFT AND RIGHT AND SO EVENTUALLY THIS PERSON NAMED ADMIRAL MOUNTBATTEN GOES TO WINSTON CHURCHILL   AND HE'S LIKE  WE HAVE TO DO SOMETHING ABOUT THIS  AND I THINK I KNOW WHAT THE SOLUTION IS A GIANT UNSINKABLE AIRCRAFT CARRIER SIZED SHIP MADE OF ICE  SO WHAT IN THE WORLD MADE ADMIRAL MOUNTBATTEN THINK THAT AN UNSINKABLE SHIP SHOULD BE MADE OF ICE  YEAH   SO LIKE WHAT THE HELL  AND AT SOME POINT HE DOES THIS DEMONSTRATION WHERE HE TAKES OUT HIS REVOLVER   AND HE SHOOTS THE REGULAR ICE  AND THE BULLET BOUNCES OFF THE PYKRETE AND ACTUALLY SORT OF RICOCHETS INTO THE LEG OF ONE OF HISLAKE PATRICIA YES   LAKE PATRICIA  A WARSHIP YEAH   FOR THE WAR  THEY FIGURED OUT HOW TO MASS-PRODUCE SMALLER AIRCRAFT CARRIERS  YOU'VE SEEN IT ENOUGH THAT'S FINETHAT'S AWESOME   I LOVE THAT STORYSPECIAL THANKS TO DEBBIE SCHNEIDERMAN WHO SENT IN THE TIP ABOUT PROJECT HABAKKUK   SHE ACTUALLY SENT IT IN RESPONSE TO THE MINI-STORIES EPISODE THAT WE DID LAST YEAR   SO IF YOU ALSO HAVE A MINI-STORY SUGGESTION  REACH US THROUGH THE CONTACT PAGE AT NINETY NINE PI DOT O R GNEXT UP PRODUCER EMMET FITZGERALDYEAH   YOU SHOULD JUST START BECAUSE I DON'T KNOW WHO YOU'RE GOING TO DO OKAY   SO THIS IS A STORY ABOUT A RUIN  IT'S PROBABLY THE MOST FAMOUS RUIN MAYBE IN THE WORLD   THE ROMAN COLOSSEUM OH   COOL YOU EVER BEEN  YEAH   JUST A REAL INCREDIBLE VARIETY  THAT THEY NOW HAD COMPLETE DOMINION OVER THE ANIMALS  ALMOST GREENHOUSE  AND THE NOW ARCHEOLOGICAL CUPIDITY   ARCHEOLOGICAL GREED   HAS DESTROYED EVERYTHING  AND ALSO THE FACT THATSO A WHILE BACK NINETY NINE PI'S DIGITAL DIRECTOR   KURT KOHLSTEDT   STARTED RESEARCHING A STORY ABOUT SACKCLOTH DRESSES  BUT AS I WAS LOOKING INTO IT   I THOUGHT THE IDEA SEEMED FAMILIAR SOMEHOW  SO I CALL UP THIS HISTORIAN I KNOW TO SEE IF MAYBE SHE HAD TOLD ME ABOUT THEM WHEN I WAS A BIT YOUNGER OKAY   SO MOM   CAN YOU TELL US BRIEFLY WHO YOU ARE AND WHAT YOU DO  SO DID THE FLOUR COMPANIES KNOW THAT PEOPLE WERE USING THEIR FLOUR SACKS AND UPSCALING THEM AS DRESSES  YEAH   I MEAN THEY STARTED TO FIGURE THIS OUT OVER TIME  SO I THINK SHE AVOIDED GETTING ME PINK FABRIC OR PINK FLOWERS ON FABRIC BECAUSE SHE KNEW WHAT I LIKED   PEOPLE AT THE TIME ALSO TURNED SACKS AND THE QUILTS   CURTAINS   EVEN DIAPERS  AND FARMERS RE-USED LIVESTOCK FEED BAGS   TOO  THAT FABRIC WAS ROUGHER  APPARENTLY   MY GREAT-GRANDFATHER HAD A FEEDBAG APRON MY GREAT-GRANDMOTHER MADE HIM FOR DOING REALLY DIRTY WORK   LIKE TOO DIRTY   EVEN FOR WORK CLOTHES  SO YOU'D BUY A SACKOF FEED FOR THE COWS  SHE ACTUALLY SAID THIS QUOTE THAT I REALLY LIKED  BECAUSE NO MATTER WHAT  EVEN IF YOU'RE WEARING A DRESS MADE OUT OF SACKCLOTH  YOU WANT TO LOOK GOOD   YOU WANT TO HAVE IT EXPRESS YOURSELF   IT'S LIKE A UNIVERSAL THING IN SOME CASES   THEY'D BUY A BATCH OF BAGS  GIVE MY BEST TO DAD   AND I'LL TALK TO YOU SOON   OKAY   OKAY   LOVE YOU   TOO   KURT   BYE-BYE   BYE  I DO ALL THE MUSIC COOL  MAYBE MORE HECTIC  AND THEN THEY JUST MAKE COPIES OF THE DISC THAT THEY RECORDED ON   THERE WAS NO EDITING  YOU THROW THE DISC AWAY AND YOU DO IT AGAINSO IN ORDER TO GET A BALANCED MIX OF DIFFERENT INSTRUMENTS AND VOICES  WELL   THERE WERE ACTUALLY A FAIR AMOUNT OF RECORDINGS WITH VIOLINS   BUT IT WAS PART BECAUSE OF THE ENGINEER'S GOING THROUGH ALL THIS TROUBLE TO DO THESE ELABORATE SESSIONS  AND IT VIBRATES THE SOUND WHICH GETS PROJECTED OUT BY THE HORN WOW   THAT'S AMAZING  THAT'S AWESOME  IN A WAY  BROADER RANGES OF INSTRUMENTS BECAME MORE POSSIBLE TO CAPTURE  TO RECORD THEM AT ALL SO AFTER THEY WEREN'T NECESSARY BECAUSE RECORDING TECHNOLOGY HAD ADVANCED  DID THEY JUST KIND OF FIZZLE OUT AS AN INSTRUMENT  AND RESONATOR GUITARS  OF PARTICULAR NOTE IN THE FLAG REDESIGN WORLD IS THE FLAG OF POCATELLO   IDAHO  POCATELLO WAS VOTED THE WORST CITY FLAG IN NORTH AMERICA BY THE MEMBERS OF THE NORTH AMERICAN VEXILLOLOGICAL ASSOCIATION  AND IT WAS KIND OF THE PUNCHLINE OF THE TED TALK  AND AFTER THEY HEARD ABOUT THE TALK  THEY GET A NEW BEAUTIFUL FLAG   THE NEW FLAG IS CALLED MOUNTAINS LEFT AND IT HAS THREE RED PEAKS SYMBOLIZING THREE LOCAL MOUNTAINS ON A FIELD OF BLUE AND A BLUE LINE AT THE BOTTOM THAT REPRESENTS THE PORTNEUF RIVER AND AT THE TOP OF THE HIGHEST PEAK IS A GOLDEN COMPASS ROSE REPRESENTING POCATELLO'S TRANSPORTATION HISTORY  IT IS A FINE FLAG   I HOPE TO SEE IT EVERYWHERE NEXT TIME I'M UP THERE  IF YOU'RE CURIOUS TO SEE A PICTURE OF IT  WELL DONE POCATELLO  \n",
        "transcription_base": " and I own octanex diving in Rocky Mountain House, Alberta, Canada. Yeah, so Denise is from Alberta, Canada, where she owns a scuba diving company. And Alberta, as you may know, is not a coastal province. It was a prototype. Wow, so there's like a hyperlink in the bottom of a lake. German submarines were basically wreaking havoc on allied ships in the Atlantic Ocean, just sinking them left and right. And so eventually this person named Admiral Mountbatten goes to Winston Churchill and he's like, we have to do something about this. And I think I know what this solution is. A giant, unsinkable aircraft carrier sized ship made of ice. So what in the world made Admiral Mountbatten think that an unsinkable ship should be made of ice? Yeah. So like what the hell? And at some point he does this demonstration where he takes out his revolver and he shoots the regular ice and the bullet bounces off the pichery and actually sort of rickishes into the leg of one of his leg pretrusions. Yes, a war ship. Yeah, for the war. They figured out how to mass produce smaller aircraft carriers. You've seen it enough. That's fine. That's awesome. I love that story. Special thanks to Debbie Schneiderman who sent in the tip about Project Habakkuk. She actually sent it in response to the mini-story episode that we did last year. So if you also have a mini-story suggestion, reach us through the contact page at 99pi.org. Next up, producer Emmett Fitzgerald. Yeah, you should just stress. I don't know what you're gonna do. Okay, so this is a story about a ruin. It's probably the most famous ruin, maybe, in the world. The Roman Coliseum. Cool. Yeah, I've been. Yeah, just a really incredible variety that they now had complete dominion over the animals. Almost greenhouse. And now archaeological stupidity, archaeological greed has destroyed everything. And also the fact that... So a while back, 99pi's digital director, Cole Stead, started researching a story about sackcloth dresses. But as I was looking into it, I thought the idea seemed familiar somehow. So I called up this historian, I know, to see if maybe she had told me about them when I was a bit younger. Okay, so mom, can you tell us briefly who you are and what you do? So did the flower companies know that people were using their flower sacs and upscaling them as dresses? Yeah, I mean, they started to figure this out over time. So I think she avoided getting me pink fabric or pink flowers on fabric because she knew what I liked. People at the time also turned sacs into quilts, curtains, even diapers. And farmers reused livestock feed bags too. And that fabric was rougher. Apparently my great grandfather had a feed bag apron, my great grandmother made him for doing really dirty work, like two dirty even for work clothes. So you'd buy a sack of feed for the cows. She actually said this quote that I really liked. Because no matter what, even if you're wearing a dress man, I've sat cloth, you wanna look good, you wanna have it express yourself. It's like a universal thing. In some cases, they buy a batch of bags. Give them a best of dad and I'll talk to you soon, okay? Okay, I love you too Kurt, bye-bye. I do all the music. Cool. Maybe more hectic. And then they just make copies of the disc that they recorded on. There was no editing. You throw the disc away and you do it again. So in order to get a balanced mix of different instruments and voices, well, there were actually a fair amount of recordings of violence, but it was part because of the engineers going through all this trouble to do these elaborate sessions and it vibrates the sound which gets projected out by the horn. Wow, that's amazing. That's awesome. In a way, broader ranges of instruments became more possible to capture to record them at all. So after they weren't necessary because recording technology had advanced, did they just kind of fizzle out as an instrument? And resonator guitars, a particular note in the flag reaches on world is the flag of Pocahtello Idaho. Pocotello was voted the worst city flag in North America by the members of the North American Vaxilological Association, and it was kind of the punchline of the TED Talk. And after they heard about the talk, they got a new beautiful flag. The new flag is called Mountains Left, and it has three red peaks symbolizing three local mountains on a field of blue and a blue line at the bottom that represents the Port Nouf River. And at the top of the highest peak is a golden compass rose representing Pocotello's transportation history. It is a fine flag. I hope to see it everywhere next time I'm up there. If you're curious to see a picture of it, well done, Pocatello.",
        "transcription_medium": " and I own Aquanuts Diving in Rocky Mountain House, Alberta, Canada. Yeah, so Denise is from Alberta, Canada, where she owns a scuba diving company. And Alberta, as you may know, is not a coastal province. It was a prototype. Wow. So there's like a hyperlink in the bottom of a lake. German submarines were basically wreaking havoc on Allied ships in the Atlantic Ocean, just sinking them left and right. And so eventually this person named Admiral Mountbatten goes to Winston Churchill and he's like, we have to do something about this. And I think I know what the solution is. A giant unsinkable aircraft carrier sized ship made of ice. So what in the world made Admiral Mountbatten think that an unsinkable ship should be made of ice? Yeah. So like, what the hell? And at some point he does this demonstration where he takes out his revolver and he shoots the regular ice and the bullet bounces off the Pycrete and actually sort of ricochets into the leg of one of his- Lake Patricia. Yes, Lake Patricia. A warship. Yeah, for the war. They figured out how to mass produce smaller aircraft carriers. You've seen it enough. That's fine. That's awesome. I love that story. Special thanks to Debbie Schneiderman who sent in the tip about Project Habakuk. actually send it in response to the mini stories episode that we did last year. So if you also have a mini story suggestion, reach us through the contact page at 99pi.org. Next up, producer Emmett Fitzgerald. Yeah, you should just start because I don't know what you're going to do. Okay. So this is a story about a ruin. It's probably the most famous ruin maybe in the world, the Roman Coliseum. Oh, cool. Have you ever been? Yeah, just a real incredible variety that they now had complete dominion over the animals almost greenhouse And now archaeological cupidity archaeological greed has destroyed everything and also the fact that so a while back 99 PI's digital Director Kurt Kolstad started researching a story about sackcloth dresses, but as I was looking into it I thought the idea seemed familiar somehow So I call up this historian I know to see if maybe she had told me about them when I was a bit younger Okay, so mom, can you tell us briefly who you are and what you do? So did the flower companies know that people were using their flower sacks and upscaling them as dresses? Yeah, I mean, they started to figure this out over time. So I think she avoided giving me pink fabric or pink flowers on fabric because she knew what I liked. People at the time also turned sacks into quilts, curtains, even diapers, and farmers reused livestock feed bags too. That fabric was rougher. Apparently my great-grandfather had a feed bag apron my great-grandmother made him for doing really dirty work. Like too dirty even for work clothes. So you'd buy a sack of feed for the cows? She actually said this quote that I really liked. Because no matter what, even if you're wearing a dress made out of sackcloth, you want to look good. You want to have it express yourself. That's like a universal thing. In some cases, they'd buy a batch of bags. Give my best to dad, and I'll talk to you soon, okay? Okay, love you too Kurt, bye bye. I do all the music. Cool. Maybe more hectic. And then they just make copies of the disc that they recorded on, there was no editing. You throw the disc away and you do it again. So in order to get a balanced mix of different instruments and voices, well, there were actually a fair amount of recordings of violins, but it was part because of the engineers going through all this trouble to do these elaborate sessions, and it vibrates the sound which gets projected out by the horn. Wow, that's amazing. That's awesome. In a way, broader ranges of instruments became more possible to capture to record them at all. So after they weren't necessary because recording technology had advanced, did they just kind of fizzle out as an instrument and resonator guitars? A particular note in the flag redesign world is the flag of Pocatello, Idaho. Pocatello was voted the worst city flag in North America by the members of the North American Vexillological Association And it was kind of the punchline of the TED talk and after they heard about the talk They got a new beautiful flag The new flag is called Mountains Left and it has three red peaks Symbolizing three local mountains on a field of blue and a blue line at the bottom that represents the Portnuff River And at the top of the highest peak is a golden compass rose representing Pocatello's transportation history It is a fine flag. I hope to see it everywhere next time I'm up there. If you're curious to see a picture of it, well done Bocadello.",
        "transcription_large_v3": " And I own Aquanuts Diving in Rocky Mountain House, Alberta, Canada. Yeah, so Denise is from Alberta, Canada, where she owns a scuba diving company. And Alberta, as you may know, is not a coastal province. It was a prototype. Wow. So there's like a hyperlink in the bottom of a lake. German submarines were basically wreaking havoc on Allied ships in the Atlantic Ocean, just sinking them left and right. And so eventually this person named Admiral Mountbatten goes to Winston Churchill and he's like, we have to do something about this. And I think I know what the solution is. A giant, unsinkable, aircraft carrier-sized ship made of ice. So what in the world made Admiral Mountbatten think that an unsinkable ship should be made of ice? Yeah. So, like, what the hell? And at some point he does this demonstration where he takes out his revolver and he shoots the regular ice and the bullet bounces off the Pykrete and actually sort of ricochets into the leg of one of his. Lake Patricia. Yes, Lake Patricia. A warship. Yeah, for the war. They figured out how to mass produce smaller aircraft carriers. You've seen it enough. It's fine. That's awesome. I love that story. Special thanks to Debbie Schneiderman who sent in the tip about Project Habakkuk. She actually sent it in response to the mini stories episode that we did last year. So if you also have a mini story suggestion, reach us through the contact page at 99pi.org. Next up, producer Emmett Fitzgerald. Yeah, you should just start because I don't know what you're going to do. Okay, so this is a story about a ruin. It's probably the most famous ruin maybe in the world, the Roman Colosseum. Oh, cool. You ever been? Yeah, just a real incredible variety that they now had complete dominion over the animals. Almost greenhouse. And now archaeological cupidity, archaeological greed has destroyed everything. And also the fact that... So a while back, 99PI's digital director Kurt Kolstad started researching a story about sackcloth dresses. But as I was looking into it, I thought the idea seemed familiar somehow. So I called up this historian I know to see if maybe she had told me about them when I was a bit younger. Okay, so, Mom, can you tell us briefly who you are and what you do? So did the flower companies know that people were using their flower sacks and upscaling them as dresses? Yeah, I mean, they started to figure this out over time. So I think she avoided giving me pink fabric or pink flowers on fabric because she knew what I liked. People at the time also turned sacks into quilts, curtains, even diapers. and farmers reused livestock feed bags too. That fabric was rougher. Apparently, my great-grandfather had a feed bag apron my great-grandmother made him for doing really dirty work, like too dirty even for work clothes. So you'd buy a sack of feed for the cows. She actually said this quote that I really liked. Because no matter what, even if you're wearing a dress made out of sackcloth, you want to look good. You want to have it express yourself. It's like a universal thing. In some cases, they'd buy a batch of bags. Give my best to dad, and I'll talk to you soon, okay? Okay, love you too, Kurt. Bye-bye. Bye. I do all the music. Cool. Maybe more hectic. And then they just make copies of the disc that they recorded on. There was no editing. You throw the disc away, and you do it again. So in order to get a balanced mix of different instruments and voices, well, there were actually a fair amount of recordings with violins, but it was part because of the engineers going through all this trouble to do these elaborate sessions, and it vibrates the sound which gets projected out by the horn. Wow, that's amazing. That's awesome. In a way, broader ranges of instruments became more possible to capture to record them at all. So after they weren't necessary because recording technology had advanced, did they just kind of fizzle out as an instrument? And resonator guitars? A particular note in the flag redesign world is the flag of Pocatello, Idaho. Pocatello was voted the worst city flag in North America by the members of the North American Vaxillological Association. And it was kind of the punchline of the TED Talk. And after they heard about the talk, they got a new beautiful flag. The new flag is called Mountains Left, and it has three red peaks symbolizing three local mountains on a field of blue and a blue line at the bottom that represents the Portneuf River. And at the top of the highest peak is a golden compass rose representing Pocatello's transportation history. It is a fine flag. I hope to see it everywhere next time I'm up there. If you're curious to see a picture of it, well done, Pocatello."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000144.mp3": {
        "gt": "HE LIVES IN CARROLLTON   VIRGINIA   AND HE RUNS A COMPANY THAT LEADS TOURISTS TO THE GREAT DISMAL SWAMP  THE DANGERS OF THE SWAMP AND ITS SEEMING IMPENETRABILITY ACTUALLY ATTRACTED A LOT OF PEOPLE  THAT'S A LOT OF PEOPLE TO COME THROUGH THERETHIS LAND WAS HOME TO GENERATIONS OF PEOPLE  IT WAS THE SIGHT OF ONE OF THE MOST REMARKABLE AND LEAST TOLD STORIES OF RESISTANCE TO SLAVERY IN THE UNITED STATES AFRICAN-AMERICANS SET UP COMMUNITIES IN THAT SWAMP  SAYERS SAYS THAT THESE INDIGENOUS AMERICANS WERE SEEKING REFUGE FROM EUROPEAN SETTLERS  THE SWAMP WAS AN OBVIOUS PLACE TO HIDE OUT  NEWS OF THE SWAMP PROBABLY SPREAD QUIETLY THROUGH WORD OF MOUTH PROBABLY AN UNDERGROUND SORT OF GRAPEVINE THAT PEOPLE LEARNED THIS WHEN THEY WERE TRUSTWORTHY ENOUGH   THEY LEARNED THE INFORMATION OF HOW TO GO INTO THE SWAMP AND THEN FIND THESE RESISTANCE COMMUNITIES  MEANING WILD OR UNTAMED  UNLIKE SOME OTHER RUNAWAYS WHO HEADED TO NORTHERN CITIES  MAROONS LIVED IN THE WILDERNESS IN DIFFICULT TO REACH PLACES  THAT CAPITALISTIC WORLD   THAT ENSLAVING WORLDISLANDS  IT WAS ON THESE ISLANDS THAT MAROON COMMUNITIES FORMED  LIKELY A FEW DOZEN PEOPLE ON EACH ONE WITH SOME MINGLING AND TRADE HAPPENING BETWEEN THE ISLANDS THAT WERE CLOSE TOGETHER  THE DIRTH OF THESE GOODS SPEAKS TO HOW SELF-SUFFICIENT THE MAROONS WERE  SAYERS AND HIS TEAM HAVE FOUND TINY BITS AND PIECES OF OLD STONE TOOLS   WHICH MAROONS FOUND OR INHERITED FROM PREVIOUS NATIVE AMERICAN INHABITANTS  AT ONE EXCAVATION SITE   FOR EXAMPLE  SAYERS SAYS HE CAN FIT THEM ALL INTO A SHOEBOX SAYERS' RESEARCH SUGGESTS THAT AT ITS PEAK  THE DISMAL SWAMP WAS HOME TO THOUSANDS OF SELF-SUFFICIENT MAROONS  AND IT ALSO SERVED AS A STOPPING POINT FOR OTHER ESCAPED SLAVES WHO WERE FLEEING NORTH ON THE UNDERGROUND RAILROAD BUT   LIKE MOST MAROON COMMUNITIES  IT WAS UNDER CONSTANT THREAT OF DISCOVERYSHE TALKS ABOUT WHAT IT WAS LIKE GROWING UP AND WORKING ON A PLANTATION IN BELLVILLE   TEXAS  EVERY MAROON COMMUNITY ACROSS THE COUNTRY WAS UNIQUE  SOME MAROONS LIVED IN THE WOODS LIKE THE WOMAN AND MAN DESCRIBED BY SMALLEY  OTHERS LIVED IN THE MOUNTAINS OR SWAMPS  SOME HAD FURNITURE  SHE SAYS THAT THESE SUBTERRANEAN MAROON SHELTERS WERE OFTEN INGENIOUSLY CONSTRUCTED  THE MAIN FEATURE IS THAT THEY WERE SECLUDED   THEY WERE DIFFICULT TO ACCESSTHEY WANTED AUTONOMY  AS MORE AND MORE EUROPEANS ARRIVED IN THE AREA   LAND GREW SCARCE AND MORE VALUABLE  WEALTHY COLONISTS SAW ECONOMIC OPPORTUNITY IN DEVELOPING THE SWAMP  A YOUNG GEORGE WASHINGTON  THAT GEORGE WASHINGTON AND HIS BROTHER JOHN STARTED A COMPANY WITH THE GOAL OF SAVING   IMPROVING   AND DRAINING THE LAND GEORGE WASHINGTON   THE ORIGINAL SWAMP DRAINER EVENTUALLY   THEIR COMPANY AND OTHERS WOULD CREATE A NETWORK OF CANALS SO THAT BOATS COULD GO INTO THE SWAMP  OF COURSE   THEY USED SLAVE LABOR FOR ALL OF THIS  TRACTS OF LAND HAD BEEN CLEARED OF TREES  AND HIS TALENTS WERE HIGHLY SOUGHT AFTER IN THE CANALS OF THE GREAT DISMAL SWAMP HE WAS A WATERMAN THAT DELIVERED THOSE SHINGLES TO THE NORFOLK AREA SO THEY COULD BUILD HOUSES WHILE GRANDY WAS WORKING IN THE SWAMP   IT'S LIKELY THAT HE GOT TO KNOW SOME OF THE MAROONS WHO LIVED THERE  WHILE SOME MAROONS REMAINED ISOLATED IN THEIR COMMUNITIES  OTHERS SAW OPPORTUNITIES WITH THE NEW TIMBER INDUSTRY CONTACT BETWEEN ENSLAVED WORKERS AND THE MAROONS WHO LIVED NEAR THE NEW TIMBER CAMPS BECAME PRETTY COMMON  HE PICKED THE SWAMP  SHEPHERD THINKS HE MUST HAVE HAD PEOPLE HE COULD DEPEND ON I DON'T THINK YOU JUST DO THAT AND NOT KNOW ANYBODY IN THAT SWAMP  HE DESCRIBED HIS TIME IN THE SWAMP  HERE AMONG THE SNAKES   BEARS   AND PANTHERS  IT WAS FRIGHTENED AND MADE OFF  EVENTUALLY GRANDY RECOVERED AND WENT BACK TO WORK  IN HIS NARRATIVE  AND AFTER THE WAR  SOME MAY HAVE GONE LOOKING FOR NEWLY FREED FAMILY IN THE SOUTH  SOME MAY HAVE TRAVELED NORTH   SOME MAY HAVE SETTLED IN NEIGHBORING TOWNS  NO ONE REALLY KNOWS FOR CERTAIN  SO PERSONAL ACCOUNTS FROM MAROONS ARE RARE IT'S ONLY IN THE PAST FEW DECADES THAT RESEARCHERS HAVE STARTED TO STUDY MOST US MAROON COMMUNITIES IN ANY SORT OF DEPTH  BUT SOME ACADEMICS THINK THERE'S A BIGGER REASON WHY THE STORIES OF MAROONS AREN'T TOLD I THINK IN THIS CASE   YOU HAVE A GOOD AMOUNT OF RACISM  A RESISTANCE TO SLAVERY THAT CAME ABOUT THROUGH WHITE AND BLACK COOPERATION  THE DISMAL SWAMP AND OTHER MAROON COMMUNITIES ARE ALL ABOUT BLACK AUTONOMY  A COMPLETE REJECTION OF WHITE SOCIETY  THAT WAS NOT PART OF THE LARGER DISCOURSE OF THIS COUNTRYHE LEFT BEHIND A GOOD GOVERNMENT JOB IN BALTIMORE   AND HE AND HIS WIFE MOVED TO SOUTHERN VIRGINIA JUST TO BE CLOSER TO THE HOT  MUGGY  WHO AIM TO PROTECT THE WILDLIFE THAT'S MADE A HOME THERE AND TO PRESERVE ITS UNIQUE LANDSCAPE  WE'LL SHARE A LITTLE GEM OF AN OUTTAKE FROM SHARIF'S RESEARCH OF THIS PIECE AFTER THIS  CHECK OUT ERIC SHEPHERD'S WEBSITE DIVERSITYRESTORATION DOT COM  SPECIAL THANKS ALSO TO TERRANCE WYKE AND THE OAKLAND AFRICAN-AMERICAN MUSEUM AND LIBRARY  HOSTED BY THE LIBRARY OF CONGRESS  \n",
        "transcription_base": " He lives in Carrollton, Virginia, and he runs a company that leads tourists to the Great Dismissed Swamp. The dangers of the swamp and its seeming impenetrability actually attracted a lot of people. That's a lot of people to come to there. This land was home to generations of people. It was the site of one of the most remarkable and least told stories of resistance to slavery in the United States. African Americans set up communities in their swamp. Players says that these indigenous Americans were seeking refuge from European settlers. The swamp was an obvious place to hide out. News of the swamp probably spread quietly through word of mouth. Probably an underground sort of great vibe that people learned this when they were trustworthy enough they learned the information of how to go into the swamp and then find these resistance communities. Meaning wild were untamed. Unlike some other runaways who had a denorthern cities, maroons lived in the wilderness, difficult to reach places. It was on these islands that maroon communities formed. Likely a few dozen people on each one, with some ingling and trade happening between the islands that were close together. The dearth of these goods speaks to how self-sufficient the maroons were. Sayers and his team have found tiny bits and pieces of old stone tools, Maroons found or inherited from previous Native American inhabitants. At one excavation site, for example, Sayers says he gets it them all into a shoebox. Sayers research suggests that at its peak, the dismal swamp was home to thousands of self-sufficient maroons, and it also served as a stopping point for other escape slaves who were fleeing north on the underground railroad. But like most maroon communities, it was under constant threat of discovery. She talks about what it was like growing up and working on a plantation in Belville, Texas. Every maroon community across the country was unique. Some maroons lived in the woods, like the woman and man described by Smali. Others lived in the mountains or swamps. Some had furniture. She says that these subterranean maroon shelters were often ingeniously constructed. The main feature is that they were secluded. They were difficult to access. They wanted autonomy. more and more Europeans arrived in the area. Land grew scarce and more valuable. Wealthy colonists saw economic opportunity in developing a swamp. A young George Washington, that George Washington and his brother John started a company with the goal of saving, improving, and draining the land. George Washington, the original swamp trainer. Eventually, their company and others would create a network of canals so that boats could go into the swamp. Of course they used slave labor for all of this. Tracts of land had been clear to trees, and his talents were highly sought after in the canals of the Great Dismiss swamp. He was a water man that delivered those shingles to the Norfolk area so they could build houses. While Grandy was working in the swamp, it's likely that he got to know some of the maroons who lived there. While some maroons remained isolated in their communities, others saw opportunities with the new timber industry. between enslaved workers and the maroons who lived near the new timber camps became pretty common. He picked the swamp. Shepard thinks he must have had people he could depend on. I don't think you just do that and not know anybody in that swamp. He described his time in the swamp. He am on the snakes, bears and panthers. It was frightened and made off. Eventually, Grandy recovered and went back to work. And his narrative, and after the war, some may have gone looking for newly freed family in the south. Some may have traveled north, some may have settled in neighboring towns. Now one really knows for certain, so personal accounts for maroons are rare. It's only in the past few decades that researchers have started to study most US maroon communities in any sort of depth. But some academics think there's a bigger reason why the stories of maroons aren't told. I think in this case you have a good amount of racism. A resistance to slavery that came about through white and black cooperation, the dismal swamp and other maroon communities are all about black autonomy, a complete rejection of white society. That was not part of the larger discourse of this country. He left behind a good government job in Baltimore and he and his wife moved to southern Virginia, just to be closer to the hot, muggy, who aimed to protect the wildlife that's made a home there and to preserve its unique landscape. We'll share a little gem of an outtake from Shree's research of this piece.",
        "transcription_medium": " He lives in Carrollton, Virginia, and he runs a company that leads tourists to the Great Dismal Swamp. The dangers of the swamp and its seeming impenetrability actually attracted a lot of people. There's a lot of people to come through there. This land was home to generations of people. It was the site of one of the most remarkable and least told stories of resistance to slavery in the United States. African Americans set up communities in their swamp. Players say that these indigenous Americans were seeking refuge from European settlers. The swamp was an obvious place to hide out. News of the swamp probably spread quietly through word of mouth. Probably an underground sort of grapevine. That people learned this when they were trustworthy enough. They learned the information of how to go into the swamp and then find these resistance communities. Meaning wild or untamed. Unlike some other runaways who headed to northern cities, maroons lived in the wilderness and difficult to reach places. That capitalistic world, that enslaving world. Islands. It was on these islands that maroon communities formed, likely a few dozen people on each one, with some mingling and trade happening between the islands that were close together. The dearth of these goods speaks to how self-sufficient the maroons were. Sayers and his team have found tiny bits and pieces of old stone tools, which maroons found or inherited from previous Native American inhabitants. At one excavation site, for example, Sayers says he could fit them all into a shoebox. Sayers' research suggests that, at its peak, the dismal swamp was home to thousands of self-sufficient maroons and it also served as a stopping point for other escaped slaves who were fleeing north on the Underground Railroad. But like most maroon communities, it was under constant threat of discovery. She talks about what it was like growing up and working on a plantation in Belleville, Texas. Every maroon community across the country was unique. Some maroons lived in the woods, like the woman and man described by Smalley. Others lived in the mountains or swamps. Some had furniture. She says that these subterranean maroon shelters were often ingeniously constructed. The main feature is that they were secluded. They were difficult to access. They wanted autonomy. As more and more Europeans arrived in the area, land grew scarce and more valuable. Wealthy colonists saw economic opportunity in developing the swamp. A young George Washington, that George Washington and his brother John started a company with the goal of saving, improving, and draining the land. George Washington, the original swamp drainer. Eventually, their company and others would create a network of canals so that boats could go into the swamp. Of course, they used slave labor for all of this. Tracts of land had been cleared of trees, and his talents were highly sought after in the canals of the Great Dismal Swamp. He was a waterman that delivered those shingles to the Norfolk area so they could build houses. While Grandy was working in the swamp, it's likely that he got to know some of the maroons who lived there. While some maroons remained isolated in their communities, others saw opportunities with the new timber industry. between enslaved workers and the maroons who lived near the new timber camps became pretty common. He picked the swamp. Shepard thinks he must have had people he could depend on there. I don't think you just do that and not know anybody in that swamp. He described his time in the swamp. Him on the snakes, bears, and panthers. It was frightened and made off. Eventually Grandy recovered and went back to work. In his narrative, and after the war, Some may have gone looking for newly freed family in the south. Some may have traveled north. Some may have settled in neighboring towns. No one really knows for certain. So personal accounts for maroons are rare. It's only in the past few decades that researchers have started to study most US maroon communities in any sort of depth. But some academics think there's a bigger reason why the stories of maroons aren't told. I think in this case you have a good amount of racism. a resistance to slavery that came about through white and black cooperation. The dismal swamp and other maroon communities are all about black autonomy, a complete rejection of white society. That was not part of the larger discourse of this country. He left behind a good government job in Baltimore and he and his wife moved to southern Virginia just to be closer to the hot, muggy who aim to protect the wildlife that's made a home there, and to preserve its unique landscape. We'll share a little gem of an outtake from Shree's research for this piece after this. Check out Eric Shepard's website, diversityrestoration.com. Special thanks also to Terence Wyke and the Oakland African American Museum and Library, hosted by the Library of Congress.",
        "transcription_large_v3": " He lives in Carrollton, Virginia, and he runs a company that leads tourists to the Great Dismal Swamp. The dangers of the swamp and its seeming impenetrability actually attracted a lot of people. That's a lot of people to come through there. This land was home to generations of people. It was the site of one of the most remarkable and least told stories of resistance to slavery in the United States. African Americans set up communities in that swamp. Sayers says that these indigenous Americans were seeking refuge from European settlers. The swamp was an obvious place to hide out. News of the swamp probably spread quietly through word of mouth. Probably an underground sort of grapevine. That people learned this when they were trustworthy enough. They learned the information of how to go into the swamp and then find these resistance communities. Meaning wild or untamed. Unlike some other runaways who headed to northern cities, Maroons lived in the wilderness, in difficult-to-reach places. That capitalistic world, that enslaving world. Islands. It was on these islands that maroon communities formed, likely a few dozen people on each one, with some mingling and trade happening between the islands that were close together. The dearth of these goods speaks to how self-sufficient the maroons were. Sayers and his team have found tiny bits and pieces of old stone tools, which maroons found or inherited from previous Native American inhabitants. At one excavation site, for example, Sayers says he could fit them all into a shoebox. Sayers' research suggests that at its peak, the Dismal Swamp was home to thousands of self-sufficient maroons, and it also served as a stopping point for other escaped slaves who were fleeing north on the Underground Railroad. But like most maroon communities, it was under constant threat of discovery. She talks about what it was like growing up and working on a plantation in Belleville, Texas. Every maroon community across the country was unique. Some maroons lived in the woods, like the woman and man described by Smalley. Others lived in the mountains or swamps. Some had furniture. She says that these subterranean maroon shelters were often ingeniously constructed. The main feature is that they were secluded. They were difficult to access. They wanted autonomy. As more and more Europeans arrived in the area, land grew scarce and more valuable. Wealthy colonists saw economic opportunity in developing the swamp. A young George Washington, that George Washington, and his brother John started a company with the goal of saving, improving, and draining the land. George Washington, the original swamp drainer. Eventually, their company and others would create a network of canals so that boats could go into the swamp. Of course, they used slave labor for all of this. Tracts of land had been cleared of trees, and his talents were highly sought after in the canals of the Great Dismal Swamp. He was a waterman that delivered those shingles to the Norfolk area so they could build houses. While Grandy was working in the swamp, it's likely that he got to know some of the Maroons who lived there. While some Maroons remained isolated in their communities, others saw opportunities with the new timber industry. Contact between enslaved workers and the maroons who lived near the new timber camps became pretty common. He picked the swamp. Shepard thinks he must have had people he could depend on there. I don't think you just do that and not know anybody in that swamp. He described his time in the swamp. Here among the snakes, bears, and panthers, it was frightened and made off. Eventually, Grandy recovered and went back to work. and his narrative, and after the war, some may have gone looking for newly freed family in the South. Some may have traveled north. Some may have settled in neighboring towns. No one really knows for certain. So personal accounts for maroons are rare. It's only in the past few decades that researchers have started to study most U.S. maroon communities in any sort of depth. But some academics think there's a bigger reason why the stories of maroons aren't told. I think in this case you have a good amount of racism. A resistance to slavery that came about through white and black cooperation. The Dismal Swamp and other maroon communities are all about black autonomy, a complete rejection of white society. That was not part of the larger discourse of this country. He left behind a good government job in Baltimore and he and his wife moved to southern Virginia, just to be closer to the hot, muggy... who aim to protect the wildlife that's made a home there and to preserve its unique landscape. We'll share a little gem of an outtake from Sharif's research for this piece after this. Check out Eric Shepard's website, diversityrestoration.com. Special thanks also to Terrence Wyke and the Oakland African American Museum and Library, hosted by the Library of Congress."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000160.mp3": {
        "gt": "IT COULD BE BETTER  LIKE   IF THERE WAS A FUNICULAR TRANSPORT SUSPENDED FROM A BRIDGE OF SOARING TOWERS OVER THE BAY CONNECTING DOWNTOWN SAN FRANCISCO TO OAKLAND AND THIS BASICALLY LOOKS LIKE A BLIMP THAT WOULD BE ATTACHED TO THE UNDERSIDE OF A BAY BRIDGE THAT WOULD APPARENTLY CROSS THE BAY IN FIVE MINUTES  SHE WRITES ABOUT DESIGN FOR THE NEW YORK TIMES AND IS A CONTENT STRATEGIST AT SPUR  A MEMBER ORGANIZATION DEDICATED TO CRAFTING SMART SOLUTIONS FOR CITIES  THE ARTICLE GOES ON AS FOLLOWS  NOW THAT'S RATHER A STARTLING STATEMENT   ISN'T IT  OH PASHAW   YOU SAY CONTEMPTUOUSLY  SOME DREAMS COME TRUE  IN THE CLASSIFICATION OF UNBUILT STRUCTURES   I PUT FLETCHER E   FELTS SAYS SUSPENDED AUTO MOTOR RAILWAY IN A GROUP I CALL  WITH BIG CIVIC CENTERS AND GRAND NEOCLASSICAL STRUCTURES THAT STIR THE SOUL  YOU MIGHT BE ABLE TO TELL WHERE THIS IS GOING  APRIL EIGHTEEN  AND THE CITY'S LEVELED  AND SO THIS IS THE OPPORTUNITY   THIS IS SAN FRANCISCO'S CHANCE TO ENACT THE IMPERIAL BURNHAM PLAN  LET'S BRING OUT BURNHAM  AND EVERYBODY BLESSED IT AND ENDORSED IT  BUT INSTANTLY THE PLAN UNRAVELED IT'S SOMETHING EVERY CITY RAVAGED BY DISASTER HAS SEEN  BURNHAM AND HIS SUPPORTERS KEPT TRYING TO DO THESE CRAZY THINGS FROM NEAR AND FAR  IN FACT  AGAIN   AND AGAIN AND AGAIN  SO THOSE ARE TWO THINGS  HIGH SPEED HANGING BULLETS OVER THE BAY AND A LOGICAL CITY THAT WE CAN HOLD IN OUR IMAGINATIONS AND CURSE OUR FOREBEARS FOR BEING SO SHORT-SIGHTED  BUT QUITE HONESTLY  A LOT OF THINGS  I MEAN   HERE IN THE BAY AREA ALONE  THERE WERE PLENTY OF NEAR DISASTERS THAT CAME THIS CLOSE TO BECOMING A REALITY  THEY WERE PROPOSED HIGHWAY SYSTEMS THAT WOULD CARVE UP SAN FRANCISCO IN UNIMAGINABLE WAYS  THE INVISIBLE NEVER BUILT PARALLEL UNIVERSE BANDS COAST TO COAST AND THERE ARE CARTOGRAPHERS OF THESE UNBUILT WORLDS OUR PRODUCER SAM GREENSPAN SPOKE WITH ONE OF THEM   A GUY WHO CALLS HIMSELF VANSHNOOKENRAGGEN I GO UNDER THE NAME OF VANSHNOOKENRAGGEN   IT DOESN'T MEAN ANYTHING   IT'S PURE GIBBERISH  MY ACTUAL NAME IS ANDREW LYNCH VANSHNOOKENRAGGEN AKA ANDREW LYNCH IS A PROFESSIONAL REALTOR AND AMATEUR CARTOGRAPHER IN NEW YORK CITY  ANDREW'S MAP DOESN'T REPRESENT WHAT IS  IT REPRESENTS WHAT ALMOST WAS WHAT I'VE DONE IS TO DRAW WHAT GOOGLE MAPS WOULD LOOK LIKE IF ROBERT MOSES HAD GOTTEN HIS WAY IN THE MID TWENTIETH CENTURY  OKAY   SO FIRST   WE GOT TO TALK ABOUT ROBERT MOSES  THE TRUE POWER BROKER OF NEW YORK  THE POWER BROKER  I'VE READ IT   IT'S SO GOOD   IT'S DAUNTING BUT POWER THROUGH IT   IT REALLY IS WORTH IT ROBERT MOSES BUILT BRIDGES AND BEACHES AND HIGHWAYS AND PUBLIC HOUSING AND HE DID A LOT OF THE MASTER PLANNING OF NEW YORK CITY AND ITS SURROUNDINGS  HE EVEN RESTRUCTURED THE CITY GOVERNANCE  BUT SOME OF WHAT HE'S MOST FAMOUS  OR REALLY INFAMOUS FOR  IS WHAT DIDN'T GET BUILT  YOU SEE   ROBERT MOSES WAS A MAN WHO LOVED HIGHWAYS HE WANTED TO BUILD TWO HIGHWAYS THROUGH MANHATTAN   ONE THROUGH DOWNTOWN   THROUGH SOHO AND TRIBECA  AND ONE THROUGH MIDTOWN  WHAT THOSE HIGHWAYS WOULD LOOK LIKE TODAY  NOW   IF YOU'RE THINKING  THIS IS TOTALLY INSANE   WHO WOULD ACTUALLY WANT THIS MASSIVE   GNARLED   PERPETUAL TRAFFIC JAM THROUGH MANHATTAN  YOU HAVE TO UNDERSTAND WHAT WAS GOING ON AT THE TIME  MANHATTAN WASN'T MADE FOR CARS  AND A LOT OF PEOPLE REALLY WANTED THEM  SO JUST LIKE CITIES TODAY  THEY WERE TRYING TO SOLVE THE PROBLEM OF A CITY THAT DIDN'T FUNCTION IN THE MODERN ERA  HERE'S A FUN FACT  ROBERT MOSES DIDN'T DRIVE  HE HAD DRIVERS WHO CARTED HIM AROUND AND ENDURED THE HORRIBLE NEW YORK TRAFFIC FOR HIM  THIS WAS A SPAGHETTI NETWORK OF ON AND OFF RAMPS WRAPPING THEMSELVES AROUND BUILDINGS  THESE HIGHWAYS WOULDN'T HAVE WORKED  WE KNOW NOW THAT TRAFFIC ALWAYS EXPANDS TO FILL WHATEVER THE CAPACITY I MEAN   MAYBE YOU COULD DRIVE FROM MANHATTAN TO JERSEY   LIKE FIVE MINUTES FASTER THAN YOU COULD TODAY  BUT THE REAL TRAGEDY HERE WOULDN'T HAVE BEEN THE FAILURE OF THE HIGHWAYS MISSION  BUT ON THE GROUND  LOWER MANHATTAN   IN PARTICULAR  WOULD BE ALMOST UNRECOGNIZABLE IT JUST SO HAPPENED THAT WHEN I WAS TALKING WITH ANDREW   WE WERE IN LOWER MANHATTAN RIGHT ON VARICK STREET  I ASKED ANDREW   IF HE CAN GIVE ME A TOUR OF WHAT'S NOT THEREWE COULD LIKE STAND RIGHT UNDER IT  FIND LIKE   A HIGHWAY   JUST STAND UNDER IT AND THEN COME HERE AND THEN TRY TO REMEMBER WHAT THAT FEELS LIKE  NONE OF THIS  WITH THEIR GOOGLE STANDARD GRAYS AND BLUES AND YELLOWS  ANDREW CREATED A MAP TO SHOW HOW TERRIBLE THESE THINGS WOULD HAVE BEEN  BUT IN CREATING THE MAP   HE WAS ACTUALLY ABLE TO SEE THE PROJECT   FROM THE PLANNER'S POINT OF VIEW  AS I WENT THROUGH CUTTING ACROSS MANHATTAN BEFORE I DREW IN THE HIGHWAY   I JUST LOOKED AT THE SWATH THAT I HAD ERASED  IT WAS AN INTERESTING FEELING   I COULD PUT MYSELF IN ROBERT MOSES'S SHOES WHERE I'M NOT LOOKING AT A CITY WHILE I'M DOING THAT   I'M LOOKING AT A MAP  AND BECAUSE I DON'T SEE THE PEOPLE AND I DON'T SEE THE HOMES   I DON'T SEE THE BUILDINGS  THAT WOULD HAVE BEEN TERRIBLE  I WOULD HAVE LOVED TO BE ABLE TO MAKE A GOOGLE STREET VIEW  SEE WHAT IT WAS LIKE  IT OFTEN CENTERS AROUND AN ACTIVIST NAMED JANE JACOBS   WHO LED A CAMPAIGN TO KEEP ONE OF MOSES'S HIGHWAYS FROM DESTROYING HER BELOVED NEIGHBORHOOD GREENWICH VILLAGE AND THERE WERE OTHER FACTORS LIKE THE MASSIVE COST OF THOSE HIGHWAYS THAT WERE PROPOSED THAT KEPT THEM FROM HAPPENING AS WELL  IS HOW THAT THREAT   THE LOWER MANHATTAN EXPRESSWAY  CRYSTALLIZED THE STORY OF JACOBS'S NEIGHBORHOOD  IT'S ALMOST AS IF THE THREAT FROM MOSES MADE GREENWICH VILLAGE INTO THE PLACE IT NOW SEEMS DESTINED TO HAVE BECOME  AND THAT BRINGS US BACK TO THE SAN FRANCISCO BAY AREA  HERE'S JOHN KING AND ALLISON ARIEFF AGAIN THE UNBUILT CAN IN FACT  START WHAT DOES HAPPEN SO IF YOU DRIVE NORTH ON THE GOLDEN GATE BRIDGE IMMEDIATELY TO YOUR LEFT   AS YOU START TO REACH THE END OF THE BRIDGE   YOU SEEIT WAS CALLED MARIN CHELA THIS WAS NOT SEEN AS A RAPACIOUS IDEA AT THE TIME   THIS WAS SEEN AS HOW BUSINESS IS DONE IT WAS A MASSIVE MIX OF HOUSES AND TOWERS  IT WAS APPROVED WITH VERY LITTLE CONTROVERSY BY THE MARIN COUNTY BOARD OF SUPERVISORS BUT MARIN CHELA BEING APPROVED WAS ENOUGH TO ALARM PEOPLE AND START PEOPLE REACTING TO IT  SO THE GOLDEN GATE NATIONAL RECREATION AREA WAS FORMED OUT OF CONCERN FOR ALL THE VARIOUS PLANS THAT WERE BEING PROPOSED  NEVER GOT BUILT   BUT IT SET THE EVENTS IN MOTION THAT   IN FACT   DETERMINE THE LANDSCAPE WE HAVEIS THERE A HOLISTIC WAY TO GO ABOUT IT   AND YOU HAD SOME VERY SMART PEOPLE WHO CAME UP WITH THE IDEA OF   WELL   WHAT IF THERE WAS A NATIONAL PARK THAT COULD TAKE IN ALL THIS  SAN FRANCISCO ACTUALLY DID BUILD FOR ITSELF AND EVERYONE ELSE WHO VISITS  \n",
        "transcription_base": " It could be better. Like if there was a finicular transport suspended from a bridge of soaring towers over the bay connecting downtown San Francisco to Oakland. And this basically looks like a blimp that would be attached to the underside of a bay bridge that would apparently cross the bay in five minutes. She writes about design for The New York Times and is a content strategist at Spur, a member organization dedicated to crafting smart solutions for cities, the article goes on as follows. In the classification of unbuilt structures, I put Fletcher E. Feltz's suspended auto-motor railway in a group I call, with big civic centers and grand neoclassical structures that stir the soul. You might be able to tell where this is going. April 18th. and the city's level. And so this is the opportunity. This is San Francisco's chance to enact the Imperial Burnham Plan. Let's bring out Burnham and everybody blessed it and endorsed it. But instantly, the plan unraveled. It's something every city ravaged by disaster is seeing. Burnham and his supporters kept trying to do these crazy things from near and far. In fact, again and again and again. So those are two things. High speed, hanging bullets over the bay, and a logical city that we can hold in our imaginations and curse our forebearers for being so short-sighted. But quite honestly, a lot of things, I mean here in the Bay Area alone, there were plenty of near disasters that came this close to becoming a reality. There were proposed highway systems that would carve up San Francisco in unimaginable ways. The invisible never built parallel universe spans coast to coast. And there are cartographers of these unbuilt worlds. Our producer Sam Greenspan spoke with one of them, a guy who calls himself Van Schnuckenragan. I go under the name of Van Schnuckenragan. It doesn't mean anything, it's pure gibberish. My actual name is Andrew Lynch. Van Schnuckenragan, aka Andrew Lynch, is a professional realtor and amateur cartographer in New York City. Andrew's map doesn't represent what is, it represents what almost was. What I've done is to draw what Google mouse would look like if Robert Moses had gotten his way in the mid-20th century. Okay, so first we got to talk about Robert Moses, the true power broker of New York, the power broker. I read it. It's so good. It's daunting, but power through it. It really is worth it. Robert Moses built bridges and beaches and highways and public housing, and he did a lot of of the master planning of New York City and its surroundings. He even restructured the city governance, but some of what he's most famous, a really infamous for, is what didn't get built. You see, Robert Moses was a man who loved highways. He wanted to build two highways through Manhattan one, through downtown, through Soho and Tribeca, and one through Midtown. What those highways would look like today. Now if you're thinking, this is totally insane. Who would actually want this massive, gnarled, perpetual traffic jam through Manhattan? You have to understand what was going on at the time. Manhattan wasn't made for cars, and a lot of people really wanted them, so just like cities today, they were trying to solve the problem of a city that didn't function in the modern era. Here's a fun fact. Robert Moses didn't drive. He had drivers who carted him around and endured the horrible New York traffic for him. This was a spaghetti network of on and off ramps, wrapping themselves around buildings. These highways wouldn't have worked. We know now that traffic always expands to fill whatever the capacity. I mean maybe you could drive from Manhattan to Jersey like 5 minutes faster than you could today. But the real tragedy here wouldn't have been the failure of the highway's mission. on the ground, Lowerman Hatton in particular would be almost unrecognizable. It just so happened that when I was talking with Andrew, we were in Lowerman Hatton, right on Varic Street. I asked Andrew if he can give me a tour of what's not there. With their Google standard, Grey's, and Blues and Yellows, Andrew created a map to show how terrible these things would have been. But in creating the map, he was actually able to see the project from the planners point of view. As I went through cutting across Manhattan, before I drew in the highway, I just looked at the swath that I had erased. It was an interesting feeling. I could put myself in Robert Moses' shoes where I'm not looking at a city while I'm doing that, looking at a map. And because I don't see the people and I don't see the homes, I don't see the buildings, that would have been terrible. I would have loved to be able to make a ghoul streak to you, see what it was like. It often centers around an activist named Jane Jacobs, who led a campaign to keep one of Moses' highways from destroying her beloved neighborhood, Greenwich Village. And there were other factors, like the massive cost of those highways that were proposed, that kept them from happening as well. It's how that threat of the Lower Manhattan Expressway crystallized the story of Jacob's neighborhood. It's almost as if the threat from Moses made Greenwich Village into the place it now seems destined to have become. And that brings us back to the San Francisco Bay Area. Here's John King and Alison Ariath again. The unbuilt can in fact start what does happen. So if you drive north on the Golden Gate Bridge immediately to your left as you start to reach the end of the bridge you see... It was called Marincello. This was not seen as a rapacious idea at the time this was seen as how business is done. It was a massive mix of houses and towers. It was approved with very little controversy by the Marin County Board as supervisors. But Marin Telebina proved was enough to alarm people and start people reacting to it. So the Golden Gate National Recreationary was formed out of concern for all the various plans that were being proposed. never got built, but it set the events in motion that in fact determine the landscape we have. Is there a holistic way to go about it? And you had some very smart people who came up with the idea of, well, what if there was a national park that could take in all this? San Francisco actually did build for itself, and everyone else who visits.",
        "transcription_medium": " it could be better. Like if there was a funicular transport suspended from a bridge of soaring towers over the bay, connecting downtown San Francisco to Oakland. And this basically looks like a blimp that would be attached to the underside of a bay bridge that would apparently cross the bay in five minutes. She writes about design for the New York Times and is a content strategist at SPUR, a member organization dedicated to crafting smart solutions for cities. The article goes on as follows. Now that's rather a startling statement, isn't it? Oh, for sure, you say contemptuously, some dreams come true. In the classification of Unbelt structures, I put Fletcher E. Feltz's Suspended Auto Motor Railway in a group I call, with big civic centers and grand neoclassical structures that stir the soul. You might be able to tell where this is going. April 18th. And the city's leveled. And so this is the opportunity. This is San Francisco's chance to enact the Imperial Burnham Plan. Let's bring out Burnham and everybody blessed it and endorsed it. But instantly, the plan unraveled. It's something every city ravaged by disaster has seen. Burnham and his supporters kept trying to do these crazy things from near and far. In fact, again and again and again. So those are two things. high speed hanging bullets over the bay, and a logical city that we can hold in our imaginations and curse our forbearers for being so short-sighted. But quite honestly, a lot of things, I mean here in the bay area alone, there were plenty of near disasters that came this close to becoming a reality. There were proposed highway systems that would carve up San Francisco in unimaginable ways. The invisible never built parallel universe spans coast to coast. And there are cartographers of these unbuilt worlds. Our producer Sam Greenspan spoke with one of them, a guy who calls himself Van Schnuckenragen. I go under the name of Van Schnuckenragen. It doesn't mean anything. It's pure gibberish. My actual name is Andrew Lynch. Van Schnuckenragen, aka Andrew Lynch, is a professional realtor and amateur cartographer in New York City. Andrew's map doesn't represent what is. It represents what almost was. What I've done is to draw what Google Maps would look like if Robert Moses had gotten his way in the mid-20th century. Okay, so first we've got to talk about Robert Moses, the true power broker of New York, the power broker. I've read it. It's so good. It's daunting, but power through it. It really is worth it. Robert Moses built bridges and beaches and highways and public housing, and he did a lot of the master planning of New York City and its surroundings. He even restructured the city governance. But some of what he's most famous, or really infamous for, is what didn't get built. You see, Robert Moses was a man who loved highways. He wanted to build two highways through Manhattan. One through downtown, through Soho and Tribeca, and one through Midtown. What those highways would look like today. Now if you're thinking, this is totally insane. Who would actually want this massive gnarled perpetual traffic jam through Manhattan? You have to understand what was going on at the time. Manhattan wasn't made for cars, and a lot of people really wanted them. So just like cities today, they were trying to solve the problem of a city that didn't function in the modern era. Here's a fun fact. Robert Moses didn't drive. He had drivers who carted him around and endured the horrible New York traffic for him. This was a spaghetti network of on and off ramps wrapping themselves around buildings. These highways wouldn't have worked. We know now that traffic always expands to fill whatever the capacity. I mean maybe you could drive from Manhattan to Jersey like 5 minutes faster than you could today. But the real tragedy here wouldn't have been the failure of the highway's mission. But on the ground, Lower Manhattan in particular, would be almost unrecognizable. It just so happened that when I was talking with Andrew, we were in Lower Manhattan, right on Varick Street. I asked Andrew if he can give me a tour of what's not there. We could like stand right under it. Find like a highway and just stand under it and then come here and then try to remember what that feels like. None of this. With their Google standard grays and blues and yellows. Andrew created a map to show how terrible these things would have been. But in creating the map he was actually able to see the project from the planner's point of view. As I went through cutting across Manhattan before I drew in the highway I just looked at the swath that I had erased. It was an interesting feeling. I could put myself in Robert Moses's shoes where I'm not looking at a city while I'm doing that, I'm looking at a map and because I don't see the people and I don't see the homes, I don't see the buildings, that would have been terrible. I would have loved to be able to make a Google Street View, see what it was like. It often centers around an activist named Jane Jacobs who led a campaign to keep one of Moses's highways from destroying her beloved neighborhood, Greenwich Village. And there were other factors, like the massive cost of those highways that were proposed, that kept them from happening as well. It's how that threat of the lower Manhattan Expressway crystallized the story of Jacob's neighborhood. It's almost as if the threat from Moses made Greenwich Village into the place it now seems destined to have become. And that brings us back to the San Francisco Bay Area. Here's John King and Alison Ariyaf again. the unbuilt can in fact start what does happen. So if you drive north on the Golden Gate Bridge, immediately to your left, as you start to reach the end of the bridge, you see... It was called Marincello. This was not seen as a rapacious idea at the time. This was seen as how business is done. It was a massive mix of houses and towers. It was approved with very little controversy by the Marin County Board of Supervisors. But Marincello being approved was enough to alarm people and start people reacting to it. So the Golden Gate National Recreation Area was formed out of concern for all the various plans that were being proposed. Never got built, but it set the events in motion that in fact determined the landscape we have. Is there a holistic way to go about it? And you had some very smart people who came up with the idea of, well, what if there was a national park that could take in all this. San Francisco actually did build for itself and everyone else who visits.",
        "transcription_large_v3": " it could be better. Like if there was a funicular transport suspended from a bridge of soaring towers over the bay connecting downtown San Francisco to Oakland. And this basically looks like a blimp that would be attached to the underside of a bay bridge that would apparently cross the bay in five minutes. She writes about design for the New York Times and is a content strategist at SPUR, a member organization dedicated to crafting smart solutions for cities. The article goes on as follows. Now that's rather a startling statement, isn't it? Oh, for sure, you say contemptuously. Some dreams come true. In the classification of unbuilt structures, I put Fletcher E. Feltz's suspended automotive railway in a group I call with big civic centers and grand neoclassical structures that stir the soul. You might be able to tell where this is going. April 18th. And the city's leveled. And so this is the opportunity. This is San Francisco's chance to enact the Imperial Burnham Plan. Let's bring out Burnham. And everybody blessed it and endorsed it. But instantly, the plan unraveled. It's something every city ravaged by disaster has seen. Burnham and his supporters kept trying to do these crazy things from near and far. In fact, again and again and again. So those are two things. High speed hanging bullets over the bay. And a logical city. that we can hold in our imaginations and curse our forebears for being so short-sighted. But quite honestly, a lot of things? I mean, here in the Bay Area alone, there were plenty of near disasters that came this close to becoming a reality. There were proposed highway systems that would carve up San Francisco in unimaginable ways. The invisible, never-built parallel universe spans coast to coast. And there are cartographers of these unbuilt worlds. Our producer Sam Greenspan spoke with one of them, a guy who calls himself Van Schnuckenragen. I go under the name of Van Schnuckenragen. It doesn't mean anything. It's pure gibberish. My actual name is Andrew Lynch. Van Schnuckenragen, aka Andrew Lynch, is a professional realtor and amateur cartographer in New York City. Andrew's map doesn't represent what is. It represents what almost was. What I've done is to draw what Google Maps would look like if Robert Moses had gotten his way in the mid-20th century. Okay, so first we've got to talk about Robert Moses, the true power broker of New York. The power broker. I've read it. It's so good. It's daunting, but power through it. It really is worth it. Robert Moses built bridges and beaches and highways and public housing, and he did a lot of the master planning of New York City and its surroundings. He even restructured the city governance. But some of what he's most famous, or really infamous for, is what didn't get built. You see, Robert Moses was a man who loved highways. He wanted to build two highways through Manhattan. One through downtown, through Soho and Tribeca, and one through Midtown. What those highways would look like today. Now if you're thinking, this is totally insane. insane. Who would actually want this massive gnarled perpetual traffic jam through Manhattan? You have to understand what was going on at the time. Manhattan wasn't made for cars and a lot of people really wanted them. So just like cities today, they were trying to solve the problem of a city that didn't function in the modern era. Here's a fun fact. Robert Moses didn't drive. He had drivers who carted him around and endured the horrible New York traffic for him. This was a spaghetti network of on and off ramps wrapping themselves around buildings. These highways wouldn't have worked. We know now that traffic always expands to fill whatever the capacity. I mean, maybe you could drive from Manhattan to Jersey like five minutes faster than you could today. But the real tragedy here wouldn't have been the failure of the highway's mission. But on the ground, Lower Manhattan in particular, would be almost unrecognizable. It just so happened that when I was talking with Andrew, we were in Lower Manhattan, right on Varick Street. I asked Andrew if he can give me a tour of what's not there. We could, like, stand right under it. Find, like, a highway and just stand under it, and then come here and then try to remember what that feels like. None of this. With their Google standard grays and blues and yellows. Andrew created a map to show how terrible these things would have been. But in creating the map, he was actually able to see the project from the planner's point of view. As I went through cutting across Manhattan, before I drew in the highway, I just looked at the swath that I had erased. It was an interesting feeling. I could put myself in Robert Moses's shoes where I'm not looking at a city while I'm doing that. I'm looking at a map. And because I don't see the people and I don't see the homes, I don't see the buildings, that would have been terrible. I would have loved to be able to make a Google Street View, see what it was like. It often centers around an activist named Jane Jacobs, who led a campaign to keep one of Moses's highways from destroying her beloved neighborhood, Greenwich Village. And there were other factors, like the massive cost of those highways that were proposed, that kept them from happening as well. It's how that threat of the Lower Manhattan Expressway crystallized the story of Jacob's neighborhood. It's almost as if the threat from Moses made Greenwich Village into the place it now seems destined to have become. And that brings us back to the San Francisco Bay Area. Here's John King and Allison Ariaf again. The unbuilt can in In fact, start what does happen. So if you drive north on the Golden Gate Bridge, immediately to your left, as you start to reach the end of the bridge, you see... It was called Marincello. This was not seen as a rapacious idea at the time. This was seen as how business is done. It was a massive mix of houses and towers. It was approved with very little controversy by the Marin County Board of Supervisors. But Marincello being approved was enough to alarm people and start people reacting to it. So the Golden Gate National Recreation Area was formed out of concern for all the various plans that were being proposed. Never got built, but it set the events in motion that in fact determined the landscape we have. Is there a holistic way to go about it? and you had some very smart people who came up with the idea of, well, what if there was a national park that could take in all this? San Francisco actually did build for itself and everyone else who visits."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000176.mp3": {
        "gt": "THESE CHOICES INFLUENCE HOW THE PERSON READING THE MAP VIEWS THE WORLD  MAPS CAN ACTUALLY SHAPE THE PLACE THEY'RE TRYING TO REPRESENT  OKAY   SO KURT KOHLSTEDT IS IN THE STUDIO WITH ME AND HE ALSO LOVES MAPS  AND THESE ARE BITS OF LAND CUT OFF FROM THEIR HOME COUNTRIES IN VARIOUS COOL WAYS YEAH   AND THEY TAKE A LOT OF FORMS AND IT GETS COMPLICATED PRETTY FAST  BASICALLY THE LAND IN THE ANGLE IS SURROUNDED BY CANADIAN LAND ON MOST SIDES  BUT ON LAND   THEY'D ACTUALLY HAVE TO DRIVE THROUGH CANADA TO GET BACK INTO THIS SLICE OF AMERICA  AND THE CROSSING STATIONS ARE CORRESPONDINGLY PRETTY MINIMALIST SO WHAT DOES IT TAKE TO CROSS THE BORDER AT THE NORTHWEST ANGLE  ENCLAVES ARE COUNTRIES OR PARTS OF COUNTRIES THAT ARE ENTIRELY CONTAINED WITHIN ANOTHER COUNTRY'S TERRITORY   SO THEY'RE TOTALLY SURROUNDED SO NORTHWEST ANGLE AND POINT ROBERTS AND ALASKA   THEY DON'T COUNT BECAUSE THEY AREN'T CUT OFF COMPLETELY FROM THE US   YOU CAN STILL GET TO THESE PLACES BY BOAT   FOR EXAMPLE YEAH   EXACTLY  CONSIDER COUNTER-COUNTER ENCLAVES  LIKE A PIECE OF INDIA INSIDE A PIECE OF BANGLADESH  INSIDE A PIECE OF INDIA  INSIDE OF BANGLADESH  IT'S ALSO THE WORLD'S LARGEST KNOWN ISLAND IN A LAKE  ON AN ISLAND   IN A LAKE  ON AN ISLANDI LIKE A GOOD FELL  I'M THERE IN MY MIND   I'M RAMBLING   IT'S A BEAUTIFUL PLACE I'M GLAD YOU'RE ENJOYING YOURSELF  SO LONG AS YOU ARE SOMEWHERE ON THE ISLAND OF GREAT BRITAIN  IT'S JUST KIND OF THERE  AND THE THING IS   IS THAT THESE PILLARS ARE ACTUALLY ALL OVER THE PLACE  NO MATTER WHERE YOU ARE   IF YOU HEAD OUT A FEW MILES IN ANY DIRECTION  YOU WILL KEEP STUMBLING UPON THESE THINGS AND THEY ALL BASICALLY LOOK LIKE THIS   YEAH   THEY'RE ALL IDENTICAL   EXACT SAME SHAPE   EXACT SAME MEASUREMENTS   IT ALMOST NEVER VARIES  THIS ONE YOU'RE LOOKING AT IS IN WALES   LET ME SHOW YOU A FEW MORE  BUT STILL   THEY HAVE THESE PILLARS   THERE REALLY ARE EVERYWHERE  SO WHAT ARE THEY AND WHY ARE THEY EVERYWHERE  WHICH WAS TO MAKE A TOPOGRAPHICAL SURVEY OF AN ENTIRE COUNTRY AND SO A TOPOGRAPHICAL SURVEY OF THE ENTIRE COUNTRY   I KIND OF KNOW WHAT YOU MEAN   BUT WHAT DO YOU MEAN  AS YOU GET INTO THE AGE OF EXPLORATION AND COLONIZATION   BUT ALSO THE AGE OF NATION-STATES WITH STANDING ARMIES  THERE WERE NO NATIONAL MAPS   NO NATIONAL GRID SYSTEMS  BUT ALSO YOU HAVE THIS ENLIGHTENMENT IDEA THAT THERE IS SOME KIND OF FIXED   OBJECTIVE REALITY OUT THERE THAT WE HAVE BEEN DENIED ACCESS TO   UP UNTIL NOW  BRITAIN IS FINALLY LIKE  OKAY   SO HOW DO YOU GO ABOUT MAKING A NATIONAL MAP  THEY USED A SERIES OF GLASS TUBES  THOSE TWO TRIANGULATION STATIONS WERE WITHIN SIGHT OF THE GREENWICH OBSERVATORY  THEN THEY WERE OFF TO THE RACES BECAUSE NOW YOU DON'T NEED TO PHYSICALLY MEASURE  ALL YOU NEED TO DO IS PLACE A NEW TRIANGULATION   A THIRD TRIANGULATION STATION  WITHIN SIGHT OF THE FIRST TWO  MEASURE THE ANGLES AGAIN AND THEN YOU CAN JUST DO ALL THE MATH FROM THE ANGLES AND YOU GET TO KNOW THE EXACT LOCATION OF THE THIRD TRIANGULATION STATION   AND THEN YOU CAN PLACE A FOURTH A LITTLE FURTHER AWAY  AND SO ALL THE TRIG PILLARS YOU SEE DOTTED THROUGHOUT THE COUNTRYSIDE  AND THERE'S ACTUALLY HILARIOUS DESCRIPTIONS OF WHERE YOU COULD FIND THEM BECAUSE THEY'D BE LIKE   OH   ASK THE FARMER WHO LIVES AT THE END OF THE LANE   AND HE'LL TELL YOU  SO IN THE END   FOR THE FULL SURVEY   HOW MANY TRIG POINTS DID THEY HAVE TO BUILD  SO THIS IS THE GUY  HIS NAME IS ROB WOODALL  HE IS FIFTY NINE  HE WORKS FOR A WATER AND WASTE AUTHORITY IN EAST ANGLIA AND HE HONESTLY CANNOT TELL YOU WHAT COMPELLED HIM TO DO THISI MEAN ROB LIKES THE OUTDOORS AND HE LIKES A GOOD CHALLENGE   CLEARLY  BUT WHEN I ASKED HIM IF THERE WAS SOME KIND OF PHILOSOPHICAL REWARD IN IT FOR HIM   SOMETHING TO DO WITH PERHAPS SEEING ALL OF BRITAIN  HE WAS LIKE   NO  ALTHOUGH MOST TRIG POINTS   IF THEY ARE INTERFERED WITH   ARE INTERACTED WITH AND KIND OF MORE INNOCENT WAYS  THIS IS AN ENGLISH ROSE  SO OBVIOUSLY IN WALES  BUT MY FAVORITE HAS TO BE THE MINIONSFOR ALL THE LOWER ORDER MEASUREMENTS   LIKE THE STREETS AND THE HILLS AND THE RIVERS AND THE SLOPES  SURVEYORS USED MUCH   MUCH SMALLER MARKINGS   REALLY JUST THESE LITTLE NOTCHES MADE IN THE LANDSCAPE  WOW THAT WAS MY REACTION AS WELLI'VE NEVER THOUGHT OF MENTIONING IT   ACTUALLY   THEY PROBABLY DON'T  I GUESS THE POINT IS THAT THESE THOUSANDS OF TRIG PILLARS ANDHERE IS VIVIAN LE ROMAN  HAVE YOU EVER HEARD OF A TOWN CALLED OCCOQUAN  OCCOQUAN NOPE  SO WHO IS THAT   SO THAT IS LAUREN JACOBS  THERE'S AN ORGANIZATION  AND I KNOW THIS SOUNDS LIKE KIND OF A LOT   BUT IT'S NOT LIKE THE ARTISTS AT HER GALLERY WERE GETTING RICH OFF OF THESE SALES  AND FOR A WHILE   EVERYTHING WAS GOING GREATTHE DIRECTION THIS IS GOING INDICATES TO ME THAT THINGS ARE NOT GOING TO BE GOING GREAT SOONAND THEN AND THEN  POKEMON GO COMES OUT OH  OKAY  IN ORDER TO ACCESS THINGS WITHIN THE GAME OKAY  AND ALL OF A SUDDEN  SO YEARS LATER WHEN NIANTIC TEAMED UP WITH THE POKEMON COMPANY TO RELEASE POKEMON GO  AND THE TOWN KEPT ON BEING LIKE  ILLEGAL FOR WHAT   WHAT EXACTLY YOU MEAN   THAT PEOPLE SHOULD NOT BE ALLOWED TO WALK ON OUR STREETS ANYMORE   WHAT EXACTLY ARE YOU PROPOSING  YEAH   HISTORICALLY  NOT ONLY WERE WE NOT SEEING PEOPLE IN THE GALLERY  THE WEALTHY RESIDENTS WEREN'T SHOPPING IN THEIR NEIGHBORHOOD ANYMORE   PERIOD  IT COMPLETELY DESTROYED COMMERCE  WEIRD AND CONTEMPORARY AND OFTEN CREEPY  MORE BORING  IT WASN'T SERVING MY ART AT ALL  BUT THOSE CORE CLIENTS DISAPPEARED  COOL  AND IF PEOPLE WANT TO SEE LAUREN JACOB'S SELF-DESCRIBED CREEPY ART  SEAN REAL WROTE ALL THE MUSIC   INCLUDING THIS POKEMON SONG  STEPH WEAVER  \n",
        "transcription_base": " These choices influence how the person reading the map views the world. Maps can actually shape the place they're trying to represent. Okay, so Kurt Colesdad is in the studio with me and he also loves maps. And these are bits of land cut off from their home countries in various cool ways. Yeah, and they take a lot of forms and it gets complicated pretty fast. Basically, the land in the angle is surrounded by Canadian land on most sides. But on land they'd actually have to drive through Canada to get back into this slice of America and the crossing stations are correspondingly pretty minimalist. So what does it take to cross the border at the Northwest Angle? Onclaves are countries or parts of countries that are entirely contained within another country's territory. So they're totally surrounded. So Northwest Angle and Point Roberts and Alaska, they don't count because they aren't cut off completely from the US. So you can still get to these places by boat for example. Yeah exactly. Consider counter-on-claves like a piece of India inside a piece of Bangladesh inside a piece of India inside a Bangladesh. It's also the world's largest known island in a lake on an island in a lake on an island. I like a good fell. I'm there in my mind. I'm rambling. It's a beautiful place. I'm glad you're enjoying yourself. So long as you are somewhere on the island of Great Britain, it's just kind of there. And the thing is that these pillars are actually all over the place. No matter where you are, if you head out a few miles in any direction, you will keep stumbling upon these things. And they all basically look like this? Yeah, they're all identical, exact same shape, exact same measurements. It almost never varies. This one you're looking at is in Wales. Let me show show you a few more, but still they have these pillars. They really are everywhere. So what are they and why are they everywhere? Which was to make a topographical survey of an entire country. Huh. And so a topographical survey of the entire country, I kind of know what you mean, but what do you mean? As you get into the age of exploration and colonization, but also the age of nation states with standing armies, there were no national maps, no national grid systems. But also you had this enlightenment idea that there is some kind of fixed objective reality out there that we have been denied access to up until now. Britain is finally like, okay, so how do you go about making an Hesh-N-O-Map? They used a series of glass tubes. Those two triangulation stations were within sight of the Greenwich Observatory. Then they were off to the races because now you don't need to physically measure all you need to do is place a new triangulation, a third triangulation station within sight of the first two, measure the angles again, and then you can just do all the math from the angles and you get to know the exact location of the third triangulation station. And then you can put a fourth a little further away. And so all the trig pillars you see dotted throughout the countryside, and there's actually hilarious descriptions of where you could find them, like because they'd be like, oh, ask the farmer, lives at the end of the lane and he'll tell you. So in the end, for the full survey, how many trig points do they have to build? So this is the guy, his name is Rob Woodall, he is 59, he works for a water and waste authority in East Anglia, and he honestly cannot tell you what compelled him to do this. I mean Rob likes the outdoors and he likes a good challenge clearly, but when I asked him if there was some kind of philosophical reward in it for him, something to do with perhaps seeing all of Britain, he was like no. Although most trick points if they are interfered with are interacted with in kind of more innocent ways. This is an English ropes, so obviously in Wales. But my favorite has to be the minions. For all the lower order measurements, like the streets and hills and the rivers and the slopes, surveyors used much, much smaller markings, really just these little notches made in the landscape. Wow, that was my reaction as well. I've never thought of mentioning it, actually. They probably don't. I guess the point is that these thousands of trig pillars in here is Vivian lay. Roman have you ever heard of a town called aqua quan aqua no so who is that so that is Lauren Jacobs there's an organization and I know this sounds like kind of a lot but it's not like the artist's at our gallery we're getting rich off of these sales and for a while everything was going great. The direction this is going indicates to me that things are not going to be going great soon. And then, Pokemon Go comes out. Oh, okay. In order to access things within the game. Okay. And all of a sudden, so years later when Niantic teamed up with the Pokemon company to release Pokemon Go, and the town kept on being like, illegal for what? What exactly you mean that people should not be allowed to walk on our streets anymore? What exactly are you proposing? Yeah, historically. Not only were we not seeing people in the gallery, the wealthy residents weren't shopping in their neighborhood anymore period. It completely destroyed commerce, weird and contemporary and often creepy, more boring. It wasn't serving my art at all, but those core clients disappeared. Cool. And if people want to see Lauren Jacob's sub-described creepy art. John Reale wrote all the music including this Pokemon song, Staff Weaver.",
        "transcription_medium": " These choices influence how the person reading the map views the world. Maps can actually shape the place they're trying to represent. Okay, so Kurt Kohlstedt is in the studio with me and he also loves maps. And these are bits of land cut off from their home countries in various cool ways. Yeah, and they take a lot of forms and it gets complicated pretty fast. Basically, the land in the Angle is surrounded by Canadian land on most sides. But on land they'd actually have to drive through Canada to get back into this slice of America and the crossing stations are Correspondingly pretty minimalist. So what does it take to cross the border at the northwest angle? Enclave's are countries or parts of countries that are entirely contained within another country's territory So they're totally surrounded so the northwest angle in Point Roberts in Alaska They don't count because they aren't cut off completely from the u.s So you can still get to these places by boat for example. Yeah, exactly consider counter counter enclaves like a piece of India inside a piece of Bangladesh Inside a piece of India inside a Bangladesh. It's also the world's largest known Island in a lake on an island in a lake on an island. I like a good fell. I'm there in my mind I'm rambling. It's a beautiful place. I'm glad you're enjoying yourself So long as you are somewhere on the island of Great Britain, it's just kind of there. And the thing is, is that these pillars are actually all over the place. No matter where you are, if you head out a few miles in any direction, you will keep stumbling upon these things. And they all basically look like this. Yeah, they're all identical, exact same shape, exact same measurements. It almost never varies. This one you're looking at is in Wales. Let me show you a few more but still they have these pillars. They really are everywhere. So what are they and why are they everywhere? Which was to make a topographical survey of an entire country. And so a topographical survey of the entire country, I kind of know what you mean but what do you mean? As you get into the age of exploration and colonization but also the age of nation states with standing armies, there were no national maps, no national grid systems but also you you had this enlightenment idea that there is some kind of fixed objective reality out there that we have been denied access to up until now. Britain is finally like, okay, so how do you go about making a national map? They used a series of glass tubes. Those two triangulation stations were within sight of the Greenwich Observatory. Then they were off to the races because now you don't need to physically measure. All you need to do is place a new triangulation, a third triangulation station within sight of the first two, measure the angles again and then you can just do all the math from the angles and you'll get to know the exact location of the third triangulation station. And then you can place a fourth a little further away and so all the trig pillars you see dotted throughout the countryside and there's actually hilarious descriptions of where you could find them because they'd be like, oh ask the farmer who lives at the end of the lane and he'll tell you. So in the end for the full survey, how many trig points do they have to build? So this is the guy his name is Rob Woodall. He is 59 He works for a water and waste authority in East Anglia and he honestly cannot tell you what compelled him to do this I mean Rob likes the outdoors and he likes a good challenge clearly But when I asked him if there was some kind of philosophical reward in it for him something to do with perhaps seeing all of Britain He was like, no. Although most trick points if they are interfered with are interacted with in kind of more innocent ways. This is in English robes, so obviously in Wales, but my favorite has to be the minions. For all the lower order measurements like the streets and hills and the rivers and the slopes, surveyors used much much smaller markings, really just these little notches made in the landscape. That was my reaction as well. I've never thought of mentioning it actually they probably don't I guess the point is that these thousands of trig pillars and here is Vivian Lay Roman have you ever heard of a town called Occoquan Occoquan? No, so who is that? So that is Lauren Jacobs There's an organization and I know this sounds like kind of a lot but it's not like the artists at our gallery We're getting rich off of these sales and for a while everything was going great The direction this is going indicates to me that things are not going to be going great soon. And then Pokemon Go comes out. Oh, okay. In order to access things within the game. Okay. And all of a sudden... So years later when Niantic teamed up with the Pokemon Company to release Pokemon Go... And the town kept on being like, illegal for what? What exactly? You mean that people should not be allowed to walk on our streets anymore? What exactly are you proposing? Yeah, historically. Not only were we not seeing people in the gallery, the wealthy residents weren't shopping in their neighborhood anymore, period. It completely destroyed commerce. Weird and contemporary and often creepy, more boring. It wasn't serving my art at all. But those core clients disappeared. Cool. Any people want to see Lauren Jacobs self-described creepy art. Sean Rial wrote all the music including this Pokemon song, Steph Weaver.",
        "transcription_large_v3": " These choices influence how the person reading the map views the world. Maps can actually shape the place they're trying to represent. Okay, so Kurt Kolstad is in the studio with me, and he also loves maps. And these are bits of land cut off from their home countries in various cool ways. Yeah, and they take a lot of forms, and it gets complicated pretty fast. Basically, the land in the angle is surrounded by Canadian land on most sides. But on land, they'd actually have to drive through Canada to get back into this slice of America. And the crossing stations are correspondingly pretty minimalist. So what does it take to cross the border at the Northwest Angle? Enclaves are countries or parts of countries that are entirely contained within another country's territory. So they're totally surrounded. So Northwest Angle and Point Roberts in Alaska, they don't count because they aren't cut off completely from the U.S. So you can still get to these places by boat, for example. Yeah, exactly. Consider counter counter enclaves like a piece of India inside a piece of Bangladesh inside a piece of India inside of Bangladesh. It's also the world's largest known island in a lake on an island in a lake on an island. I like a good fell. I'm there in my mind. I'm rambling. It's a beautiful place. I'm glad you're enjoying yourself. So long as you are somewhere on the island of Great Britain, it's just kind of there. And the thing is, is that these pillars are actually all over the place. No matter where you are, if you head out a few miles in any direction, you will keep stumbling upon these things. And they all basically look like this? Yeah, they're all identical, exact same shape, exact same measurements. It almost never varies. This one you're looking at is in Wales. Let me show you a few more. But still, they have these pillars. They really are everywhere. So what are they and why are they everywhere? Which was to make a topographical survey of an entire country. And so a topographical survey of the entire country. I kind of know what you mean, but what do you mean? As you get into the age of exploration and colonization, but also the age of nation states with standing armies, there were no national maps, no national grid systems. But also you had this enlightenment idea that there is some kind of fixed objective reality out there that we have been denied access to up until now. Britain is finally like, OK, so how do you go about making a national map? They used a series of glass tubes. Those two triangulation stations were within sight of the Greenwich Observatory. Then they were off to the races because now you don't need to physically measure. all you need to do is place a new triangulation a third triangulation station within sight of the first two measure the angles again and then you can just do all the math from the angles and you get to know the exact location of the third triangulation station okay and then you can place a fourth a little further away and so all the trig pillars you see dotted throughout the countryside and there's actually hilarious descriptions of where you could find them like because they'd be like oh ask the farmer who lives at the end of the lane and he'll tell you So in the end, for the full survey, how many trig points do they have to build? So this is the guy. His name is Rob Woodall. He is 59. He works for a water and waste authority in East Anglia. And he honestly cannot tell you what compelled him to do this. I mean, Rob likes the outdoors, and he likes a good challenge, clearly. But when I asked him if there was some kind of philosophical reward in it for him, something to do with perhaps seeing all of britain he was like no although most trick points if they are interfered with are interacted with in kind of more innocent ways this is an english rose so obviously in wales but my favorite has to be the minions for all the lower order measurements like the streets and the hills and the rivers and the slopes surveyors used much much smaller markings really just these little notches made in the landscape wow that was my reaction as well i've never thought of mentioning it, actually. They probably don't. I guess the point is that these thousands of trig pillars and... Here is Vivian Leigh. Roman, have you ever heard of a town called Acoquan? Acoquan. Nope. So who is that? So that is Lauren Jacobs. There's an organization, and I know this sounds like kind of a lot, but it's not like the artists at our gallery. We're getting rich off of these sales, and for a while, everything was going great. The direction this is going indicates to me that things are not going to be going great soon. And then... Pokemon Go comes out. Oh, okay. In order to access things within the game. Okay. And all of a sudden... So years later, when Niantic teamed up with the Pokemon company to release Pokemon Go, and the town kept on being like, illegal for what? What exactly? You mean that people should not be allowed to walk on our streets anymore? What exactly are you proposing? Yeah, historically. Not only were we not seeing people in the gallery, the wealthy residents weren't shopping in their neighborhood anymore, period. It completely destroyed commerce. Weird and contemporary and often creepy. More boring. It wasn't serving my art at all. But those core clients disappeared. Cool. And if people want to see Lauren Jacobs' self-described creepy art, Sean Real wrote all the music, including this Pokemon song. Steph Weaver"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000192.mp3": {
        "gt": "SO KATHERINE OTT STARTED ASKING AROUND WHERE DID THIS WHEELCHAIR COME FROM   WHY IS IT IN STORAGE  WE THINK IT SHOULD BE AT THE SMITHSONIAN  ED ROBERTS  OTT DIDN'T RECOGNIZE THE NAME  NOT YETIF YOU LIVE IN AN AMERICAN CITY   AND YOU DON'T PERSONALLY USE A WHEELCHAIR  YOU PROBABLY DON'T PAY MUCH ATTENTION TO THE SMALL SLOPE   AT MOST INTERSECTIONS  BETWEEN THE SIDEWALK AND THE STREET  IT'S JUST A RAMP  A CUT IN THE CURB THEY'RE ALL OVER THE COUNTRY NOW  THAT'S ENOUGH TO STOP A PERSON IN A WHEELCHAIR FROM REACHING THE NEXT BLOCK WITHOUT HELP AND THE STORY OF HOW THE FIRST WIDE-SPREAD URBAN CURBS CUTS CAME TO BE  IT STARTS WITH A MOVEMENT THAT DEMANDED SOCIETY SEE DISABLED PEOPLE IN A NEW WAYED ROBERTS WAS CENTRAL TO THAT MOVEMENT   AND SO WERE THE HUNDREDS OF PEOPLE WHO HELPED DRAG HIS WHEELCHAIR UP CONSTITUTION AVENUE  SO IT COULD END UP AT THE SMITHSONIAN  ED ROBERTS GREW UP IN BURLINGAME   NEAR SAN FRANCISCO   HE WAS THE OLDEST OF FOUR BOYS AND HE LOVED TO PLAY BASEBALL  BUT ONE DAY   WHEN HE WAS FOURTEEN YEARS OLD   HE GOT REALLY SICK   WITH A FEVER WITHIN A FEW DAYS HE WAS IN THE HOSPITAL THAT'S ZONA ROBERTS   ED'S MOM  HE COULD MOVE TWO FINGERS ON HIS LEFT HAND AND THAT WAS IT   HIS PARALYSIS WAS PERMANENT  THE DOCTOR WHO TOLD ED'S PARENTS THEIR SON HAD SURVIVED HIS HIGH FEVER DID NOT PRESENT THIS AS GOOD NEWS HE SAID  WELL   HOW WOULD YOU FEEL IF YOU HAD TO LIVE IN AN IRON LUNG THE REST OF YOUR LIFE  I DON'T IMAGINE YOU'VE EVER BEEN IN ONE I'VE BEEN IN ONE AND IT'S NOT A VERY GOOD WAY TO LIVE  THAT'S A DEEP SEA DIVERS' TRICK WHERE YOU GULP OXYGEN INTO YOUR LUNGS   THE WAY A FROG DOES  FOR POLIO SURVIVORS   WHOSE WEAKENED BREATHING MUSCLES WEREN'T STRONG ENOUGH TO INHALE THAT NEEDED OXYGEN  FROG-BREATHING MEANT A PERSON COULD GET OUT OF THE IRON LUNG FOR SHORT STRETCHES OF TIME YOU SWALLOW AIR  LIKE THAT  YOU SWALLOW IT AND THEN YOU CAN BREATHE  ED WAS TENACIOUS   BUT EVERYTHING WAS HARD  HE NEEDED THE IRON LUNG WHILE HE WAS ASLEEP   BUT THE FROG-BREATHING LET HIM LEAVE IT FOR A WHILE DURING THE DAY   SO HE STAYED IN SCHOOL   GOING TO CAMPUS ONCE A WEEK  WHEN ED DID LEAVE THE HOUSE   HIS FAMILY RAN THE MANEUVERS  SHE WOULD WRANGLE STRANGERS I'D HAVE TO GET SOMEBODY HELP ME GET THE CHAIR UP THE STAIRS   SO IT WOULD BE SOMEBODY IN THE BACK   AND SOMEBODY ON THE FRAME   AND GET IT UP   OR SOMETIMES IT WOULD JUST BE ME ED GRADUATED FROM HIGH SCHOOL   THEN FROM A LOCAL COMMUNITY COLLEGE  AND WHERE COULD HE SAFELY LIVE  A PATIENT'S ROOM REMADE INTO A LIVING SPACE FOR ED  SO CAMPUS OFFICIALS SAW THIS EXPERIMENT WAS WORKING  NEWSPAPERS WROTE STORIES ABOUT ED  SO HE'S A SOMETIMES WHEELCHAIR USER AND A COFOUNDER OF THE INSTITUTE ON DISABILITY CULTURE SO THE SIXTIES WERE A TIME OF LOTS OF PROTESTS   AND LOTS OF REFORM   AND LOTS OF CHANGE   AND YOU KNOW   THERE'S THIS VERY TECHNICAL HISTORICAL TERM IT WAS IN THE AIR  IT WAS IN THE AIR FOR DISABLED PEOPLE   TOO  THAT IMPROVISED DORM IN THE CAMPUS HOSPITAL  THEY CALLED THEMSELVES THE ROLLING QUADS AND LIKE A FEW OTHER COALITIONS OF DISABLED YOUNG PEOPLE AROUND THE COUNTRY   THEY STARTED USING A NEW KIND OF LANGUAGE TO TALK ABOUT THEIR NEEDS AND RIGHTS  THE RADICAL IDEA THAT PEOPLE WITH DISABILITIES HAD CIVIL RIGHTS THE RIGHT TO EDUCATION   TO JOBS   TO RESPECT  TO REAL INCLUSION IN PUBLIC LIFE THIS FIT RIGHT INTO THE REVOLUTIONARY SPIRIT OF THE NINETEEN SIXTY S AND EARLY SEVENTY S  AND WE HAD A LOT OF FUN  TO PEOPLE IN THE DISABILITY COMMUNITY  WE HUNG ONTO EACH OTHER  BECAUSE WE ALL HAD THISIDEA ABOUT WHO WE WERE  AND NOBODY ELSE AROUND US DID  HE MUGGED FOR THE CAMERA   AND BROUGHT IN CELEBRITY SINGERS  KNOWING THAT ALL THESE PEOPLE WERE WATCHING JERRY LEWIS SQUEEZING MONEY OUT OF PEOPLE BY DRAMATICALLY PLAYING UP THE MOST HORRID STEREOTYPES ABOUT DISABILITY  THAT HAVING A DISABILITY IS A FATE WORSE THAN DEATH  THAT WE SHOULD BE PITIED  THAT IF WE DO ANYTHING WE ARE BRAVE  HE'S COMMUNICATIONS DIRECTOR FOR THE DISABILITY RIGHTS AND EDUCATION DEFENSE FUND  WHEN LAWRENCE WAS FIVE   HE WAS A LITERAL POSTER CHILD FOR THE UNITED FUND CHARITY BECAUSE HE WAS BORN WITH CEREBRAL PALSY   AND HE WAS CUTE I WAS ON THE SIDE OF BUSES  I WAS IN FUNDRAISING APPEALS  THE MAN UPSTAIRS GOOFED  THAT I'M ONE OF GOD'S MISTAKES  WITH A TENDER HEART  A TESTING COUNSELOR ONCE PRONOUNCED ED TO BE VERY AGGRESSIVE  OF BEING INCLUDED   MEANT THAT YOU HAD TO IN SOME WAYS FORCE YOURSELF UPON THE WORLD AND SAY  WE'RE HERE   HEY   HEY   HEY  YOU'RE GOING TO MAKE THOSE NORMAL PEOPLE UNCOMFORTABLE  EVEN MORE SO BECAUSE SOME WERE ZIPPING AROUND IN POWER CHAIRS   WHICH HAD BEEN INVENTED TO HELP WOUNDED VETERANS AND WERE STARTING TO BE MORE AVAILABLE TO THE GENERAL PUBLIC ED GOT REALLY INTERESTED IN POWER CHAIRS WHEN HE FIRST WATCHED ANOTHER QUADRIPLEGIC TRY ONE OUT  AND  THERE WAS A GIRL I FELL IN LOVE  AND IT BECAME RIDICULOUSLY INCONVENIENTTO HAVE MY ATTENDANT PUSHING ME AROUND IN MY WHEELCHAIR WITH MY GIRLFRIEND  NOT FOR LOCOMOTION   THOUGH  NOT   TO GO ON A DATE I LEARNED HOW TO DRIVE A POWER WHEELCHAIR IN ONE DAY  BUT THINK ABOUT THIS  AND NOW YOU'RE UNDER YOUR OWN POWER  YOU GET TO LEAVE THAT WHEELCHAIR ATTENDANT BEHIND  AND THERE ARE NO CURB CUTS  SIX INCHES MAKES ALL THE DIFFERENCE IN THE WORLD IF YOU CAN'T GET OVER THAT CURBTHE WHOLE POINT OF A MARKED INTERSECTION IS THAT IT SHOWS YOU THIS IS WHERE IT'S SAFE TO CROSS THE POWER CHAIR RIDERS ACTUALLY   ALL THE WHEELCHAIR RIDERS NEEDED WHAT WE NOW CALL CURB CUTS  THE CLEVER PERSON WHO FIRST THOUGHT OF CUTTING LITTLE RAMPS SO PEOPLE COULD ROLL INTO INTERSECTIONS INSTEAD OF HAVING TO STEP OFF CURBS  BUT NOBODY KNOWS WHO THAT WAS  NOT ANYWHERE BACK IN THE NINETEEN FORTY S AND FIFTY S   THERE WERE A FEW COMMUNITIES ACROSS THE COUNTRY WHERE PEOPLE HAD TRIED TO MAKE PARTS OF THE BUILT ENVIRONMENT MORE ACCESSIBLE  WITH WHEELCHAIR SPORTS   AND WOOD RAMPS INTO BUILDINGS BUT BY THE LATE NINETEEN SIXTY S AND SEVENTY S   THIS NEW WAVE OF YOUNG DISABLED ACTIVISTS LIKE THE ROLLING QUADS  THEY WEREN'T GOING TO WAIT AROUND FOR THE OCCASIONAL ENLIGHTENED COLLEGE COACH  THEY DEMANDED   THEY WERE INSISTENT  THEY DIDN'T WAIT FOR PERMISSION YOU STILL HEAR THESE STORIES ABOUT THE ROLLING QUADS GOING OUT ON COMMANDO RAIDS AT MIDNIGHT  GUYS IN WHEELCHAIRS   WITH THEIR ATTENDANTS   USING SLEDGEHAMMERS OR JACKHAMMERS  TO BUST UP CURBS   BUILD THEIR OWN RAMPS   AND FORCE THE CITY INTO ACTION  THAT'S ERIC DIBNER  IN THE EARLY NINETEEN SEVENTY S HE WAS A DISABLED STUDENTS' ATTENDANT AT BERKELEY SORT OF A ROLLING QUADS FELLOW TRAVELER  SO THAT OCCURRED ON   I'D SAY  DID ANY OF THESE RUNS OCCUR AT MIDNIGHT  RIGHT  INSTEAD   MOST OF THE PROGRESS MADE BY THE ROLLING QUADS WAS A LITTLE MORE BUREAUCRATIC  ED ROBERTS   WHO BY NOW IS A POLI SCI GRAD STUDENT  A WHOLE LOT OF PEOPLE IN WHEELCHAIRS  WHEELING INTO THE COUNCIL MEETING AND SAYING THAT THEY WANTED TO HAVE CURB CUTS ON EVERY STREET CORNER IN BERKELEY  DECLARING IT TO BE THE POLICY OF THE CITY THAT STREETS AND SIDEWALKS BE DESIGNED AND CONSTRUCTED TO FACILITATE CIRCULATION BY HANDICAPPED PERSONS WITHIN MAJOR COMMERCIAL AREAS  SERVICE COUNTERS LOW ENOUGH TO LET A PERSON IN A WHEELCHAIR BE ATTENDED TO FACE TO FACE   RESPECTFULLY   NOT PEERED DOWN AT FROM WAY ON HIGH SO THEY GOT TO WORK THEY'RE TIRED  TAKING CARE OF EACH OTHER AND REFUSING TO LEAVE  NOW A COUPLE GUYS IN THEIR OWN WHEELCHAIRS LEAN OVER   FOR THE PHOTOGRAPHERS  TO WHACK DOWN AT CONCRETE CURBS  NOT BEGGING  THE ADA WASN'T THE FIRST FEDERAL LEGISLATION DESIGNED TO REMOVE BARRIERS FOR DISABLED PEOPLE   BUT ITS REACH WAS UNPRECEDENTED  IT MANDATED ACCESS AND ACCOMMODATION FOR THE DISABLED IN ALL PLACES OPEN TO THE PUBLIC  WHICH HAD DIVIDED COMMUNIST EAST GERMANY FROM THE WEST  ONE WHICH HASAND ONCE AGAIN WE REJOICE AS THIS BARRIER FALLS  PROCLAIMING TOGETHER  WE WILL NOT ACCEPT  WE WILL NOT EXCUSE  WE WILL NOT TOLERATE  DISCRIMINATION IN AMERICAHE ALSO MARRIED   FATHERED A SON   DIVORCED   WON A MACARTHUR GENIUS GRANT  HE WAS FIFTY SIX  WHEN A HEART ATTACK KILLED HIM I WAS STUNNED JULIA SAIN RUNS DISABILITY RIGHTS AND RESOURCES IN CHARLOTTE   NORTH CAROLINA  THERE WAS A BETTER WAY TO HONOR THIS WARRIOR FOR ANOTHER KIND OF CIVIL RIGHTS THEY'RE GOING TO TEAR DOWN BARRIERS IN HIS NAME  AND EVERY CURB CUT IS A MEMORIAL TO ED ROBERTSAND SOMETIME LATER   AFTER THE MARCHERS HAD GONE HOME   OR BACK TO THEIR HOTELS  ED ROBERTS' ATTENDANT PUSHED THE WHEELCHAIR THE REST OF THE WAY   AND LEFT IT ON THE FRONT STEPS OF THE SMITHSONIAN THE CHAIR'S BEAUTIFUL TO ME  THAT'S KATHERINE OTT   THE CURATOR AT THE SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY  SHE'S THE ONE WHO FOUND ED'S WHEELCHAIR IN THE STORAGE ROOM  EXCLAMATION POINT  EVERY BROKEN BUS WHEELCHAIR LIFT   EVERY TEMPORARILY OUT OF FUNCTION SUBWAY ELEVATOR  EVERY UBER DRIVER WHO WON'T TAKE A WHEELCHAIR   EVERY OPEN MANHOLE COVER OR CAR BLOCKING THE SIDEWALK  MOST OF THE NEW YORK CITY SUBWAY SYSTEM   WHICH CITY LEADERS YEARS AGO DECIDED WAS JUST TOO COMPLICATED TO MAKE FULLY ACCESSIBLE  THE BUILT ENVIRONMENT IS STILL LITTERED WITH BARRIERS CURB CUTS ARE COMMON NOW   BUT THEY'RE NOT AT EVERY INTERSECTION   EVEN IN BERKELEY  WEHAVE MANAGED TO MAKE IT EASIER  BY AND LARGE   FOR PEOPLE TO GET INTO THE BUILDING  BUT HAVE A CAREER  IT'S ONE OF THE WAYS TO MOVE BETWEEN THE FIRST AND SECOND FLOORS   AND ALL AROUND THE RAMP   THE CURVED WALLS ARE LINED WITH GIANT PHOTOS OF DEMONSTRATIONS OVER THE YEARS SO IF YOU'RE LISTENING TO THIS WHILE WALKING   AND YOU HAPPEN TO REACH AN INTERSECTION THAT'S GOT A CURB CUT  MAYBE A BUMPY ONE THAT LETS BLIND PEOPLE FEEL BY CANE WHERE THE SIDEWALK ENDS AND THE STREET BEGINS  SAY A LITTLE THANK YOU  IF YOU WILLTHE TERM GETS USED TO DESCRIBE A FIX THAT IS MADE TO HELP A PARTICULAR DISADVANTAGED GROUP OF PEOPLE  PUTTING RAMPS INTO SIDEWALK CURBS SO THAT PEOPLE WHO ROLL  BECAUSE THEY HAVE TO  CAN GET ACROSS A STREET SAFELY AT AN INTERSECTION  BUT IT'S GOT MUCH WIDER APPLICATIONS BECAUSE IT TURNS OUT THAT THERE ARE A LOT OF THESE FIXES YOU DO THAT END UP HAVING HELPFUL RAMIFICATIONS FOR A HUGE GROUP OF PEOPLE  THE G I   BILL   FOR EXAMPLE   AFTER WORLD WAR TWO   DESIGNED SPECIFICALLY TO HELP VETERANS   ENDS UP HELPING AN ENORMOUS  THEY DID IT  AND SO   STEVE TOLD ME  PUSHING STROLLERS   AND DELIVERY MEN WITH THEIR DELIVERIES   AND BICYCLISTS  YOU'RE EXPERIENCING THE CURB CUT EFFECT  YOU'RE TRYING TO GET INTO A BUILDING   YOUR HANDS ARE FULL OF PACKAGES  YOU'VE JUST USED A THING THAT WAS MADE FOR SOMEBODY WHO CAN'T PUSH A DOOR OR IN THE EARLIER EXAMPLE   SOMEBODY WHO CAN'T HEAR   WE RUN INTO EXAMPLES LIKE THIS ALL THE TIME WITHOUT BEING AWARE OF IT   AND IN FACT WHEN I STARTED WORKING ON THIS STORY  MORE EASILY   SOYOU CAN GET THOSE OFF THE CURB  TURNS OUT TO HAVE BEEN INVENTED AT GALLAUDET UNIVERSITY  ANDTHEY HAD TO FIGURE OUT A WAY TO COMMUNICATE WITH EACH OTHER   SO THEY GOT IN A HUDDLE AND WERE SIGNING TO EACH OTHER  AND THEREFORE BEGAN THE HUDDLE  HE HIMSELF WAS A WHEELCHAIR USER AND HE DID A LOT OF VERY INFLUENTIAL WRITING  AND SO THE CURB CUT HAS TURNED OUT TO BE A CLASSIC EXAMPLE OF UNIVERSAL DESIGN  WHICH IS THE TERM THAT PEOPLE WHO WORK IN INFORMATION TECHNOLOGY ARE NOW USING TO TALK ABOUT WAYS TO MAKE THAT TECHNOLOGY ACCESSIBLE  AVAILABLE TO PEOPLE WHO CAN'T SEE   CAN'T HEAR  CAN'T USE A MOUSE IN THE OLD DAYS   CAN'T TYPE ON A KEYBOARD  WHO CAN'T USE A KEYBOARD  AND THAT'S TRUE FOR THE THINGS THAT WE DO TO MAKE THE ELECTRONIC ENVIRONMENT ACCESSIBLE ALSO SO NOW THAT UNIVERSAL DESIGN AND THE CURB CUT EFFECT IS A PRETTY WIDELY HELD  UNCONTROVERSIAL OPINION OF HOW DESIGN SHOULD BE DONE WELL  WELL  SHE HAS A VERY INTERESTING JOB WORKING ON ELECTRONIC CURB CUTS AND INFORMATION DESIGN  SHE LIVES IN A COMMUNITY THAT HAS BEEN DESIGNED WITH UNIVERSAL DESIGN PRINCIPLES   ACCESSIBLE TO EVERYBODY  THERE ARE CURB CUTS IN SILVER SPRING  SO WE'VE COME A VERY LONG WAY AND I THINK ANYBODY WHO IS PRESENTLY OR ABOUT TO BE GRAPPLING WITH DISABILITY WILL UNDERSTAND HOW LONG A WAY WE STILL HAVE TO GO YEAH   AND IT'S NOT JUST ABOUT UNIVERSAL DESIGN PRINCIPLES IN THE MAKING OF THINGS  THANK YOU  I NEED MORE NINETY NINE PI IN MY LIFE  IT'S NINETY NINE PI DOT O R G\n",
        "transcription_base": " So Catherine Ott started asking around, where did this wheelchair come from? Why is it in storage? We think it should be at the Smithsonian. Ed Roberts. Ott didn't recognize the name. Not yet. If you live in an American city and you don't personally use a wheelchair, you probably don't pay much attention to the small slope at most intersections between the sidewalk and the street. It's just a ramp, a cut in the curb. They're all over the country now. That's enough to stop a person in a wheelchair from reaching the next block without help. And the story of how the first widespread urban curb cuts came to be, it starts with a movement that demanded society see disabled people in a new way. Ed Roberts was central to that movement, and so were the hundreds of people who helped drag his wheelchair up Constitution Avenue, so we could end up with this Smithsonian. Ed Roberts grew up in Burlingame near San Francisco. He was the oldest of four boys and he loved to play baseball. But one day when he was 14 years old he got really sick with a fever. Within a few days he was in the hospital. That's Zona Roberts, Ed's mom. He could move two fingers on his left hand and that was it. His paralysis was permanent. The doctor who told Ed's parents their son had survived his high fever did not present this as good news. He said, well how would you feel if you had to live in an iron lung the rest of your life? I don't imagine You've ever been in one, I've been in one and it's not a very good way to live. That's a deep sea divers trick where you gulp oxygen into your lungs the way a frog does. For polio survivors whose weakened breathing muscles weren't strong enough to inhale that needed oxygen, frog breathing met a person could get out of the iron lung for short stretches of time. You swallow air like that, you swallow it, and then you can breathe. Ed was tenacious, but everything was hard. He needed the iron lung while he was asleep, but the frog breathing let him leave it for a while during the day. So he stayed in school, going to campus once a week, when Ed did leave the house his family ran the maneuvers. She would wrangle strangers. I'd have to get somebody help me, get the chair up the stairs, so it would be somebody in the back and somebody on the frame and get it up, or sometimes it would just be me. Ed graduated from high school then from a local community college, and where could he safely live? A patient's room remade into a living space for Ed, so campus officials saw this experiment was working. Newspapers wrote stories about Ed. So he's a sometimes wheelchair user and a co-founder of the Institute on Disability Culture. So the 60s were a time of lots of protests and lots of reform and lots of change. And you know, there's this very technical, historical term it was in the air. It was in the air for disabled people too. that improvised dorm in the campus hospital, they called themselves the rolling quads. And like a few other coalitions of disabled young people around the country, they started using a new kind of language to talk about their needs and rights. The radical idea that people with disabilities had civil rights, the right to education, to jobs, to respect, to real inclusion in public life, this fit right into the revolutionary spirit of the 1960s and early 70s. And we had a lot of fun. To people in the disability community, we hung on to each other because we all had this idea about who we were and nobody else around us did. He mugged for the camera and brought in celebrity singers. Knowing that all these people were watching Jerry Lewis squeezing money out of people by dramatically playing up the most horrid stereotypes about disability that having a disability is a fate worse than death, that we should be pitted, that if we do anything, we are brave. He's communications director for the Disability Rights and Education Defense Fund. When Lawrence was five, he was a literal poster child for the United Fund charity because he was born with cerebral palsy and he was cute. I was on the side of buses. I was in fundraising appeals. The man upstairs goofed that I'm one of God's mistakes. With a tender heart. A testing counselor once pronounced ed to be very aggressive. Of being included, met that you had to, in some ways, force yourself upon the world and say, we're here. Hey, hey, hey, you're going to make those normal people uncomfortable. even more so because some were zipping around in power chairs which had been invented to help wounded veterans and were starting to be more available to the general public. Ed got really interested in power chairs when he first watched another quadriplegic try one out and there was a girl. I fell in love and it became ridiculously inconvenient to have my tentative pushing me around in my wheelchair with a girlfriend. Not for locomotion though, not to go on a date. I learned how to drive a power wheelchair in one day. But think about this. And now you're under your own power. You get to leave that wheelchair attendant behind. And there are no curb cuts. Six inches makes all the difference in the world. If you can't get over that herb. The whole point of a marked intersection is that it shows you this is where it's safe to cross. The Power Chair Writers, actually all the wheelchair writers, needed what we now call curb cuts. The clever person who first thought of cutting little ramps, so people could roll into intersections instead of having to step off curves. But nobody knows who that was, not anywhere. Back in the 1940s and 50s, there were a few communities across the country where people had tried to make parts of the built environment more accessible, with wheelchair sports and wood ramps into buildings. But by the late 1960s and 70s, this new wave of young disabled activists like the Rolling Quads, they weren't going to wait around for the occasional enlightened college coach. They demanded. They were insistent. They didn't wait for permission. You still hear these stories about the Rolling Quads going out on commando raids at midnight, guys in wheelchairs with their attendants using sledgehammers or jackhammers to bust up curbs, build their own ramps, and force the city into action. That's Eric Dibner. In the early 1970s he was a disabled student's attendant at Berkeley, sort of a Rolling Quads fellow traveler. So that occurred on I'd say? Did any of these runs occur at midnight? Right. Instead most of the progress made by the Rolling Quads was a little more bureaucratic. Ed Roberts, who by now is a polypsych grad student. A whole lot of people in wheelchairs wheeling into the council meeting and saying that they wanted to have curb cuts on every street corner in Berkeley declaring it to be the policy of the city that streets and sidewalks be designed and constructed to facilitate circulation by handicapped persons within major commercial areas. Service counters low enough to let a person in a wheelchair be attended to face-to-face, respectfully, not peered down at from way on high. So they got to work. They're tired. Taking care of each other and refusing to leave. Now a couple guys in their own wheelchairs lean over for the photographers to whack down at concrete curbs. Not begging. The ADA wasn't the first federal legislation designed to remove barriers for disabled people, but its reach was unprecedented. It mandated access and accommodation for the disabled in all places open to the public, which had divided communist East Germany from the West. One which has, and once again we rejoice as this barrier falls for claiming together, we will not accept, we will not excuse, we will not tolerate discrimination in America. He also married father to son, divorced, one of MacArthur genius grant. He was 56 when a heart attack killed him. I was stunned. Julius Sain runs disability rights and resources in Charlotte, North Carolina. There was a better way to honor this warrior for another kind of civil rights. They're gonna tear down barriers in his name. And every curb cut is a memorial to Ed Roberts. And sometime later, after the marchers had gone home or back to their hotels, Ed Roberts attendant pushed the wheelchair the rest of the way and left it on the front steps of this Smithsonian. The chair's beautiful to me. That's Catherine Ott, the curator at the Smithsonian National Museum of American History. She's the one who found Ed's wheelchair in the storage room. Exclamation point. Every broken bus wheelchair lift, every temporarily out of function subway elevator, every Uber driver who won't take a wheelchair, every open manhole cover or car blocking the sidewalk, most of the New York City subway system, which city leaders years ago decided was just too complicated to make fully accessible, the built environment is still littered with barriers. Curb cuts are common now, but they're not at every intersection, even in Berkeley. We have managed to make it easier by and large for people to get into the building, but have a career. It's one of the ways to move between the first and second floors and all around the ramp the curved walls are lined with giant photos of demonstrations over the years. So if you're listening to this wall walking and you happen to reach an intersection that's got a curb cut, maybe a bumpy one that lets blind people feel by cane where the sidewalk ends and the street begins. Say a little thank you if you will. The term gets used to describe a fix that is made to help a particular disadvantaged group of people putting ramps into sidewalk curves so that people who roll because they have to can get across the street safely at an intersection. But it's got much wider applications because it turns out that there are a lot of these fixes you do that end up having helpful ramifications for a huge group of people. The GI Bill, for example, after World War II, designed specifically to help veterans ends up helping an enormous, they did it. And so Steve told me, pushing strollers and deliverymen with their deliveries and bicyclists, your experiencing the curb cut effect, you're trying to get into a building, your hands are full of packages, you've just used a thing that was made for somebody who can't push a door or in the earlier example, somebody who can't hear. We run into examples like this all the time without being aware of it. In fact, when I started working on this story, more easily, you can get those off the curve, turns out to have been invented at Gallaudet University. And they had to figure out a way to communicate with each other so they got in a huddle and were signing to each other and therefore became the huddle. He himself was a wheelchair user and he did a lot of very influential writing and so the Herb Cut has turned out to be a classic example of universal design, which is the term that people who work in information technology are now using to talk about ways to make that technology accessible, available to people who can't see, can't hear, can't use a mouse in the old days, can't type on a keyboard, who can't use a keyboard. And that's true for the things that we do to make the electronic environment accessible also. So now that universal design and the curb cut effect is a pretty widely held, uncontroversial opinion of how design should be done well. Well, she has a very interesting job working on electronic curb cuts and information design. She lives in a community that has been designed with universal design principles accessible to everybody. There are curb cuts in Silver Spring, so we've come a very long way and I think anybody who is presently or about to be grappling with disability will understand how long away we still have to go. Yeah, and it's not just about universal design principles in the making of things. Thank you. I need more 99 PI in my life. It's 99PI.org.",
        "transcription_medium": " So Catherine Ott started asking around. Where did this wheelchair come from? Why is it in storage? We think it should be at the Smithsonian. Ed Roberts. Ott didn't recognize the name. Not yet. If you live in an American city and you don't personally use a wheelchair, you probably don't pay much attention to the small slope at most intersections between the sidewalk and the street. It's just a ramp, a cut in the curb. They're all over the country now. That's enough to stop a person in a wheelchair from reaching the next block without help. And the story of how the first widespread urban curb cuts came to be, it starts with a movement that demanded society see disabled people in a new way. Ed Roberts was central to that movement. And so were the hundreds of people who helped drag his wheelchair up Constitution Avenue so it could end up at the Smithsonian. Ed Roberts grew up in Burlingame, near San Francisco. He was the oldest of four boys, and he loved to play baseball. But one day, when he was 14 years old, he got really sick with a fever. Within a few days, he was in the hospital. That's Zona Roberts, Ed's mom. He could move two fingers on his left hand and that was it. His paralysis was permanent. The doctor who told Ed's parents their son had survived his high fever did not present this as good news. He said, well, how would you feel if you had to live in an iron lung the rest of your life? I don't imagine you've ever been in one. I've been in one and it's not a very good way to live. That's a deep sea diver's trick where you gulp oxygen into your lungs the way a frog does. For polio survivors whose weakened breathing muscles weren't strong enough to inhale that needed oxygen, frog breathing meant a person could get out of the iron lung for short stretches of time. You swallow air like that. You swallow it and then you can breathe. Ed was tenacious, but everything was hard. He needed the iron lung while he was asleep, But the frog breathing let him leave it for a while during the day. So he stayed in school, going to campus once a week. When Ed did leave the house, his family ran the maneuvers. She would wrangle strangers. I'd have to get somebody help me get the chair up the stairs. So it would be somebody in the back and somebody on the frame and get it up. Or sometimes it would just be me. Ed graduated from high school, then from a local community college. And where could he safely live? A patient's room remade into a living space for Ed. So campus officials saw this experiment was working. Newspapers wrote stories about Ed. So he's a sometimes wheelchair user and a co-founder of the Institute on Disability Culture. So the 60s were a time of lots of protests and lots of reform and lots of change. And there's this very technical historical term, it was in the air. It was in the air for disabled people too. That improvised dorm in the campus hospital, They call themselves the Rolling Quads. And like a few other coalitions of disabled young people around the country, they started using a new kind of language to talk about their needs and rights. The radical idea that people with disabilities had civil rights, the right to education, to jobs, to respect, to real inclusion in public life, this fit right into the revolutionary spirit of the 1960s and early 70s. And we had a lot of fun. To people in the disability community, we hung onto each other because we all had this idea about who we were. And nobody else around us did. He mugged for the camera and brought in celebrity singers. knowing that all these people were watching Jerry Lewis squeezing money out of people by dramatically playing up the most horrid stereotypes about disability, that having a disability is a fate worse than death, that we should be pitied, that if we We do anything we are brave. He's communications director for the Disability Rights and Education Defense Fund. When Lawrence was five, he was a literal poster child for the United Fund charity because he was born with cerebral palsy and he was cute. I was on the side of buses. I was in fundraising appeals. The man upstairs goofed that I'm one of God's mistakes. With a tender heart. A testing counselor once pronounced Ed be very aggressive. Of being included meant that you had to in some ways force yourself upon the world and say we're here. Hey, hey, hey, you're going to make those normal people uncomfortable. Even more so because some were zipping around in power chairs, which had been invented to help wounded veterans and were starting to be more available to the general public. Ed got really interested in power chairs when he first watched another quadriplegic try one out and there was a girl. I fell in love and it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. Not for locomotion though, not to go on a date. I learned how to drive a power wheelchair in one day. But think about this and now you're under your own power. You get to leave that wheelchair attendant behind. And there are no curb cuts. Six inches makes all the difference in the world if you can't get over that curb. The whole point of a marked intersection is that it shows you this is where it's safe to cross. The power chair riders, actually all the wheelchair riders, needed what we now call curb cuts. The clever person who first thought of cutting little ramps so people could roll into intersections instead of having to step off curbs. But nobody knows who that was, not anywhere. Back in the 1940s and 50s, there were a few communities across the country where people had tried to make parts of the built environment more accessible, with wheelchair sports and wood ramps into buildings. But by the late 1960s and 70s, this new wave of young disabled activists like the Rolling Quads, they weren't going to wait around for the occasional enlightened college coach. They demanded. They were insistent. They didn't wait for permission. You still hear these stories about the Rolling Quads going out on commando raids at midnight, guys in wheelchairs with their attendants using sledgehammers or jackhammers to bust up curbs, build their own ramps, and force the city into action. That's Eric Dibner. In the early 1970s, he was a disabled student's attendant at Berkeley, sort of a Rolling Quads fellow traveler. So that occurred on, I'd say... Did any of these runs occur at midnight? Right. said most of the progress made by the rolling quads was a little more bureaucratic. Ed Roberts, who by now is a Poli Sci grad student. A whole lot of people in wheelchairs wheeling into the council meeting and saying that they wanted to have curb cuts on every street corner in Berkeley, declaring it to be the policy of the city, that streets and sidewalks be designed and constructed to facilitate circulation by handicapped persons within major commercial areas. Service counters, low enough to let a person in a wheelchair be attended to face to face respectfully, not peered down at from way on high. So they got to work. They're tired. Taking care of each other and refusing to leave. Now a couple guys in their own wheelchairs lean over for the photographers to whack down at concrete curbs. Not begging. The ADA wasn't the first federal legislation designed to remove barriers for disabled people. But its reach was unprecedented. It mandated access and accommodation for the disabled in all places open to the public, which had divided communist East Germany from the West. One which has, and once again, we rejoice as this barrier falls, proclaiming together, we will not accept, we will not excuse, we will not tolerate discrimination in America. He also married, fathered a son, divorced, won a MacArthur Genius Grant. He was 56 when a heart attack killed him. I was stunned. Julia Sane runs Disability Rights and Resources in Charlotte, North Carolina. There was a better way to honor this warrior for another kind of civil rights. They're going to tear down barriers in his name. And every curb cut is a memorial to Ed Roberts. And sometime later, after the marchers had gone home or back to their hotels, Ed Roberts' attendant pushed the wheelchair the rest of the way and left it on the front steps of the Smithsonian. The chair is beautiful to me. That's Catherine Ott, the curator at the Smithsonian National Museum of American History. She's the one who found Ed's wheelchair in the storage room. Exclamation point. Every broken bus wheelchair lift, every temporarily out of function subway elevator, Every uber driver who won't take a wheelchair every open manhole cover or car blocking the sidewalk Most of the New York City subway system which city leaders years ago decided was just too complicated to make fully accessible The built environment is still littered with barriers Curb cuts are common now, but they're not at every intersection even in Berkeley. We have managed To make it easier by and large for people to get into the building but have a career It's one of the ways to move between the first and second floors and all around the ramp, the curved walls are lined with giant photos of demonstrations over the years. So if you're listening to this while walking and you happen to reach an intersection that's got a curb cut, maybe a bumpy one that lets blind people feel bicane where the sidewalk ends and the street begins. Say a little thank you, if you will. The term gets used to describe a fix that is made to help a particular disadvantaged group of people putting ramps into sidewalk curbs so that people who roll, because they have to, can get across the street safely at an intersection. But it's got much wider applications because it turns out that there are a lot of these fixes you do that end up having helpful ramifications for a huge group of people. The GI Bill, for example, after World War II designed specifically to help veterans ends up helping an enormous. They did it. And so Steve told me, pushing strollers and delivery men with their deliveries and bicyclists. You're experiencing the curb cut effect. You're trying to get into a building. Your hands are full of packages. You've just used a thing that was made for somebody who can't push a door or in the earlier example, somebody who can't hear. We run into examples like this all the time without being aware of it. And in fact, when I started working on this story more easily, so you can get those off the curb turns out to have been invented at Gallaudet University and they had to figure out a way to communicate with each other so they got in a huddle and were signing to each other and therefore became the huddle. He himself was a wheelchair user and he did a lot of very influential writing and so the curb cut has turned out to be a classic example of universal design which is the term that people who work in information technology are now using to talk about ways to make that technology accessible, available to people who can't see, can't hear, can't use a mouse in the old days, can't type on a keyboard, who can't use a keyboard. And that's true for the things that we do to make the electronic environment accessible also. So now that universal design and the curb cut effect is a pretty widely held uncontroversial opinion of how design should be done well. Well, she has a very interesting job working on electronic curb cuts in information design. She lives in a community that has been designed with universal design principles, accessible to everybody. There are curb cuts in Silver Spring, so we've come a very long way and I think anybody who who is presently or about to be grappling with disability, will understand how long away we still have to go. Yeah, and it's not just about universal design principles in the making of things. Thank you. I need more 99PI in my life. It's 99PI.org.",
        "transcription_large_v3": " So Catherine Ott started asking around. Where did this wheelchair come from? Why is it in storage? We think it should be at the Smithsonian. Ed Roberts. Ott didn't recognize the name. Not yet. If you live in an American city and you don't personally use a wheelchair, you probably don't pay much attention to the small slope at most intersections between the sidewalk and the street. It's just a ramp, a cut in the curb. They're all over the country now. That's enough to stop a person in a wheelchair from reaching the next block without help. And the story of how the first widespread urban curb cuts came to be, it starts with a movement that demanded society see disabled people in a new way. Ed Roberts was central to that movement, and so were the hundreds of people who helped drag his wheelchair up Constitution Avenue so it could end up at the Smithsonian. Ed Roberts grew up in Burlingame, near San Francisco. He was the oldest of four boys, and he loved to play baseball. But one day, when he was 14 years old, he got really sick with a fever. Within a few days, he was in the hospital. That's Zona Roberts, Ed's mom. He could move two fingers on his left hand and that was it. His paralysis was permanent. The doctor who told Ed's parents their son had survived his high fever did not present this as good news. He said, well, how would you feel if you had to live in an iron lung the rest of your life? I don't imagine you've ever been in one. I've been in one and it's not a very good way to live. That's a deep sea diver's trick where you gulp oxygen into your lungs the way a frog does. For polio survivors whose weakened breathing muscles weren't strong enough to inhale that needed oxygen, frog breathing meant a person could get out of the iron lung for short stretches of time. You swallow air like that. You swallow it and then you can breathe. Ed was tenacious, but everything was hard. He needed the iron lung while he was asleep, but the frog breathing let him leave it for a while during the day. so he stayed in school, going to campus once a week. When Ed did leave the house, his family ran the maneuvers. She would wrangle strangers. I'd have to get somebody to help me get the chair up the stairs. So it would be somebody in the back and somebody on the frame and get it up, or sometimes it would just be me. Ed graduated from high school, then from a local community college. And where could he safely live? A patient's room remade into a living space for Ed. So campus officials saw this experiment was working. Newspapers wrote stories about Ed. So he's a sometimes wheelchair user and a co-founder of the Institute on Disability Culture. So the 60s were a time of lots of protests and lots of reform and lots of change. And, you know, there's this very technical historical term. It was in the air. It was in the air for disabled people, too. That improvised dorm in the campus hospital, they call themselves the Rolling Quads. And like a few other coalitions of disabled young people around the country, they started using a new kind of language to talk about their needs and rights. The radical idea that people with disabilities had civil rights, the right to education, to jobs, to respect, to real inclusion in public life, this fit right into the revolutionary spirit of the 1960s and early 70s. And we had a lot of fun. To people in the disability community, we hung on to each other because we all had this idea about who we were and nobody else around us did. He mugged for the camera and brought in celebrity singers. Knowing that all these people were watching Jerry Lewis squeezing money out of people by dramatically playing up the most horrid stereotypes about disability, that having a disability is a fate worse than death, that we should be pitied, that if we do anything, we are brave. He's communications director for the Disability Rights and Education Defense Fund. When Lawrence was five, he was a literal poster child for the United Fund charity because he was born with cerebral palsy and he was cute. I was on the side of buses. I was in fundraising appeals. The man upstairs goofed. That I'm one of God's mistakes. With a tender heart. A testing counselor once pronounced Ed to be very aggressive. of being included meant that you had to, in some ways, force yourself upon the world and say, we're here. Hey, hey, hey, you're going to make those normal people uncomfortable. Even more so because some were zipping around in power chairs, which had been invented to help wounded veterans and were starting to be more available to the general public. Ed got really interested in power chairs when he first watched another quadriplegic try one out. And there was a girl. I fell in love and it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. Not for locomotion, though. Not to go on a date. I learned how to drive a power wheelchair in one day. But think about this. And now you're under your own power. You get to leave that wheelchair attendant behind. And there are no curb cuts. Six inches makes all the difference in the world. if you can't get over that curb. The whole point of a marked intersection is that it shows you this is where it's safe to cross. The power chair riders, actually all the wheelchair riders, needed what we now call curb cuts. The clever person who first thought of cutting little ramps so people could roll into intersections instead of having to step off curbs. But nobody knows who that was. Not anywhere. Back in the 1940s and 50s, there were a few communities across the country where people had tried to make parts of the built environment more accessible, with wheelchair sports and wood ramps into buildings. But by the late 1960s and 70s, this new wave of young disabled activists like the Rolling Quads, they weren't going to wait around for the occasional enlightened college coach. They demanded. They were insistent. They didn't wait for permission. You still hear these stories about the rolling quads going out on commando raids at midnight, guys in wheelchairs with their attendants using sledgehammers or jackhammers to bust up curbs, build their own ramps and force the city into action. That's Eric Dibner. In the early 1970s, he was a disabled students attendant at Berkeley, sort of a rolling quads fellow traveler. So that occurred on, I'd say. Did any of these runs occur at midnight? Right. Instead, most of the progress made by the rolling quads was a little more bureaucratic. Ed Roberts, who by now is a poli-sci grad student. A whole lot of people in wheelchairs wheeling into the council meeting and saying that they wanted to have curb cuts on every street corner in Berkeley. Declaring it to be the policy of the city, that streets and sidewalks be designed and constructed to facilitate circulation by handicapped persons within major commercial areas. Service counters, low enough to let a person in a wheelchair be attended to face-to-face, respectfully, not peered down at from way on high. So they got to work. They're tired. Taking care of each other and refusing to leave. Now a couple guys in their own wheelchairs lean over for the photographers. to whack down at concrete curbs. Not begging. The ADA wasn't the first federal legislation designed to remove barriers for disabled people, but its reach was unprecedented. It mandated access and accommodation for the disabled in all places open to the public. Which had divided communist East Germany from the West. One which has, and once again we rejoice as this barrier falls, proclaiming together, we will not accept, we will not excuse, we will not tolerate discrimination in America. He also married, fathered a son, divorced, won a MacArthur Genius Grant. He was 56 when a heart attack killed him. I was stunned. Julia Sane runs Disability Rights and Resources in Charlotte, North Carolina. There was a better way to honor this warrior for another kind of civil rights. They're going to tear down barriers in his name. name. And every curb cut is a memorial to Ed Roberts. And sometime later, after the marchers had gone home or back to their hotels, Ed Roberts' attendant pushed the wheelchair the rest of the way and left it on the front steps of the Smithsonian. The chair's beautiful to me. That's Catherine Ott, the curator at the Smithsonian National Museum of American History. She's the one who found Ed's wheelchair in the storage room. Exclamation point. Every broken bus wheelchair lift, every temporarily out-of-function subway elevator, every Uber driver who won't take a wheelchair, every open manhole cover or car blocking the sidewalk, most of the New York City subway system, which city leaders years ago decided was just too complicated to make fully accessible, the built environment is still littered with barriers. Curb cuts are common now, but they're not at every intersection, even in Berkeley. We have managed to make it easier, by and large, for people to get into the building but have a career. It's one of the ways to move between the first and second floors, and all around the ramp, the curved walls are lined with giant photos of demonstrations over the years. So if you're listening to this while walking, and you happen to reach an intersection that's got a curb cut, maybe a bumpy one that lets blind people feel by cane where the sidewalk ends and the street begins. Say a little thank you, if you will. The term gets used to describe a fix that is made to help a particular disadvantaged group of people, putting ramps into sidewalk curbs so that people who roll because they have to can get across the street safely at an intersection. But it's got much wider applications because it turns out that there are a lot of these fixes you do that end up having helpful ramifications for a huge group of people. The GI Bill, for example, after World War II, designed specifically to help veterans, ends up helping an enormous... They did it. And so Steve told me... Pushing strollers and delivery men with their deliveries and bicyclists. You're experiencing the curb cut effect. You're trying to get into a building. Your hands are full of packages. You've just used a thing that was made for somebody who can't push a door or, in the earlier example, somebody who can't hear. We run into examples like this all the time without being aware of it. And in fact, when I started working on this story, more easily, so you can get those off the curb, turns out to have been invented at Gallaudet University. And they had to figure out a way to communicate with each other. So they got in a huddle and were signing to each other and therefore became the huddle. He himself was a wheelchair user and he did a lot of very influential writing. And so the curb cut has turned out to be a classic example of universal design, which is the term that people who work in information technology are now using to talk about ways to make that technology accessible, available to people who can't see, can't hear, can't use a mouse in the old days, can't type on a keyboard, who can't use a keyboard. And that's true for the things that we do to make the electronic environment accessible also. So now that universal design and the curb cut effect is a pretty widely held, uncontroversial opinion of how design should be done well. Well, she has a very interesting job working on electronic curb cuts and information design. She lives in a community that has been designed with universal design principles, accessible to everybody. There are curb cuts in Silver Spring. So we've come a very long way. And I think anybody who is presently or about to be grappling with disability will understand how long away we still have to go. Yeah. And it's not just about universal design principles in the making of things. Thank you. I need more 99PI in my life. It's 99pi.org."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000208.mp3": {
        "gt": "RATHER THAN BEING CRAMMED IN ON THE SIDEWALK BETWEEN LOOMING TOWERS   TRYING   AND PROBABLY FAILING   TO TAKE IT ALL IN  WITH GLASS   STEEL   AND CONCRETE WONDERS PRESENTED IN THEIR FULL GLORY EVERYWHERE YOU TURN  IT'S THAT RIVER ITSELF  A WATERWAY DISGUISED AS A REMNANT OF THE NATURAL LANDSCAPE BUT IT REALLY ISN'T  IT'S HARD TO TELL WHEN YOU SEE THE RIVER BUT IT'S GOING THE WRONG WAY  IT SHOULD FLOW INTO LAKE MICHIGAN  FRESH WATER FROM LAKE MICHIGAN FLOWS BACKWARDS INTO THE CITY  LOVER OF TRIANGULAR BUILDINGS  HE'S BASICALLY UNKNOWN TODAY  YOU'RE NOT ALONE   IN FACT   AS I RECORD THIS   HE DOESN'T EVEN HAVE A WIKIPEDIA ENTRY  AND NO ONE HAS EVER WORKED HARDER TO SAVE CHICAGO FROM ITS OWN POOPTHE CITY OF CHICAGO HAD BEEN GROWING LIKE CRAZY FOR A COUPLE OF DECADES OUT OF NOTHING  CHOLERA EPIDEMIC  WIPED OUT SIX PERCENT OF THE CITY   SIX PERCENT  THAT SUMMER  ONE ACCOUNT HAD CHOLERA KILLING SIXTY PEOPLE A DAY IN A TOWN OF SEVENTY THOUSAND  ONE OBSERVER PUT IT THIS WAY THE DEATH CART WAS CONSTANTLY IN THE STREET  GROSS  ENTER CHESBROUGH   WHO MADE A NAME WITH WORK HE'D DONE IN BOSTON WHAT YOU PEOPLE NEED   HE TOLD CHICAGO   IS A SEWER SYSTEM   WHICH WAS ACTUALLY A NEWISH IDEA AT THE TIME IN THE US  NOT IF YOU THOUGHT TOPOGRAPHY MEANT ANYTHING I MEAN CHICAGO WAS BUILT ON A SWAMP   STREET LEVEL   WATER LEVEL  CHICAGO'S LOCATION WAS PERFECT  YOU CAN ALSO SEE HOTEL GUESTS IN TOP HATS STANDING ON THE BALCONIES   A COUPLE OF FLIGHTS UP  THEY'RE LOOKING OUT   WATCHING THEIR VIEW GET BETTER AND BETTER  A QUARTER INCH AT A TIME AND THIS KIND OF THING HAPPENED OVER AND OVER AGAIN WITH BUSINESSES STAYING OPEN WHILE THEY WERE GETTING CRANKED UP   JUST FOR KICKS  MEANWHILE  LITERALLY WORKING AROUND THE GUYS WITH THE JACK SCREWS THERE'S ANOTHER GREAT PICTURE OF A HUGE DOWNTOWN BLOCK OF STORES AND OFFICES GETTING HOISTED UP  ALL THIRTY FIVE THOUSAND TONS OF IT JACKING UP THE STREETS AND BUILDINGS TOOK LIKE   TWENTY YEARS TO FINISH  WE'LL BUILD WATER INTAKES   TWO MILES OUT FROM SHORE  WAY PAST WHERE THE RIVER DUMPS OUR MUCK INTO THE LAKE  AND THAT'LL MEAN DIGGING THE BIGGEST DEEPEST   LONGEST TUNNEL EVER UP TO THIS POINT  WHAT DO YOU THINK   THEY ALL SAID   FINE   AND THEY DID IT AND IT WAS AMAZING AGAIN   THE CITY IS GROWING   PEOPLE ARE MAKING MONEY  YEAR AFTER THAT  AND THEY WERE DUMPING MORE OF THEIR BUSINESS INTO THE RIVER THAN EVER  WHICH STANK AND BEFORE THE WATER FROM THE NEW INTAKES EVEN STARTED FLOWING  THE UNION STOCKYARDS OPENED ON THE RIVER'S SOUTH BRANCH AND UP THE ANTE   WE'RE TALKING THREE HUNDRED AND TWENTY ACRES OF SLAUGHTERHOUSES AND MEAT PACKING PLANTS   ALL OF THEM DUMPING WHATEVER THEY COULDN'T USE AND JUST IMAGINE WHAT THAT WOULD BE  BUBBLINGF CREEK  THE STOCKYARDS GREW   TOO  A LOT  ONE ENGINEER WOULD SAY  CHICAGO PRODUCES MORE FILTH PER CAPITA THAN ANY OTHER CITY   AND NOW TYPHOID WAS GETTING TO BE A PROBLEM   SO CHICAGO STARTED PUSHING FOR A NEW STATE LAW TO HELP UNDERTAKE THE BIGGEST   BADDEST   CRAZIEST IDEA EVER THEY DECIDED TO DIG A GIGANTIC NEW CANAL THAT WOULD REVERSE THE RIVER ENTIRELY REVERSING THE RIVER WOULD BRING IN FRESH WATER FROM THE LAKE  AND KEEP CHICAGO'S MUCK FROM POLLUTING THE DRINKING WATER PULLED FROM THAT SAME LAKE  AND FLUSH ALL THE SEWAGE DOWN TO THE ILLINOIS RIVER WHICH WOULD THEN TAKE IT OUT TO THE MISSISSIPPI IT TOOK A FEW YEARS TO GET THE NEW LAW APPROVED   THE TOWN OF JOLIET SAW A RIVER OF CRAP COMING ITS WAY AND TRY TO NIX IT  AND THEN IT TOOK A FEW MORE YEARS TO GET PLANS LAID OUT AND CONTRACT ISSUED  AND THEN IT WAS SHOVEL DAY  MORE THAN A THOUSAND PEOPLE CAME OUT TO WATCH  AN OFFICIAL TOOK ONE CUT WITH A NICKEL-PLATED SHOVEL  AND THEN AN ENGINEER DETONATED TWO MASSIVE LOADS OF DYNAMITE DYNAMITE WAS THEIR PREFERRED WEAPON AGAINST THE ENVIRONMENT AND IT WAS ON   ROUND THREE   IN THE EPIC STRUGGLE AGAINST CHICAGO'S OWN EXCRETA REVERSING THE RIVER TWENTY EIGHT MILES OF CANAL   PRICE TAG THIRTY ONE MILLION AND CHANGE   IN TODAY'S MONEY  EVEN AFTER THE FAIR CLOSED   TRAIN COMPANIES RAN MORNING SPECIALS SO LOCAL SIGHTSEERS COULD CHECK OUT THE BIG MACHINES AND THOSE EVER-POPULAR DYNAMITE BLASTS THIS WAS AN AMAZING PROJECT  VERY LATE IN THE GAME  ST   LOUIS GOT PISSED  UPRIVER OF ST   LOUIS   WHICH DEPENDS ON THE RIVER FOR ITS DRINKING WATER AND FOR BREWING BUDWEISER BEER  THE CITY AUTHORIZES ITS ATTORNEY TO PREPARE A LAWSUIT ASKING THE US SUPREME COURT FOR AN INJUNCTION THAT WOULD STOP THE SANITARY DISTRICT OF CHICAGO FROM OPENING UP THE DAMS AND LETTING THAT WATER GO THING IS  IT TAKES A WHILE TO GET A LAWSUIT READY  A FEW MONTHS SAY  AND CHICAGO STARTS HUMPING IT TO GET THE DAMS READY TO OPEN BEFORE ST   LOUIS CAN GET AN INJUNCTION  SO  THE NEXT DAY  JANUARY TWO  ONE OF THEM BRINGS SHOVELS MOST OF THESE PROJECTS HAVE THESE BEAUTIFUL GOLD SHOVELS  AND TO THIS DAY   I CAN'T FIGURE OUT WHY ST   LOUIS DIDN'T DO THAT OR WHY THEY WERE SO SLOW ABOUT IT  CHICAGO STILL HAD TO JAM A FEW LAST PIECES INTO PLACE TO GET THE GOVERNOR'S OKAY   TOOK TWO WEEKS  ST   LOUISE COULD'VE FILED ANY DAY  AND THEN JANUARY SEVENTEENTH  THE TRUSTEES TOOK ONE MORE EARLY MORNING TREK TO LOWER THE DAM  THEY TURNED THE CRANK  POSED FOR A PICTURE IN THEIR FANCY COATS AND TOP HATS  TOO LATE  LATE   I MIGHT ADD  THEY WAITED UNTIL JUST AFTER THE FLOODGATES WERE OPEN  I CANNOT UNDERSTAND THAT LEGAL PHILOSOPHY THE STORY MADE THE NEW YORK TIMES WITH THE HEADLINE  THE WATER IN THE CHICAGO RIVER NOW RESEMBLES LIQUID  ST   LOUIS PUSHED THEIR CASE TO THE US SUPREME COURT  WHICH IS AN IMPORTANT PHILOSOPHICAL QUESTION   BUT TO PARAPHRASE THE WAY JUSTICE HOLMES FINISHED THAT OPINION  WHATEVER MAN  IT WAS A FUNCTIONAL MONUMENT TO OUR DOMINION OVER THE NATURAL WORLD  AND THE FORCES OF NATURE ARE LOOKING FOR ANOTHER GO AROUND  WE MAY HAVE SEEN SIGNS OF LIFE THERE INSTEAD I SEE BUBBLES  SEE THAT   RIGHT DOWN THERE  POTENTIALLY   RE-REVERSING THE RIVER  ENGINEERING INTERVENTIONS  IN TERMS OF WATCHING CHICAGO'S WASTE   IT'S MOSTLY A SYMBOLIC ISSUE  THERE ARE OTHER WAYS TO KEEP THE WATER AND TREATED SEWAGE FLOWING AWAY TOWARDS THE MISSISSIPPI BUT FALLING LAKE LEVELS   I MEAN   THIS IS MOST OF THE FRESH WATER IN NORTH AMERICA  BUT TAKING ANOTHER VIEW  YOU COULD ALSO SEE THIS AS A LESSON IN THE LENGTHS WE WILL GO TO SURVIVE  IF WE HARNESS THAT NINETEENTH CENTURY MOXIE   THAT KIND OF MOXIE THAT MAKES YOU THINK THAT YOU COULD AND SHOULD REVERSE A RIVER  WE COULD GUIDE OUR BEST AND BRIGHTEST TO ENGINEER THE IMPOSSIBLE NO MATTER WHAT IT TAKES  AND WE WOULD TAKE DAY TRIPS OUT TO THE FAR EDGE AND CHEER THEM ON AS THEY SAVE US FROM GETTING BURIED IN OUR OWNTHAT'D BE OKAY TOO\n",
        "transcription_base": " rather than being crammed in on the sidewalk between looming towers, trying and probably failing to take it all in with glass, steel and concrete wonders presented in their full glory everywhere you turn. It's that river itself, a waterway disguised as a remnant of the natural landscape, but it really isn't. It's hard to tell when you see the river, but it's going the wrong way. It should flow into Lake Michigan, fresh water from Lake Michigan flows backwards into the city. Lover of triangular buildings, he's basically unknown today. You're not alone. In fact, as I record this, he doesn't even have a Wikipedia entry. And no one has ever worked harder to save Chicago from its own poop. The city of Chicago had been growing like crazy for a couple of decades out of nothing. cholera epidemic. Wept out, 6% of the city, 6% that summer, one account had cholera killing 60 people a day in a town of 70,000. One of them is a reputate this way. The deck cart was constantly in the street. Gross. Inter-Chezbro, who made a name with work he'd done in Boston. What you people need, he told Chicago, is a sewer system, which was actually a new-ish idea at the time in the US, not if you thought topography meant anything. I mean, Chicago was built on a swamp. Street level, water level? Chicago's location was perfect. You can also see hotel guests and top hats standing on the balcony. It's a couple flights up. They're looking out, watching their view, get better and better, a quarter inch at a time. And this kind of thing happened over and over again with businesses staying open while they were getting cranked up just for kicks. Meanwhile, literally working around the guys with the jackskirts. There's another great picture of a huge downtown block of stores and offices getting hoisted up. All 35,000 tons of it. Jacking up the streets and buildings took like 20 years to finish. We'll build water intakes, two miles out from shore, way past where the river dumps our muck into the lake. And that'll mean digging the biggest, deepest, longest tunnel ever up to this point. What do you think? They all said fine, and they did it, and it was amazing. Again, the city is growing. People are making money. You're after that? And they were dumping more of their business into the river than ever. Which stank. And before the water from the new intakes even started flowing, the Union stockyards opened on the river's south branch and up the ante. We're talking 320 acres of slaughterhouses and meat packing plants, all of them dumping whatever they couldn't use. And just imagine what that would be. Bubbly Creek, the stockyards crew too. A lot. One engineer would say Chicago produces more filth per capita than any other city. And now typhoid is getting to be a problem. So Chicago started pushing for a new state law to help undertake the biggest, baddest, craziest idea ever. They decided to dig a gigantic new canal that would reverse the river entirely. Reverse in the river would bring in fresh water from the lake, and keep Chicago's muck from polluting the drinking water pulled from that same lake, and flush all the sewage down to the Illinois River, which would then take it out to the Mississippi. It took a few years to get the new law approved, the town of Juliet, so our river of crap coming its way and tried to nix it, and then it took a few more years to get plans laid out in contracts issued. And then it was shovel day. More than a thousand people came out to watch. An official took one cut with a nickel-plated shovel and then an engineer detonated two massive loads of dynamite. Dynamite was their preferred weapon against the environment. And it was on round three in the epic struggle against Chicago's own excreta, reversing the river. 28 miles of canal. Price tag, 31 million and change. In today's money, even after the fair closed, train companies ran morning special so local sites could check out the big machines and those ever popular dynamite blasts. This was an amazing project. Very late in the game. St. Louis got pissed. Upriver of St. Louis, which depends on the river for shrinking water and for brewing, but was your beer. The city authorizes its attorney to prepare a lawsuit asking the US Supreme Court for an injunction that would stop the sanitary district of Chicago from opening up the dams and letting that water go. Thing is, it takes a while to get a lawsuit ready. A few months say, and Chicago starts humping it to get the dams ready to open before St. Louis can get an injunction. So, the next day, January 2, one of them brings shovels. Most of these projects have these beautiful gold shovels. And to this day, I can't figure out why St. Louis didn't do that. Or why they were so slow about it. Chicago still had to jam a few last pieces into place to get the governor's okay? took two weeks, St. Louis could have filed any day. And then January 17th, the trustees took one more early morning trek to lower the dam. They turned the crank, posed for a picture in their fancy coats and top hats, too late. Late, I might add. They waited until just after the floodgates were open. I can't understand that legal philosophy. The story made the New York Times with the headline, The Water in the Chicago River Now Resembles Liquid. St. Louis pushed their case to the US Supreme Court, which is an important philosophical question, but to paraphrase the way Justice Holmes finished that opinion, whatever man, it was a functional monument to our dominion over the natural world. And the forces of nature are looking for another go-around. We may have seen signs of life there instead. I see bubbles. See that right down there. Potentially re-reversing the river, engineering interventions. In terms of Washington, which Chicago's waste is mostly a symbolic issue, there are other ways to keep the water and treated sewage flowing away towards the Mississippi. falling lake levels. I mean this is most of the freshwater in North America. But taking another view, you could also see this as a lesson in the lengths we will go to survive. If we harness that 19th century moxie, the kind of moxie that makes you think that you could and should reverse a river, we could guide our best and brightest to engineer the impossible. No matter what it takes and we could take day trips out to the far edge and cheer them on, As they save us from getting buried in our own s**t, that'd be okay too.",
        "transcription_medium": " rather than being crammed in on the sidewalk between looming towers trying and probably failing to take it all in with glass, steel, and concrete wonders presented in their full glory everywhere you turn. It's that river itself, a waterway disguised as a remnant of the natural landscape. But it really isn't. It's hard to tell when you see the river, but it's going the wrong way. It should flow into Lake Michigan. Fresh water from Lake Michigan flows backwards into the city. lover of triangular buildings. He's basically unknown today. You're not alone. In fact, as I record this, he doesn't even have a Wikipedia entry. And no one has ever worked harder to save Chicago from its own poop. The city of Chicago had been growing like crazy for a couple of decades out of nothing. Cholera epidemic wiped out 6% of the city. 6%. That summer, one account had cholera killing 60 people a day in a town of 70,000. One observer put it this way. The deck cart was constantly in the street. Gross. Incher Chesbrough, who made a name with work he'd done in Boston. What you people need, he told Chicago, is a sewer system, which was actually a newish idea at the time in the US. Not if you thought topography meant anything. I mean, Chicago was built on a swamp. Street level? Water level? Chicago's location was perfect. You can also see hotel guests in top hats standing on the balconies a couple flights up. They're looking out, watching their view get better and better a quarter inch at a time. And this kind of thing happened over and over again, with businesses staying open while they were getting cranked up just for kicks. Meanwhile, literally working around the guys with the jack screws. There's another great picture of a huge downtown block of stores and offices getting hoisted up. All 35,000 tons of it. Jacking up the streets and buildings took like 20 years to finish. We'll build water intakes two miles out from shore, way past where the river dumps our muck into the lake. And that'll mean digging the biggest, deepest, longest tunnel ever up to this point. What do you think? They all said fine and they did it and it was amazing. Again, the city is growing, people are making money. A year after that, and they were dumping more of their business into the river than ever, which stank. And before the water from the new intakes even started flowing, the Union stockyards opened on the River South branch and upped the ante. We're talking 320 acres of slaughterhouses and meatpacking plants, all of them, dumping whatever they couldn't use. And just imagine what that would be. Bubbly Creek. The stockyards grew, too. A lot. One engineer would say, Chicago produces more filth per capita than any other city. And now Typhoid was getting to be a problem. So Chicago started pushing for a new state law to help undertake the biggest, baddest, craziest idea ever. They decided to dig a gigantic new canal that would reverse the river entirely. Flushing the river would bring in fresh water from the lake and keep Chicago's muck from polluting the drinking water pulled from that same lake and flush all the sewage down to the Illinois River, which would then take it out to the Mississippi. It took a few years to get the new law approved. The town of Joliet saw a river of crap coming its way and tried to nix it. And then it took a few more years to get plans laid out and contracts issued. And then it was shovel day. More than a thousand people came out to watch. An official took one cut with a nickel plated shovel and then an engineer detonated two massive loads of dynamite. Dynamite was their preferred weapon against the environment. And it was on round three in the epic struggle against Chicago's own excreta, reversing the river. 28 miles of canal, price tag 31 million and change. In today's money, even after the fair closed, train companies ran morning specials so local sightseers could check out the big machines and those ever-popular dynamite blasts. This was an amazing project. Very late in the game, St. Louis got pissed. Upriver of St. Louis, which depends on the river for its drinking water and for brewing Budweiser beer. The city authorizes its attorney to prepare a lawsuit asking the US Supreme Court for an injunction that would stop the Sanitary District of Chicago from opening up the dams and letting that water go. Thing is, it takes a while to get a lawsuit ready, few months, say, and Chicago starts humping it to get the dams ready to open before St. Louis can get an injunction. So the next day, January 2, one of them brings shovels. Most of these projects have these beautiful gold shovels. And to this day, I can't figure out why St. Louis didn't do that. Or why they were so slow about it. Chicago still had to jam a few last pieces into place to get the governors okay. It took two weeks. St. Louis could have filed any day. And then January 17th, the trustees took one more early morning trek to lower the dam. They turned the crank, posed for a picture in their fancy coats and top hats. Too late. Late, I might add. They waited until just after the floodgates were open. I can't understand that legal philosophy. The story made the New York Times with the headline, The Water in the Chicago River Now Resembles Liquid. St. Louis pushed their case to the U.S. Supreme Court. Which is an important philosophical question, but to paraphrase the way Justice Holmes finished that opinion. Whatever, man. It was a functional monument to our dominion over the natural world. And the forces of nature are looking for another go-around. We may have seen signs of life there instead. I see bubbles. See that right down there? Potentially re-reversing the river. Engineering interventions. In terms of washing away Chicago's waste, it's mostly a symbolic issue. There are other ways to keep the water and treated sewage flowing away towards the Mississippi. But falling lake levels. This is most of the fresh water in North America. But taking another view, you could also see this as a lesson in the lengths we will go to survive. If we harness that 19th century moxie, the kind of moxie that makes you think that you could and should reverse a river, we could guide our best and brightest to engineer the impossible, no matter what it takes. And we would take day trips out to the far edge and cheer them on as they save us from getting buried in our own s***. That'd be okay too.",
        "transcription_large_v3": " rather than being crammed in on the sidewalk between looming towers, trying and probably failing to take it all in, with glass, steel, and concrete wonders presented in their full glory everywhere you turn. It's that river itself, a waterway disguised as a remnant of the natural landscape. But it really isn't. It's hard to tell when you see the river, but it's going the wrong way. It should flow into Lake Michigan. Fresh water from Lake Michigan flows backwards into the city. Lover of triangular buildings. He's basically unknown today. You're not alone. In fact, as I record this, he doesn't even have a Wikipedia entry. And no one has ever worked harder to save Chicago from its own poop. The city of Chicago had been growing like crazy for a couple of decades. Out of nothing. Cholera epidemic. Wiped out 6% of the city. 6%! That summer, one account had cholera killing 60 people a day in a town of 70,000. One observer put it this way. The deck cart was constantly in the street. Gross. Enter Chesbrough, who made a name with work he'd done in Boston. What you people need, he told Chicago, is a sewer system, which was actually a newish idea at the time in the U.S. Not if you thought topography meant anything. I mean, Chicago was built on a swamp. Street level? Water level? Chicago's location was perfect. You can also see hotel guests in top hats standing on the balconies a couple flights up. They're looking out, watching their view get better and better, a quarter inch at a time. And this kind of thing happened over and over again, with businesses staying open while they were getting cranked up, just for kicks. Meanwhile, literally working around the guys with the jackscrews. There's another great picture of a huge downtown block of stores and offices getting hoisted up. All 35,000 tons of it. Jacking up the streets and buildings took like 20 years to finish. We'll build water intakes two miles out from shore, way past where the river dumps our muck into the lake. And that'll mean digging the biggest, deepest, longest tunnel ever up to this point. What do you think? They all said fine, and they did it, and it was amazing. Again, the city is growing, people are making money. A year after that... And they were dumping more of their business into the river than ever, which stank. And before the water from the new intakes even started flowing, the Union stockyards opened on the River South branch and upped the ante. We're talking 320 acres of slaughterhouses and meatpacking plants, all of them dumping whatever they couldn't use. And just imagine what that would be. Bubbly Creek. The stockyards grew, too. A lot. One engineer would say, Chicago produces more filth per capita than any other city. And now typhoid was getting to be a problem. So Chicago started pushing for a new state law to help undertake the biggest, baddest, craziest idea ever. They decided to dig a gigantic new canal that would reverse the river entirely. Reversing the river would bring in fresh water from the lake and keep Chicago's muck from polluting the drinking water pulled from that same lake and flush all the sewage down to the Illinois River, which would then take it out to the Mississippi. It took a few years to get the new law approved. The town of Joliet saw a river of crap coming its way and tried to nix it. And then it took a few more years to get plans laid out and contracts issued. And then it was shovel day. More than a thousand people came out to watch. An official took one cut with a nickel-plated shovel, and then an engineer detonated two massive loads of dynamite. Dynamite was their preferred weapon against the environment. And it was on, round three in the epic struggle against Chicago's own excreta, reversing the river. 28 miles of canal. Price tag? 31 million and change. In today's money, even after the fair closed, train companies ran morning specials so local sightseers could check out the big machines and those ever-popular dynamite blasts. This was an amazing project. Very late in the game, St. Louis got pissed. Upriver of St. Louis, which depends on the river for its drinking water and for brewing Budweiser beer. The city authorizes its attorney to prepare a lawsuit asking the U.S. Supreme Court for an injunction that would stop the sanitary district of Chicago from opening up the dams and letting that water go. Thing is, it takes a while to get a lawsuit ready. A few months, say. And Chicago starts humping it to get the dams ready to open before St. Louis can get an injunction. So, the next day, January 2, one of them brings shovels. Most of these projects have these beautiful gold shovels. And to this day, I can't figure out why St. Louis didn't do that. Or why they were so slow about it. Chicago still had to jam a few last pieces into place to get the governors okay. It took two weeks. St. Louis could have filed any day. And then, January 17th, the trustees took one more early morning trek to lower the dam. They turned the crank, posed for a picture in their fancy coats and top hats. Too late. Late, I might add. They waited until just after the floodgates were open. I can't understand that legal philosophy. The story made the New York Times with the headline, The water in the Chicago River now resembles liquid. St. Louis pushed their case to the U.S. Supreme Court. Which is an important philosophical question, but to paraphrase the way Justice Holmes finished that opinion, whatever, man. It was a functional monument to our dominion over the natural world. And the forces of nature are looking for another go-around. We may have seen signs of life there instead. I see bubbles. See that right down there? potentially re-reversing the river. Engineering interventions. In terms of washing away Chicago's waste, it's mostly a symbolic issue. There are other ways to keep the water and treated sewage flowing away towards the Mississippi. But falling lake levels, I mean, this is most of the fresh water in North America. But taking another view, you could also see this as a lesson in the lengths we will go to survive. If we harness that 19th century moxie, the kind of moxie that makes you think that you could and should reverse a river, we could guide our best and brightest to engineer the impossible, no matter what it takes. And we would take day trips out to the far edge and cheer them on as they save us from getting buried in our own. That'd be okay too."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000224.mp3": {
        "gt": "USED CAR SALESMAN BY SOME TARP AND A LEAF BLOWER AND MESSES AROUND IN HIS GARAGE  NO  SLIGHTED BOUNCE HOUSE DESIGNER GOES ROGUE DETERMINED TO SHOW THEM ALL  I AM PETER MINSHALL  THIS IS A WORD INDIGENOUS TO TRINIDAD WHICH IS WHERE I'M TALKING TO YOU FROM NOW IN TRINIDAD AND TOBAGO   A MOSSMAN IS SOMEONE WHO WORKS IN THE CARNIVAL ARTS TRADITION  AS MINSHALL TELLS IT  HE WAS TRYING TO DO SOMETHING USING INFLATABLE TUBES BUT IT WASN'T WORKING OUT IT WAS A TOTAL FAILUREYOU MIGHT GET AN INCREDIBLE  PETER MINSHALL KNEW HOW TO MAKE GIANT FIGURES  BUT THEY HAD ALWAYS BEEN POWERED BY PEOPLE   NOT AIR AND SO WHILE PETER MINSHALL WAS   IN THAT MOMENT ABLE TO GLIMPSE UPON THE POSSIBILITY OF GIANT UNDULATING INFLATABLE DANCING TUBE GUYS   FOR SHORT LET'S CALL THEM TALL BOYS   AND SO WHILE PETER MINSHALL WAS IN THAT MOMENT   ABLE TO GLIMPSE UPON THE POSSIBILITY OF THESE TALL BOYS  HE SAW SOMEONE MAKING BALLOON FIGURES ON THE STREET   AND GOT OBSESSED WITH DOING THAT HIMSELF  HE SOLD BALLOON ANIMALS ON THE STREETS IN JERUSALEM  AND TO THIS DAY HE STILL CARRIES BALLOONS AROUND WITH THEM IN HIS POCKETS  AND SO AT THIS POINT IN THE STORY THE TUBE GUYS   THE TALL BOYS ARE OUT IN THE WORLD  BUT HOW DO THEY GO FROM A THING WE SAW AT THE OLYMPICS ONCE   BASICALLY AS AN ART PIECE  HOW DO THEY GO FROM THAT   TO A THING YOU SEE AT LIKE   EVERY USED CAR LOT IN AMERICA  HERE IS WHERE THE MINSHALL CAMP AND THE GAZIT CAMP BEGIN TO DIVERGE BY PETER MINSHALL'S ACCOUNT   A FEW MONTHS AFTER HE RETURNED HOME FROM ATLANTA HE GOT A CALL FROM ONE OF HIS COLLABORATORS AT THE OLYMPICS   HE RECALLS HIM SAYING OH BY THE WAY  HE WAS ASKING FOR IT  HE SAYS THAT SINCE THEN HE'S REACHED OUT TO MINSHALL A NUMBER OF TIMES   BUT NEVER HEARD BACK PETER MINSHALL SAYS THAT IT NEVER OCCURRED TO HIM TO SEEK A PATENT ON THE TUBE GUYS I DON'T PLEASE  GARY BOUGHT A FEW AIR DANCERS FROM LOOK OUR WAY HOPING TO KEEP THE BIRDS OUT  AND WENT TO A NEIGHBOR AND SO I SAID   HEY  THIS LOOKS LIKE IT'S GOT POSSIBILITY  WITH THE AIR DANCERS IN PLACE   GARY WAS ABLE TO GET THE BIRD DAMAGE DOWN FROM TWENTY THOUSAND POUNDS TO  THEY GOT BIRD DAMAGE DOWN TWO ZERO ZERO DAMAGE GARY LONG CALLED UP NICK KUSANOVICH FROM LOOK OUR WAY AND MADE SOME SUGGESTIONS FOR HOW TO TURN THE AIR DANCER INTO A BONA-FIDE SCARECROW  I MENTION THE AIR RANGERS TO PETER MINSHALL IT WAS THE FIRST TIME HE'D EVER HEARD OF THEM   OH THAT'S BRILLIANT  I'LL SMILE  YEAH SO NO BITTERNESS ON MINSHALL'S PART EVEN THOUGH HE'S NOT MAKING ANY MONEY OFF OF THESE THINGS  LOOK AT WHERE WE REACH  AND I'M SUDDENLY AWARE THAT THEY'RE DANCING UP ALL THE GAS STATIONS ALL OVER THE PLANET  A PART OF ME CAN'T HELP BUT FEEL DELIGHT THAT GOODNESS  SURE  MAYBE IT WAS PETER MINSHALL'S IDEA   BUT GAZIT ACTUALLY MADE THIS THING  AND  AS GAZIT REALLY WANTED ME TO POINT OUT HE'S DONE A LOT OF OTHER WORK WITH INFLATABLES SINCE THEN  BUT I ALSO LOVE KNOWING ABOUT PETER MINSHULL AND OF THESE THINGS ARE KIND OF LIKE SHOPPING PLAZA AMBASSADORS FROM THE STREETS OF HIS CARIBBEAN ISLAND BECAUSE THAT IS HOW WE DANCE LIMPID AND LOOSE TO THE MUSIC OF STEEL DRUMS ON THE STREET  THOUSANDS OF US   AND WITH THAT IN MIND THE INFLATABLE FIGURES   THE TUBE GUYS   THE TALL BOYS   THE FLY GUYS   THE AIR DANCERS   THE AIR RANGERS  I'VE DISCOVERED A WHOLE NEW JOY IN THEM  BUT I WILL DELIGHT IN SEEING THEM TRY AND WHEN I LOOK UPON THEM I WILL KNOW TO LISTEN TO THE DISTANT WHISPER OF A CALYPSO BAND\n",
        "transcription_base": " Used car salesman by some tarp in a leaf blower and messes around in his garage. No. Slided bounce house designer goes rogue, determined to show them all. I am Peter Minshaw. This is a word indigenous to Trinidad, which is where I'm talking to you from now. In Trinidad and Tobago, a Moss man is someone who works in the Carnival Arts tradition. As Minshaw tells it, he was trying to do something using inflatable tubes. But it wasn't working out. It was a total failure. you might get an incredible. Peter Menshel knew how to make giant figures, but they had always been powered by people, not air. And so while Peter Menshel was in that moment able to glimpse upon the possibility of giant undulating inflatable dancing tube guys, and so while Peter Menshel was in that moment able to glimpse upon the possibility of these tall boys, he saw someone making balloon figures on the street and got obsessed with doing that himself. He sold balloon animals and streets in Jerusalem, and to this day he still carries balloons around with him in his pockets. And so at this point in the story, the two guys, the tall boys, are out in the world. But how did they go from a thing we saw at the Olympics once, basically as an art piece? How did they go from that to a thing you see at like every used car lot in America? Here is where the Minchel Camp and the Gazette Camp begin to diverge. By Peter Minchel's account, a few months after he returned home from Atlanta, he got a call from one of his collaborators at the Olympics. He recalls him saying, Oh, by the way, he was asking for it. He says that since then, he's reached out to Mitchell a number of times, but never heard back. Peter Mitchell says that it never occurred to him to seek a patent on the tube, guys. I don't, please. Gary bought a few air dancers from Look Our Way hoping to keep the birds out. And went to an APER. And so I said, hey, this looks like it's got possibilities. With the air dancers in place, Gary was able to get the bird damage down from 20,000 pounds to, they got bird damage down to zero. Zero damage. Gary Long called up Nick Kusanovic from Look Our Way and made some suggestions for how to turn the air dancer into a bonafide scarecrow. I mentioned the air rangers to Peter Minshel. It was the first time he had ever heard of them. Oh, that's brilliant, I'll smile. Yeah, so no bitterness on Minshel's part, even though he's not making any money off of these things. Look at where we reach. And I'm suddenly aware that they're dancing up over gas stations all over the planet. A part of me can't help but feel delight that... goodness. Sure, maybe it was Peter Mintle's idea, but Gazette actually made this thing. And as Gazette really wanted me to point out, he's done a lot of other work with inflatable since then. But I also love knowing about Peter Mintle, and that these things are kind of like shopping plaza ambassadors from the streets of his Caribbean island. That is how we dance, limpid and loose to the music of steel drums on his street, thousands of us. And with that in mind, the inflatable figures, the tube guys, the tall boys, the fly guys, the air dancers, the air rangers, I've discovered a whole new joy in them, but I will delight in seeing them try. And when I look upon them, I will know to listen for the distant whisper of a colipsopand.",
        "transcription_medium": " Used car salesman buys some tarp in a leaf blower and messes around in his garage? No. Slighted bounce house designer goes rogue, determined to show them all? I am Peter Minchell. This is a word indigenous to Trinidad, which is where I'm talking to you from now. In Trinidad and Tobago, a moss man is someone who works in the carnival arts tradition. As Minchell tells it, he was trying to do something using inflatable tubes. But it wasn't working out. It was a total failure. you might get an incredible Peter Mitchell knew how to make giant figures, but they had always been powered by people, not air. And so while Peter Mitchell was in that moment, able to glimpse upon the possibility of giant undulating inflatable dancing tube guys, for short, let's call them tall boys. And so while Peter Mitchell was in that moment, able to glimpse upon the possibility of these tall boys, he saw someone making balloon figures on the street and got obsessed with doing man himself. He sold balloon animals on the streets in Jerusalem, and to this day he still carries balloons around with him in his pockets. And so at this point in the story, the tube guys, the tall boys, are out in the world. But how do they go from a thing we saw at the Olympics once, basically as an art piece? How do they go from that to a thing you see at like every used car lot in America? Here is where the Minchel camp and the Gazette camp begin to diverge. By Peter Peter Minchel's account, a few months after he returned home from Atlanta, he got a call from one of his collaborators at the Olympics. He recalls him saying, Oh, by the way, he was asking for it. He says that since then, he's reached out to Minchel a number of times, but never heard back. Peter Minchel says that it never occurred to him to seek a patent on the tube guys. I don't please. Gary bought a few air dancers from Look Our Way, hoping to keep the birds out and went to an April. And so I said, Hey, this looks like it's got possibilities. With the air dancers in place, Gary was able to get the bird damage down from 20,000 pounds to they got bird damage down to zero. Zero damage. Gary Long called up Nick Kusanovich from Look Our Way and made some suggestions for how to turn the air dancer into a bona fide scarecrow. I mentioned the air Rangers to Peter Minchel. It was the first time he had ever heard of them. Oh, that's brilliant. I'll smile. Yeah. bitterness on Mitchell's part, even though he's not making any money off of these things. Look at where we reach. And I'm suddenly aware that they're dancing up over gas stations all over the planet. A part of me can't help but feel delight that goodness. Sure, maybe it was Peter Mitchell's idea, but Gazette actually made this thing. And as Gazette really wanted me to point out, he's done a lot of other work with inflatable since then. But I also love knowing about Peter Mitchell and that these things are kind like shopping plaza ambassadors from the streets of his Caribbean island. Because that is how we dance, limpid and loose to the music of steel drums on the street, thousands of us. And with that in mind, the inflatable figures, the tube guys, the tall boys, the fly guys, the air dancers, the air rangers, I've discovered a whole new joy in them, but I will delight in seeing them try. And when I look upon them, I will know to listen for the distant whisper of a calypso band.",
        "transcription_large_v3": " Used car salesman buys some tarp in a leaf blower and messes around in his garage? No. Slighted bounce house designer goes rogue, determined to show them all? I am Peter Minchell. This is a word indigenous to Trinidad, which is where I'm talking to you from now. In Trinidad and Tobago, a moss man is someone who works in the carnival arts tradition. As Minchell tells it, he was trying to do something using inflatable tubes. But it wasn't working out. It was a total failure. You might get an incredible... Peter Minchell knew how to make giant figures, but they had always been powered by people, not air. And so while Peter Minchell was in that moment able to glimpse upon the possibility of giant, undulating, inflatable dancing tube guys... For short, let's call them tallboys. And so while Peter Minchell was in that moment able to glimpse upon the possibility of these tallboys, he saw someone making balloon figures on the street and got obsessed with doing that himself. He sold balloon animals on the streets in Jerusalem, and to this day he still carries balloons around with him in his pockets. And so at this point in the story, the tube guys, the tall boys, are out in the world. But how did they go from a thing we saw at the Olympics once, basically as an art piece, how did they go from that to a thing you see at like every used car lot in America? Here is where the Minchell camp and the Gazit camp begin to diverge. By Peter Minchell's account, a few months after he returned home from Atlanta, he got a call from one of his collaborators at the Olympics. He recalls him saying, Oh, by the way, he was asking for it. He says that since then, he's reached out to Mitchell a number of times, but never heard back. Peter Mitchell says that it never occurred to him to seek a patent on the tube guys. I don't, please. Gary bought a few air dancers from Look Our Way, hoping to keep the birds out. And went to a neighbor. And so I said, hey, this looks like it's got possibilities. With the air dancers in place, Gary was able to get the bird damage down from 20,000 pounds to, they got bird damage down to zero. Gary Long called up Nick Kusanovich from Look Our Way and made some suggestions for how to turn the air dancer into a bona fide scarecrow. I mentioned the air rangers to Peter Minchell. It was the first time he had ever heard of them. Yeah, so no bitterness on Minchell's part, even though he's not making any money off of these things. suddenly aware that they're dancing up over gas stations all over the planet. A part of me can't help but feel delight that, oh goodness. Sure, maybe it was Peter Mitchell's idea, but Gazit actually made this thing. And, as Gazit really wanted me to point out, he's done a lot of other work with inflatables since then. But I also love knowing about Peter Mitchell, and that these things are kind of like shopping plaza ambassadors from the streets of his Caribbean island. Because that is how we dance. limpid and loose to the music of steel drums on his street, thousands of us. And with that in mind, the inflatable figures, the tube guys, the tall boys, the fly guys, the air dancers, the air rangers, I've discovered a whole new joy in them. But I will delight in seeing them try. And when I look upon them, I will know to listen for the distant whisper of a calypso band."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000240.mp3": {
        "gt": "WE'LL NEVER KNOW THE ANSWERS TO THESE QUESTIONS ABOUT HIS LIFEAS REAGAN SPOKE  ETCHED ON THE SIDE OF THE TOMB ITSELF WERE THE WORDS   KNOWN BUT TO GOD  EVEN KNOWING WHAT WE KNOW NOW  JUST THAT ALTHOUGH THE PERSON BEING BURIED THAT DAY MIGHT HAVE BEEN UNKNOWN TO THE PUBLIC  A LOT ABOUT HIS IDENTITY ACTUALLY WAS KNOWN THE GOVERNMENT LIKELY EVEN KNEW THAT HE HAD A FAMILY WHO WOULD LIKE TO HAVE HIS BODY BACK  BUT THEY BURIED HIM ANYWAYHOW TO HONOR UNIDENTIFIED REMAINS HAS ALWAYS BEEN ONE OF THE GREAT CONUNDRUMS OF WAR  THE ROMANS WERE FOND OF HONORING THEM WITH AN EMPTY SARCOPHAGUS  AFTER THE CIVIL WAR  HE'S A FORMER EXECUTIVE EDITOR FOR NATIONAL GEOGRAPHIC   WHO WROTE A BOOK ABOUT ARLINGTON CALLED ON HALLOW GROUND  IN WHICH THE COMBATANTS ON BOTH SIDE WERE MOSTLY ORDINARY CITIZENS  NOBODY WHO WENT THROUGH THAT WAR WAS EVER THE SAME AGAIN  BURIED IN THEIR GRAVES   AND NOBODY WOULD EVER REMEMBER THEM  MARKED BY A CROSS BEARING THE NAME OF A REGIMENT  SOMETHING ABOUT HAVING A PARTICULAR PERSON MAKES IT MORE REAL   MORE HUMANAFTER THE WAR  RAILTON ADVOCATED FOR A GRAVE BEARING THE BODY OF A SINGLE SOLDIER   TO BRING THE IMPOSSIBLY LARGE TRAGEDY DOWN TO A HUMAN SCALE THE SOLDIER'S ANONYMITY WOULD ALLOW EACH PERSON WHO CAME TO THE GRAVE TO PROJECT WHATEVER WAS MOST IMPORTANT TO THEM ONTO THE MYSTERY  IT DIDN'T MATTER IF YOU WANTED TO HONOR ALL THOSE WHO SERVED OR MERELY THOSE WHO DIED  IT WAS AN OVERNIGHT SUCCESS  THE DEDICATION ALONE ATTRACTED SO MANY MOURNERS   THE LINE FOR VIEWING LASTED TEN DAYS AND BRITAIN'S UNKNOWN WARRIOR WASN'T THE ONLY ONE BRITAIN   FRANCE  ALL YOU NEEDED WAS THE BODY OF A SINGLE UNKNOWN SOLDIER THE AMERICAN MEMORIAL IS ESPECIALLY BEAUTIFUL  IT SITS AT THE TOP OF A HILL THAT OVERLOOKS THE REST OF ARLINGTON CEMETERY  FOREVER MARCHING BACK AND FORTH IN FRONT OF THE TOMB NO ONE KNOWS WHICH SERVICE THE REMAINS ARE FROM  SO INSTEAD OF SOLDIER OR SAILOR OR MARINE   THEY'RE SIMPLY REFERRED TO AS THE UNKNOWN  IN FACT   ANYTHING THAT NARROWS THE SCOPE OF WHO THIS PERSON COULD BE  IS PURPOSEFULLY WITHHELD FROM THE PUBLIC  THE TOMB HAS BECOME ONE OF THE WASHINGTON D C   AREA'S BIGGEST TOURIST ATTRACTIONSWE MADE ONE SMALL SEEMINGLY INNOCENT CHANGE TO THE FORMULA OF THE UNKNOWN THAT WOULD END UP PROVING TRICKY WE BEGAN ADDING A NEW SET OF UNIDENTIFIED REMAINS FOR EVERY SUBSEQUENT WAR  EACH WAR WOULD GET THEIR OWN UNKNOWN WHICH MADE SENSE   THERE WERE LOTS OF UNKNOWNS TO CHOOSE FROM  KOREAN WAR  VIETNAM  THIS IS PATRICIA BLASSI BUT THE FIRSTBORN JUST HAS SOMETHING ABOUT THEM MICHAEL BLASSI WAS PATRICIA'S OLDEST BROTHER  HE WAS THE OLDEST OF FIVE   ACTUALLY   IN THE BLASSI FAMILY  SO GROWING UP IN ST   LOUIS IN THE NINETEEN SIXTY S AND SEVENTY S  DUBBED THE DRAGONFLY OR SOMETIMES THE SUPER TWEAK  AND SO ONCE HE GRADUATED  AND I REMEMBER HIM LOOKING BACK   AND WAVING TO US WITH THAT BEAUTIFUL SMILE  AMERICA'S MILITARY PRESENCE IN SOUTHEAST ASIA WAS SHRINKING RAPIDLY  ONLY A FEW HAD GOTTEN HIT  BUT WHEN THEY WERE HIT  THINGS COULD GET UGLY FAST BECAUSE IT COULD TAKE ALL KINDS OF FIRE  I MEAN   YOU'RE FLYING FOUR HUNDRED FEET IN THE AIR   AND YOU GET HIT  SO THAT MADE IT VERY DANGEROUS MICHAEL WOULD ALWAYS TAKE OFF AND LAND FROM A PROTECTED AIRBASE NEAR SAIGON  BUT HIS MISSIONS HAD HIM FLYING OVER A LOT OF DANGEROUS PLACES  ALONG WITH A HANDFUL OF AMERICAN ADVISORS  BUT IT WAS UNDER SIEGE BY AN INVADING NORTH VIETNAMESE ARMY THE SIEGE LASTED A VERY   VERY LONG TIME  HE WAS STATIONED IN AN LOC AS AN ARMY RANGER DURING THE MAJORITY OF THE SIEGE  AT ONE POINT   HE DESCRIBED THE SOUTH VIETNAMESE WOUNDED   WITH THEIR MEAGER MEDICAL SUPPORT  AS LOOKING LIKE SOMETHING OUT OF THE CIVIL WAR  AN LOC WAS COMPLETELY CUT OFF FROM THE REST OF THE WORLD WE GOT FOOD AND AMMUNITION BY PARACHUTE DROP EVERY DAY  WE WERE UNDER CONSTANT SHELL FIRE CHRIS'S DUTY  IN THE MIDST OF ALL THIS CHAOS  WAS TO CALL IN AIR STRIKES AND IT WAS MICHAEL BLASSI'S SQUAD THAT WAS PROVIDING THE AIR SUPPORT  BUT CHRIS DID GET TO KNOW A LOT OF MICHAEL'S SQUAD ROOMMATES REALLY WELL AND WE WOULD TALK ON A RADIO   THEY'D READ ME STARS AND STRIPES STARS AND STRIPES IS THE U S   MILITARY'S INDEPENDENTLY RUN DAILY PAPER WHY WOULD THEY READ YOU STARS AND STRIPES  WELL   IT WAS MY ONLY CONTACT WITH THE OUTSIDE WORLD  BUT IN AN LOC   THEY WOULD BE OVER US ALMOST TWENTY FOUR HOURS A DAY  SO A LOT OF WHAT WE DO KNOW COMES FROM BLASSI'S COMMANDING OFFICER  WHO WAS FLYING IN A PLANE ALONGSIDE BLASSI'S AND HE SAID  SO THIS JUST ADDED TO THE CONFUSION OF THE BATTLEMICHAEL'S PLANE WAS HIT BY GROUND FIRE AND REMEMBER   MICHAEL'S PLANE WAS DESIGNED TO FLY LOW  HE WAS NO MORE THAN FIVE HUNDRED FEET ABOVE THE GROUND AND HE HAD LOST CONTROL OF THE PLANE BLASSI'S PLANE BEGAN STREAMING FUEL  BUT DUE TO HEAVY ENEMY FIRE  THEY HAD TO LEAVE AFTER JUST A FEW MINUTES   EMPTY HANDED  AFTER THAT   THERE DIDN'T SEEM TO BE ANY WAY TO GET TO THE SITE OR FIND OUT EXACTLY WHAT HAD HAPPENED  MICHAEL BLASSI WAS DECLARED MISSING IN ACTION  AND PRESUMED DEAD  THERE IS NO GATHERING WHEN MICHAEL DIED  BOTH HER PARENTS CAME FROM BIG FAMILIES   LOTS OF AUNTS AND UNCLES   LOTS OF FUNERALS  THEY PROCESSED IT BY GATHERING TOGETHER AT THE FUNERAL AND JUST TALKING ABOUT THE PERSON'S LIFE   WHO THEY WERE   HOW MUCH EVERYONE MISSED THEM  BUT THIS TIME  WE DIDN'T TALK ABOUT IT   WE DIDN'T  OR RATHER THE NOT TALKING ABOUT MICHAEL'S DEATH  ENDED UP PUTTING A STRAIN ON HER PARENT'S MARRIAGE  THEY LATER SEPARATED   AND PATRICIA JOINED THE AIR FORCE   EVENTUALLY ATTAINING THE RANK OF COLONEL  LIFE   IN OTHER WORDS   WENT ON  THIS THING THAT WE DIDN'T GET TO DEAL WITH  AND IT DIDN'T RESURRECT ITSELF UNTIL TWENTY SIX YEARS LATER AFTER HE WAS KILLED  WE REALIZED WHERE HE WASAND I AM A FORMER GREEN BERETTED SAMPLEY HAS SINCE PASSED AWAY  AT FIRST   PATRICIA DIDN'T KNOW WHAT TO MAKE OF ANY OF THIS  AS FAR AS SHE KNEW  MICHAEL'S BODY HAD NEVER EVEN BEEN RECOVERED  AND REMEMBER   SHE HERSELF WAS IN THE AIR FORCE  SO AFTER GETTING OFF THE PHONE WITH SAMPLEY  SHE CALLED UP THE AIR FORCE CASUALTY OFFICE   AND ASKED  COULD THIS BE TRUE  COULD MICHAEL BE IN THE TOMB OF THE UNKNOWN SOLDIER  AND THEY SAID   BY NO MEANS IS THERE ANYTHING TO SUBSTANTIATE THAT YOUR BROTHER'S IN THE TOMB  THANK YOU VERY MUCH   BECAUSE THAT IS THE CRAZIEST STORY THAT I COULD EVER IMAGINE   THAT A KNOWN SOLDIER WAS IN THE TOMB OF THE UNKNOWNS  HE WAS A YOUNG REPORTER AT CBS DENVER WHEN HE ACCIDENTALLY CAME ACROSS A POST TED SAMPLEY HAD MADE ON THE INTERNET ABOUT HIS THEORY THAT MICHAEL BLASSI HAD BEEN BURIED IN THE TOMB OF THE UNKNOWNS  THREE YEARS AFTER THE PHONE CALL WITH PATRICIA  AND THEN ONE EVENING I SAT DOWN AND STARTED READING IT   AND I THOUGHT  MAYBE I SHOULD CHECK THIS OUTSAMPLEY HAD NO DIRECT EVIDENCE PROVING THAT MICHAEL BLASSI WAS IN THE TOMB  BUT THAT DIDN'T MAKE HIM WRONG WHATEVER WAS KNOWN ABOUT THE REMAINS OF THE VIETNAM UNKNOWN HAD NEVER BEEN REVEALED  SO VINCE CALLED A FEW SOURCES IN THE MILITARY  NOT ASKING ANY HARD QUESTIONS  ALMOST KIND OF EMBARRASSED  COULD THE GOVERNMENT POSSIBLY BURY A KNOWN PERSON IN THE TOMB OF THE UNKNOWNS  AND NOT TELL ANYONE  ONE CONVERSATION IN PARTICULAR TOLD ME THERE WAS AN ATTITUDE WITHIN SOME PARTS OF THE MILITARY THAT MIGHT ALLOW SOMETHING LIKE THIS TO HAPPEN   I CALLED UP A RESEARCHER IN THE PENTAGON  AND I TRIED TO TALK REALLY AROUND THE ISSUE   I DIDN'T WANT TO LET THEM KNOW WHAT I WAS WORKING ON  BUT I FINALLY SAID   WHAT IF YOU COULD FIGURE OUT WHO THIS WAS  AND HIS RESPONSE WAS  OH   THAT WOULD NEVER HAPPEN   AND I SAID   BUT THAT WOULD BE THE TRUTH  SO I WROTE DOWN THE TRUTH DOESN'T MATTER ON A POST-IT NOTE   STUCK IT TO MY COMPUTER CONSOLE  AND I THOUGHT   IF THERE'S A CHANCE YOU COULD FIGURE OUT WHO THIS IS   AND GIVE HIM BACK TO HIS FAMILY   YOU SHOULD DO IT VINCE BEGAN FILING FOIA REQUESTS   TRYING TO GET HIS HANDS ON ANY GOVERNMENT DOCUMENT HE COULD ABOUT MICHAEL BLASSI BUT THERE WERE THINGS I WANTED THAT ONLY FAMILY MEMBERS COULD GET  WHERE YOU NEEDED AN AFFIDAVIT   SO THAT WAS WHEN I REACHED OUT TO THE BLASSI FAMILY VINCE GOT IN TOUCH WITH PATRICIA   AND LAID OUT HIS CASE  FACT BY FACT  PATTERN BY PATTERN AND VINCE AND I STARTED TALKING  AND I CALLED MY MOM   AND I SAID   YOU KNOW WHAT  IT'S SOMEBODY  AND IF IT'S MICHAEL  WHICH EVENTUALLY GAVE VINCE THE LEEWAY TO FILE YET ANOTHER FOIA REQUEST  NOTHING SPECIAL  JUST SOME DOCUMENTS RELATED TO MICHAEL BLASSI FROM AN AIR FORCE BASE IN TEXAS NOT MENTIONING THE TOMB   NOT MENTIONING THE UNKNOWN SOLDIER   JUST ASKING FOR ANYTHING WITH MICHAEL BLASSI'S NAME IN IT  AND I GOT BACK THIS REALLY THICK ENVELOPE  AND I WAS ACTUALLY BACK IN DENVER AT THAT POINT   SITTING IN THE NEWSROOM   WHEN I OPENED IT UP   AND I WAS PAGING THROUGH IT   PAGE AFTER PAGE   AND GOING OH MY GOD  AND IT WAS ON ONE OF THOSE LONELY NIGHTS   JUST CHATTING  THAT THEY STARTED TELLING HIM ABOUT MICHAEL THE ONLY THING I KNEW IS THEY ASKED ME THAT ONE OF THEIR SQUADRON MATES HAD BEEN SHOT DOWN  THEY GAVE ME THE COORDINATES  THEY KNEW THEY WERE ASKING A LOT SO I THINK IF THAT RAPPORT WASN'T THERE  THEN THE REQUEST WOULD HAVE NEVER COME   AND I WOULD HAVE NEVER ACTED ON IT CHRIS TOOK THE MATTER TO HIS REGIMENTAL COMMANDER  WHO ASSEMBLED A SPECIAL SOUTH VIETNAMESE PATROL  DRESSED UP AS THE ENEMY  AND THEY FOUND THE WRECKAGE  AND THEY BROUGHT BACK TO ME WHAT WAS LEFT OF THE REMAINS OF MICHAEL BLASSI  IN A BLACK PLASTIC BAGTHE REMAINS DID NOT CONSIST OF MUCH  JUST SIX BONES  BUT THEY ALSO BROUGHT BACK OTHER EVIDENCE  AN UN-INFLATED LIFE RAFT WITH SERIAL NUMBERS  A PARACHUTE   PART OF MICHAEL'S FLIGHT SHOOT  AND CRITICALLY  HIS WALLET AND THAT WAS IN GOOD SHAPE  PICTURES OF HIM   PICTURES OF HIS FAMILY   PICTURES OF HIS SISTER THERE WAS NO QUESTION  THE REMAINS WERE MICHAEL'S CHRIS THEN HANDED THE BAG WITH EVERYTHING IN IT OFF TO THE CREW CHIEF OF THE WEEK'S ONE OUTGOING HELICOPTER BUT HE GOT THE BAG  GET HIS BODY FROM THAT WRECKAGE  THE REMAINS   ALONG WITH THE SURVIVOR GEAR  WOULD EVENTUALLY ARRIVE AT THE ARMY'S CENTRAL IDENTIFICATION LABORATORY IN HAWAII  INSTEAD  WITHOUT A POSITIVE MATCH   DUE TO ARMY POLICY  THE BLASSI FAMILY COULD NOT EVEN BE TOLD THAT ANY REMAINS HAD BEEN FOUNDBUT IT WAS ALSO PATRIOTISM WHILE THERE WAS A CRASS   POLITICAL ANGLE TO DO THIS   TO MAKE NICE WITH THE VIETNAM VETERANS  THERE WAS ONLY ONE SET OF UNIDENTIFIED REMAINS LEFT THE ONES LABELED BELIEVED TO BE MICHAEL BLASSI  WITH THE REAGAN ADMINISTRATION EAGER TO PUT SOMEONE ON THE TOMB BEFORE ELECTION DAY  THIS IS NOT AN UNKNOWN SET OF REMAINS THE LAB TECHNICIANS TOLD THE PENTAGON THAT NEW DNA-BASED TECHNOLOGY WAS BEING DEVELOPED THAT WOULD ALLOW THE REMAINS TO BE CONCLUSIVELY IDENTIFIED  THEY ALSO POINTED TO THE ARTIFACTS   LIKE THE FLIGHT SUIT   AND THE LIFE RAFT   AND A RECORD OF THE MISSING WALLET  MEMORIAL DAY IS A DAY OF CEREMONIES AND SPEECHES  THROUGHOUT AMERICA TODAY   WE HONOR THE DEAD OF OUR WARS IN ITS WIN   PRESIDENT REAGAN   WHO MAY NOT HAVE KNOWN THAT ANY OF THIS HAD HAPPENED  GAVE A SPEECH AT A BURIAL IN ARLINGTON INVOKING A POWERFUL MYSTERY DID HE MARRY  WE'LL NEVER KNOW THE ANSWERS TO THESE QUESTIONS ABOUT HIS LIFESHOWED THAT THERE HAD NEVER BEEN ANY MYSTERY AT ALL  ARMED WITH THE DOCUMENTS   HE TEAMED UP WITH VETERAN CBS CORRESPONDENT ERIC ENGBERG  THEY TALKED TO ANYONE THEY COULD FIND WHO WAS INVOLVED IN THE UNKNOWN SELECTION PROCESS  AND WHEN THEY FELT THEY WERE READY  THEY PRESENTED THEIR FINDINGS TO PATRICIA BLASSI AND I ASKED MY MOM TO CALL A FAMILY MEETING  PATRICIA WANTED TO GO PUBLIC WITH VINCE AND CBS  HER OLDER SISTER   JUDY   IF ANYTHING  WAS EVEN MORE EAGER TO BLOW THE LID OFF THE WHOLE THING  BUT GEORGE   THE YOUNGEST BROTHER   BALKED  MICHAEL WAS BURIED IN A PLACE OF HONOR   HE POINTED OUT  BUT THE TIE BREAKER WAS MICHAEL'S MOTHER  IS IT POSSIBLE THE GOVERNMENT KNOWS THE IDENTITY OF A VIETNAM WAR CASUALTY BURIED AT THE TOMB OF THE UNKNOWNS IN ARLINGTON NATIONAL CEMETERY BUT DELIBERATELY KEPT IT SECRET FROM THE PUBLIC AND EVEN HIS OWN FAMILY  IT JUST WAS NONSTOP AND TONIGHT AS ERIC ENBERG TELLS US   THERE'S MORE BECAUSE CBS AND THE BLASSI FAMILY DIDN'T JUST WANT THE WORLD TO KNOW THAT MICHAEL BLASSI WAS IN THE TOMB  EVEN IF BY SOME CHANCE THEY AREN'T IDENTIFIED AS MICHAEL NOW CONGRESS WANTS TO INVESTIGATE IF IT'S MICHAEL   WE WANT TO BRING HIM HOMEYOU'RE KILLING US  AND DAY OR TWO LATER  THE DEPARTMENT OF DEFENSE DISINTERRED THE REMAINS OF THE VIETNAM VETERAN FROM THE TOMB OF THE UNKNOWN SOLDIER DNA SAMPLES WERE TAKEN FROM MICHAEL'S MOTHER JEAN AND HIS SISTER JUDY  AND TESTED AGAINST THE REMAINS  THEY WERE A MATCH AND AFTER THE SCIENTISTS WERE FINISHED TALKING TO MY MOTHER  WHEN WE OPENED THE TOMBTO DO THE DNA TEST  MICHAEL'S ARTIFACTS WERE IN THE TOMB WITH HIM  AND WHAT WOULD YOU LIKE US TO DO WITH THEM  THAT COULD HAVE TIED THE REMAINS TO MICHAEL BLASSI WHETHER IT WAS TO PRESERVE THE ARTIFACTS OR TO HIDE THEM  SOMEONE AT THE ARMY LAB IN HAWAII HAD PUT THEM WHERE NO ONE WOULD EVER THINK TO LOOK  THERE WAS A RECEPTION   AND THEN ONCE EVERYONE LEFT  WE STOOD AROUND THE TABLE   AND MY BROTHER GEORGE OPENED UP THE BOX   AND STARTED PULLING OUT THE LIFE RAFT  PORTIONS OF HIS PARACHUTE   PORTIONS OF HIS FLIGHT SUIT  THERE WILL LIKELY NEVER BE AN UNKNOWN FROM IRAQ OR AFGHANISTAN  IT'S CONCEIVABLE THAT THEY COULD USE THE SAME TECHNIQUES ON THE KOREAN UNKNOWN INSIDE THE TOMB  WELL  LET'S JUST SAY ANYTHING'S POSSIBLEMINUS THE REMAINS FOR VIETNAM  THE TOURISTS STILL TAKE PICTURES ON THEIR PHONES  EVEN WHEN NO ONE IS WATCHING  YOU SHOULD GO SEE IT  DOES THAT SADDEN YOU  LIKE   DOES IT SADDEN YOU THAT THERE'S NO UNKNOWN FOR VIETNAM ANYMORE  I CAN'T SAY THAT IT SADDENS ME  I CAN'T SAY THAT  IHAVE AN UNKNOWN  THEY MADE ONE  THEY TOOK MICHAEL'S NAME AWAY FROM HIM  TO SATISFY SOMETHING THAT I UNDERSTAND   IT WAS VERY IMPORTANT TO OUR NATION  A NAME IS VERY   VERY IMPORTANTSHE SAYS SHE'S NOT SURE WHY SHE DOES IT  IS NEVER REALLY OVER  JUST THIS ONCE  THEIR MISSION WAS COMPLETED  THEY WERE JUST LOOKING OUT FOR HIM UNTIL HE COULD GO HOME\n",
        "transcription_base": " We'll never know the answers to these questions about his life. As Reagan spoke, etched on the side of the tomb itself with words, known but to God, even knowing what we know now, which is that although the person being buried that day might have been unknown to the public, a lot about his identity actually was known. The government likely even knew that he had a family who would like to have his body back, but they buried him anyway. How to honor unidentified remains has always been one of the great conundrums of war. The Romans were fond of honoring them with an empty sarcophagus. After the Civil War, he's a former executive editor for National Geographic, who wrote a book about Arlington called On Hallowed Ground, in which the combatants on both sides were mostly ordinary citizens. Nobody who went through that war was ever the same again, buried in their graves, and nobody would ever remember them. Marked by a cross, bearing the name of a regiment, something about having a particular person makes it more real, more human. After the war, Railton advocated for a grave bearing the body of a single soldier to bring the impossibly large tragedy down to a human scale. The soldiers in an imidity would allow each person who came to the grave to project whatever was most important to them onto the mystery. It didn't matter if you wanted to honor all those who served or merely those who died. It was an overnight success. The dedication alone attracted so many mourners, the line for viewing lasted 10 days. And Britain's unknown warrior wasn't the only one. Britain Franch. All you needed was the body of a single unknown soldier. The American memorial is especially beautiful. It sits at the top of a hill that overlooks the rest of Arlington Cemetery, forever marching back and forth in front of the tomb. No one knows which service the remains are from, so instead of soldier or sailor or marine, they're simply referred to as the unknown. In fact, anything that narrows the scope of who this person could be is purposefully withheld from the public. The tomb has become one of the Washington D.C. areas biggest tourist attractions. We made one small seemingly innocent change to the formula of the unknown that would end up proving tricky. He began adding a new set of unidentified remains for every subsequent war. Each war would get their own unknown. Which made sense, there were lots of unknowns to choose from. A Korean war, Vietnam. This is Patricia Blassy. But the first born just has something about them. Michael Blassy was Patricia's oldest brother. He was the oldest of five actually in the Blassy family. So growing up in St. Louis in the 1960s and 70s, dubbed the Dragonfly or sometimes the super tweet. And so once he graduated and I remember him looking back and waving to us with that beautiful smile. America's military presence in Southeast Asia was shrinking rapidly. Only if you had gotten hit, but when they were hit, things could get ugly fast. Because it could take all kinds of fire. I mean you're flying 400 feet in the air and you get hit. So that made it very dangerous. Michael would always take off in land from a protected airbase near Saigon, but his missions had him flying over a lot of dangerous places. Along with a handful of American advisors, but it was under siege by an invading North Vietnamese army. The siege lasted a very, very long time. He was stationed in Anlock as an army ranger during the majority of the siege. At one point he described the South Vietnamese wounded with their meager medical support, as looking like something out of the Civil War. Anlock was completely cut off from the rest of the world. We got food and ammunition by parachute drop every day. We were under constant shell fire. Chris's duty in the midst of all this chaos was to call in air strikes. And it was Michael Blasie's quadrant that was providing the air support. But Chris did get to know a lot of Michael's squadron mates really well. And we would talk on a radio they'd read me stars and stripes. Stars and stripes is the US military's independently run daily paper. Why would they read you stars and stripes? Well, it was my only contact with the outside world, but in analog they would be over it's almost 24 hours a day. So a lot of what we do know comes from Blassie's commanding officer who was flying in a plane alongside Blassie's. And he said, so this just added to the confusion of the battle. Michael's plane was hit by ground fire. And remember, Michael's plane was designed to fly low. He was no more than 500 feet above the ground. And he had lost control of the plane. This is playing began straining fuel. But due to heavy enemy fire, they'd leave after just a few minutes, empty handed. After that, there didn't seem to be any way to get to the site or find out exactly what had happened. Michael Blassie was declared missing in action, and presumed dead. There is no gathering. When Michael died, both her parents came from big families, lots of aunts and uncles, lots of funerals. They processed it by gathering together at the funeral and just talking. the person's life, who they were, how much everyone missed them, but this time. We didn't talk about it, we didn't. Or rather, they're not talking about Michael's death. Ended up putting a strain on her parents' marriage. They later separated, and Patricia joined the Air Force, eventually attaining the rank of Colonel. Life, in other words, went on. This thing that we didn't get to deal with, and it didn't resurrect itself until 26 years later after he was killed. We realized where he was. And I am a former Green Beret. Ted Sampley has since passed away. At first, Patricia didn't know what to make of any of this. As far as she knew, Michael's body had never even been recovered. And remember, she herself was in the Air Force. So after getting off the phone with Sampley, she called up the Air Force casualty office and asked, could this be true? Could Michael be in the tomb of the unknown soldier? And they said by no means is there anything to substantiate that your brother's in the tomb? Thank you very much because that is the craziest story that I could ever imagine that a known soldier was in the Tomb of the Unknowns. He was a young reporter at CBS Denver when he accidentally came across a post Ted Sampley had made on the internet about his theory that Michael Blassie had been buried in the Tomb of the Unknowns three years after the phone call with Patricia. And then one evening I sat down and started reading it and I thought maybe I should check this out. Sampley had no direct evidence proving that Michael Blossy was in the tomb, but that didn't make him wrong. Whatever was known about the remains of the Vietnam unknown had never been revealed. So Vince called a few sources in the military, not asking any hard questions. Almost kind of embarrassed. Could the government possibly bury a known person in the tomb of the unknowns and not tell anyone? One conversation in particular told me there was an attitude within some parts of the military that might allow something like this to happen. and I called up a researcher in the Pentagon and I tried to talk really around the issue. I didn't want to let them know what I was working on, but I finally said, what if you could figure out who this was? And his response was, oh, that would never happen. And I said, but that would be the truth. So I wrote down the truth doesn't matter on a posted note, stuck it to my computer console. And I thought, if there's a chance, you could figure out who this is and give him back to his family, you should do it. Vince began filing for your requests, trying to get his hands on any government document he could about Michael Blassy. But there were things I wanted that only family members could get where you needed an affidavit. So that was when I reached out to the Blassy family. Vince got in touch with Patricia and laid out his case. Fact by fact, pattern by pattern. And Vince and I started talking and I called my mom and I said, you know what? It's somebody. And if it's Michael, which eventually gave Vince the leeway to file yet another FOIA request. Nothing special. Just some documents related to Michael Blassie from an Air Force base in Texas. Not mentioning the tomb, not mentioning the unknown soldier, just asking for anything with Michael Blassie's name in it. And I got back this really thick envelope, and I was actually back in Denver at that point sitting in the newsroom when I opened it up, and I was paging through it, paged after paging, going, oh my god. And it was on one of those lonely nights, just chatting that they started telling them about Michael. The only thing I knew was they They asked me that one of their squadron mates had been shot down. They gave me the coordinates. They knew they were asking a lot. So I think if that rapport wasn't there, then the request would have never come and I would have never acted on it. Chris took the matter to his regimental commander, who assembled a special South Vietnamese patrol dressed up as the enemy. And they found the wreckage. And they brought back to me what was left of the remains of Michael Blassy in a black plastic bag. remains did not consist of much, just six bones, but they also brought back other evidence. An uninflated life raft was serial numbers, a parachute, part of Michael's flight suit, and critically his wallet. And that was a good shape. Pictures of him, pictures of his family, pictures of his sister. There was no question. The remains were Michael's. Chris then handed the bag with everything in it, off to the crew chief of the week's one outgoing helicopter. But he got the bag. Get his body from that wreckage. The remains, along with the survival gear, would eventually arrive at the Army's central identification laboratory in Hawaii. Instead, without a positive match due to army policy, the Blassy family could not even be told that any remains had been found. But it was also patriotism. While there was a crass political angle to do this to make nice with the Vietnam veterans, there was only one set of unidentified remains left. The ones labeled, believe to be Michael Blassie, with the Reagan administration eager to put someone on the tune before Election Day. This is not an unknown set of remains. The lab technicians told the Pentagon that new DNA-based technology was being developed that would allow the remains to be conclusively identified. They also pointed to the artifacts, like the flight suit and the life raft and a record of the missing wallet. Memorial Day is a day of ceremony and speeches. Throughout America today we honor the death of our wars. And it's when President Reagan, who may not have known that any of this had happened, gave a speech at a burial in Arlington, invoking a powerful mystery. Did he marry? We'll never know the answers to these questions about his life. Shode that there had never been any mystery at all, armed with the documents, he teamed up with the veteran CBS correspondent Eric Engberg. They talked to anyone they could find who was involved in the unknown selection process. And when they felt they were ready, they presented their findings to Patricia Blassie. And I asked my mom to call a family meeting. Patricia wanted to go public with Vince and CBS. Her older sister, Judy, if anything, was even more eager to blow the lid off the whole thing. But George, the youngest brother, Bocked. Michael's buried in a place of honor, he pointed out. But the tiebreaker was Michael's mother. Is it possible the government knows the identity of a Vietnam war casualty buried at the tomb of the unknowns in Arlington National Cemetery, but deliberately kept its secret from the public and even his own family. It just was non-stop. And tonight as Eric Ngberg tells us, there's more. Because CBS and the Blassy family didn't just want the world to know that Michael Blassy was in the tomb. Even if by some chance they aren't identified as Michael. Now Congress wants to investigate. If it's Michael, we want to bring him home. You're kill us. And day or two later, the Department of Defense disinterred the remains of the Vietnam veteran from the tomb of the unknown soldier. DNA samples were taken from Michael's mother Jean and his sister Judy and tested against the remains. They were a match. And after the scientists were finished talking to my mother, when we opened the tomb to do the DNA tests, Michael's artifacts were in the tomb with him. And what would you like us to do with them? That could have tied the remains to Michael Blassy. Whether it was to preserve the artifacts or to hide them. Someone at the Army Lab in Hawaii had put them where no one would ever think to look. There was a reception and then once everyone left, we stood around the table and my brother George opened up the box and started pulling out the life raft, portions of his parachute, portions of his flight suit. There will likely never be an unknown from Iraq or Afghanistan. It's conceivable that they could use the same techniques on the Korean unknown inside the tomb. Well, let's just say anything's possible. Minus the remains for Vietnam. The tourists still take pictures on their phones, even when no one is watching. You should go see it. Does that sadden you? Like, does it sadden you that there is no unknown for Vietnam anymore? I can't say that it saddens me. I can't say that. I haven't unknown. They made one. They took Michael's name away from him to satisfy something that I understand It was a very important to our nation. A name is very, very important. She says she's not sure why she does it. It's never really over. Just this once. Their mission was completed. They were just looking out for him. Until he could go home.",
        "transcription_medium": " We'll never know the answers to these questions about his life. As Reagan spoke, etched on the side of the tomb itself were the words, known but to God, even knowing what we know now. Which is that, although the person being buried that day might have been unknown to the public, a lot about his identity actually was known. The government likely even knew that he had a family who would like to have his body back, but they buried him anyway. How to honor unidentified remains has always been one of the great conundrums of war. The Romans were fond of honoring them with an empty sarcophagus. After the Civil War, he's a former executive editor for National Geographic, who wrote a book about Arlington called On Hallowed Ground, in which the combatants on both sides were mostly ordinary citizens. Nobody who went through that war was ever the same again, buried in their graves and nobody would ever remember them. Marked by a cross bearing the name of a regiment. Something about having a particular person makes it more real, more human. After the war, Railton advocated for a grave bearing the body of a single soldier to bring the impossibly large tragedy down to a human scale. The soldier's anonymity would allow each person who came to the grave to project whatever was most important to them onto the mystery. It didn't matter if you wanted to honor all those who served or merely those who died. It was an overnight success. The dedication alone attracted so many mourners, the line for viewing lasted ten days. And Britain's unknown warrior wasn't the only one. Britain, France. All you needed was the body of a single unknown soldier. The American memorial is especially beautiful. It sits at the top of a hill that overlooks the rest of Arlington Cemetery, forever marching back and forth in front of the tomb. No one knows which service the remains are from, so instead of soldier or sailor or marine, they're simply referred to as the unknown. In fact, anything that narrows the scope of who this person could be is purposefully withheld from the public. The tomb has become one of the Washington DC area's biggest tourist attractions. We made one small, seemingly innocent change to the formula of the unknown that would end up proving tricky. We began adding a new set of unidentified remains for every subsequent war. Each war would get their own unknown. Which made sense. There were lots of unknowns to choose from. A Korean War. Vietnam. This is Patricia Blassie. But the firstborn just has something about them. Michael Blassie was Patricia's oldest brother. He was the oldest of five, actually, in the Blassie family. So growing up in St. Louis in the 1960s and 70s, dubbed the dragonfly, or sometimes the super tweet. And so once he graduated, and I remember him looking back and waving to us with that beautiful smile. America's military presence in Southeast Asia was shrinking rapidly. Only a few had gotten hit. But when they were hit, things could get ugly, fast. Because it could take all kinds of fire. I mean, you're flying 400 feet in the air and you get hit. So that made it very dangerous. Michael would always take off and land from a protected air base near Saigon. But his missions had him flying over a lot of dangerous places. Along with a handful of American advisors. it was under siege by an invading North Vietnamese army. The siege lasted a very, very long time. He was stationed in An Loc as an army ranger during the majority of the siege. At one point, he described the South Vietnamese wounded with their meager medical support as looking like something out of the Civil War. An Loc was completely cut off from the rest of the world. We got food and ammunition by parachute drop every day. We were under constant shellfire. Chris's duty, in the midst of all this chaos, was to call in airstrikes. And it was Michael Blasey's squadron that was providing the air support. But Chris did get to know a lot of Michael's squadron mates really well. And we would talk on the radio, they'd read me Stars and Stripes. Stars and Stripes is the U.S. military's independently run daily paper. Why would they read you Stars and Stripes? Well, it was my only contact with the outside world. But in analog, they would be over us almost 24 hours a day. So a lot of what we do know comes from Blassey's commanding officer, who was flying in a plane alongside Blassey's. And he said, so this just added to the confusion of the battle. Michael's plane was hit by ground fire. And remember, Michael's plane was designed to fly low. He was no more than 500 feet above the ground. And he had lost control of the plane. Blassey's plane began streaming fuel. But due to heavy enemy fire, they had to leave after just a few minutes, empty-handed. After that, there didn't seem to be any way to get to the site or find out exactly what had happened. Michael Blassie was declared missing in action and presumed dead. There is no gathering. When Michael died, both her parents came from big families, lots of aunts and uncles, lots of funerals. They processed it by gathering together at the funeral and just talking about the person's life, who they were, how much everyone missed them. But this time, we didn't talk about it. We didn't. or rather, the not talking about Michael's death, ended up putting a strain on her parents' marriage. They later separated, and Patricia joined the Air Force, eventually attaining the rank of Colonel. Life, in other words, went on. This thing that we didn't get to deal with, and it didn't resurrect itself until 26 years later after he was killed. We realized where he was, and I am a former Green Beret. Ted Sampley has since passed away. At first, Patricia didn't know what to make of any of this. As far as she knew, Michael's body had never even been recovered. And remember, she herself was in the Air Force. So after getting off the phone with Sampley, she called up the Air Force casualty office and asked, \"'Could this be true? \"'Could Michael be in the Tomb of the Unknown Soldier?' And they said, \"'By no means is there anything to substantiate \"'that your brother's in the tomb. \"'Thank you very much, \"'because that is the craziest story \"'that I could ever imagine that a known soldier was in the Tomb of the Unknowns. He was a young reporter at CBS Denver when he accidentally came across a post Ted Sampley had made on the internet about his theory that Michael Blassie had been buried in the Tomb of the Unknowns three years after the phone call with Patricia. And then one evening I sat down and started reading it and I thought, maybe I should check this out. Sampley had no direct evidence proving that Michael Blassie was in the tomb, but that didn't make him wrong. Whatever was known about the remains of the Vietnam unknown had never been revealed. So Vince called a few sources in the military, not asking any hard questions, almost kind of embarrassed. Could the government possibly bury a known person in the Tomb of the Unknowns and not tell anyone? One conversation in particular told me there was an attitude within some parts of the military that might allow something like this to happen. I called up a researcher in the Pentagon and I tried to talk really around the issue. I didn't want to let them know what I was working on. But I finally said, what if you could figure out who this was? And his response was, oh, that would never happen. And I said, but that would be the truth. So I wrote down the truth doesn't matter on a post-it note, stuck it to my computer console, and I thought if there's a chance you could figure out who this is and give him back to his family, you should do it. Vince began filing FOIA requests, trying to get his hands on any government document he could about Michael Blasey. But there were things I wanted that only family members could get where you needed an affidavit. So that was when I reached out to the Blasey family. Vince got in touch with Patricia and laid out his case, fact by fact, pattern by pattern. And Vince and I started talking and I called my mom and I said, you know what, it's somebody. And if it's Michael… Which eventually gave Vince the leeway to file yet another FOIA request. Nothing special, just some documents related to Michael Blasey from an Air Force base in Texas. Not mentioning the tomb, not mentioning the unknown soldier, just asking for anything with Michael Blasey's name in it. And I got back this really thick envelope and I was actually back in Denver at that point sitting in the newsroom when I opened it up and I was paging through it page after page and going, Oh my God. And it was on one of those lonely nights just chatting that they started telling him about Michael. The only thing I knew is they asked me that one of their squadron mates had been shot down. They gave me the coordinates. They knew they were asking a lot. So I think if that rapport wasn't there, then the request would have never come and and I would have never acted on it. Chris took the matter to his regimental commander, who assembled a special South Vietnamese patrol dressed up as the enemy. And they found the wreckage, and they brought back to me what was left of the remains of Michael Blasey in a black plastic bag. The remains did not consist of much, just six bones, but they also brought back other evidence, an uninflated life raft with serial numbers, a parachute, part of Michael's flight suit, and critically, his wallet. And that was in good shape. Pictures of him, pictures of his family, pictures of his sister. There was no question. The remains were Michael's. Chris then handed the bag with everything in it off to the crew chief of the week's one outgoing helicopter. But he got the bag. Get his body from that wreckage. The remains, along with the survival gear, would eventually arrive at the Army's Central Identification Laboratory in Hawaii. Instead, without a positive match due to army policy, the Blassie family could not even be told that any remains had been found. But it was also patriotism. While there was a crass political angle to do this, to make nice with the Vietnam veterans, there was only one set of unidentified remains left. The ones labeled believed to be Michael Blassie, with the Reagan administration eager to put someone on the tomb before election day. This is not an unknown set of remains. The lab technicians told the Pentagon that new DNA-based technology was being developed that would allow the remains to be conclusively identified. They also pointed to the artifacts, like the flight suit and the life raft, and a record of the missing wallet. Memorial Day is a day of ceremonies and speeches. Throughout America today we honor the dead of our wars. And it's when President Reagan, who may not have known that any of this had happened, gave a speech at a burial in Arlington, invoking a powerful mystery. Mary. We'll never know the answers to these questions about his life.\" showed that there had never been any mystery at all. Armed with the documents, he teamed up with the veteran CBS correspondent Eric Engberg. They talked to anyone they could find who was involved in the unknown selection process, and when they felt they were ready, they presented their findings to Patricia Blasey. And I asked my mom to call a family meeting. Patricia wanted to go public with Vince and CBS. Her older sister, Judy, if anything, was even more eager to blow the lid off the whole thing. But George, the youngest brother, balked. Michael was buried in a place of honor, he pointed out. But the tiebreaker was Michael's mother. Is it possible the government knows the identity of a Vietnam war casualty buried at the Tomb of the Unknowns in Arlington National Cemetery, but deliberately kept it secret from the public and even his own family? It just was non-stop. And tonight, as Eric Ingberg tells us, there's more. Because CBS and the Blassie family didn't just want the world to know that Michael Blassie was in the tomb. Even if by some chance they aren't identified as Michael. Now Congress wants to investigate. If it's Michael, we want to bring him home. You're killing us. And day or two later... The Department of Defense disinterred the remains of the Vietnam veteran from the tomb of the unknown soldier. DNA samples were taken from Michael's mother Jean and his sister Judy and tested against the remains. They were a match. And after the scientists were finished talking to my mother, when we opened the tomb to do the DNA tests, Michael's artifacts were in the tomb with him. And what would you like us to do with them? That could have tied the remains to Michael Blasey. Whether it was to preserve the artifacts or to hide them, Someone at the Army lab in Hawaii had put them where no one would ever think to look. There was a reception and then once everyone left, we stood around the table and my brother George opened up the box and started pulling out the life raft, portions of his parachute, portions of his flight suit. There will likely never be an unknown from Iraq or Afghanistan. It's conceivable that they could use the same techniques on the Korean unknown inside the tomb. Well, let's just say anything's possible. Minus the remains for Vietnam. The tourists still take pictures on their phones, even when no one is watching. You should go see it. Does that sadden you? Like, does it sadden you that there is no unknown for Vietnam anymore? I can't say that it saddens me. I can't say that. I have an unknown. They made one. They took Michael's name away from him to satisfy something that I understand was very important to our nation. A name is very, very important. She says she's not sure why she does it. It's never really over. Just this once, their mission was completed. They were just looking out for him until he could go home.",
        "transcription_large_v3": " We'll never know the answers to these questions about his life. As Reagan spoke, etched on the side of the tomb itself were the words, known but to God, even knowing what we know now, which is that although the person being buried that day might have been unknown to the public, a lot about his identity actually was known. The government likely even knew that he had a family who would like to have his body back, but they buried him anyway. How to honor unidentified remains has always been one of the great conundrums of war. The Romans were fond of honoring them with an empty sarcophagus. After the Civil War, he's a former executive editor for National Geographic, who wrote a book about Arlington called On Hallowed Ground, in which the combatants on both sides were mostly ordinary citizens. Nobody who went through that war was ever the same again. Buried in their graves, and nobody would ever remember them. Marked by a cross bearing the name of a regiment. Something about having a particular person makes it more real, more human. After the war, Railton advocated for a grave bearing the body of a single soldier to bring the impossibly large tragedy down to a human scale. The soldiers' anonymity would allow each person who came to the grave to project whatever was most important to them onto the mystery. It didn't matter if you wanted to honor all those who served or merely those who died. It was an overnight success. The dedication alone attracted so many mourners, the line for viewing lasted ten days. And Britain's unknown warrior wasn't the only one. Britain, France. All you needed was the body of a single unknown soldier. The American memorial is especially beautiful. It sits at the top of a hill that overlooks the rest of Arlington Cemetery, forever marching back and forth in front of the tomb. No one knows which service the remains are from. So instead of soldier or sailor or marine, they're simply referred to as the unknown. In fact, anything that narrows the scope of who this person could be is purposefully withheld from the public. The tomb has become one of the Washington, D.C. area's biggest tourist attractions. We made one small, seemingly innocent change to the formula of the unknown that would end up proving tricky. We began adding a new set of unidentified remains for every subsequent war. Each war would get their own unknown. Which made sense. There were lots of unknowns to choose from. a Korean War, Vietnam. This is Patricia Blassie. But the firstborn just has something about them. Michael Blassie was Patricia's oldest brother. He was the oldest of five, actually, in the Blassie family. So growing up in St. Louis in the 1960s and 70s, dubbed the dragonfly or sometimes the super tweet. And so once he graduated, and I remember him looking back and waving to us with that beautiful smile. America's military presence in Southeast Asia was shrinking rapidly. Only a few had gotten hit. But when they were hit, things could get ugly fast. Because it could take all kinds of fire. I mean, you're flying 400 feet in the air and you get hit. So that made it very dangerous. Michael would always take off and land from a protected air base near Saigon. But his missions had him flying over a lot of dangerous places. Along with a handful of American advisors. But it was under siege by an invading North Vietnamese army. The siege lasted a very, very long time. He was stationed in An Loc as an Army Ranger during the majority of the siege. At one point, he described the South Vietnamese wounded, with their meager medical support, as looking like something out of the Civil War. An Loc was completely cut off from the rest of the world. We got food and ammunition by parachute drop every day. We were under constant shell fire. Chris's duty, in the midst of all this chaos, was to call in airstrikes. And it was Michael Blasey's squadron that was providing the air support. But Chris did get to know a lot of Michael's squadron mates really well. And we would talk on the radio. They'd read me Stars and Stripes. Stars and Stripes is the U.S. military's independently run daily paper. Why would they read you Stars and Stripes? Well, it was my only contact with the outside world. But in analog, they would be over us almost 24 hours a day. So a lot of what we do know comes from Blasey's commanding officer, who was flying in a plane alongside Blassie's. And he said, so this just added to the confusion of the battle. Michael's plane was hit by ground fire. And remember, Michael's plane was designed to fly low. He was no more than 500 feet above the ground. And he had lost control of the plane. Blassie's plane began streaming fuel. But due to heavy enemy fire, they had to leave after just a few minutes, empty-handed. After that, there didn't seem to be any way to get to the site or find out exactly what had happened. Michael Blassie was declared missing in action and presumed dead. There is no gathering. When Michael died, both her parents came from big families, lots of aunts and uncles, lots of funerals. They processed it by gathering together at the funeral and just talking about the person's life, who they were, how much everyone missed them. But this time... We didn't talk about it. We didn't... Or rather, the not talking about Michael's death ended up putting a strain on her parents' marriage. They later separated, and Patricia joined the Air Force. eventually attaining the rank of colonel. Life, in other words, went on. This thing that we didn't get to deal with, and it didn't resurrect itself until 26 years later after he was killed. We realized where he was, and I am a former Green Beret. Ted Sampley has since passed away. At first, Patricia didn't know what to make of any of this. As far as she knew, Michael's body had never even been recovered. And remember, she herself was in the Air Force. So after getting off the phone with Sampley, she called up the Air Force Casualty Office and asked, Could this be true? Could Michael be in the Tomb of the Unknown Soldier? And they said, By no means is there anything to substantiate that your brother's in the tomb. Thank you very much, because that is the craziest story that I could ever imagine, that a known soldier was in the Tomb of the Unknowns. He was a young reporter at CBS Denver when he accidentally came across a post Ted Sampley had made on the Internet about his theory that Michael Blassie had been buried in the Tomb of the Unknowns three years after the phone call with Patricia. And then one evening I sat down and started reading it, and I thought, maybe I should check this out. Sampley had no direct evidence proving that Michael Blassie was in the tomb, but that didn't make him wrong. Whatever was known about the remains of the Vietnam Unknown had never been revealed. So Vince called a few sources in the military, not asking any hard questions, almost kind of embarrassed. Could the government possibly bury a known person in the Tomb of the Unknowns and not tell anyone? stuck it to my computer console, and I thought, if there's a chance you could figure out who this is and give him back to his family, you should do it. Vince began filing FOIA requests, trying to get his hands on any government document he could about Michael Blassie. But there were things I wanted that only family members could get, where you needed an affidavit. So that was when I reached out to the Blassie family. Vince got in touch with Patricia and laid out his case, fact by fact, pattern by pattern. And Vince and I started talking, and I called my mom, and I said, you know what? It's somebody. And if it's Michael... Which eventually gave Vince the leeway to file yet another FOIA request. Nothing special, just some documents related to Michael Blassie from an Air Force base in Texas. Not mentioning the tomb, not mentioning the unknown soldier, just asking for anything with Michael Blassie's name in it. And I got back this really thick envelope. And I was actually back in Denver at that point, sitting in the newsroom. And I opened it up and I was paging through it, page after page and going, oh, my God. And it was on one of those lonely nights, just chatting, that they started telling him about Michael. The only thing I knew is they asked me that one of their squadron mates had been shot down. They gave me the coordinates. They knew they were asking a lot. So I think if that rapport wasn't there, then the request would have never come and I would have never acted on it. Chris took the matter to his regimental commander, who assembled a special South Vietnamese patrol dressed up as the enemy. And they found the wreckage. And they brought back to me what was left of the remains of Michael Blassie in a black plastic bag. The remains did not consist of much, just six bones. but they also brought back other evidence. An uninflated life raft with serial numbers, a parachute, part of Michael's flight suit, and critically, his wallet. And that was in good shape. Pictures of him, pictures of his family, pictures of his sister. There was no question. The remains were Michael's. Chris then handed the bag with everything in it off to the crew chief of the week's one outgoing helicopter. But he got the bag. Get his body from that wreckage. The remains, along with the survival gear, would eventually arrive at the Army's Central Identification Laboratory in Hawaii. Instead, without a positive match due to Army policy, the Blassie family could not even be told that any remains had been found. But it was also patriotism. While there was a crass political angle to do this, to make nice with the Vietnam veterans. There was only one set of unidentified remains left. The ones labeled, believed to be Michael Blassie, with the Reagan administration eager to put someone on the tomb before Election Day. This is not an unknown set of remains. The lab technicians told the Pentagon that new DNA-based technology was being developed that would allow the remains to be conclusively identified. They also pointed to the artifacts, like the flight suit and the life raft, and a record of the missing wallet. Memorial Day is a day of ceremonies and speeches. Throughout America today, we honor the dead of our wars. And it's when President Reagan, who may not have known that any of this had happened, gave a speech at a burial in Arlington, invoking a powerful mystery. Did he marry? We'll never know the answers to these questions about his life. Showed that there had never been any mystery at all. Armed with the documents, he teamed up with veteran CBS correspondent Eric Engberg. They talked to anyone they could find who was involved in the unknown selection process. And when they felt they were ready, they presented their findings to Patricia Blassie. And I asked my mom to call a family meeting. Patricia wanted to go public with Vince and CBS. Her older sister, Judy, if anything, was even more eager to blow the lid off the whole thing. But George, the youngest brother, balked. Michael was buried in a place of honor, he pointed out. But the tiebreaker was Michael's mother. Is it possible the government knows the identity of a Vietnam War casualty buried at the Tomb of the Unknowns in Arlington National Cemetery, but deliberately kept it secret from the public and even his own family. It just was nonstop. And tonight, as Eric Engberg tells us, there's more. Because CBS and the Blassie family didn't just want the world to know that Michael Blassie was in the tomb. Even if by some chance they aren't identified as Michael. Now Congress wants to investigate. If it's Michael, we want to bring him home. You're killing us. And a day or two later... The Department of Defense disinterred the remains of the Vietnam veteran from the tomb of the unknown soldier. DNA samples were taken from Michael's mother, Jean, and his sister, Judy, and tested against the remains. They were a match. And after the scientists were finished talking to my mother, when we opened the tomb to do the DNA tests, Michael's artifacts were in the tomb with him. And what would you like us to do with them? That could have tied the remains to Michael Blassie. Whether it was to preserve the artifacts or to hide them, someone at the Army lab in Hawaii had put them where no one would ever think to look. There was a reception, and then once everyone left, we stood around the table and my brother George opened up the box and started pulling out the life raft, portions of his parachute, portions of his flight suit. There will likely never be an unknown from Iraq or Afghanistan. It's conceivable that they could use the same techniques on the Korean unknown inside the tomb. Well, let's just say anything's possible. Minus the remains for Vietnam. The tourists still take pictures on their phones, even when no one is watching. You should go see it. Does that sadden you? Like, does it sadden you that there is no unknown for Vietnam anymore? I can't say that it saddens me. I can't say that. I have an unknown. They made one. They took Michael's name away from him to satisfy something that I understand was very important to our nation. A name is very, very important. She says she's not sure why she does it. It's never really over. Just this once, their mission was completed. They were just looking out for him until he could go home."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000272.mp3": {
        "gt": "THIS IS AMY DEMPSEY  WELL   WE DON'T ACTUALLY KNOW   YOU CAN'T COUNT URBAN RACCOONS   THEY'RE ALL OVER THE PLACE  A FEW YEARS AGO   WHEN A RACCOON DIED ON YOUNG STREET  SO IF SCIENCE EVER DISPROVES THIS IDEA OF TORONTO AS RACCOON NATION I REALLY FEAR FOR TORONTO   I THINK WE'RE GOING TO HAVE AN IDENTITY CRISIS  WE HATE WHEN THEY DESTROY OUR GRASS AND BREAK INTO OUR HOUSES  AND YES   THEY DO BREAK INTO OUR HOUSES  MAYBE WORSE THAN ALL OF THIS THOUGH  WAS THE RACCOONS' PROCLIVITY FOR GETTING INTO THE COMPOST  WHICH THE CITY STARTED COLLECTING FOR THE RESIDENTS IN GREEN BINS SEVERAL YEARS AGO  FROM THE PERSPECTIVE OF THE RACCOONS  THESE COMPOST BINS WERE AN INCREDIBLE DEVELOPMENT  AN ALL-YOU-CAN-EAT BUFFET WITH THE PLASTIC AND OTHER GARBAGE ALREADY THOUGHTFULLY REMOVED   AND THE RACCOONS WOULD GO TO TOWN ON OUR STUFF AND JUST SPREAD IT EVERYWHERE  AND YOU'D WAKE UP  LOOK OUT YOUR WINDOW AND GO   SHIT  THEY'RE HUNGRY  BUT THERE WAS ALSO A HINT OF SERIOUSNESS TO IT   IT WAS PRETTY CLEAR THAT HE WAS CONFIDENT THE NEW GREEN BINS WOULD SOLVE OUR RACCOON PROBLEMS  CONFIDENT ENOUGH TO STAND IN FRONT OF NEWS CAMERAS AND SAY  LET'S BACK UP JUST A BIT  THIS ALL STARTED THE WAY MOST THINGS START IN CITIES  YEAH THEY PUT OUT A REQUEST FOR PROPOSALS ASKING FOR A NEW GENERATION GREEN BIN  AND EMPHASIZING THAT IT HAD TO BE RODENT RESISTANT AKA ANIMAL RESISTANT AKA RACCOON PROOF   PLEASE  THE COMPANY THAT WON WAS CALLED REHRIG PACIFIC I'M DENNIS MONASTIR WITH REHRIG PACIFIC   AND I SERVE AS THE ENVIRONMENTAL SALES MANAGER FOR CANADA   IF THE CITY OF TORONTO WAS IN A WAR WITH RACOONS   THIS   LADIES AND GENTLEMAN  WAS THE GENERAL IN CHARGE OF A MAJOR FRONT  HE WEARS SHIRTS WITH HIS COMPANY LOGO   HE HAS A FIRM HANDSHAKE  I FOUND HIM TO BE EXTREMELY HELPFUL AND GENUINE  AND WHEN HE SPEAKS ABOUT THE GREEN BIN YOU CAN TELL HE'S REALLY PROUD OF IT   IT'S SOMETHING THAT I'M VERY   VERY PASSIONATE ABOUT   NOT ONLY BEING   PART OF THE DESIGN TEAM  FOR EXAMPLE  REHRIG PACIFIC HAD TO THINK ABOUT ENEMY NUMBER ONE THE RACCOONS  REHRIG PACIFIC TOOK ALL OF THIS INFORMATION AND APPLIED IT TO THEIR BIN DESIGN  THERE'S MULTIPLE UM   PHOTOREALISTIC RENDERINGS  BUT EVENTUALLY AMY DID GET A BIN OF HER OWN SO   ON THE LID  THERE IS A DIAL  WHEN IT'S IN THE VERTICAL POSITION IT'S SECURE   IT'S LOCKED  YOU ACTUALLY HAVE TO TURN IT IN A WAY THAT REALLY WOULD MAKE IT DIFFICULT   IF NOT IMPOSSIBLE TO TURN IF YOU DON'T HAVE OPPOSABLE THUMBS AND CONTRARY TO POPULAR BELIEF  RACCOONS DON'T HAVE OPPOSABLE THUMBS  EVEN THOUGH THEY CAN MOVE THE THUMB-LIKE DIGIT ON THEIR CREEPY LITTLE HANDS A LITTLE BIT  IN ANY CASE   FOR A WHILE   EVERYTHING SEEMED TO BE GOING ACCORDING TO PLAN  IN FACT   SOME PEOPLE WERE WORRIED THAT THE NEW BINS WERE WORKING TOO WELL  IN OTHER WORDS   PEOPLE WERE AFRAID THAT WITHOUT THE GREEN BINS AS A FOOD SOURCE  MAYBE THE RACCOONS WERE STARVING  A FRIEND SENT ME A NOTE SAYING THAT HE BELIEVED THE NEW GREEN BINS HAD ELIMINATED THE RACCOON POPULATION IN TORONTO  HE ACTUALLY USED THE WORD ELIMINATED  AS ANY INTREPID REPORTER WOULD DO  AMY DECIDED TO LOOK INTO IT I WROTE A QUICK EMAIL TO SUZANNE MACDONALD   OUR LOCAL RACCOON EXPERT AND I SAID  HEY  COULD THE RACCOONS BE DYING  BUT SHE SAID SHE WOULD HAVE MORE INFORMATION IN A FEW MONTHS   SHE SAID   AFTER I MEASURE MORE DEAD RACCOONS   SO I   OF COURSE   WROTE BACK IMMEDIATELY AND SAID   CAN I COME  SUZANNE WOULDN'T HAVE THE RESULTS OF HER DATA FOR A WHILE BUT WHILE AMY WAS THERE WATCHING HER MEASURE DEAD RACCOONS  SHE ASKED HER  AND SHE SHOOK HER HEAD NO   SHE SAID  THIS WAS NOT THE ONLY REPORT OF A BIN BEING BROKEN INTO   ALTHOUGH IT WAS THE FIRST TO INCLUDE VIDEO WHICH QUICKLY WENT VIRAL  AND IF YOU JUST SIMPLY TIGHTEN IT A LITTLE BIT   IT MIGHT PREVENT THE ISSUE  INSTEAD THEY SOMETIMES CALL THE LOCAL NEWSPAPER AND THEN IT BECOMES A STORY  I THINK HE SAID SOMETHING TO ME LIKE   YOU KNOW   WHEN YOUR CAR BREAKS DOWN YOU DON'T CALL THE TORONTO STAR  THE SUGGESTION BEING THAT IF JOE IN YORKVILLE HAD A PROBLEM WITH HIS BIN  THEN MAYBE THE PROBLEM WAS JOE  AND NOT THE BIN  SO SOON AFTER  MY NEIGHBOR'S GREEN BIN WAS ON THE GROUND IN OUR LANEWAY AND THERE WAS FOOD EVERYWHERE  SO I TEXTED MY NEIGHBOR AND SAID  SHE SAID   YOU KNOW   WHAT THE HELL   CAN THE RACCOONS GET INTO THE GREEN BINS NOW  I DON'T THINK YOU LOCKED IT PROPERLY CAROLINE  TWO NIGHTS LATER HER OWN BIN WAS PLUNDERED  MY HUSBAND AND I GET A GROUP TEXT MESSAGE FROM CAROLINE  AT THIS POINT I'M FLOORED   BECAUSE MY HUSBAND IS A PERSON WHO LOCKS THINGS AND CHECKS LOCKS LIKE SEVEN TIMES  IT SEEMED THE REPORTER HAD JUST BECOME A CHARACTER IN HER OWN STORY  I'M THINKING LIKE   FIRST OF ALL  AM I BEING TARGETED  AMY CALLED THE CITY WHO SAID   MAM   PLEASE   YOU PROBABLY JUST HAVE A BROKEN HANDLE   AND THEY SENT SOME WORKERS OUT TO FIX IT AND THEY REPLACED THE LID ON MY BIN AS A PRECAUTION  EVEN THOUGH THEY COULDN'T FIND ANYTHING WRONG WITH IT  SHE ALSO WROTE TO THE RACCOON EXPERT SUZANNE MCDONALD WHO WAS THRILLED   BECAUSE SHE'S ALWAYS SECRETLY BEEN ON TEAM RACCOON SHE WROTE BACK ALMOST IMMEDIATELY AND SAID   THAT IS AWESOME  AND YOU HAVE TO SEE HOW THEY'RE DOING IT  WE MEET UP AT THE ZOO ONE DAY  AND SHE JUST PULLS THE BIN DOWN LIKE  NO  THE KEY SEEMED TO BE KNOCKING DOWN THE BIN  WHICH MADE THE HANDLE MUCH EASIER TO TURN WHEN IT'S ON THE GROUND YOU CAN JUST KIND OF PULL ON IT  AMY PUBLISHED AN ARTICLE IN THE TORONTO STAR WITH HER VIDEO AND   AS THESE THINGS TEND TO DO IN TORONTO  IT WENT VIRAL  THOUSANDS OF TORONTONIANS WATCHED AS THE PROTAGONIST HANDILY PULLED DOWN THE BIN  AND THEN FLASHING HER GLOWING EYES AT THE CAMERA  SHOWED OFF HOW EASILY SHE COULD OPEN IT  BUT THE CITY MAINTAINED THAT WERE GETTING RELATIVELY FEW COMPLAINTS OVERALLTHE DAY DENNIS CAME OVER  HAVING ACCEPTED DEFEAT  AMY NOW KEEPS HER BINS TIED TO A WALL SO RACCOONS CAN'T KNOCK THEM OVER  AND SHE CAN'T HELP BUT WONDER HOW SOON BEFORE THIS KNOWLEDGE ABOUT HOW TO OPEN THE BINS SPREADS TO THE REST OF RACCOON NATION  SUZANNE MCDONALD DOESN'T THINK MOST RACCOONS IN TORONTO CURRENTLY HAVE WHAT IT TAKES TO GET INTO THE NEW GREEN COMPOST BINS  THAT PERFECT COMBINATION OF STRENGTH  INTELLIGENCE AND DETERMINATION AMY JUST HAPPENED TO ENCOUNTER AND EXTRA GIFTED ONE  WE CALL HER THE GENIUS RACCOON BECAUSE I THINK IT'S AMAZING THAT SHE DID IT  SUZANNE FINALLY FINISHED HER DEAD RACCOON STUDY  SHE THINKS THAT'S BECAUSE EVEN THOUGH MOST OF THEM CAN'T GET INTO THE COMPOST  SHE'S STUDIED RACCOONS INCITIES AND THEY ARE   ON THE WHOLE  SMARTER THAN THEIR RURAL COUNTERPARTS  URBAN RACCOONS ARE CONSTANTLY HAVING NEW PROBLEMS PLACED IN FRONT OF THEM TO SOLVE  NOTHING IS RACCOON PROOF   THEY SAY  WHICH IS A SMALL CONCESSION THAT WHILE THE FRONT OF THE LINE IS HOLDING   FOR NOW  \n",
        "transcription_base": " This is Amy Dempsey. Well, we don't actually know. You can't count urban raccoons. They're all over the place. A few years ago when a raccoon died on Young Street, so if science ever disproves this idea of Toronto as raccoon nation, I really fear for Toronto. I think we're going to have an identity crisis. We hate when they destroy our grass and break into our houses. And yes, they do break into our houses. Maybe worse than all this though, was the raccoon's proclivity for getting into the the compost, which the city started collecting for the residents in green bins several years ago. From the perspective of the raccoons, these compost bins were an incredible development, and all you can eat buffet with the plastic and other garbage already thoughtfully removed. And the raccoons would go to town on our stuff and just spread it everywhere. And you'd wake up, look out your window and go, shit! They're hungry. But there was also a hint of seriousness to it. It was pretty clear that he was confident the new green bins would solve our raccoon problems, confident enough to stand in front of news cameras and say, let's back up just a bit. This all started the way most things started cities. Yeah, they put out a request for proposals asking for a new generation green bin and emphasizing that it had to be rodent resistant, a K A animal resistant, a K A raccoon proof, please. The company that won was called Rareig Pacific. I'm Dennis Monaster with Rareig Pacific, and I serve as the environmental sales manager for Canada. If the city of Toronto wasn't a war with raccoons, this ladies and gentlemen was the general in charge of a major front. He wears shirts with his company logo, he has a firm handshake. I found him to be extremely helpful and genuine. And when he speaks about the green bin, you can tell he's really proud of it. It's something that I'm very, very passionate about, not only being part of the design team. For example, Rareock Pacific had to think about enemy number one, the raccoons. Rareock Pacific took all of this information and applied it to their bin design. There's multiple photo-realistic renderings, but eventually Amy did get a bin of her own. So on the lit, there is a dial when it's in the vertical position. It's secured. It's locked. You actually have to turn it in a way that really would make it difficult if not impossible to turn if you don't have opposable thumbs. In contrary to popular belief, raccoons don't have opposable thumbs, even though they can move the thumb like digit on their creepy little hands a little bit. In any case, for a while, everything seemed to be going according to plan. In fact, some people were worried that the new bins were working too well. In other words, people were afraid that without the green bins as a food source, maybe the raccoons were starving. A friend sent me a note saying that he believed the new green bins had eliminated the raccoon population in Toronto. He actually used the word eliminated. As any intrepid reporter would do, Amy decided to look into it. I wrote a quick email to Suzanne McDonald, our local raccoon expert. And I said, Hey, could the raccoons be dying? But she said she would have more information in a few months. She said after I measure more dead raccoons. So I of course wrote back immediately and said, can I come? Suzanne wouldn't have the results of her data for a while. But while Amy was there watching her measure dead raccoons, she asked her. And she shook her head no. She said, this was not the only report of a bend being broken into. Although it was the first to include video, which quickly went viral. And if you just simply tighten it a little bit, it might prevent the issue. Instead, they sometimes call the local newspaper and then it becomes a story. I think he said something to me like, you know, when your car breaks down, you don't call the Toronto star. The suggestion being that if Joe in Yorkville had a problem with his been? Then maybe the problem was Joe and not the bin. So soon after my neighbor's green bin was on the ground in our laneway and There was food everywhere. So I texted my neighbor and said she said, you know what the hell can the raccoons Get into the green bins now. I don't think you locked it properly Caroline Two nights later her own bin was plundered my husband and I get a group text message from Caroline at this point I'm floored because my husband is a person who locks things and checks locks like seven times. It seemed the reporter had just become a character in her own story. I'm thinking like first of all, am I being targeted? Amy called the city who said, man, please, you probably just have a broken handle and they sent some workers out to fix it. And they replaced the lid on my bin as a precaution, even though they couldn't find anything wrong with it. also wrote to the raccoon expert Susanne McDonald who was thrilled because she's always secretly been on team raccoon. She wrote back almost immediately and said that is awesome and you have to see how they're doing it. We meet up at the zoo one day and she just pulls the bin down like no. The key seemed to be knocking down the bin which made the handle much easier to turn. When it's on the ground you can just kind of pull on it. Amy published an article in the Toronto Star with her video, and as these things tend to do in Toronto, it went viral. Thousands of Torontonians watched as the protagonist handily pulled down the bin, and then, flashing her glowing eyes at the camera, showed off how easily she could open it. But the city maintained they were getting relatively few complaints overall. The day Dennis came over. Having accepted defeat, Amy now keeps her bins tied to a wall so raccoons can't knock them over, and she can't help but wonder how soon before this knowledge about how to open the bins spreads to the rest of Raccoon Nation. Suzanne McDonald doesn't think most raccoons in Toronto currently have what it takes to get into the new green compost bins, that perfect combination of strength, intelligence, and determination. Amy just happened to encounter an extra gifted one. We call her the genius raccoon because I think it's amazing that she did it. Suzanne finally finished her dead raccoon study. She thinks that's because even though most of them can't get into the compost. She studied raccoons and cities and they are on the whole, smarter than their rural counterparts. Urban raccoons are constantly having new problems placed in front of them to solve. Nothing is raccoon proof, they say, which is a small concession that while the front of the line is holding for now.",
        "transcription_medium": " This is Amy Dempsey. Well, we don't actually know. You can't count urban raccoons. They're all over the place. A few years ago when a raccoon died on Yonge Street, so if science ever disproves this idea of Toronto as raccoon nation, I really fear for Toronto. I think we're going to have an identity crisis. We hate when they destroy our grass and break into our houses. And yes, they do break into our houses. Maybe worse than all this, though, was the raccoon's proclivity for getting into the compost, which the city started collecting for the residents in green bins several years ago. From the perspective of the raccoons, these compost bins were an incredible development, an all-you-can-eat buffet with the plastic and other garbage already thoughtfully removed. And the raccoons would go to town on our stuff and just spread it everywhere. And you'd wake up, look out your window and go, shit, they're hungry. But there was also a hint of seriousness to it. It was pretty clear that he was confident the new green bins would solve our raccoon problems, confident enough to stand in front of news cameras and say, Let's back up just a bit. This all started the way most things start in cities. Yeah, they put out a request for proposals, asking for a new generation green bin, and emphasizing that it had to be rodent resistant, aka animal resistant, aka raccoon proof, please. The company that won was called Rarig Pacific. I'm Dennis Monastir with Rarig Pacific and I serve as the Environmental Sales Manager for Canada. If the city of Toronto was in a war with raccoons, this, ladies and gentlemen, was the general in charge of a major front. He wears shirts with his company logo. He has a firm handshake. I found him to be extremely helpful and genuine. And when he speaks about the green bin, you can tell he's really proud of it. It's something that I'm very very passionate about, not only being part of the design team. For example, Rarik Pacific had to think about enemy number one, the raccoons. Rarik Pacific took all of this information and applied it to their bin design. There's multiple photorealistic renderings. But eventually Amy did get a bin of her own. And contrary to popular belief, raccoons don't have opposable thumbs, even though they can move the thumb-like digit on their creepy little hands a little bit. In any case, for a while, everything seemed to be going according to plan. In fact, some people were worried that the new bins were working too well. In other words, people were afraid that without the green bins as a food source, maybe the raccoons were starving. A friend sent me a note saying that he believed the new green bins had eliminated the raccoon population in Toronto. He actually used the word eliminated. As any intrepid reporter would do, Amy decided to look into it. I wrote a quick email to Suzanne McDonald, our local raccoon expert, and I said, hey, could the raccoons be dying? But she said she would have more information in a few months. She said after I measure more dead raccoons. So I of course wrote back immediately and said, can I come? Suzanne wouldn't have the results of her data for a while. But while Amy was there watching her measure dead raccoons, she asked her. And she shook her head no. She said. was not the only report of a bin being broken into, although it was the first to include video which quickly went viral. The suggestion being that if Joe in Yorkville had a problem with his bin, Two nights later, her own bin was plundered. My husband and I get a group text message from Caroline. At this point I'm floored because my husband is a person who locks things and checks locks like seven times. It seemed the reporter had just become a character in her own story. I'm thinking like first of all, am I being targeted? Amy called the city who said, ma'am, please, you probably just have a broken handle. they sent some workers out to fix it. And they replaced the lid on my bin as a precaution, even though they couldn't find anything wrong with it. She also wrote to the Raccoon expert, Suzanne McDonald, who was thrilled because she's always secretly been on Team Raccoon. She wrote back almost immediately and said, that is awesome. And you have to see how they're doing it. We meet up at the zoo one day. And she just pulls the bin down like, no. The key seemed to be knocking down the bin, which made the handle much easier to turn. When it's on the ground, you can just kind of pull on it. Amy published an article in the Toronto Star with her video, and as these things tend to do in Toronto, it went viral. Thousands of Torontonians watched as the protagonist handily pulled down the bin and then, flashing her glowing eyes at the camera, showed off how easily she could open it. But the city maintained they were getting relatively few complaints overall. The day Dennis came over. Having accepted defeat, Amy now keeps her bins tied to a wall so raccoons can't knock them over. And she can't help but wonder how soon before this knowledge about how to open the bins spreads to the rest of Raccoon Nation. Suzanne McDonald doesn't think most raccoons in Toronto currently have what it takes to get into the new green compost bins. perfect combination of strength, intelligence, and determination. Amy just happened to encounter an extra gifted one. We call her the genius raccoon because I think it's amazing that she did it. Suzanne finally finished her dead raccoon study. She thinks that's because even though most of them can't get into the compost, she studied raccoons in cities and they are, on the whole, smarter than their rural counterparts. Urban raccoons are constantly having new problems placed in front on them to solve. Nothing is raccoon proof, they say, which is a small concession that while the front of the line is holding for now,",
        "transcription_large_v3": " This is Amy Dempsey. Well, we don't actually know. You can't count urban raccoons. They're all over the place. A few years ago when a raccoon died on Yonge Street. So if science ever disproves this idea of Toronto as raccoon nation, I really fear for Toronto. I think we're going to have an identity crisis. We hate when they destroy our grass and break into our houses. And yes, they do break into our houses. Maybe worse than all this, though, was the raccoon's proclivity for getting into the compost, which the city started collecting for the residents in green bins several years ago. From the perspective of the raccoons, these compost bins were an incredible development, an all-you-can-eat buffet with the plastic and other garbage already thoughtfully removed. And the raccoons would go to town on our stuff and just spread it everywhere. And you'd wake up, look out your window and go, shit. They're hungry. But there was also a hint of seriousness to it. it was pretty clear that he was confident the new green bins would solve our raccoon problems, confident enough to stand in front of news cameras and say, Let's back up just a bit. This all started the way most things start in cities. Yeah, they put out a request for proposals asking for a new generation green bin and emphasizing that it had to be rodent resistant, aka animal resistant, aka raccoon proof, please. The company that won was called Rarig Pacific. I'm Dennis Monastir with Rarig Pacific, and I serve as the environmental sales manager for Canada. If the city of Toronto was in a war with raccoons, this, ladies and gentlemen, was the general in charge of a major front. He wears shirts with his company logo. He has a firm handshake. I found him to be extremely helpful and genuine. And when he speaks about the green bin, you can tell he's really proud of it. It's something that I'm very, very passionate about, not only being part of the design team. For example, Rarick Pacific had to think about enemy number one, the raccoons. Rarick Pacific took all of this information and applied it to their bin design. There's multiple photorealistic renderings. But eventually, Amy did get a bin of her own. So on the lid, there is a dial. When it's in the vertical position, it's secured. It's locked. You actually have to turn it in a way that really would make it difficult, if not impossible, to turn if you don't have opposable thumbs. And contrary to popular belief, raccoons don't have opposable thumbs, even though they can move the thumb-like digit on their creepy little hands a little bit. In any case, for a while, everything seemed to be going according to plan. In fact, some people were worried that the new bins were working too well. In other words, people were afraid that without the green bins as a food source, maybe the raccoons were starving. A friend sent me a note saying that he believed the new green bins had eliminated the raccoon population in Toronto. He actually used the word eliminated. As any intrepid reporter would do, Amy decided to look into it. I wrote a quick email to Suzanne McDonald, our local raccoon expert, And I said, hey, could the raccoons be dying? But she said she would have more information in a few months. She said, after I measure more dead raccoons. So I, of course, wrote back immediately and said, can I come? Suzanne wouldn't have the results of her data for a while. But while Amy was there watching her measure dead raccoons, she asked her. And she shook her head no. She said. This was not the only report of a bin being broken into, although it was the first to include video, which quickly went viral. And if you just simply tighten it a little bit, it might prevent the issue. Instead, they sometimes call the local newspaper and then it becomes a story. I think he said something to me like, you know, when your car breaks down, you don't call the Toronto Star. The suggestion being that if Joe in Yorkville had a problem with his bin. Then maybe the problem was Joe and not the bin. So soon after, my neighbor's green bin was on the ground in our laneway, and there was food everywhere. So I texted my neighbor and said, she said, you know, what the hell? Can the raccoons get into the green bins now? I don't think you locked it properly, Caroline. Two nights later, her own bin was plundered. My husband and I get a group text message from Caroline. At this point, I'm floored because my husband is a person who locks things and checks locks like seven times. It seemed the reporter had just become a character in her own story. I'm thinking like, first of all, am I being targeted? Amy called the city who said, ma'am, please, you probably just have a broken handle. And they sent some workers out to fix it. And they replaced the lid on my bin as a precaution, even though they couldn't find anything wrong with it. She also wrote to the raccoon expert, Suzanne McDonald, who was thrilled because she's always secretly been on Team Raccoon. She wrote back almost immediately and said, that is awesome. And you have to see how they're doing it. We meet up at the zoo one day and she just pulls the bin down like, no. The key seemed to be knocking down the bin, which made the handle much easier to turn. When it's on the ground, you can just kind of pull on it. Amy published an article in the Toronto Star with her video, and as these things tend to do in Toronto, it went viral. Thousands of Torontonians watched as the protagonist handily pulled down the bin, and then, flashing her glowing eyes at the camera, showed off how easily she could open it. But the city maintained they were getting relatively few complaints overall. The day Dennis came over... Having accepted defeat, Amy now keeps her bins tied to a wall so raccoons can't knock them over. And she can't help but wonder how soon before this knowledge about how to open the bins spreads to the rest of Raccoon Nation. Suzanne McDonald doesn't think most raccoons in Toronto currently have what it takes to get into the new green compost bins. That perfect combination of strength, intelligence, and determination. Amy just happened to encounter an extra gifted one. We call her the genius raccoon because I think it's amazing that she did it. Suzanne finally finished her dead raccoon study. She thinks that's because even though most of them can't get into the compost. She's studied raccoons in cities, and they are, on the whole, smarter than their rural counterparts. Urban raccoons are constantly having new problems placed in front of them to solve. Nothing is raccoon-proof, they say, which is a small concession that while the front of the line is holding for now,"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000288.mp3": {
        "gt": "THE SECOND WAY SOUNDS CAN MAKE YOU FEEL UNEASY IS TO GO THE OTHER WAY MAKE REALLY LOW   GRUMBLING SOUNDS WITH LOTS OF BASS ANOTHER BIOLOGICAL CUE THAT MIGHT LEAD TO FEAR AND ANXIETY IS HEARING LOW FREQUENCIES  SO LOW FREQUENCY PROBABLY SHOULD SCARE YOU  HANNIBAL IS A NASTY CHARACTER WHO COMMITS GRISLY AND UNSPEAKABLE CRIMES  THERE IS NOTHING FUN GOING ON INSIDE WILL GRAHAM'S HEAD  IT'S A MENTAL ACTIVITY  SO THERE'S A LOT OF CLICKINGIT'S JUST BEING HEARD BY THE AUDIENCE  YOU GET A SENSE THAT IT'S EVEN BEING HEARD BY WILL GRAHAM INSIDE HIS OWN IMAGINATIONI DON'T DIFFERENTIATE  REALLY   BETWEEN AMBIENT SOUNDS   LIKE A MOTOR   AND A BASS  SO WE DO LOTS OF LITTLE THINGS IN THERE TO MIMIC OR HINT AT THOSE SOUNDS   ONSCREEN   WE'RE SEEING THE KEY TURN  CASTANETS  THEN WE SEE THE FLAMES FROM THE ENGINE  ALMOST ALL THE SOUNDS IN HANNIBAL START OUT AS AN ACOUSTIC ELEMENT FROM BRIAN REITZELL'S WORKSHOP  YOU COULD NEVER TELL BY LISTENING THAT A CHOPSTICK   BOW   OR A DRUM MADE THIS SOUNDI WENT AROUND BRIAN'S STUDIO AS HE PULLED OUT EXAMPLES OF THE INSTRUMENTS HE USES  FOR EXAMPLE   THE SOUND OF SYNAPSES FIRING INSIDE WILL GRAHAM'S HEAD STARTED OUT AS A NEWTON'S CRADLE IF YOU DON'T KNOW A NEWTON'S CRADLE BY NAME   YOU DEFINITELY KNOW THE SOUNDAND WE WANTED A SOUND THAT INDICATED THE COMING OF THAT CHARACTER  THAT SOUND   I KNEW IT WAS CIRCULAR   WE DIDN'T KNOW WHY   BUT WE KNEW THAT WAS RIGHT   AND I TOOK WHAT DAVID SAID LITERALLY   AND I GOT A BULLROARER  SPINNING AROUND YOUR HEAD  MAKING IT SURREAL YET ALSO VERY PHYSICAL  I ALSO DID THINGS TO THAT SOUND   I PITCHED IT DOWN   I PITCHED IT UP TO MAKE IT SCARIER WELL   MISSION ACCOMPLISHED   GUYS  NOW   FROM RADIOTOPIA  THIS IS SONG EXPLODERMY FELLOW AMERICANS  THIS DAY HAS BROUGHT TERRIBLE NEWS AND GREAT SADNESS TO OUR COUNTRY  DEBRIS WAS SEEN FALLING FROM THE SKIES ABOVE TEXAS  THIS EPISODE IS MADE FROM AN INTERVIEW I DID WITH JOHN RODERICK IN FRONT OF A LIVE AUDIENCE IN SEATTLE ABOUT HOW AND WHY HE MADE THISI AM JOHN RODERICK  I ALWAYS LOVED TO FLY   AND WHEN THE NOSE COMES OFF THE GROUND  I ALWAYS FEEL A CHARGE  I DIDN'T WANT TO BE A PERSON THAT WAS ANXIOUS ABOUT FLYINGAND WHAT'S YOUR REACTION IN THAT SITUATION  DOGS AND BIRDS ON LAWNSDID YOU SIT DOWN WITH THE IDEA THAT YOU WERE GOING TO WRITE A SONG ABOUT THE SPACE SHUTTLE DISASTER  YEAH   BUT I DIDN'T KNOW HOW IT WAS GOING TO WORK  EVERY ONCE IN AWHILE   YOU GET ONE AS A SONGWRITER WHERE YOU SIT DOWN AT YOUR INSTRUMENT  YOU HAVE AN IDEA  AND THEN YOU GO   I DON'T KNOW WHERE THAT CAME FROM  AND I EMBRACED THAT HOOK   LINE   AND SINKER  SO THE PRODUCER OF THIS TRACK WAS TUCKER MARTINE  LET'S HIT IT AGAIN  ERIC CORSON   LONG WINTERS' BASS PLAYER AND MY CHIEF MUSICAL PARTNER  BUT HE WORKED WITH IT FOR A LITTLE BIT AND FIGURED IT OUT  IT WOULD BE SO MUCH LESS OF A COMPLETE WORK  HIS PART IS VERY CINEMATIC  AS THE SONG UNFOLDS   IT JUST STARTS TO GO SIDEWAYS   AND EVERY SUCCESSIVE VERSE   STUFF IS STARTING TO BREAK  MOST OF THE LONG WINTERS' SONGS ARE ABOUT RELATIONSHIPS   AND THEY ARE INTENTIONALLY DIFFICULT TO PARSE BECAUSE THEY'RE MEANT TO COMMUNICATE IN AN EMOTIONAL LANGUAGE RATHER THAN IN A LITERAL LANGUAGE  THE CREW COMPARTMENT'SWE TOOK THAT AND PLAYED IT DOUBLE SPEED  SO WE DIDN'T HAVE A DRUMMER   AND IT WAS LIKE   WHO SHOULD WE GET   SHOULD WE CALL THAT ONE GUY   HE WAS LIKE   OR I COULD GET THE BEST DRUMMER IN THE COUNTRY  ANY PRODUCER WOULD MAKE THAT CHOICE IF HE HAD MATT CHAMBERLAIN'S NUMBER  AND WE ALL JUST WERE WATCHING HIMIMPERCEPTIBLY  SITS BACK DOWN AND SAYS  AND HE PLAYS ALL THE WAY THROUGH THE TRACK  OKAY   ROLL IT AGAIN  ALL RIGHT  AND HE WAS LIKE   GIVE IT TO ME AGAIN  HE DID THAT FIVE TIMES  MIDDLE LEFT   CENTER  MIDDLE RIGHT   HARD RIGHT IN THE ORDER THAT I RECORDED THEM  FIVE MONO DRUM PARTS  AS PART OF HIS DRUM KIT   I FORGOT TO MENTION   HE HAS A PIECE OF RUSTY SHEET METALJUST ATTACHED TO A CLAMP  THE WHOLE END OF THE TUNE WHERE THE SPACESHIP IS COMING APART  HE WAS MAKING THAT SOUNDRUSTY METAL HE HAD A VISION OF THE SONG THAT I DIDN'T EVENI DON'T PUBLICLY OUT MYSELF AS A UTOPIAN AND A PEOPLE-LOVERSPACE EXPLORATION SEEMS LIKE THE ULTIMATE EXPRESSION OF HUMAN BEINGS DOING THEIR BEST WORK  SO I IMAGINE HE'S BRINGING THAT BACK TO US   ALL OF US  AND NOW   HERE'S THE COMMANDER THINKS ALOUD BY THE LONG WINTERS IN ITS ENTIRETY\n",
        "transcription_base": " The second way sounds can make you feel uneasy is to go the other way. Make really low grumbling sounds with lots of bass. Another biological cube that might lead to fear and anxiety is hearing low frequencies. So low frequency probably should scare you. Hannibal is a nasty character who commits grisly and unspeakable crimes. There is nothing fun going on inside, while Graham said, it's a mental activity. So there's a lot of click. It's just being heard by the audience. You get a sense that it's even being heard by Will Graham inside his own imagination. I don't differentiate really between ambient sounds, like a motor and a bass. So we do lots of little things in there to mimic or hint at those sounds. On screen we're seeing the key turn castenets, then we see the flames from the engine. Almost all the sounds in Hannibal's start out as an acoustic element from Brian Rytel's workshop. You could never tell by listening that a chopstick, bow, or a drum made this sound. I went around Brian's studio as he pulled out examples of the instruments he uses. For example, the sound of synapses firing inside Wilgram's head started out as a Newton's cradle. If you don't know a Newton's cradle by name, you definitely know the sound. And we wanted a sound that indicated the coming of that character. That sound, I knew it was circular. We didn't know why, but we knew that was right. I took what David said literally and I got a bull roar spinning around your head making it surreal. You had also very physical. I also did things to that sound. I pitched it down. I pitched it up to make it scarier. Well, Mission accomplished, guys. Now from radio topia, this is Song Exploder. My fellow Americans, this day he's brought terrible news and great sadness to our country. debris was seen falling from the skies above Texas. This episode is made from an interview I did with John Roderick in front of a live audience in Seattle about how and why he made this. I am John Roderick. I always love to fly and when the nose comes off the ground, I always feel a charge. I didn't want to be a person that was anxious about flying. And what's your reaction in that situation, D? Dogs and birds on lawns. Did you sit down with the idea that you were gonna write a song about the space shuttle disaster? Yeah, but I didn't know how it was gonna work. Every once in a while you get one as a songwriter where you sit down at your instrument, you have an idea, and then you go, I don't know where that came from. And I embraced that hook line and sinker. So the producer of this track was Tucker Martijn. Let's hit it again. Eric Corson, long-winter space player, and my chief musical partner. But he worked with it for a little bit and figured it out. It would be so much less of a complete work. His part is very cinematic. As the song unfolds, it just starts to go sideways. And every successive verse, stuff is starting to break. Most of the long-winder songs are about relationships, and they are intentionally difficult to parse, because they're meant to communicate in an emotional language rather than in a literal language. The crow compilings. We took that and played it double speed. So we didn't have a drummer and it was like, who should we get? Should we call that one guy? He was like, or I could get the best drummer in the country. Any producer would make that choice if he had Matt Chamberlain's number. And we all just were watching him imperceptibly. Sits back down and says, and he plays all the way through the track. Okay, roll it again. All right. And he was like, give it to me again. He did that five times. left center middle right hard right in the order that I recorded that. Five mono drum parts. As part of his drum kit I forgot to mention he has a piece of rusty sheet metal just attached to a clamp. The whole end of the tune where the spaceship is coming apart. He was making that sound of rusty metal. He had a vision of the song that I didn't even have. I don't publicly out myself as a utopian and a people lover. Space exploration seems like the ultimate expression of human beings doing their best work. So I imagine he's bringing it back to us all of us. And now here's the commander thinks allowed by the long winters in its entirety.",
        "transcription_medium": " The second way sounds can make you feel uneasy is to go the other way. Make really low grumbling sounds with lots of bass. Another biological cue that might lead to fear and anxiety is hearing low frequencies. So low frequency probably should scare you. Hannibal is a nasty character who commits grisly and unspeakable crimes. There is nothing fun going on inside Will Graham's head. It's a mental activity, so there's a lot of click. It's just being heard by the audience. You get a sense that it's even being heard by Will Graham inside his own imagination. I don't differentiate really between ambient sounds like a motor and a bass. So we do lots of little things in there to mimic or hint at those sounds. On screen we're seeing the key turn castanets, then we see the flames from the engine. Almost all the sounds in Hannibal start out as an acoustic element from Brian Reitzel's workshop. You could never tell by listening that a chopstick, bow, or a drum made this sound. I went around Brian's studio as he pulled out examples of the instruments he uses. For example, the sound of synapses firing inside Will Graham's head started out as a Newton's cradle. If you don't know a Newton's cradle by name, you definitely know the sound. And we wanted a sound that indicated the coming of that character. That sound, I knew it was circular. We didn't know why, but we knew that was right. and I took what David said literally and I got a bullroar spinning around your head, making it surreal yet also very physical. I also did things to that sound. I pitched it down, I pitched it up to make it scarier. Well, mission accomplished guys. Now from Radiotopia, this is Song Exploder. My fellow Americans, this day has brought terrible news and great sadness to our country. Debris was seen falling from the skies above Texas. This episode is made from an interview I did with John Roderick in front of a live audience in Seattle about how and why he made this song. I am John Roderick. I always love to fly and when the nose comes off the ground I always feel a charge. I didn't want to be a person that was anxious about flying. And what's your reaction in that situation? Dogs and birds on lawns. Did you sit down with the idea that you were going to write a song about the space shuttle disaster? Yeah. But I didn't know how it was going to work. Every once in a while you get one as a songwriter where you sit down at your instrument, you have an idea and then you go, I don't know where that came from. And I embraced that hook line and sinker. So the producer of this track was Tucker Martin. Let's hit it again. Eric Korson, Longwinter's bass player, and my chief musical partner. But he worked with it for a little bit and figured it out. It would be so much less of a complete work. His part is very cinematic. As the song unfolds, it just starts to go sideways. And every successive verse, stuff is starting to break. Most of the Longwinter songs are about relationships, and they are intentionally difficult to parse, because they're meant to communicate in an emotional language than in a literal language. The crew compartments. We took that and played it double speed. So we didn't have a drummer and it was like, who should we get? Should we call that one guy? He was like, or I could get the best drummer in the country. Any producer would make that choice if he had Matt Chamberlain's number. And we all just were watching him imperceptibly. Sits back down and says, and he plays all the way through the track. Okay, roll it again. All right. And he was like, give it to me again. He did that five times. middle left center, middle right hard right in the order that I recorded them. Five mono drum parts. As part of his drum kit, I forgot to mention, he has a piece of rusty sheet metal just attached to a clamp. The whole end of the tune, where the spaceship is coming apart, he was making that sound of rusty metal. He had a vision of the song that I didn't even have. I don't publicly out myself as a utopian a people lover. Space exploration seems like the ultimate expression of human beings doing their best work. So I imagine he's bringing that back to us, all of us. And now here's the Commander thinks aloud by the long winters in its entirety.",
        "transcription_large_v3": " The second way sounds can make you feel uneasy is to go the other way. Make really low, grumbling sounds with lots of bass. Another biological cue that might lead to fear and anxiety is hearing low frequencies. So low frequency probably should scare you. Hannibal is a nasty character who commits grisly and unspeakable crimes. There is nothing fun going on inside Will Graham's head. It's a mental activity, so there's a lot of click. It's just being heard by the audience. You get a sense that it's even being heard by Will Graham inside his own imagination. I don't differentiate really between ambient sounds like a motor and a bass. So we do lots of little things in there to mimic or hint at those sounds. On screen, we're seeing the key turn castanets. Then we see the flames from the engine. Almost all the sounds in Hannibal start out as an acoustic element from Brian Reitzel's workshop. You could never tell by listening that a chopstick, bow, or a drum made this sound. I went around Brian's studio as he pulled out examples of the instruments he uses. For example, the sound of synapses firing inside Will Graham's head started out as a Newton's cradle. If you don't know a Newton's cradle by name, you definitely know the sound. And we wanted a sound that indicated the coming of that character. That sound, I knew it was circular. We didn't know why, but we knew that was right. And I took what David said literally, and I got a bull roar spinning around your head, making it surreal, yet also very physical. I also did things to that sound. I pitched it down, I pitched it up to make it scarier. Well, mission accomplished, guys. Now, from Radiotopia, this is Song Exploder. My fellow Americans, this day has brought terrible news and great sadness to our country. Debris was seen falling from the skies above Texas. This episode was made from an interview I did with John Roderick in front of a live audience in Seattle about how and why he made this song. I am John Roderick. I always love to fly, and when the nose comes off the ground, I always feel a charge. I didn't want to be a person that was anxious about flying. And what's your reaction in that situation, Dean? Dogs and birds on lawns. Did you sit down with the idea that you were going to write a song about the space shuttle disaster? Yeah, but I didn't know how it was going to work. Every once in a while you get one as a songwriter where you sit down at your instrument, you have an idea, and then you go, I don't know where that came from. And I embraced that hook, line, and sinker. So the producer of this track was Tucker Martine. Let's hit it again. Eric Corson, Longwinter's bass player, and my chief musical partner. But he worked with it for a little bit and figured it out. it would be so much less of a complete work. His part is very cinematic. As the song unfolds, it just starts to go sideways, and every successive verse, stuff is starting to break. Most of the Long Winter songs are about relationships, and they are intentionally difficult to parse because they're meant to communicate in an emotional language rather than in a literal language. The crow compartments We took that and played it double speed, So we didn't have a drummer and it was like who should we get should we call that one guy? He was like or I could get the best drummer in the country any Producer would make that choice if he had Matt Chamberlain's number and we all just were watching him Imperceptibly sits back down and says and he plays all the way through the track. Okay, roll it again Alright, and he was like give it to me again He did that five times middle left center middle right hard right in the order that I recorded that five mono drum parts. As part of his drum kit I forgot to mention he has a piece of rusty sheet metal just attached to a clamp. The whole end of the tune where the spaceship is coming apart he was making that sound of rusty metal. He had a vision of the song that I didn't even have. I don't publicly out myself as a utopian and a people lover. Space exploration seems like the ultimate expression of human beings doing their best work. So I imagine he's bringing that back to us, all of us. And now, here's the Commander Thinks Aloud by The Long Winters in its entirety."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000304.mp3": {
        "gt": "YOUR WORN-IN BLUE JEANS  THE DC METRO SYSTEM IT'S NOT THE BEST IN THE WORLD   BUT IT'S PRETTY GOOD  ALTHOUGH A LOT OF PEOPLE DO LAMENT THE POOR CONDITION OF THE METRO'S ESCALATORS   SOME ARE JUST FLAT-OUT BROKEN AND THEN THERE ARE SOME THAT WORK BUT MAKE THESE CRAZY NOISES   WHICH   YOU KNOW   ANNOY A LOT OF PEOPLE   BUT FOR ME  I FOUND THAT A SCRONKING ESCALATOR WAS LIKE THIS LITTLE TRUMPETER ANNOUNCING HOW AWESOME IT WAS TO LIVE IN THE CITYA LUBRICANT KEEPS IT ALL RUNNING SMOOTHLY  LET'S HOPE THAT THE WHEATON ESCALATOR DOESN'T CONVENIENTLY BECOME STAIRS ANYTIME SOON\n",
        "transcription_base": " You're worn in blue jeans. The DC Metro system is not the best in the world, but it's pretty good. Although a lot of people do lament the poor condition of the Metro's escalators. Some are just flat out broken, and then there are some that work, but make these crazy noises. Which, you know, annoy a lot of people, but for me, I found that a scronkian escalator was like this little trumpeter announcing how awesome it was to live in the city. A lubricant keeps it all running smoothly. Let's hope that the Wheaton escalator doesn't conveniently become stairs anytime soon.",
        "transcription_medium": " You're worn in blue jeans. The DC Metro system is not the best in the world, but it's pretty good. Although a lot of people do lament the poor condition of the Metro's escalators. Some are just flat out broken, and then there are some that work but make these crazy noises, which, you know, annoy a lot of people. But for me, I found that a skrunking escalator was like this little trumpeter announcing how awesome it was to live in the city. A lubricant keeps it all running smoothly. Let's hope that the Wheaton escalator doesn't conveniently become stairs anytime soon.",
        "transcription_large_v3": " You're worn in blue jeans. The DC metro system, it's not the best in the world, but it's pretty good. Although a lot of people do lament the poor condition of the metro's escalators. Some are just flat out broken, and then there are some that work but make these crazy noises, which, you know, annoy a lot of people. But for me, I found that a skronking escalator was like this little trumpeter announcing how awesome it was to live in the city. A lubricant keeps it all running smoothly. Let's hope that the Wheaton Escalator doesn't conveniently become stairs anytime soon."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000320.mp3": {
        "gt": "NEVER GET INVOLVED IN A LAND WAR IN ASIA  ALWAYS MAKE FRIENDS WITH PEOPLE WHO WORK IN MUSEUMS  SCIENCE   AND HISTORY  I'LL LET LIZZIE PEABODY AND SIDEDOOR TAKE IT FROM HEREWAITING TO GET INTO A DUMP THIS IS HOWARD SCOTT WARSHAW  HE WAS PART OF AN UNUSUAL SCENE  SOMETHING LIKE A WILDLY OUT-OF-PLACE TAILGATE PARTY  PEOPLE LINED UP WITH FOLDING CHAIRS   SUN HATS  IN THE MIDDLE OF THE NEW MEXICO DESERT IT WAS A HOT DAY   I MEAN   IT WAS HOT  ATARI MADE MANY GOOD GAMES  A REALLY BAD ONE  A GAME SO BAD IT HAS BEEN CALLED THE WORST VIDEO GAME OF ALL TIME  ACCORDING TO THE MYTH   IT WAS SO BAD   IT PUT ATARI OUT OF BUSINESS  AND TO HIDE ITS SHAME  ATARI BURIED THE UNSOLD GAME CARTRIDGES IN THE MIDDLE OF THE DESERT  WHERE THEY WOULD NEVER  EVER BE FOUND DID YOU BELIEVE THAT THE MYTH WAS TRUE   DID YOU BELIEVE THAT THERE WERE GAMES BURIED IN THE DESERT  I NEVER BELIEVED THAT   WHY WOULD A COMPANY THAT'S STRAPPED FINANCIALLY AND IS REALLY FAILING AND HAVING A LOT OF TROUBLE STAYING AFLOAT  WHY WOULD THEY SPEND EXTRA MONEY TO GO INTO THE DESERT AND BURY  THAT DOESN'T MAKE ANY SENSE AT ALL   RIGHT   I MEAN   THAT'S JUST NONSENSE SO   HOWARD WAS A SKEPTIC  BUT OTHERS IN THE CROWD   I THINK THEY BELIEVED IT AND THEY WERE THERE BECAUSE THEY WANTED TO SEE IT  THEY WANTED TO SEE IT COME UP OUT OF THE GROUND  SO   HOWARD AND THE REST OF THE EXPECTANT CROWD GATHER AROUND THE DUMP   WHICH IS NOW A DIG SITE  OUT COMES AN E T  IN THE END   THE EXCAVATION TEAM UNEARTHED A TOTAL OF ONE THOUSAND ONE HUNDRED AND SEVENTY EIGHT ATARI GAME CARTRIDGES  ENOUGH TO CONFIRM THAT ATARI HAD ACTUALLY BURIED ITS GAMES IN A GIANT DESERT PITLONG AGO   BEFORE THERE WAS PLAYSTATION   OR XBOX   OR EVEN NINTENDO  THERE WAS ATARI IT IS UNDOUBTEDLY PART OF   KIND OF   AMERICAN CULTURAL LANDSCAPE   IF YOU GREW UP IN THE NINETEEN EIGHTY S  YOU'D RECOGNIZE THAT SYMBOL IMMEDIATELY  I'M OF THAT GENERATION MYSELF THIS IS ARTHUR DAEMMRICH  HE'S THE DIRECTOR OF THE LEMELSON CENTER FOR THE STUDY OF INVENTION AND INNOVATION  IN THE SMITHSONIAN'S NATIONAL MUSEUM OF AMERICAN HISTORY  HE EXPLAINED THAT LONG AGO  THERE WAS REALLY ONLY ONE KIND OF VIDEO GAME ARCADE GAMESLEAVE YOUR HOUSE  ATARI WAS THE FIRST COMPANY TO CREATE A SMASH HIT ARCADE GAME CALLED PONG  YES SO MANY PEOPLE WERE GOING OUT TO BARS JUST TO PLAY THESE GAMES  ATARI WONDERED WHAT IF THEY MADE A GAME THAT PEOPLE PLAYED AT HOME  AT THIS TIME   MOST PEOPLE DIDN'T HAVE PERSONAL COMPUTERS  AND IT REALLY TRANSFORMS THE HOME PLAYING VIDEO GAME MARKET SO   WHAT DID YOU NEED TO HAVE AT HOME IN ORDER TO PLAY AN ATARI GAME  A TELEVISION THAT'S IT  THAT'S RIGHT ALL OF A SUDDEN   TV  WHICH HAD ALWAYS BEEN PASSIVE ENTERTAINMENT  BECAME INTERACTIVE THAT'S PRETTY COOL  BUT KIDS GOT IT IMMEDIATELY  BECAUSE  FOR SUCH CUTTING-EDGE TECHNOLOGY   ATARI WAS EASY TO USE  THERE WAS A SIMPLE CONSOLE THAT PLUGGED INTO YOUR TV AND IT WAS CONTROLLED BY A JOYSTICK WITH A SINGLE RED BUTTON  ON THIS FOUNDATION   ATARI BUILT ENTIRE DIGITAL WORLDS ON SCREENTHEY BROUGHT THE EXCITEMENT OF THE ARCADE INTO THE SUBURBAN LIVING ROOM  AND TO DO IT   THEY HIRED THE WORLD'S BEST PROGRAMMERS THESE GUYS WERE GENIUSES AT FIGURING OUT HOW TO MAKE INTERESTING GAMES  AND MAKE THEM FUN MANY OF THESE GENIUS PROGRAMMERS WERE YOUNG MEN   RIGHT OUT OF COLLEGE  AND ONE OF THEM WAS HOWARD SCOTT WARSHAW  OUR FRIEND FROM THE DESERT  AND HE WAS PRETTY GOOD AT HIS JOB I WAS PRETTY GOOD AT MY JOB  YAR'S REVENGE TRANSFORMED HOWARD INTO WHAT FANS CALLED A GAME GOD  FANS WOULD SLEUTH OUT THE MINDS BEHIND THEIR FAVORITE GAMES  SLAPPING THE ATARI LABEL ON ALL KINDS OF THIRD-PARTY GAMES  NO OTHER COMPANY COULD KEEP UPHOWARD SPENT EIGHT MONTHS WORKING ON   RAIDERS OF THE LOST ARK THE VIDEO GAME  THE GAME SOLD WELL   SO WHEN STEVEN SPIELBERG MADE ANOTHER BLOCKBUSTER  OF COURSE   ATARI WOULD MAKE   E T   THE VIDEO GAME  AND THEN A CALL CAME INAND IT WAS THE CEO OF ATARI  WE WANT YOU TO MAKE   E T   THE VIDEO GAME  AND   WE NEED IT DONE BY SEPTEMBER FIRST  NOW THIS IS JULY TWENTY SEVENTH  SO THAT LEAVES FIVE WEEKS AND A HALF-DAY TO DO THE GAME FIVE WEEKS  TO GIVE YOU A SENSE OF HOW INSANE THIS IS  VIDEO GAMES AT THE TIME TOOK SIX TO EIGHT MONTHS TO CREATE  AND THIS GUY IS SAYING  AND I SAID TO HIM  TO BE PERFECTLY HONEST  I DON'T THINK IT EVER OCCURRED TO ME THAT IT COULDN'T BE DONE SO  HOWARD GOT TO WORKAND HE WORKEDSO THAT NO MATTER WHERE I WAS   I WAS NO MORE THAN TWO MINUTES AWAY AT ANY POINT IN TIME FROM ACTUALLY SITTING DOWN AND DOING SOMETHING ON THE GAME AND EVEN WHEN HE WASN'T SITTING DOWN  EATING   DRIVING   SHOWERING  STILL WORKINGI THOUGHT   YOU KNOW   WHAT I NEED TO DO IS TURN SLEEP INTO AN ASSET  I WOULD WORK UNTIL I RAN INTO A PROBLEM  HUH  SO   THEY DIDN'T EVEN KNOW WHAT THEY WERE ASKING OF YOU  BUT ATARI AND SPIELBERG HAD TAKEN SO LONG NAILING DOWN A LICENSING AGREEMENT THAT BY THE TIME THEY FINALLY DID GET PEN TO PAPER  THERE WAS ALMOST NO TIME LEFT TO MAKE THE GAME THAT NEVER   LIKE   OCCURRED TO ANYONE  EVERYBODY AT ATARI THOUGHT   YOU KNOW  WE'RE ON TOP   NO ONE CAN TOUCH US   WE CAN DO ANYTHING AND HONESTLY   IT SEEMED LIKE THEY COULD  AGAINST ALL ODDS   HOWARD DELIVERED E T   THE VIDEO GAME IN JUST FIVEAND BY CHRISTMASTIME   FIVE MILLION CARTRIDGES OF THE MUCH-ANTICIPATED E T   THE VIDEO GAME STOCKED THE SHELVES OF STORES NATIONWIDE  SO  MISSION ACCOMPLISHED  MORE AFTER THISFROM SIDEDOOR   HERE AGAIN   IS LIZZIE PEABODYHERE'S WHERE WE ARE  STEVEN SPIELBERG'S SOON-TO-BE CLASSIC MOVIE   E T   THE EXTRA-TERRESTRIAL IS OUT IN THEATERS  AND ATARI   THE AMERICAN VIDEO GAME TITAN  E T   THE VIDEO GAME  SPIELBERG IS HAPPY  HOWARD IS HAPPY  GUESS WHO IS NOT HAPPY  EIGHT-YEAR-OLD JASON  CHRISTMAS MORNING  HE PLAYED EVERY DAY AFTER SCHOOL   AND WHEN HE STARTED SEEING ADS FOR E T   THE VIDEO GAME  HE HAD REALLY HIGH HOPES OH MY GOD  I CAN PLAY THE MOVIE  I WAS GOING TO RIDE MY BIKE IN THE GAME AND MAYBE FLY THROUGH THE AIR  PULLED THE GAME OUT   STUCK IT INTO THE ATARI   TURNED IT ON  THERE'S E T   ON THAT FIRST SCREEN   IT'S SUPER EXCITING IT PLAYS A LITTLE SONG THAT'S   YOU KNOW   THE SONG THAT'S KIND OF LIKE THE E T   SONG   BUT NOT QUITE  AND  STARTED PLAYING THE GAME  AND THAT'S WHEN I REALIZED THAT SOMETHING WAS WRONG  AND JASON IS OLDER AND WISER NOW   SO WE DECIDED TO PLAY IT OKAY  LET'S DO IT OH NO  OK  WHAT LOOKS LIKE A FOREST  IN THE GAME   IT'S HARD TO FIGURE OUT WHERE YOU'RE SUPPOSED TO BE GOING  HEY  AND YOU HAVE TO UNDERSTAND THE DIFFERENCE BETWEEN FRUSTRATION AND DISORIENTATION  RIGHT   FRUSTRATION IN A VIDEO GAME IS ESSENTIAL  RIGHT   A VIDEO GAME MUST FRUSTRATE A USER  BUT YOU SHOULD NEVER DISORIENT THEM HOWARD SAYS THAT FRUSTRATION ULTIMATELY CREATES SATISFACTION  IT'S A HUGE MOTIVATOR IN A GOOD GAME  DISORIENTATION   ON THE OTHER HAND   IS JUST  I'M IN A PIT  I FELL IN ANOTHER PIT TERRIBLEWAS SELLING PRETTY WELL  BUT  AS SOON AS THE YOUNG JASON ORFANONS OF THE WORLD STARTED PLAYING IT  WORD GOT OUT AND SALES VIRTUALLY STOPPED   LEAVING UNSOLD E T   GAMES CLOGGING THE SHELVES OF STORES  YOU KNOW   HOWARD  YOU REALLY CAME THROUGH FOR US   WE DON'T BLAME YOU  OOOO AND   I'M THINKING  I DIDN'T KNOW WHAT WAS HAPPENING OUT THEREWHAT WAS HAPPENING OUT THERE MILLIONS OF UNSOLD GAMES   COMING BACK TO ATARI  ATARI SOLD THEM TO A DISTRIBUTOR   WHO PLACED THEM IN STORES   BUT   THE DISTRIBUTOR HAD THE FULL RIGHT OF RETURN OH   SO   THEY COULD RETURN THEIR STOCK TO ATARI  E T   WAS A BIG LIABILITY   BUT ITS VERY CREATION SPOKE TO AN EVEN BIGGER PROBLEM FOR ATARI THE COMPANY HAD MADE A HABIT OF PRIORITIZING MONEY OVER QUALITY REMEMBER HOW   IN AN ATTEMPT TO GET MORE GAMES ON THE MARKET   ATARI LET OUTSIDE COMPANIES MAKE THEM  AND GAMERS GOT BORED  PEOPLE STOPPED BUYING CONSOLES  UM   THE ENTIRE VIDEO GAME INDUSTRY TANKS IN THE UNITED STATES  NO NEW GAME SYSTEMS WERE INTRODUCED   AND HARDLY ANY NEW GAMES WERE CREATED AT ALL  BUT IT WOULD BE NEARLY TWO DECADES BEFORE ANOTHER AMERICAN-MADE CONSOLE WOULD RETURN TO THE MARKET IN ANY SIGNIFICANT WAY  E T   BECAME THE FACE OF THE FALL OF THE VIDEO GAME INDUSTRY BECAUSE IT WAS VERY IDENTIFIABLE  AND ATARI NEEDED A CHEAP WAY TO DISPOSE OF ITS FOURTEEN TRUCKLOADS OF UNSOLD GAME CARTRIDGES  E T   THE VIDEO GAME' WAS STEAMROLLED  AT THE NATIONAL MUSEUM OF AMERICAN HISTORYALL THIS KIND OF STUFF DREW'S ROLE DOESN'T USUALLY INVOLVE COLLECTING OBJECTS   BUT   HE'S A GAMER HIMSELF I JOKE THAT I WAS BORN WITH A CONTROLLER IN MY HANDHE WANTED TO MAKE SURE THE MUSEUM SECURED A CARTRIDGE  BECAUSE E T   THE VIDEO GAME TELLS THE STORY OF SOMETHING BIGGER THAN ITS OWN DIRT-CRUSTED CASE  IT'S ABOUT THE RISE AND FALL OF THE COMPANY THAT PIONEERED VIDEO GAMING IN AMERICA AND ALTHOUGH IT'S NOT VERY OLD  IT HINTS AT THE DIGITAL REVOLUTION THAT FOLLOWED  IT'S A PIECE OF AMERICAN HISTORYI WAS JUST AFRAID THAT IF I DIDN'T ACT NOW   LIKE  SOMETHING THAT I DID   YOU KNOW   A FEW THOUSAND LINES OF CODE THAT I HAD WRITTEN OVER THIRTY YEARS AGOIS STILL GENERATING ALL THIS EXCITEMENT  IN THAT MOMENT  ONCE WORTHLESS  SIDEDOOR IS HOSTED BY LIZZIE PEABODY  ANN CONNANA AND SHARON BRYANT  \n",
        "transcription_base": " Never get involved in a land war in Asia. Always make friends with people who work in museums. Science and history. I'll let Lizzie Peabody and Sidor take it from here. Waiting to get into a dump. This is Howard Scott-Warsha. He was part of an unusual scene. Something like a wildly out-of-place tailgate party. People lined up with folding chairs, sun hats, in the middle of the New Mexico desert. It was a hot day. I mean, it was hot. Atari made many good games. Oh really bad one. A game so bad it has been called the worst video game of all time. According to the myth it was so bad it put Atari out of business. And to hide its shame Atari buried the unsolved game cartridges in the middle of the desert where they would never ever be found. Did you believe that the myth was true? Did you believe that there were games buried in the desert? I never believed it. Why would a company that strapped financially and is really failing and having a lot of trouble staying afloat? Why would they spend extra money to go into the desert and bury... that doesn't make any sense at all, right? I mean, that's just nonsense. So Howard was a skeptic, but others in the crowd. I think they believed it and they were there because they wanted to see it. They wanted to see it come up out of the ground. So Howard and the rest of the expectant crowd gather around the dump, which is now a dig site. Outcomes and ET! In the end, the excavation team unearthed a total of 1,178 Atari game cartridges. Enough to confirm that Atari had actually buried its games in a giant desert pit. Long ago, before there was PlayStation or Xbox or even Nintendo, there was Atari. It is undoubtedly part of kind of American cultural landscape. If you grew up in the 1980s, you would recognize that symbol immediately. I'm of that generation myself. This is Arthur Demrich. He's the director of the Lemelson Center for the Study of Invention and Innovation in the Smithsonian's National Museum of American History. He explained that long ago, there was really only one kind of video game, Arcade Game. Leave your house. Atari was the first company to create a smash hit arcade game called Pong. Yes. So many people were going out to bars just to play these games. Atari wondered, what if they made a game that people played at home? At this time, most people didn't have personal computers. And it really transforms the home playing video game market. So what did you need to have at home in order to play an Atari game? A television. That's it. That's right. All of a sudden, TV, which had always been passive entertainment, became interactive. That's pretty cool. kids got it immediately. Because for such cutting-edge technology, Atari was easy to use. There was a simple console that plugged into your TV, and it was controlled by a joystick with a single red button. On this foundation, Atari built entire digital worlds on screen. They brought the excitement of the arcade into the suburban living room, and to do it, they hired the world's best programmers. These guys were geniuses at figuring out how to make interesting games and make them fun. Many of these genius programmers were young men right out of college, and one of them was Howard Scott Oarsha, our friend from the desert, and he was pretty good at his job. I was pretty good at my job. Yars Revenge transformed Howard into what fans called a game god. Fans would sluth out the minds behind their favorite games. lapping the Atari label on all kinds of third-party games. No other company could keep up. Howard spent eight months working on Raiders of the Lost Ark, the video game. The game sold well, so when Steven Spielberg made another blockbuster, of course Atari would make ET the video game. And then a call came in, and it was the CEO of Atari. We want you to make ET the video game, and we need it done by September 1st. Now this is July 27th, so at least five weeks and a half day to do the game. Five weeks. To give you a sense of how insane this is, video games at the time took six to eight months to create. And this guy is saying... And I said to him, to be perfectly honest, I don't think it occurred to me that it couldn't be done. So, Howard got to work, and he worked. so that no matter where I was, I was no more than two minutes away at any point in time from actually sitting down and doing something on the game. And even when he wasn't sitting down, eating, driving, showering, still working. I thought, you know what I need to do is turn sleep into an asset. I would work until I ran into a problem, huh? So they didn't even know what they were asking of you. But Atari and Spielberg had taken so long nailing down a licensing agreement that by the time they finally did get pen to paper, there was almost no time left to make the game. That never occurred to anyone. Everybody at Atari thought, you know, we're on top, no one can touch us, we can do anything. And honestly, it seemed like they could. Against all odds, Howard delivered E.T. the video game in just five. And by Christmas time, 5 million cartridges of the much anticipated ET the video game stocked the shelves of stores nationwide. So mission accomplished. More after this. From side door, here again, is Lizzie Peabody. Here's where we are. Steven Spielberg's soon-to-be classic movie ET The Extra Terrestrial is out in theaters. And Atari, the American video game Titan, ET The Video Game. Spielberg is happy. Howard is happy. Guess who is not happy? 8-year-old Jason, Christmas morning. He played every day after school and when he started seeing ads for ET the video game, he had really high hopes. Oh my god, I can play the movie. I was gonna ride my bike in the game and maybe fly through the air, pull the game out, stuck it into the Atari, turned it on. There's ET on that first screen. And it's super exciting. It plays a little song that's, you know, the song that's kind of like the ET song, but not quite. And started playing the game. And that's when I realized that something was wrong. And Jason is older and wiser now, so we decided to play it. Okay. Let's do it. Oh, no. Okay. What looks like a forest? In the game, it's hard to figure out where you're supposed to be going. Hey. And you have to understand the difference between frustration and disorientation, right? Frustration in a video game is essential, right? A video game must frustrate a user, but you should never disorient them. Howard says that frustration ultimately creates satisfaction. It's a huge motivator in a good game. Disorientation on the other hand is just... I'm in a pit. I fell in another pit. Terrible. was selling pretty well. But, as soon as the young Jason or Fanon's of the world started playing it, word got out and sales virtually stopped, leaving unsolved ET games clogging the shelves of stores. You know how you really came through for us? We don't blame you. And I'm thinking, I didn't know what was happening out there. What was happening out there? Millions of unsolved games coming back to Atari. Atari sold them to a distributor who placed them in stores, but... The distributor had the full right of return. Oh, so they could return their stock to Atari. ET was a big liability, but its very creation spoke to an even bigger problem for Atari. The company had made a habit of prioritizing money over quality. Remember how in an attempt to get more games on the market, Atari let outside companies make them? And gamers got bored. stopped buying consoles. The entire video game industry tanks in the United States. No new game systems were introduced and hardly any new games were created at all. But it would be nearly two decades before another American-made console would return to the market in any significant way. ET became the face of the fall of the video game industry because it was very identifiable. An Atari needed a cheap way to dispose of its 14 truckloads of unsolved game cartridges. ET the video game was steamrolled at the National Museum of American History. All this kind of stuff. Drew's role doesn't usually involve collecting objects, but he's a gamer himself. I jumped that I was born with a controller in my hand. He wanted to make sure the museum secured a cartridge. Because ET the video game tells the story of something bigger than its own dirt-crusted case. It's about the rise and fall of the company that pioneered video gaming in America. And although it's not very old, it hints at the digital revolution that followed. It's a piece of American history. I would just afraid that if I didn't act now, like... Something that I did, you know, a few thousand lines of code that I had written over 30 years ago is still generating all this excitement in that moment. Once worthless. The side door is hosted by Lizzie Peabony and Kananet and Sharon Bryant.",
        "transcription_medium": " Never get involved in a land war in Asia. Always make friends with people who work in museums, science and history. I'll let Lizzie Peabody and Sidor take it from here. Waiting to get into a dump. This is Howard Scott Warshaw. He was part of an unusual scene. Something like a wildly out of place tailgate party. People lined up with folding chairs, sun hats, in the middle of the New Mexico desert. It was a hot day. I mean, it was hot. Atari made many good games. A really bad one. A game so bad, it has been called the worst video game of all time. According to the myth, it was so bad, it put Atari out of business. And to hide its shame, Atari buried the unsold game cartridges in the middle of the desert, where they would never, ever be found. Did you believe that the myth was true? Did you believe that there were games buried in the desert? I never believed it. Why would a company that's strapped financially and is really failing and having a lot of trouble staying afloat, why would they spend extra money to go into the desert and bury? That doesn't make any sense at all, right? I mean, that's just nonsense. So Howard was a skeptic, but others in the crowd... I think they believed it and they were there because they wanted to see it. They wanted to see it come up out of the ground. So Howard and the rest of the expectant crowd gather around the dump, which is now a dig site. Out comes an ET! In the end, the excavation team unearthed a total of 1,178 Atari game cartridges, enough to confirm that Atari had actually buried its games in a giant desert pit. Long ago, before there was PlayStation or Xbox or even Nintendo, there was Atari. It is undoubtedly part of kind of American cultural landscape. If you grew up in the 1980s, you would recognize that symbol immediately. I'm of that generation myself. This is Arthur Demrich. He's the director of the Lemelson Center for the Study of Invention and Innovation in the Smithsonian's National Museum of American History. He explained that long ago, there was really only one kind of video game. Arcade games. Leave your house. Atari was the first company to create a smash hit arcade game called Pong. Yes. So many people were going out to bars just to play these games. Atari wondered, what if they made a game that people played at home? At this time, most people didn't have personal computers. And it really transforms the home playing video game market. So what did you need to have at home in order to play an Atari game? A television. That's it. That's right. All of a sudden, TV, which had always been passive entertainment, became interactive. That's pretty cool. But kids got it immediately. Because for such cutting edge technology, Atari was easy to use. There was a simple console that plugged into your TV, and it was controlled by a joystick with a single red button. On this foundation, Atari built entire digital worlds on screen. They brought the excitement of the arcade into the suburban living room. And to do it, they hired the world's best programmers. These guys were geniuses at figuring out how to make interesting games and make them fun Many of these genius programmers were young men right out of college and one of them was Howard Scott Warshaw, our friend from the desert, and he was pretty good at his job. I was pretty good at my job. Yarr's revenge transformed Howard into what fans called a game god. Fans would sleuth out the minds behind their favorite games, slapping the Atari label on all kinds of third-party games. No other company could keep up. Howard spent eight months working on Raiders of the Lost Ark, the video game. The game sold well, so when Steven Spielberg made another blockbuster, of course Atari would make ET the video game. And then a call came in and it was the CEO of Atari. We want you to make ET the video game and we need it done by September 1st. Now this is July 27th so that leaves five weeks and a half day to do the game. Five weeks. To give you a sense of how insane this is, video games at the time took six to eight months to create. And this guy is saying, and I said to him, to be perfectly honest, I don't think it ever occurred to me that it couldn't be done. So Howard got to work and he worked. So that no matter where I was, I was no more than two minutes away at any point in time from actually sitting down and doing something on the game. And even when he wasn't sitting down, eating, driving, showering, still working. I thought, you know, what I need to do is turn sleep into an asset. I would work until I ran into a problem. Huh? So they didn't even know what they were asking of you. But Atari and Spielberg had taken so long nailing down a licensing agreement that by the time they finally did get pen to paper, there was almost no time left to make the game. That never occurred to anyone. Everybody at Atari thought, you know, we're on top, no one can touch us, we can do anything. And honestly, it seemed like they could. Against all odds, Howard delivered E.T. the video game in just five. And by Christmas time, five million cartridges of the much anticipated E.T. the video game stocked the shelves of stores nationwide. So mission accomplished. More after this. On Side Door, here again is Lizzie Peabody. Here's where we are. Steven Spielberg's soon-to-be-classic movie E.T. the Extra-Terrestrial is out in theaters. And Atari, the American video game titan, E.T. the video game. Spielberg is happy. Howard is happy. Guess who is not happy? Eight-year-old Jason, Christmas morning. He played every day after school, and when he started seeing ads for E.T. the video game, he had really high hopes. Oh my God. I can play the movie. I was gonna ride my bike in the game and maybe fly through the air, pull the game out, stuck it into the Atari, turned it on. There's ET on that first screen. It's super exciting. It plays a little song that's, you know, the song that's kind of like the ET song, but not quite, and started playing the game. And that's when I realized that something was wrong. And Jason is older and wiser now, so we decided to play it. Okay, let's do it. Oh no. Okay. What, looks like a forest? In the game, it's hard to figure out where you're supposed to be going. Hey! And you have to understand the difference between frustration and disorientation, right? Frustration in a video game is essential, right? A video game must frustrate a user, but you should never disorient them. Howard says that frustration ultimately creates satisfaction. It's a huge motivator in a good game. on the other hand is just... I'm in a pit. I fell in another pit. Terrible. Was selling pretty well. But as soon as the young Jason Orfanans of the world started playing it, word got out and sales virtually stopped, leaving unsold E.T. games clogging the shelves of stores. You know, Howard, you really came through for us. We don't blame you. Ooh. And I'm thinking, I didn't know what was happening out there. What was happening out there, millions of unsold games coming back to Atari. Atari sold them to a distributor who placed them in stores, but- The distributor had the full right of return. So they could return their stock to Atari. ET was a big liability, but its very creation spoke to an even bigger problem for Atari. The company had made a habit of prioritizing money over quality. Remember how, in an attempt to get more games on the market, Atari let outside companies make them? And gamers got bored. People stopped buying consoles. The entire video game industry tanks in the United States. No new game systems were introduced, and hardly any new games were created at all. But it would be nearly two decades before another American-made console would return to the market in any significant way. ET became the face of the fall of the video game industry because it was very identifiable. And Atari needed a cheap way to dispose of its 14 truckloads of unsold game cartridges. ET the video game was steamrolled at the National Museum of American History. All this kind of stuff. Drew's role doesn't usually involve collecting objects, but he's a gamer himself. I joke that I was born with a controller in my hand. He wanted to make sure the museum secured a cartridge. Because E.T. the video game tells the story of something bigger than its own dirt-crusted case. It's about the rise and fall of the company that pioneered video gaming in America. And although it's not very old, it hints at the digital revolution that followed. It's a piece of American history. I was just afraid that it might enact now like. Something that I did, you know, a few thousand lines of code that I had written over 30 years ago is still generating all this excitement in that moment. Once Worthless. Side Door is hosted by Lizzie Peabody, Anne Kinnanen, and Sharon Bryant.",
        "transcription_large_v3": " Never get involved in a land war in Asia. Always make friends with people who work in museums. Science and history. I'll let Lizzie Peabody and Zydoor take it from here. Waiting to get into a dump. This is Howard Scott Warshaw. He was part of an unusual scene. Something like a wildly out-of-place tailgate party. People lined up with folding chairs, sun hats, in the middle of the New Mexico desert. It was a hot day. I mean, it was hot. Atari made many good games. A really bad one. A game so bad, it has been called the worst video game of all time. According to the myth, it was so bad, it put Atari out of business. And to hide its shame, Atari buried the unsold game cartridges in the middle of the desert, where they would never, ever be found. Did you believe that the myth was true? Did you believe that there were games buried in the desert? I never believed it. Why would a company that's strapped financially and is really failing and having a lot of trouble staying afloat, why would they spend extra money to go into the desert and bury... That doesn't make any sense at all, right? I mean, that's just nonsense. So Howard was a skeptic. But others in the crowd... I think they believed it and they were there because they wanted to see it. They wanted to see it come up out of the ground. So Howard and the rest of the expectant crowd gather around the dump, which is now a dig site. Out comes an E.T. In the end, the excavation team unearthed a total of 1,178 Atari game cartridges, enough to confirm that Atari had actually buried its games in a giant desert pit. Long ago, before there was PlayStation or Xbox or even Nintendo, there was Atari. It is undoubtedly part of kind of American cultural landscape. If you grew up in the 1980s, you would recognize that symbol immediately. I'm of that generation myself. This is Arthur Demrich. He's the director of the Lemelson Center for the Study of Invention and Innovation in the Smithsonian's National Museum of American History. He explained that long ago, there was really only one kind of video game, arcade games. Leave your house. Atari was the first company to create a smash hit arcade game called Pong. Yes. So many people were going out to bars just to play these games. Atari wondered, what if they made a game that people played at home? At this time, most people didn't have personal computers. And it really transforms the home-playing video game market. So what did you need to have at home in order to play an Atari game? A television. That's it. That's right. All of a sudden, TV, which had always been passive entertainment, became interactive. That's pretty cool. But kids got it immediately. Because for such cutting-edge technology, Atari was easy to use. There was a simple console that plugged into your TV, and it was controlled by a joystick with a single red button. On this foundation, Atari built entire digital worlds on screen. They brought the excitement of the arcade into the suburban living room. And to do it, they hired the world's best programmers. These guys were geniuses at figuring out how to make interesting games and make them fun. Many of these genius programmers were young men, right out of college. And one of them was Howard Scott Warshaw, our friend from the desert. And he was pretty good at his job. I was pretty good at my job. Yara's revenge transformed Howard into what fans called a game god. Fans would sleuth out the minds behind their favorite games, slapping the Atari label on all kinds of third-party games. No other company could keep up. Howard spent eight months working on Raiders of the Lost Ark, the video game. The game sold well, so when Steven Spielberg made another blockbuster, of course Atari would make E.T. the video game. And then a call came in, and it was the CEO of Atari. We want you to make E.T. the video game, and we need it done by September 1st. Now, this is July 27th, so that leaves five weeks and a half day to do the game. Five weeks. To give you a sense of how insane this is, video games at the time took six to eight months to create. And this guy is saying... And I said to him, to be perfectly honest, I don't think it ever occurred to me that it couldn't be done. So, Howard got to work. And he worked. So that no matter where I was, I was no more than two minutes away at any point in time from actually sitting down and doing something on the game. And even when he wasn't sitting down, eating, driving, showering, still working. I thought, you know, what I need to do is turn sleep into an asset. I would work until I ran into a problem. Huh? So they didn't even know what they were asking of you. But Atari and Spielberg had taken so long nailing down a licensing agreement that by the time they finally did get pen to paper, there was almost no time left to make the game. That never, like, occurred to anyone. Everybody at Atari thought, you know, we're on top. No one can touch us. We can do anything. And honestly, it seemed like they could. Against all odds, Howard delivered E.T. the video game in just five. And by Christmas time, 5 million cartridges of the much-anticipated E.T. the Video Game stocked the shelves of stores nationwide. So, mission accomplished. More after this. From Side Door, here again is Lizzie Peabody. Here's where we are. Steven Spielberg's soon-to-be classic movie E.T. the Extraterrestrial is out in theaters. And Atari, the American video game titan, E.T. the Video Game. Spielberg is happy. Howard is happy. Guess who is not happy? Eight-year-old Jason, Christmas morning. He played every day after school, and when he started seeing ads for E.T. the video game, he had really high hopes. Oh my god, I can play the movie. I was gonna ride my bike in the game and maybe fly through the air, pull the game out, stuck it into the Atari, turned it on. There's E.T. on that first screen. It's super exciting. It plays a little song that's, you know, the song that's kind of like the E.T. song, but not quite. and started playing the game. And that's when I realized that something was wrong. And Jason is older and wiser now, so we decided to play it. Okay, let's do it. Oh, no. Okay. What looks like a forest? In the game, it's hard to figure out where you're supposed to be going. Hey! And you have to understand the difference between frustration and disorientation, right? Frustration in a video game is essential, right? A video game must frustrate a user, but you should never disorient them. Howard says that frustration ultimately creates satisfaction. It's a huge motivator in a good game. Disorientation, on the other hand, is just... I'm in a pit. I fell in another pit. ...terrible. Was selling pretty well. But as soon as the young Jason or Fannons of the world started playing it, word got out and sales virtually stopped, leaving unsold E.T. games clogging the shelves of stores. You know, Howard, you really came through for us. We don't blame you. Ooh. And I'm thinking, I didn't know what was happening out there. What was happening out there? Millions of unsold games coming back to Atari. Atari sold them to a distributor who placed them in stores, but... The distributor had the full right of return. Oh, so they could return their stock to Atari. E.T. was a big liability, but its very creation spoke to an even bigger problem for Atari. The company had made a habit of prioritizing money over quality. Remember how, in an attempt to get more games on the market, Atari let outside companies make them? And gamers got bored. People stopped buying consoles. The entire video game industry tanks in the United States. No new game systems were introduced, and hardly any new games were created at all. But it would be nearly two decades before another American-made console would return to the market in any significant way. E.T. became the face of the fall of the video game industry because it was very identifiable. And Atari needed a cheap way to dispose of its 14 truckloads of unsold game cartridges. E.T. the video game was steamrolled at the National Museum of American History. All this kind of stuff. Drew's role doesn't usually involve collecting objects, but he's a gamer himself. I joked that I was born with a controller in my hand. He wanted to make sure the museum secured a cartridge. Because E.T. the Video Game tells the story of something bigger than its own dirt-crusted case. It's about the rise and fall of the company that pioneered video gaming in America. And although it's not very old, it hints at the digital revolution that followed. It's a piece of American history. I was just afraid that if I didn't act now, like something that I did, you know, a few thousand lines of code that I had written over 30 years ago is still generating all this excitement in that moment. Once worthless. Side Door is hosted by Lizzie Peabody and Kenanon and Sharon Bryant."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000336.mp3": {
        "gt": "UMBRAGE WAS TAKEN  INSTEAD   IT ALL BOILED DOWN TO THIS  COLORADO'S GOVERNOR HAD THE GALL TO INSULT NEW MEXICO'S PRIDE AND JOY   ITS CHILI PEPPERS THE LATEST WAR OF WORDS COMES AFTER COLORADO'S GOVERNOR MADE SOME INSULTING COMMENTS ABOUT OUR CHILI   COLORADO'S GOVERNOR   JARED POLIS IS CLAIMING THE CHILI IN PUEBLO IS BETTER THAN OURS  IN NEW MEXICO   CHILI PEPPERS ARE EVERYWHERE  RISTRAS OF DRIED CHILIS HANG FROM EVERY DOORWAY  CHILI PEPPER CHEESEBURGERS ARE PART OF THE STANDARD MENU AT MCDONALD'S  RED OR GREEN  IT'S CHILI SEASON RIGHT NOW IN NEW MEXICO   WHICH MEANS THAT THE STATE'S CHILI PEPPER PRIDE IS RAMPED UP TO THE NEXT LEVEL THAT'S REPORTER ROSE EVELETH   HOST OF THE FLASH FORWARD PODCAST THERE ARE CHILI SCENTED CANDLES FOR SALE   THE ROADS ARE DOTTED WITH BIG WHITE SIGNS THAT SAY   FRESH CHILI   THIS WAY'  BUT PROBABLY NOT EVEN THAT  AMIDST ALL THIS COLORADO TRASH-TALKING  JUNE HAS BEEN IN THE BUSINESS SINCE SHE WAS A LITTLE GIRL WHEN HER FATHER CARRIED HER AROUND IN THE FIELDS IN A PEPPER SACK  THERE'S EVEN A CHILI PEPPER VARIETY NAMED AFTER HER  THE MS   JUNIE  NEW MEXICANS LIKE JUNE HAD BEEN GROWING THEIR OWN VARIETIES FOR OVER A HUNDRED YEARS  MOSTLY ON SMALL FAMILY FARMS THAT REMAINED DEDICATED TO THIS ONE BELOVED CROP FOR GENERATIONS BUT DESPITE THESE GROWERS' PRIDE IN THEIR PEPPERS  WHEN I STARTED REPORTING THIS STORY  EVERYBODY TOLD ME I HAD TO TALK TO A GUY NAMED GLEN DUGGINS  THEY TOLD ME THAT GLEN WAS A GREAT   CHEERY   FRIENDLY GUY  BUT WHEN I FIRST CALLED HIM ABOUT CHILI   AND I ASKED   IS THIS GLEN  HE ANSWERED  WHAT'S LEFT OF HIM DO YOU EVER GET NOSTALGIC ABOUT THE OLD CHILI DAYS  YEAH   I MISS THEM  IT WAS EASY  I MISS THEM  HELP WAS EASY  EVERYBODY MADE MONEY  IT'S NOT NEAR AS FUN ANYMORE  GLEN RUNS A CHILI FARM CALLED FIVE STAR CHILE IN SOCORRO   NEW MEXICO  AND HE SAYS THAT EVERY YEAR THINGS GET A LITTLE MORE BLEAK FOR THE BUSINESS IT'S NOT THAT NOBODY WANTS TO BUY CHILI  NATIONWIDE DEMAND FOR CHILI PEPPERS IS AT AN ALL-TIME HIGH  AND YET   THE ECONOMICS OF BEING A CHILI FARMER  THEY'RE JUST NOT WORKING OUT IT'S BEEN WILD THIS YEAR  IT WAS BAD WEATHER  BUT IT'S MORE THAN THAT  IT'S LIKE THE PERFECT STORM CAME TOGETHER   WE HAD BAD WEATHER  YOU HAVE FEWER FARMERS  YOU HAVE FEWER ACRES   TO MAKE MATTERS WORSE   CHILI GROWN IN MEXICO IS OFTEN TRUCKED OVER THE BORDER   LABELED AS NEW MEXICO CHILI   AND SOLD FOR FAR CHEAPER THAN THE FARMERS IN THE STATE CAN COMPETE WITH  BUT GLEN SAYS THAT THERE'S ONE THING IN PARTICULAR THAT HAS HIM AND OTHER CHILI FARMERS ESPECIALLY WORRIEDCHILI FARMERS ARE USED TO BAD WEATHER   TO COMPETITION   TO ALL THAT OTHER STUFF  THEY'D STILL HAVE A PROBLEM  EVERYBODY  HE SAYS ON A GOOD YEAR   IN THE PAST   HE WOULD'VE HAD THIRTY  MOSTLY FROM MEXICO THEY WOULD GO TO ONE RANCH HOUSE  WORK A FEW DAYS FOR THEM   THEY'D FEED THEM   TAKE CARE OF THEM   AND THIS AND THAT   AND GO TO THE NEXT RANCH HOUSE   AND THEY WOULD EVENTUALLY GET HERE  THAT HASN'T HAPPENED IN YEARS  TEN YEARS AGO   HE USED TO WAKE UP IN THE MORNING   AT THE START OF CHILI SEASON  THEY'RE NOT SHOWING UP  IT'S NOT JUST GLEN  AND IT'S NOT JUST THE CHILI INDUSTRY  AND SARAH POINTS OUT THAT THE CHILDREN OF IMMIGRANTS WHO CAME TO THE US AND WENT INTO AGRICULTURE  IT DOES   FARM LABORERS IN NEW MEXICO'S CHILI FIELDS CAN MAKE DOUBLE THE STATE'S MINIMUM WAGE  THEY CAN MAKE NEARLY TWICE AS MUCH PICKING CHILI AS THEY COULD WORKING AT A CHILI'S RESTAURANT  BUT THEY STILL DON'T WANT TO DO IT IN PART   BECAUSE PICKING CHILI PEPPERS CAN BE ESPECIALLY GRUELING WORK   EVEN COMPARED TO OTHER CROPS  CHILI PLANTS GROW LOW TO THE GROUND   AND THE CHILIS THEMSELVES OFTEN SIT CLOSE TO THE STEM   NESTLED DEEP INSIDE THE BUSH  SO WORKERS HAVE TO HUNCH OVER IN THE HOT SUN TO GET THEM  AFTER YOU RETIRE  WE MADE YEARS AGO   WE HAVEN'T DONE ANYTHING IN THE LAST SIX   EIGHT YEARS   DO YOU THINK IT'LL EVER GET BACK TO THAT  I DON'T SEE HOW   THE  HOW  GLEN GENUINELY DOESN'T KNOW THE ANSWER TO THAT QUESTION   NOR DO A LOT OF OTHER CHILI FARMERS BUT IF YOU'VE BEEN PAYING ATTENTION TO ALMOST EVERY OTHER INDUSTRY  YOU MIGHT BE WONDERING  WHY CAN'T GLEN JUST GET A MACHINE TO PICK HIS PEPPERS  AND AS A RESULT   YOU COULD GET WAY MORE LAND THAN YOU COULD ACTUALLY WORK YOURSELF PRETTY EASILY   SO THEN WHAT DO YOU DO WITH IT  AFTER SLAVERY WAS OUTLAWED   THE SAME LANDOWNERS INCREASINGLY RENTED THEIR LAND OUT   ON UNFAIR TERMS   TO SHARECROPPERS   AND IN THE NORTH   TO TENANT FARMERS  NO EXTRA HELP REQUIRED  SO THEY KICKED ALL THE TENANT FARMERS OFF THE LAND AND KEPT THE PROFITS FOR THEMSELVES  THAT SAME YEAR   A PATENT WAS FILED FOR THE FIRST FULLY AUTOMATIC HAY BALER  WELL   IT TURNS OUT   IT'S NOT EASY FOR A MACHINE TO PICK A PEPPER IN THE BEGINNING   I WAS DEFINITELY   AH   THE OPTIMISM OF BEING NEW AT IT  IT WAS LIKE THE MACHINE JUST DIDN'T KNOW WHAT TO DO INSTEAD OF PICKING THE PEPPERS OFF THE PLANT  ANOTHER MACHINE THEY TESTED HAD THE OPPOSITE PROBLEM IT WAS A VERY GENTLE COMBING MECHANISM THROUGH THE PLANTS  THE SUCCESSFUL CROP AUTOMATIONS OF THE PAST MIGHT MAKE YOU THINK THAT THE CHILI PEPPER IS AN OUTLIER  BUT IN FACT   CHILI IS JUST ONE OF MANY CROPS THAT MACHINES STILL CAN'T HARVEST AS WELL AS HUMANS  IF AT ALL  ASPARAGUS   CHERRIES   APPLES   SAFFRON   CHOCOLATE  THEY'RE ALL STILL HARVESTED BY HAND  IN MANY WAYS   AUTOMATING CERTAIN CROP HARVESTS IS STILL A LOT HARDER THAN AUTOMATING SOMETHING LIKE   SAY   A CAR FACTORY AND THE REASON FOR THIS IS ACTUALLY PRETTY SIMPLE  CROPS ARE NOT LIKE CARS IT'S VERY EASY FOR A ROBOT TO INSTALL A WINDSHIELD   OR PUT THE LUG NUTS ON A WHEEL  OR LIFT AN ENGINE INTO A CHASSIS BECAUSE EACH COMPONENT IS NEAR IDENTICAL TO THE COMPONENT THAT PROCEEDED IT DAVID AUTOR IS AN ECONOMIST AT MIT   WHO STUDIES THE INTERACTION OF TECHNOLOGY AND LABOR  LIKE AN ASSEMBLY LINE HOWEVER   OUTSIDE OF THAT SETTING   IN THE NATURAL WORLD  TO BE ABLE TO DO THAT  IS THAT EVEN IF SHE FOUND THE PERFECT MACHINE  SHE WOULD PROBABLY CONTINUE TO HAVE DISASTROUS FIELD TESTS  TASTING CHILI FRUIT   AND THEN STARTING THE CYCLE OVER AGAIN BUT NOW   AFTER FIFTEEN YEARS OF SEARCHING FOR THE RIGHT MACHINE   AND BREEDING PEPPERS THAT THE MACHINE CAN PICK  STEPHANIE AND HER TEAM HAVE A COMBINATION THAT HAS BEEN SHOWING SOME REAL PROMISE  AND WHEN I VISITED HER IN LOS LUNAS   IT WAS TIME FOR A FINAL TEST  SOME WERE TALL AND SKINNY   WITH BIG   FAT PEPPERS  OTHERS WERE SHORT AND BUSHY   WITH SMALLER   SKINNIER PEPPERS  STEPHANIE WASN'T QUITE SURE  INSIDE   THERE WERE TWO REALLY LONG METAL TUBES THAT LOOKED LIKE GIGANTIC DRILL BITS  IT WAS ATTACHED TO A TRACTOR   WHOSE DRIVER MANEUVERED THE WHOLE SETUP INTO PLACE  THEN   A VOLUNTEER FLIPPED A BIG SWITCH  THE DRILL BITS STARTED TURNING   AND THE MACHINE SLOWLY BEGAN TO MOVE THROUGH THE FIRST ROW OF PEPPERS  A FEW ROWS LATER   ONE OF STEPHANIE'S COLLABORATORS TURNS TO HER AND SAID HE REALIZED WHY IT'S CALLED MOSESOH YEAH   WHY IS THAT  AS IT MOVED ALONG   I COULD SEE THE METAL BITS SPINNING   AND KIND OF SHOOSHING UP EACH PLANT   COAXING THE PEPPERS OFF   AND CARRYING THEM UP ONTO TWO CONVEYOR BELTS   AND INTO BUCKETS WAITING TO CATCH THE CHILIS  SO SHE CAN DISTRIBUTE THE SEEDS TO FARMERS  BUT THE BIGGER CHALLENGE WILL BE CONVINCING FARMERS TO GIVE HER SEEDS AND MACHINE A SHOT  BECAUSE EVEN IF IT DOES TASTE EXACTLY RIGHT   AND THE MACHINE WORKS PERFECTLY   NOT EVERYBODY IS READY TO TURN TO AUTOMATION BACK AT THE CHILI TASTE-OFF   I ASKED SOME FARMERS IF THEY WOULD EVER BUY A CHILI-PICKING MACHINE  SOME CHILI FARMERS   LIKE SALLY   SEE HANDPICKING AS PART OF THE TRADITION THEY'RE TRYING TO DEFEND  IT'S ONE OF THE THINGS THAT MAKES IT NEW MEXICO CHILI  HE JUST DIDN'T THINK A MACHINE WOULD EVER WORK  BUT THEN AGAIN  SURE  WELL   THAT'S LOOKING PRETTY GOOD   REALLY  SEVENTY THOUSAND DOLLARS IS NOT THAT MUCH LABOR  IS IT SALLY BAKER   WHO WON'T EVEN CONSIDER A MACHINE  NAMED AFTER THE CHILE QUEEN  A NINETY FIVE YEAR OLD   WHOSE FATHER USED TO CARRY HER AROUND IN THE FIELDS AS AN INFANT IN A CHILI PEPPER SACK  ROSE EVELETH IS THE CREATOR OF A PODCAST CALLED FLASH FORWARD   WHICH COMBINES AUDIO   DRAMA   AND DEEP REPORTING   TO UNDERSTAND THE FUTURE   THINGS LIKE  \n",
        "transcription_base": " Umbridge was taken. Instead, it all boiled down to this. Colorado's governor had the gall to insult New Mexico's pride and joy. It's chili peppers. The latest war of words comes after Colorado's governor made some insulting comments about our chili. Colorado's governor, Jared Polis, is claiming the chili in Pueblo is better than ours. In New Mexico, chili peppers are everywhere. Restries of dried chilies hang from every doorway. Chili pepper cheeseburgers are part of the standard menu at McDonald's, red or green. It's chili season right now in New Mexico, which means that the state's chili pepper pride is ramped up to the next level. That's reporter Rose Eveleth, host of the Flash Forward podcast. There are chili-cented candles for sale. The roads are dotted with big white signs that say, fresh chili this way. But probably not even that. Amidst all this Colorado trash talking. June has been in the business since she was a little girl when her father carried her around in the fields in a pepper sack. There's even a chili pepper variety named after her, the Miss June. New Mexicans like June have been growing their own varieties for over 100 years. Mostly unsmall family farms that remain dedicated to this one, a love of crop for generations. But despite these growers pride in their peppers, when I started reporting this story, everybody told me I had to talk to a guy named Glenn Duggins. They told me that Glenn was a great, cheery, friendly guy. But when I first called him about chili and I asked, is this Glenn? He answered, what's left of him? Do you ever get nostalgic about the old chili days? Yeah, I miss them. It was easy. I miss them. Help was easy. Everybody made money. It's not nearest fun anymore. Glenn runs a chili farm called Five Star Chili in Sakura, New Mexico. And he says that every year, things get a little more bleak for the business. It's not that nobody wants to buy chili. Nationwide demand for chili peppers is at an all time high. And yet, the economics of being a chili farmer, they're just not working out. It's been wild this year. It was bad weather, But it's more than that. It's like the perfect storm came together. We had bad weather. You have fewer farmers. You have fewer acres. To make matters worse, chili grown in Mexico is often trucked over the border, labeled as New Mexico chili and sold for far cheaper than the farmers in the state can compete with. But Glenn says that there's one thing in particular that has him and other chili farmers, especially worried. Chili farmers are used to bad weather, to competition, to all that other stuff. It's still have a problem. Everybody. He says on a good year in the past, he would have had 30, mostly from Mexico. They would go to one ranch house, work a few days for them. They'd feed them, take care of them, and this and that, and go to the next ranch house. And they would eventually get here. That hasn't happened in years. 10 years ago, he used to wake up in the morning at the start of Chiles season. They're not showing up. It's not just Glenn. and it's not just the chili industry. And Sarah points out that the children of immigrants who came to the US and went into agriculture, it does. Farm laborers in New Mexico's chili fields can make double the state's minimum wage. They can make nearly twice as much picking chili as they could working at a chili's restaurant, but they still don't wanna do it. In part because picking chili peppers can be especially grueling work, even compared to other crops. Chili plants grow low to the ground, and the chilies themselves often sit close to the stem nestled deep inside the bush. So workers have to hunch over in the hot sun to get them. After you retire? We made years ago. We haven't done anything in the last six, eight years. Do you think it'll ever get back to that? I don't see how, but how? Glenn genuinely doesn't know the answer to that question, nor do a lot of other chili farmers. But if you've been paying attention to almost every other industry, you might be wondering why you can't Glenn just get a machine to pick his peppers. And as a result you can get way more land than you can actually work yourself pretty easily so then what do you do with it? After slavery was outlawed, the same landowners increasingly rented their land out on unfair terms to sharecroppers and in the north to tenant farmers, no extra help required. So they kicked all the tenant farmers off the land and kept the profits for themselves. That same year a patent was filed for the first fully automatic hay baler. Well it turns out it's not easy for a machine to pick a pepper. In the beginning I was definitely the optimism of being new at it. It was like the machine just didn't know what to do. Instead of picking the peppers off the plant. Another machine they tested had the opposite problem. It was a very gentle combing mechanism through the plants. The successful crop automations of the past might make you think that the chili pepper is an outlier. But in fact, chili is just one of many crops that machines still can't harvest as well as humans. If at all, asparagus, cherries, apples, saffron, chocolate. They're all still harvested by hand. In many ways, automating certain crop harvests is still a lot harder than automating something like, say, a car factory. And the reason for this is actually pretty simple. Crops are not like cars. It's very easy for a robot to install a windshield or put the lug nuts on a wheel or lift an engine into a chassis because each component is near identical to the component that preceded it. David Otter is an economist at MIT, who studies the interaction of technology and labor, like an assembly line. However, outside of that setting in the natural world, to be able to do that. Is that even if she found the perfect machine, she would probably continue to have disastrous field tests. Tasting chili fruit and then starting the cycle over again. But now, after 15 years of searching for the right machine and breeding peppers that the machine can pick, Stephanie and her team have a combination that has been showing some real promise. And when I visited her in Los Luna, it was time for a final test. Some were tall and skinny, with big fat peppers, others were short and bushy with smaller skinnier peppers. Stephanie wasn't quite sure. Inside there were two really long metal tubes that looked like gigantic drill bits. It was attached to a tractor, whose driver maneuvered the whole setup into place. Then a volunteer flipped a big switch. The drill bits started turning, and the machine slowly began to move through the first row of peppers. A few rows later, one of Stephanie's collaborators turned to her and said he realized why it's called Moses. Oh yeah, why is that? As it moved along, I could see the metal bits spinning and kind of jushing up each plant, coaxing the peppers off and carrying them up onto two conveyor belts and into buckets waiting to catch the chilies. she can distribute the seeds to farmers, but the bigger challenge will be convincing farmers to give her seeds and machine a shot, because even if it does taste exactly right and the machine works perfectly, not everybody is ready to turn to automation. Back at the chili taste off, I asked some farmers if they would ever buy a chili picking machine. Some chili farmers, like Sally, see hand picking as part of the tradition they're trying to defend. It's one of the things that makes it New Mexico chili. He just didn't think a machine would ever work. But then again, sure, well that's looking pretty good really. $70,000 is not that much labor. Is it Sally Baker who won't even consider a machine? Named after the chili queen, a 95-year-old whose father used to carry her around in the fields as an infant in a chili pepper sack. Rose Evelith is the creator of a podcast called Flash Forward, which combines audio, drama, and deep reporting to understand the future. Things like...",
        "transcription_medium": " Umbridge was taken. Instead, it all boiled down to this. Colorado's governor had the gall to insult New Mexico's pride and joy. It's chili peppers. The latest war of words comes after Colorado's governor made some insulting comments about our chili. Colorado's governor, Jared Polis, is claiming the chili in Pueblo is better than ours. In New Mexico, chili peppers are everywhere. Ristras of dried chilies hang from every doorway. Chili pepper cheeseburgers are part of the standard menu at McDonald's, red or green. It's chili season right now in New Mexico, which means that the state's chili pepper pride is ramped up to the next level. That's reporter Rose Eveleth, host of the Flash Forward podcast. There are chili scented candles for sale. The roads are dotted with big white signs that say fresh chili this way, but Probably not even that. Amidst all this Colorado trash talking, June has been in the business since she was a little girl when her father carried her around in the fields in a pepper sack. There's even a chili pepper variety named after her, the Miss Juni. New Mexicans like June have been growing their own varieties for over a hundred years, mostly on small family farms that remain dedicated to this one beloved crop for generations. But despite these growers' pride in their peppers, when I started reporting this story, everybody told me I had to talk to a guy named Glenn Duggins. They told me that Glenn was a great, cheery, friendly guy. But when I first called him about chili and I asked, is this Glenn? He answered, what's left of him? Do you ever get nostalgic about the old chili days? Yeah, I miss them. It was easy. I miss them. Help was easy. Everybody made money. It's not near as fun anymore. Ben runs a chili farm called Five Star Chili in Socorro, New Mexico, and he says that every year things get a little more bleak for the business. It's not that nobody wants to buy chili. Nationwide demand for chili peppers is at an all-time high. And yet, the economics of being a chili farmer? They're just not working out. It's been wild this year. It was bad weather, but it's more than that. It's like the perfect storm came together. We had bad weather. You have fewer farmers, you have fewer acres. To make matters worse, chili grown in Mexico is often trucked over the border, labeled as New Mexico chili, and sold for far cheaper than the farmers in the state can compete with. But Glenn says that there's one thing in particular that has him and other chili farmers especially worried. Chili farmers are used to bad weather, to competition, to all that other stuff. They'd still have a problem. Everybody. He says on a good year, in the past, he would have had 30. mostly from Mexico. They would go to one ranch house, work a few days for them. They'd feed them, take care of them, and this and that, and go to the next ranch house, and they would eventually get here. That hasn't happened in years. 10 years ago, he used to wake up in the morning at the start of chili season. They're not showing up. It's not just Glenn, and it's not just the chili industry. And Sarah points out that the children of immigrants who came to the US and went into agriculture? It does. Farm laborers in New Mexico's chili fields can make double the state's minimum wage. They can make nearly twice as much picking chili as they could working at a chili's restaurant. But they still don't want to do it. In part because picking chili peppers can be especially grueling work, even compared to other crops. Chili plants grow low to the ground, and the chilies themselves often sit close to the stem, nestled deep inside the bush, so workers have to hunch over in the hot sun to get them. After you retire? We made years ago. We haven't done anything in the last six, eight years. Do you think it'll ever get back to that? I don't see how, but how? Glenn genuinely doesn't know the answer to that question, nor do a lot of other chili farmers. But if you've been paying attention to almost every other industry, you might be wondering why can't Glenn just get a machine to pick his peppers? And as a result, you could get way more land than you could actually work yourself pretty easily. So then what do you do with it? After slavery was outlawed, the same landowners increasingly rented their land out on unfair terms to sharecroppers and, in the north, to tenant farmers. No extra help required. So they kicked all the tenant farmers off the land and kept the profits for themselves. That same year, a patent was filed for the first fully automatic hay baler. Well, it turns out it's not easy for a machine to pick a pepper. In the beginning, I was definitely the optimism of being new at it. It was like the machine just didn't know what to do. Instead of picking the peppers off the plant, another machine they tested had the opposite problem. It was a very gentle combing mechanism through the plants. The successful crop automations of the past might make you think that the chili pepper is an outlier. But, in fact, chili is just one of many crops that machines still can't harvest as well as humans. If at all. Asparagus, cherries, apples, saffron, chocolate. They're all still harvested by hand. In many ways, automating certain crop harvests is still a lot harder than automating something like, say, a car factory. And the reason for this is actually pretty simple. Crops are not like cars. It's very easy for a robot to install a windshield or put the lug nuts on a wheel or lift an engine into a chassis because each component is near identical to the component that pursued it. David Otter is an economist at MIT who studies the interaction of technology and labour, like an assembly line. However, outside of that setting in the natural world to be able to do that. that even if she found the perfect machine, she would probably continue to have disastrous field tests. Tasting chili fruit and then starting the cycle over again. But now, after 15 years of searching for the right machine and breeding peppers that the machine can pick, Stephanie and her team have a combination that has been showing some real promise. And when I visited her in Los Lunas, it was time for a final test. Some were tall and skinny, with big fat peppers. Others were short and bushy, with smaller, skinnier peppers. Stephanie wasn't quite sure. Inside there were two really long metal tubes that looked like gigantic drill bits. It was attached to a tractor, whose driver maneuvered the whole setup into place. Then a volunteer flipped a big switch. The drill bits started turning, and the machine slowly began to move through the first row of peppers. A few rows later, one of Stephanie's collaborators turned to her and said he realized why it's called Moses. Oh yeah, why's that? As it moved along, I could see the metal bits spinning and kind of zhuzhing up each plant, coaxing the peppers off and carrying them up onto two conveyor belts and into buckets waiting to catch the chilies. So she can distribute the seeds to farmers. But the bigger challenge will be convincing farmers to give her seeds and machine a shot. even if it does taste exactly right and the machine works perfectly, not everybody is ready to turn to automation. Back at the chili taste-off, I asked some farmers if they would ever buy a chili picking machine. Some chili farmers, like Sally, see hand picking as part of the tradition they're trying to defend. It's one of the things that makes it New Mexico chili. He just didn't think a machine would ever work. But then again, sure, well that's looking pretty good really. $70,000 is not that much labor. Is it Sally Baker who won't even consider a machine? Named after the Chili Queen, a 95 year old whose father used to carry her around in the fields as an infant in a chili pepper sack. Rose Eveleth is the creator of a podcast called Flash Forward which combines audio drama and deep reporting to understand the future. Things like...",
        "transcription_large_v3": " Umbridge was taken. Instead, it all boiled down to this. Colorado's governor had the gall to insult New Mexico's pride and joy. It's chili peppers. The latest war of words comes after Colorado's governor made some insulting comments about our chili. Colorado's governor, Jared Polis, is claiming the chili in Pueblo is better than ours. In New Mexico, chili peppers are everywhere. Ristras of dried chilies hang from every doorway. Chili pepper cheeseburgers are part of the standard menu at McDonald's, red or green. It's chili season right now in New Mexico, which means that the state's chili pepper pride is ramped up to the next level. That's reporter Rose Eveleth, host of the Flash Forward podcast. There are chili-scented candles for sale. The roads are dotted with big white signs that say, fresh chili, this way. But probably not even that. Amidst all this Colorado trash talking. June has been in the business since she was a little girl, when her father carried her around in the fields in a pepper sack. There's even a chili pepper variety named after her, the Miss Junie. New Mexicans like June have been growing their own varieties for over 100 years, mostly on small family farms that remain dedicated to this one beloved crop for generations. But despite these growers' pride in their peppers... When I started reporting this story, everybody told me I had to talk to a guy named Glenn Duggins. They told me that Glenn was a great, cheery, friendly guy. But when I first called him about chili, and I asked, is this Glenn? He answered, what's left of him. Do you ever get nostalgic about the old chili days? Yeah, I miss them. It was easy. I miss them. Help was easy. Everybody made money. It's not near as fun anymore. Glenn runs a chili farm called Five Star Chili in Socorro, New Mexico, and he says that every year things get a little more bleak for the business. It's not that nobody wants to buy chili. Nationwide demand for chili peppers is at an all-time high. And yet, the economics of being a chili farmer, they're just not working out. It's been wild this year. It was bad weather, but it's more than that. It's like the perfect storm came together. We had bad weather. You have fewer farmers. You have fewer acres. To make matters worse, chili grown in Mexico is often trucked over the border, labeled as New Mexico chili, and sold for far cheaper than the farmers in the state can compete with. But Glenn says that there's one thing in particular that has him, and other chili farmers, especially worried. Chili farmers are used to bad weather, to competition, to all that other stuff. They'd still have a problem. Everybody. He says on a good year, in the past, he would have had 30. Mostly from Mexico. They would go to one ranch house, work a few days for them. They would feed them, take care of them, and this and that, and go to the next ranch house. And they would eventually get here. That hasn't happened in years. Ten years ago, he used to wake up in the morning at the start of Chile season. They're not showing up. It's not just Glenn. And it's not just the Chile industry. And Sarah points out that the children of immigrants who came to the U.S. and went into agriculture? It does. Farm laborers in New Mexico's chili fields can make double the state's minimum wage. They can make nearly twice as much picking chili as they could working at a chili's restaurant. But they still don't want to do it. In part because picking chili peppers can be especially grueling work, even compared to other crops. Chili plants grow low to the ground, and the chilies themselves often sit close to the stem, nestled deep inside the bush. So workers have to hunch over in the hot sun to get them. After you retire? We made years ago. We haven't done anything in the last six, eight years. Do you think it'll ever get back to that? I don't see how. Glenn genuinely doesn't know the answer to that question, nor do a lot of other chili farmers. But if you've been paying attention to almost every other industry, you might be wondering, why can't Glenn just get a machine to pick his peppers? And as a result, you could get way more land than you could actually work yourself pretty easily. So then what do you do with it? After slavery was outlawed, the same landowners increasingly rented their land out on unfair terms to sharecroppers and in the north to tenant farmers. No extra help required. So they kicked all the tenant farmers off the land and kept the profits for themselves. That same year, a patent was filed for the first fully automatic hay baler. Well, it turns out it's not easy for a machine to pick a pepper. In the beginning, I was definitely the optimism of being new at it. It was like the machine just didn't know what to do. Instead of picking the peppers off the plant. Another machine they tested had the opposite problem. It was a very gentle combing mechanism through the plants. The successful crop automations of the past might make you think that the chili pepper is an outlier. But in fact, chili is just one of many crops that machines still can't harvest as well as humans, if at all. Asparagus, cherries, apples, saffron, chocolate, they're all still harvested by hand. In many ways, automating certain crop harvests is still a lot harder than automating something like, say, a car factory. And the reason for this is actually pretty simple. Crops are not like cars. It's very easy for a robot to install a windshield or put the lug nuts on a wheel or lift an engine into a chassis because each component is near identical to the component that precedes it. David Otter is an economist at MIT who studies the interaction of technology and labor, like an assembly line. However, outside of that setting in the natural world, to be able to do that. Is that even if she found the perfect machine, she would probably continue to have disastrous field tests. Tasting chili fruit and then starting the cycle over again. But now, after 15 years of searching for the right machine and breeding peppers that the machine can pick, Stephanie and her team have a combination that has been showing some real promise. And when I visited her in Los Lunas, it was time for a final test. Some were tall and skinny, with big fat peppers. Others were short and bushy, with smaller, skinnier peppers. Stephanie wasn't quite sure. Inside, there were two really long metal tubes that looked like gigantic drill bits. It was attached to a tractor, whose driver maneuvered the whole setup into place. Then, a volunteer flipped a big switch. The drill bits started turning, and the machine slowly began to move through the first row of peppers. A few rows later, one of Stephanie's collaborators turned to her and said he realized why it's called Moses. Oh yeah, why is that? As it moved along, I could see the metal bits spinning and kind of zhuzhing up each plant, coaxing the peppers off and carrying them up onto two conveyor belts and into buckets waiting to catch the chilies. So she can distribute the seeds to farmers. But the bigger challenge will be convincing farmers to give her seeds and machine a shot. Because even if it does taste exactly right and the machine works perfectly, not everybody is ready to turn to automation. Back at the chili taste-off, I asked some farmers if they would ever buy a chili-picking machine. Some chili farmers, like Sally, see hand-picking as part of the tradition they're trying to defend. It's one of the things that makes it New Mexico chili. He just didn't think a machine would ever work. But then again... Sure. Well, that's looking pretty good, really. $70,000 is not that much labor. Is it Sally Baker who won't even consider a machine? Named after the Chili Queen, a 95-year-old whose father used to carry her around in the fields as an infant in a chili pepper sack. Rose Eveleth is the creator of a podcast called Flash Forward, which combines audio drama and deep reporting to understand the future. Things like..."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000352.mp3": {
        "gt": "YOU KNOW WOULD YOU LIKE TO GUESS  SURE   YES  SO  FOR SOME REASON  THE RADIOTOPIA PODCAST  NINETY NINE PERCENT INVISIBLE REALLY   YES  UM  AND AND APPARENTLY IT'S THE ONE PODCAST THAT DOESN'T WORK ON HIS CAR  THAT'S RIGHT  SO I ASKED BEN TO PLAY NINETY NINE PERCENT INVISIBLE THROUGH HIS CAR STEREO WHILE HE WAS ON THE PHONE WITH ME  CAN YOU TELL ME EXACTLY WHERE YOU'RE SITTING AT THE MOMENTI KNOW IT'S WEIRD   RIGHT   IT'S VERY WEIRD   IT'S LIKE   IT WOULD MAKE MORE SENSE TO ME IF LIKE  DO YOU HAVE ANY THEORIES ABOUT WHAT'S GOING ON  UM   AND IT'S NOT THAT   MY BEST GUESS IS MAYBE HE'S USING SOME SORT OF WEIRD AUDIO CODEC THAT INTERACTS STRANGELY WITH MY SYSTEM   BUT I REALLY COULDN'T TELL YOU   SO I DON'T KNOW  AND I WAS THINKING ABOUT IT   AND I WAS LIKE  NOT ONLY THAT BUT  WE GOT ANOTHER EMAIL  FROM ANOTHER PERSON EXPERIENCING EXACTLY THE SAME PROBLEM  WITH EXACTLY THE SAME PODCAST THAT IS SO WEIRDUM   ALRIGHT   SO I HAVE TO FIGURE THIS OUT   OKAY   COOL  I'M GOOD  UM   IT IS A PLEASURE TO HEAR YOUR VOICE   NOT ON A PODCAST YES  YEAH  AH  TOTALLY  AND I TOLD HIM ABOUT WHAT WAS GOING ON WITH BEN'S CAR THERE IS ONE THAT CAUSES HIS CAR STEREO TO FREEZE  SHUT DOWN   AND RESTART  I'VE NEVER REALLY FIGURED IT OUT ALL ROMAN KNOWS IS THAT IN SOME CARS  BLUETOOTH PLUS CAR RADIO PLUS NINETY NINE PERCENT INVISIBLE CAUSES EVERYTHING TO BREAK  BUT HE HAS NO IDEA WHY  A COUPLE   I USE LIKE A SHOTGUN MIC IN THE STUDIO BUT YOU'RE NOT USING SOME KIND OF SPECIAL ENCODING SETTINGS THAT ARE DIFFERENT FROM THE REST OF RADIOTOPIA  OHHE WAS LIKE   IT MUST JUST NOT PLAY WELL WITH THE STEREO FOR SOME REASON  SO IT'S LIKE   BECAUSE THE STEREO CAN ALSO DISPLAY THE NAME OF THE PODCAST THERE'S SOMETHING ABOUT JUST THERE BEING A SYMBOL   WHERE IT DOESN'T EXPECT THERE TO BE A SYMBOL   WHERE IT BREAKS   YEAH  WELL I MEAN IF YOU SOLVE IT   I WOULD BE REALLY GRATEFUL  YOU KNOW   TECH COMPANIES  NOT KNOWING HOW TO PASS THINGS OFF AND TALK TO EACH OTHER   THAT'S WHAT I FEEL LIKE I AM  IT JUST FELT LIKE AN IMBALANCE IN THE UNIVERSE THAT I HAD TO CORRECT  OTHER SPECIAL CHARACTERS SHOULD BREAK THE CAR   TOO  AND TO DO THAT   WE DEVISED A TEST  WHO'S WE  ME  MOST OF THE TEAM   TO BE HONEST OKAY IT WAS ME   TIM  ANNA   PHIA  EMMANUEL   SRUTHI  ALSO  WE DIDN'T MAKE ONE PODCAST  HOW MANY PODCASTS DID YOU MAKE  SO THE FIRST   FIRST PODCAST WE MADE IS CALLED  OKAY  SO  WE MADE THIS PODCAST  STEREO  INTERESTING  IT ALSO MEANS IT'S NOT FILTERING FOR THE QUALITY OF PODCASTS  AND THE GREATER THAN SYMBOL   OKAY   AND I'M JUST GOING TO PLAY YOU THE BEGINNING OKAY  OKAY  OKAY  LESS THAN THE SIDES OF A SQUARE   CORRECT  SO DID THIS BREAK THE MAZDA  HE POPPED IT IN HIS PODCAST PLAYER  HOW DARE YOU CALL THESE GARBAGE  SO   WE MADE A PODCAST THAT WAS CALLED  ONE HUNDRED PERCENT RELATED  HI   MY NAME'S ALEX GOLDMAN   AND YOU'RE LISTENING TO ONE HUNDRED PERCENT RELATED  NOW I'D LIKE FOR YOU TO LAY OUT YOUR CASE   TIM   BECAUSE WHAT YOU'RE SAYING IS INSANE  YOU WOULD BE MARK  YOU'RE FIFTY PERCENT RELATED SO   OKAY  SO WHY IS THIS THE PODCAST I LIKE   BECAUSE I LIKE ARGUING WITH YOU   IT'S LIKE FOR FANS OF ARGUING WITH YOU   YEAHI DON'T FEEL GOODSO  SO   I GIVE BEN THE PODCAST  ALRIGHT LET'S DO IT  SO   CLEARLY   THIS CAUGHT ME OFF GUARD  SO ROMAN'S WHOLE THEORY THAT HE FOUND SO OBVIOUS DOES NOT SEEM TO BE FOUNDED  IT DOESN'T SEEM TO BE FOUNDED  BEFUDDLES US OKAY WHICH IS  AND  IT BREAKS THE CAR  I HOPE SO   OKAY  AH  SO  WE HAVE NO IDEA   WE'RE LIKE TOTALLY BACK TO SQUARE ONE   YOU GOTTA FIND THE BROWN NOTE  YOU CALLED JOHN MAZDA   WE CALLED THE COMPANY THAT MAKES THE RADIO  OH HEY ALEX   HOW ARE YOU   I'M GOOD  NO   YEAH CRAP  NO ONE KNEW WHAT WAS GOING ON  AND WHAT I FOUND IS THAT IT'S NOT THE PERCENT SIGN ALONE THAT IS CAUSING THIS ISSUE  LOWERCASE I  IT DOESN'T   UPPERCASE I  IT SHUTS DOWN   THAT'S ALL WE KNOW  WE DON'T KNOW WHY   UPPERCASE I   YOUR CAR DOESN'T FLY  LOWERCASE I  KURT SAYS   I HAVE A THEORY  LITERALLY NINETY NINE PERCENT MEANS SOMETHING  UM  BASICALLY IN SOME SCENARIOS THE PERCENT SIGN MEANS   HEY  AND OTHER LANGUAGES HAVE COPIED THIS FEATURE TO INTERPOLATE   IS THE TECHNICAL TERM  AND HE SAID PERCENT IIN UM C IN C  IS NOT   SO LIKE WHAT'S THE COMMAND   WHAT DOES PERCENT I TELL A COMPUTER TO DO  SO   I HAVE IT UP HERE  IT HAS TO DO WITH   BASICALLY THE PERCENT IN   IN C HAS TO DO WITH DISPLAYING INTEGERS IN C   I KNOW   THIS IS VERY CONFUSING   OH MY BRAIN'S MATHING   YEAH   I KNOW  SO PERCENT AND THEN A BUNCH OF DIFFERENT LETTERS TELL IT TO DISPLAY INTEGERS IN A CERTAIN  IN A CERTAIN WAY   BUT BASICALLY WHAT'S HAPPENING   IT SOUNDS LIKE   IS THE CAR STEREO  WOW  SO THERE'S A BUNCH OF DIFFERENT COMMANDS IN C THAT WOULD CAUSE THIS TO HAPPEN  OKAY   AND SO   WE WERE LIKE   OK  IF KURT'S RIGHT   WE SHOULD BE ABLE TO TEST THIS WITH OTHER COMMANDS AND THOSE SHOULD ALSO MESS UP THE CAR STEREO  AND SO  WE MADE ONE MORE PODCAST OH NO   OKAY  SO WE MADE A PODCAST THAT'S CALLED EIGHTY EIGHT PERCENT PARENTHETICALS AH HUH  HERE YOU GOIT ARRIVED ON A MONDAY  MONDAY BEGAN LIKE A NORMAL DAY  I'VE HEARD ENOUGH OK  ALSO THERE'S LIKE PEOPLE THAT ARE LIKE   OH   WHEN'S THE NEXT SEASON OF SERIAL COMING OUT   LIKE TWENTY MINUTES LATER THAN IT WOULD HAVESO WHAT HAPPENED  WELL  WE SENT IT TO BEN  AND IT DIDN'T BREAK THE CAR STEREO  KURT'S THEORY APPEARS NOT TO WORK  WELL  YOU KNOW   WE WERE TRYING TO FIGURE OUT A WAY TO DIAGNOSE THIS PROPERLY WITHOUT ACTUALLY HAVING ACCESS TO THE CODE   AND YOU'D DONE EVERYTHING YOU COULD   YOU MADE A BUNCH OF NONSENSE PODCASTS FOR NO REASON   YOU TALKED TO SOMEBODY WHO WORKED AT A MAZDA DEALERSHIP   AND ONE GUY AT WORK  WE ALSO CALLED MAZDAWHICH HE THEN GAVE TO US  THAT'S BRILLIANT AND SAD  WE'RE MORE LIKE   STAY UP LATE AND SIT AT OUR COMPUTER LONGER PEOPLE SO   WE TOLD BRANDON WHAT WAS GOING ON WITH BEN'S CARAND HE TOLD US THAT HE WAS PRETTY SURE HE KNEW WHAT WAS GOING ON WHICH IS  SO  SO   OUR OPERATING THEORY WAS THAT PERCENT I WAS BREAKING THE RADIO BECAUSE THE PERCENT SIGN FOLLOWED BY THE LETTER I MEANT SOMETHING IN THE PROGRAMMING LANGUAGE C  BUT WHAT BRANDON TOLD US WAS  NO   THAT PROGRAM WASN'T EVEN WRITTEN IN C   IT WAS WRITTEN IN A TOTALLY DIFFERENT PROGRAMMING LANGUAGE OK  AND TO THE RADIO  AND WHAT BRANDON THINKS THE PROBLEM IS  BUT IN THIS CASE   FOR WHATEVER REASON   IT'S NOT  AND BRANDON TOLD ME THAT WHEN THEY DESIGNED THE CAR  IT'S HAPPY  IF IT DOESN'T GET IT  IT WILL ASSUME THAT THE UI HAS FROZEN  THEN   IT DOESN'T SEND THE HEARTBEAT  I JUST UNDERSTAND THAT THEY'RE SENTIENT  I FEEL LIKE THIS DOESN'T ACTUALLY GO AGAINST MY ORIGINAL THEORY  LIKE EVERYBODY ELSE   THEY FREAK OUT WHEN THEY DON'T HAVE THE RIGHT ANSWER  THERE IS ONE OTHER THING THAT WAS SUGGESTED TO US SEVERAL TIMES ALONG THE WAY  BEN'S CAR STEREO FIRMWARE IS A FEWHUH BUT   BEN LOOKED INTO GETTING HIS FIRMWARE UPDATED   AND IT WAS JUST TOO EXPENSIVE FOR HIM  HOWEVER  ANDREW KUKLEWICZ FROM PRX HAD A VERY SWEET IDEA  MAYBE WE'VE GOT TO PUBLISH A VERSION OF NINETY NINE PERCENT INVISIBLE WITH SOME SLIGHTLY DIFFERENT TITLES OR SOMETHING  WELL   I CAN SAY THAT PEOPLE IN NISSANS HAVE ALSO REPORTED HAVING THIS PROBLEM   BUT YES   FOR MAZDA OWNERS AND NISSAN OWNERS WHO ARE HAVING PROBLEMS WITH THIS SPECIFIC INFOTAINMENT SYSTEM THAT'S A VERY NICHE PODCASTSO I CALLED BEN UP ONE MORE TIME  IF AH   WHEN YOU'VE GOT IT SET UP AND READY TO ROLLAND EVERYTHING'S WORKING FINE  THIS ONE PIECE OF PAPER THAT WAS GOING TO CHANGE EVERYTHING I THOUGHT I UNDERSTOOD UP TO NOW  IT ARRIVED ON A MONDAY  MONDAY BEGAN LIKE A NORMAL DAY  HI   MY NAME'S ALEX GOLDMAN   AND YOU'RE LISTENING TO ONE HUNDRED PERCENT RELATED  YOU WOULD BE MARK  YOU'RE FIFTY PERCENT RELATED SO   OKAY  SO YOU'RE SAYING LIKE   GREATER THAN ONE OF THOSE SUPER BALLS  YES   GREAT-GREATER THAN A SUPER BALL  OKAY   OKAY  LESS THAN THE SIDES OF A SQUARE   CORRECT  \n",
        "transcription_base": " You know, would you like to guess? Sure, yes. So, for some reason, the radiotopia podcast 99% visible. Really? Yes. And apparently it is the one podcast that doesn't work on his car. That's right. So I asked Ben to play 99% visible through his car stereo while he was on the phone with me. Can you tell me exactly where you're sitting at the moment? I know, it's weird, right? It's very weird. It's like it would make more sense to me if like, do you have any theories about what's going on? And it's not that. My best guess is maybe he's using some sort of weird audio codec that interacts strangely with my system, but I really couldn't tell you, so I don't know. And I was thinking about it, and I was like, not only that, but we got another email from another person experiencing exactly the same problem with exactly the same podcast. That is so weird. All right, so I have to figure this out. Okay cool. I'm good. It is a pleasure to hear your voice not on podcast. Yes. Yeah Totally and I told him about what was going on with Ben's car. There's one That causes his car stereo to freeze shut down and restart I've never really figured it out all Roman knows is that in some cars Bluetooth plus car radio plus 99% visible causes everything to break but he has no idea why a couple I use like a shotgun mic in the studio but you're not using some kind of special encoding settings that are different from the rest of Radio Topia oh he was like it must just not play well with the stereo for some reason so it's like because the Stereo can also display the name of the podcast there's something about just they're being a symbol where it doesn't expect there to be a symbol where it breaks. Yeah. Well, I mean, if you solve it, I would be really grateful, you know, tech companies, not knowing how to pass things off and talk to each other. That's what I feel like I am. It just felt like an imbalance in the universe that I had to correct. Other special characters should break the car too. And to do that, we devised a test. Who's we? Me? Most of the team, to be honest. Okay. It was me, Tim, Anna, Fia, Emmanuel, Shruthi. Also, we didn't make one podcast. How many podcasts did you make? So the first podcast we made is called, okay. So we made this podcast, stereo. Interesting. It also means it's not filtering for the quality of podcasts and the greater than symbol. Okay. I'm just going to play you the beginning. Okay. Okay. Okay. Okay. Less than the sides of a square. Correct. So did this break the Mazda he popped it in his podcast player how dare you call these garbage so we made a podcast that was called 100% related hi my name is Alex golden and you're listening to 100% related now I'd like for you to lay out your case to him because what you're saying is insane you would be mark your 50% related So okay, so why is this the podcast like cuz I like arguing with you? It's like for fans of arguing with you. Yeah, oh, I don't feel good So, so I give Ben the podcast. Alright, let's do it. So clearly this caught me off guard. So Roman's whole theory that he found so obvious does not seem to be found it. It doesn't seem to be found it. But fuddles us. Okay. Which is... And it breaks the car. I hope so. Okay. So we have no idea. We're like totally back to square one. You gotta find the brown note. You called John Mazda? We call the company that makes the radio. Radio. Oh, hey, Alex, how are you? I'm good. No. Yeah. Crap. No one knew what was going on. And what I found is that it's not the percent sign alone that is causing this issue. Lowercase i it doesn't. Uppercase i it shuts down. That's all we know. We don't know why. Uppercase i your card doesn't fly. Lowercase i. Kurt says I have a theory. Literally 99% means something. Um, basically in some scenarios, The percent sign means, hey, another language is to copy this feature to interpolate is the technical term. And he said percent i in c is not. So like, what's the command? What is percent i tell a computer to do? So I have it up here. It has to do with basically the percent in c has to do with displaying integers in c. I know, this is very confusing. my brand's math. Yeah, I know. So, percent and then a bunch of different letters tell it to display integers in a certain way. But basically what's happening, it sounds like, is the car stereo. Wow. So there's a bunch of different commands and C that would cause this to happen. Okay. And so we were like, okay, if Kurt's right, we should be able to test this with other commands and those should also mess up the car stereo. And so, we made one more podcast. Oh, no, okay. So we made a podcast that's called 88% parentheticals. Uh-huh. Here you go. It arrived on a Monday. Monday began like a normal day. I've heard enough. Okay. Also, there's like people that are like, oh, when's the next season of serial coming out? Like 20 minutes later than it would have. So what happened? Well, we sent it to Ben and it didn't break the car stereo. Curge theory appears not to work. Well, you know, we were trying to figure out a way to diagnose this properly without actually having access to the code. And you've done everything you could. You made a bunch of nonsense podcasts for no reason. Did you talk to somebody who worked at a Mazda dealership and one guy at work? We also called Mazda, which he then gave to us. That's brilliant, Ansad. We're more like, stay up late and sit at our computer longer people. So we told Brandon what was going on with Ben's car. And he told us that he was pretty sure he knew what was going on. Which is. So our operating theory was that percent I was breaking the radio because the percent sign followed by the letter I meant something in the programming language C. But what Brandon told us was, no, that program wasn't even written in C. It was written in a totally different programming language. Okay. And to the radio, and what Brandon thinks the problem is, but in this case, for whatever reason, it's not. And Brandon told me that when they design the car, it's happy. If it doesn't get it, it will assume that the UI has frozen. And it doesn't send the heartbeat. I just understand that they're sentients. I feel like this doesn't actually go against my original theory Like everybody else they freak out when they don't have the right answer. There is one other thing that was suggested to us several times along the way Ben's car stereo firmware is a few But Ben looked into getting his firmware updated and it was just too expensive for him However, Andrew Cook-Louis from PRX had a very sweet idea. Maybe we got to publish a version of 99% invisible with some slightly different titles or something. Well, I can say that people in Nissan have also reported having this problem, but yes, for Mazda owners and Nissan owners who are having problems with the specific infotainment system. That's a very neat podcast. So, I called Ben up one more time. If, uh, when you got it, set up and ready to roll. And everything's working fine. This one piece of paper that was going to change everything I thought I understood up to now. It arrived on a Monday. Monday began like a normal day. Hi, my name's Alex Golden and you're listening to 100% related? You would be Mark. You're 50% related. So, okay. So you're saying like greater than one of those super balls? Yes, greater than a super ball. Okay. Okay. Less than the sides of a square. Correct.",
        "transcription_medium": " Would you like to guess? Sure, yes. So for some reason, the Radiotopia podcast, 99% invisible. Really? Yes. And apparently it's the one podcast that doesn't work on his car? That's right. So I asked Ben to play 99% invisible through his car stereo while he was on the phone with me. Can you tell me exactly where you're sitting at the moment? I know, it's weird, right? It's very weird. It's like, it would make more sense to me if like, do you have any theories about what's going on? And it's not that. My best guess is maybe he's using some sort of weird audio codec that interacts strangely with my system, but I really couldn't tell you, so I don't know. And I was thinking about it and I was like, not only that, but we got another email from another person experiencing exactly the same problem with exactly the same podcast. That is so weird. Alright so I have to figure this out. Okay cool. I'm good. It is a pleasure to hear your voice, not on podcast. Yes, totally. And I told him about what was going on with Ben's car. There's one that causes his car stereo to freeze, shut down and restart. I've never really figured it out. All Roman knows is that in some cars, Bluetooth plus car radio plus 99% invisible causes everything to break. But he has no idea why. A couple use like a shotgun mic in the studio. But you're not using some kind of special encoding settings that are different from the rest of Radiotopia. Oh. He was like, it must just not play well with the stereo for some reason. So it's like, because the stereo can also display the name of the podcast, there's something about just there being a symbol where it doesn't expect there to be a symbol where it breaks. Yeah. Well, I mean, if you solve it, I would be really grateful. You know, tech companies not knowing how to pass things off and talk to each other. That's what I feel like I am. It just felt like an imbalance in the universe that I had to correct. Other special characters should break the cart too. And to do that, we devised a test. Who's we? Me? Most of the team, to be honest. Okay. Tim, Anna, Fia, Emmanuel, Shroofy. Also, we didn't make one podcast. How many podcasts did you make? So the first podcast we made is called... Okay. So we made this podcast, Stereo. Interesting. It also means it's not filtering for the quality of podcasts. And the greater than symbol. Okay. I'm just gonna play you the beginning. Okay. Okay. Okay. Less than the sides of a square. Correct. So did this break the Mazda? He popped it in his podcast player. How dare you call these garbage. So we made a podcast that was called 100% Related. Hi, my name's Alex Goldman and you're listening to 100% Related? Now I'd like for you to lay out your case, Tim, because what you're saying is insane. You would be Mark. You're 50% Related. So, okay, so. Why is this the podcast? Because I like arguing with you. It's like for fans of arguing with you. Yeah. Oh, I don't feel good. So, so I give Ben the podcast. All right, let's do it. So clearly this caught me off guard. So Roman's whole theory that he found so obvious does not seem to be founded. It doesn't seem to be founded. But fuddles us. Okay. Which is, and? It breaks the car. I hope so. Okay. So we have no idea. We're like totally back to square one. You gotta find the brown note. You called John Mazda? We called the company that makes the radio. Oh hey Alex, how are you? I'm good. No. Yeah. Crap. No one knew what was going on. And what I found is that it's not the percent sign alone that is causing this issue. Lowercase i, it doesn't? Uppercase i, it shuts down. That's all we know. We don't know why. Uppercase i, your car doesn't fly. Lowercase i. Kurt says, I have a theory. Literally 99% means something. Basically in some scenarios, the percent sign means, hey. And other languages have copied this feature. To interpolate is the technical term. And he said percent i in C is not. So like- What's the command? What does percent i tell a computer to do? So I have it up here. It has to do with, basically the percent in C has to do with displaying integers in C. I know, this is very confusing. Oh, my brain's math-ing. Yeah, I know. So percent and then a bunch of different letters tell it to display integers in a certain way. But basically what's happening, it sounds like, is the car stereo, wow. So there's a bunch of different commands in C that would cause this to happen. Okay. And so we were like, okay, if Kurt's right, we should be able to test this with other commands, and those should also mess up the car stereo. And so we made one more podcast. Oh no, okay. So we made a podcast that's called 88% Parentheticals. Uh-huh. Here you go. It arrived on a Monday. Monday began like a normal day. I've heard enough. Okay. Also there's like people that are like, oh when's the next season of Serial coming out? Like 20 minutes later than it would have. So what happened? Well, we sent it to Ben, and it didn't break the car stereo. Kurt's theory appears not to work. Well, you know, we were trying to figure out a way to diagnose this properly without actually having access to the code. And you'd done everything you could. You made a bunch of nonsense podcasts for no reason. You talked to somebody who worked at a Mazda dealership and one guy at work. We also called Mazda, which he then gave to us. That's brilliant and sad. We're more like stay up late and sit at our computer longer, people. So we told Brandon what was going on with Ben's car. And he told us that he was pretty sure he knew what was going on. Which is? So our operating theory was that percent i was breaking the radio because the percent sign followed by the letter i meant something in the programming language C. But what Brandon told us was, no, that program wasn't even written in C. It was written in a totally different programming language. Okay. And to the radio, and what Brandon thinks the problem is, but in this case, for whatever reason, it's not. And Brandon told me that when they designed the car, It's happy. If it doesn't get it, it will assume that the UI has frozen. And it doesn't send the heartbeat. I just understand that they're sentient. I feel like this doesn't actually go against my original theory. Like everybody else, they freak out when they don't have the right answer. There is one other thing that was suggested to us several times along the way. Ben's car stereo firmware is a few, uh, huh. But Ben looked into getting his firmware updated and it was just too expensive for him. However, Andrew Kuklowitz from PRX had a very sweet idea. Maybe we gotta publish a version of 99% Invisible with some slightly different titles or something. Well, I can say that people in Nissan have also reported having this problem. But yes, for Mazda owners and Nissan owners who are having problems with the specific infotainment system. So I called Ben up one more time. If when you got it set up and ready to roll and everything's working fine. There's one piece of paper that was going to change everything I thought I understood up to now. It arrived on a Monday. Monday began like a normal day. Hi, my name is Alex Goldman and you're listening to 100% related? You would be Mark. You're 50% related. So okay. So you're saying like greater than one of those Superballs. Yes, greater than a Superball. Okay. Okay. Less than the sides of a square. Correct.",
        "transcription_large_v3": " Would you like to guess? Sure, yes. So, for some reason, the Radiotopia podcast, 99% invisible. Really? Yes. And apparently it's the one podcast that doesn't work on his car? That's right. So I asked Ben to play 99% invisible through his car stereo while he was on the phone with me. Can you tell me exactly where you're sitting at the moment? I know, it's weird, right? It's very weird. It's like, it would make more sense to me if, like, do you have any theories about what's going on? And it's not that. My best guess is maybe he's using some sort of weird audio codec that interacts strangely with my system. But I really couldn't tell you, so I don't know. And I was thinking about it, and I was like, not only that, but we got another email from another person experiencing exactly the same problem with exactly the same podcast. That is so weird. um all right so i have to figure this out okay cool uh i'm good um it is a pleasure to hear your voice not on a podcast yes yeah uh totally and i told him about what was going on with ben's car there's one that causes his car stereo to freeze shut down and restart i've never really figured to know all roman knows is that in some cars bluetooth plus car radio plus 99 invisible causes everything to break but he has no idea why a couple i use like a shotgun mic in the studio but you're not using some kind of special encoding settings that are different from the rest of radiotopia oh he was like it must just not play well with the stereo for some reason so it's like because the stereo can also display the name of the podcast there's something about just there being a symbol where it doesn't expect there to be a symbol where it breaks. Yeah. Well, I mean, if you solve it, I would be really grateful. You know, tech companies not knowing how to pass things off and talk to each other. That's what I feel like I am. It just felt like an imbalance in the universe that I had to correct. Other special characters should break the car, too. And to do that, we devised a test. Who's we? Me. Most of the team, to be honest. Okay. It was me, Tim, Anna, Fia, Emmanuel, Shruthi. Also, we didn't make one podcast. How many podcasts did you make? So the first podcast we made is called... Okay. So we made this podcast stereo. Interesting. It also means it's not filtering for the quality of podcasts. And the greater than symbol. Okay. I'm just going to play you the beginning. Okay. Okay. Okay. Less than the size of a square. Correct. So did this break the Mazda? He popped it in his podcast player. How dare you call these garbage? So we made a podcast that was called 100% Related. Hi, my name is Alex Goldman, and you're listening to 100% Related. Now, I'd like for you to lay out your case, Tim, because what you're saying is insane. You would be Mark. You're 50% related. So, okay. So. Why is this the podcast? Because I like arguing with you. It's like for fans of arguing with you. Yeah. Oh, I don't feel good. So. So I give Ben the podcast. All right, let's do it. So clearly this caught me off guard. So Roman's whole theory that he found so obvious does not seem to be founded. It doesn't seem to be founded. Befuddles us. Okay. Which is... And? It breaks the car. I hope so. Okay. Uh, so we have no idea. We're like totally back to square one. You got to find the brown note. You called John Mazda? We called the company that makes the radio. Oh, hey, Alex. How are you? I'm good. No. Yeah? Crap. No one knew what was going on. And what I found is that it's not the percent sign alone that is causing this issue. Lowercase i, it doesn't? Uppercase i, it shuts down. That's all we know. We don't know why. Uppercase i, your car doesn't fly. Lowercase i. Kurt says I have a theory. Literally 99% means something. Um, basically in some scenarios, the percent sign means, hey. And other languages have copied this feature to interpolate is the technical term. And he said percent I in C is not. So like... What's the command? What does percent I tell a computer to do? So I have it up here. It has to do with... Basically, the percent in C has to do with displaying integers in C. I know. This is very confusing. Oh, my brain's mathing. Yeah, I know. So percent and then a bunch of different letters tell it to display integers in a certain way. But basically what's happening, it sounds like, is the car stereo. Wow. So there's a bunch of different commands in C that would cause this to happen. Okay. And so we were like, okay, if Kurt's right, we should be able to test this with other commands. And those should also mess up the car stereo. And so we made one more podcast. Oh, no. Okay. So we made a podcast that's called 88% Parentheticals. Uh-huh. Here you go. It arrived on a Monday. Monday began like a normal day. I've heard enough. Okay. Also, there's like people that are like, oh, when's the next season of Serial coming out? Like 20 minutes later than it would have. So what happened? Well, we sent it to Ben and it didn't break the car stereo. Kurt's theory appears not to work. Well, you know, we were trying to figure out a way to diagnose this properly without actually having access to the code. And you'd done everything you could. You made a bunch of nonsense podcasts for no reason. You talked to somebody who worked at a Mazda dealership and one guy at work. We also called Mazda, which he then gave to us. That's brilliant and sad. We're more like stay up late and sit at our computer longer people. So we told Brandon what was going on with Ben's car, and he told us that he was pretty sure he knew what was going on. Which is? So our operating theory was that percent I was breaking the radio because the percent sign followed by the letter I meant something in the programming language C. But what Brandon told us was, no, that program wasn't even written in C. It was written in a totally different programming language. Okay. And to the radio, and what Brandon thinks the problem is, but in this case, for whatever reason, it's not. And Brandon told me that when they design the car... It's happy. If it doesn't get it, it will assume that the UI has frozen. And it doesn't send the heartbeat. I just understand that they're sentient. I feel like this doesn't actually go against my original theory. Like everybody else, they freak out when they don't have the right answer. There is one other thing that was suggested to us several times along the way. Ben's car stereo firmware is a few... Huh. But Ben looked into getting his firmware updated, and it was just too expensive for him. However, Andrew Kuklewicz from PRX had a very sweet idea. Maybe we got to publish a version of 99% Invisible with some slightly different titles or something. Well, I can say that people in Nissans have also reported having this problem. But yes, for Mazda owners and Nissan owners who are having problems with the specific infotainment system. That's a very niche podcast. So I called Ben up one more time. If when you got it set up and ready to roll and everything's working fine. This one piece of paper that was going to change everything I thought I understood up to now. It arrived on a Monday. Monday began like a normal day. Hi, my name is Alex Goldman and you're listening to 100% Related. You would be Mark. You're 50% related. So, okay. So you're saying like greater than one of those Super Bowls? Yes, greater than a Super Bowl. Okay. Okay. Less than the size of a square. Correct."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000368.mp3": {
        "gt": "REALLY MATTERS  IT'S REALLY IMPORTANT AND LIKE I SAID  BUT NOW HE'S BACK HOME HERE IN THE GOLDEN STATE OF CALIFORNIAIS THAT IT'S ALL BEEN AROUND FOR NEARLY A YEAR   IT WAS PART OF A MASSIVE  THERE WERE LOTS OF ARTICLES IN THE MEDIA   NEARLY ALL OF THEM ACTUALLY  THAT PUT THE CLASSIC UNIVERSITY SEAL  BRUSHING IT AWAY AND TOSSING IT OUT  THE VIDEO REINFORCED EVERYONE'S GREATEST FEAR ABOUT THE NEW BRANDSO THOSE TWO THINGS WERE WORKING AGAINST IT FROM THE GET-GO AND THE FACT THAT THIS WAS ALL NEW AND CHANGES UNDERSTANDABLY VERY HARD   AND AS A UNIVERSITY LOGO  THE GRAVITAS OF THE UNIVERSITY  HE WENT ON  INSTEAD OF BEING CREATIVE WITH THE UNIVERSITY OF CALIFORNIA LOGO  WE SHOULD BE SEARCHING FOR CREATIVE SOLUTIONS FOR FUNDING THE UNIVERSITY OF CALIFORNIA  HE'S WRONG BECAUSE THE LOGO   THERE'S NO LOGO TO RESTORE  VANESSA LED THE TEAM THAT CAME UP WITH THIS LOGO AND THE NEW VISUAL BRAND  IS MORE OF A CLASSIC COLLEGIATE ICON  IT'S CIRCULAR WITH THE WORD SEAL OF THE UNIVERSITY OF CALIFORNIA AROUND THE EDGE AND IMAGE OF AN OPEN BOOK AND THE MOTTO   LET THERE BE LIGHT AT THE BOTTOM  AN EARLIER VERSION OF THIS SEAL DATES BACK TO WHEN THE UNIVERSITY WAS FOUNDED IN THE NINETEENTH CENTURY  IN ITS CURRENT FORM  WEIGHT WHY NOT  CORREA   EXPLAINED THAT THE LOGO WOULD NEVER STAND ON ITS OWN   AS IT WAS DEPICTED IN MEDIA REPORTS   IT WOULD ALMOST ALWAYS BE PRESENTED WITH THE WORDS UNIVERSITY OF CALIFORNIA NEXT TO IT OR THE MOTTO   LET THERE BE LIGHT  BECAUSE WHEN I JUST SEE IT  THE MEANING IS ACCRUED OVER TIME THE NIKE SWOOSH  SEALS NOW KIND OF NATURALLY COMMUNICATE HISTORY AND TRADITION AND INDEED  THEY ARE FRUSTRATED BECAUSE THEY FEEL LIKE THE ADMINISTRATIONS INACCESSIBLE   THEY'RE FRUSTRATED BECAUSE THEIR TUITION IS GOING UP   THEY'RE FRUSTRATED FOR ALL THESE THINGS  THEY'RE FRUSTRATED ABOUT THE PRIVATIZATION OF THE UNIVERSITY  RIGHTLY SO  I'M FRUSTRATED TOO  ONE COMMON COMPLAINT WAS THE FACT THAT THE C PART OF THE DESIGN WASN'T TOTALLY SOLID   IT WAS A GRADIENT  THE BOTTOM PART OF THE C WAS LIGHTER THAN THE TOP AND WHILE THE INTENTION WAS TO CONVEY MOVEMENT AND LUMINOSITY  THAT'S NOT WHAT A LOT OF PEOPLE SAW ON IT THE FIRST TIME I SAW THE LOGO   I IMMEDIATELY THOUGHT OF A COMPUTER ICON OF SOMETHING LOADING  I SPENT A LOT OF TIME IN FRONT OF MY COMPUTER   MAYBE YOU DO TOO  THIS C LOOKS EXACTLY LIKE A CIRCLE INDICATING A LOADING BROWSER TAB   OR SKYPE OPENING   OR ANY OTHER NUMBER OF LOADING SCENARIOS ON A COMPUTER  REFERENCE IN A WAY THAT IS AGAIN   I MEAN  THAT WERE BLACK AND WHITE AND BLUE AND WHITE VERSIONS OF THE MONOGRAM THAT DIDN'T HAVE A GRADIENT AT ALL   I PERSONALLY PREFER THOSE BUT I DON'T THINK THOSE WERE VERY WIDELY SEEN VANESSA ALSO TOLD ME THAT WHAT'S GOTTEN DROWNED OUT IN ALL THE NOISE OF JOURNALISTS LIKE ME WANTING TO TALK TO HER  IS THE FACT THAT PEOPLE IN THE DESIGN WORLD DO LIKE IT  THERE WAS AN OP-ED WRITTEN IN THE SAN FRANCISCO CHRONICLE BY ROB DUNCAN   FORMERLY OF PENTAGRAM  HE'S NOW AN ART DIRECTOR AT APPLE   AND HE ALSO RUNS HIS OWN DESIGN SHOP IN SAN FRANCISCO  IN THE PAST WEEK IT HAS BECOME CLEAR THAT THE UNIVERSITY OF CALIFORNIA SYSTEMWIDE MONOGRAM RECENTLY CREATED  IS A SOURCE FOR GREAT DEBATE  SO WE INTEND TO SUSPEND USE OF THE NEW MONOGRAM  I CERTAINLY HAD AN INITIAL NEGATIVE REACTION TO THE MONOGRAM WHEN I FIRST SAW TOO  I STILL THINK THE GRADIENT IS JUST NOT QUITE RIGHT BUT OVERALL   AFTER TALKING TO VANESSA  HE GRADUATED FROM CAL IN THE NINETEEN FORTY S AND HE SAID   HE DIDN'T LIKE IT EITHER   FOR MANY OF THE SAME REASONS THAT WE TALKED ABOUT EARLIER  THAT IT WASN'T CLEAR WHAT IT WAS SUPPOSED TO REPRESENT  HERE AGAIN IS CHRISTOPHER SIMMONS I THINK THE ROLE OFAND AN EXPERT TO ME IS   JUST SOMEONE WHO IS TRAINED IN A PARTICULAR FIELD AND HAS SOME PERHAPS   OR HOPEFULLY   DEEP EXPERIENCE IN THE PRACTICE OF THAT FIELD  IS TO SEE THE WORLD THROUGH A DIFFERENT LENS   SO FOR EXAMPLE   WHEN WE HAD OUR KITCHEN RENOVATED HERE  I DON'T KNOW ANYTHING ABOUT ARCHITECTURE   KNOW NOTHING ABOUT ENGINEERING   I DON'T KNOW ANYTHING ABOUT REALLY ABOUT INTERIOR DESIGN   I HAVE MY OPINIONS BUT THAT'S ALL THEY ARE  AND SO WHEN A DESIGNER TELLS ME WHY I THINK THIS WOULD WORK BEST  THEY'RE TELLING ME HOW TO UNDERSTAND MY OWN BODY AND I DON'T KNOW HOW TO INTERPRET WHAT'S HAPPENING TO MY BODY   SO   I ALLOW THEM TO DO THAT FOR ME WHEN IT COMES TO DESIGN  WE DON'T SEEM CULTURALLY   TO HAVE THAT SAME TRUST  IT'S PROBABLY STRICTLY SPEAKING TRUE  THAT'S NOT POPULAR  BECAUSE YOU LIKE TO THINK THAT YOUR VOICE IS THE SAME AS SOMEONE ELSE'S BUT WHEN IT COMES TO   FOR EXAMPLE  PHYSICS   MY VOICE IS NOT THE SAME AS STEPHEN HAWKING'S   NOR SHOULD IT BE  AND THEY FEEL THAT SUBJECTIVE OPINION IS THE RULE OF THE DAY  I DON'T LIKE IT   THEREFORE   IT MUST NOT BE GOOD SO   I GET THAT  NO ONE WANTS TO BE TOLD HOW TO DO THEIR JOB BY RANK AMATEURS WHO DON'T UNDERSTAND WHAT THEY'RE TRYING TO DO  I DON'T GO TO RESTAURANTS AND TELL CHEFS THAT THEIR PIZZA COULD USE MORE BASIL AND THE TOMATO SAUCE  BUT THE DIFFERENCE BETWEEN DESIGNERS LIKE VANESSA AND THE PHYSICS WORLD IS THAT WE   THE PUBLIC  ARE NOT INVITED TO SIT IN STEPHEN HAWKING'S PHYSICS LAB IN CAMBRIDGE  WE'RE NOT PART OF THAT WORLD  PERIOD BUT DESIGN IN GENERAL AND THIS DESIGN   IN PARTICULAR   IS ABOUT COMMUNICATION AND INTERACTION WITH A PUBLIC WHO ARE COMPLETELY UNAWARE OF THE MOTIVATIONS BEHIND A CERTAIN DESIGN THE LOGO ISN'T MEANT TO SIT IN SOMEONE'S SKETCHBOOK   IT'S MEANT TO BE OUT THERE IN THE WORLD   TELLING THE STORY OF THE UNIVERSITY OF CALIFORNIA  AND RIGHT OR WRONG  THE PEOPLE CONNECTED TO THE UNIVERSITY STILL FEEL LIKE THEY HAVE A SAY IN THE MATTERIT'S HARD TO SAY WHAT THE ULTIMATE EFFECT OF THIS WHOLE FIASCO WILL BE  I THINK INSTITUTIONS LIKE THE UNIVERSITY OF CALIFORNIA   WHICH TEND TO BE PRETTY CHANGE-AVERSE ANYWAY  WILL BE MORE GUN-SHY ABOUT PUSHING NEW DESIGNS AND NEW IDEAS FORWARD  IF THAT COMES TO PASS THAT WILL BE A REAL SHAME I HOPE THE PEOPLE WHO REALLY DISLIKE THE LOGO   AT LEAST THE THOUGHTFUL ONES  WOULD ALSO NOT WANT TO SEE THAT HAPPEN   BUT I ALSO DON'T WANT DESIGNERS TO CIRCLE THE WAGONS AND CLAIM THAT NO DESIGN CAN BE CRITICIZED UNLESS THE PERSON WITH AN OPINION KNOWS THE FULL BACK-STORY OF THE DESIGN PROCESS  IT WAS DERIDED BY EVERYONE   EVERYWHERE  I THINK IT SPEAKS WELL OF HIS CHARACTER THAT CHRISTOPHER REGRETS THAT   BUT I DON'T KNOW IF HE SHOULD  HE CARED AND HE COMMENTED FUNDAMENTALLY   BECAUSE THESE THINGS MATTERED HIM ON ONE LEVEL IT'S GREAT THAT THE PUBLIC IS ENGAGED AND PASSIONATE ABOUT DESIGN  \n",
        "transcription_base": " Really matters. It's really important. And like I said, but now he's back home here in the golden state of California Is that it's all been around for nearly a year. It was part of a massive There were lots of articles in the media nearly all of them actually that put the classic university seal brushing it away and tossing it out the video reinforced everyone's greatest fear about the new brand So those two things were working against it from the get go and the fact that this was all new and Changes understandably very hard and as a university logo the gravitas of the university He went on instead of being creative with the University of California logo Which would be searching for creative solutions for funding the University of California He's wrong because the logo there is no logo to restore Vanessa led the team that came up with this logo in the new visual brand is more of a classic collegiate icon. It's circular with the words seal of the University of California around the edge, an image of an open book and the motto let there be light at the bottom. An earlier version of this seal dates back to when the university was founded in the 19th century, in its current form, Wait, why not? Korea explained that the logo would never stand on its own as it was depicted in media reports. It would almost always be presented with the words University of California next to it, or the motto, let there be light. Because when I just see it, the meaning is accrued over time. The Nike swoosh. Seals now kind of naturally communicate a history and tradition and indeed. They are frustrated because they feel like the administration's inaccessible. They're frustrated because their tuition's going up. They're frustrated for all these things. They're frustrated about the privatization of the university. Rightly so, I'm frustrated too. One common complaint was the fact that the C part of the design wasn't totally solid. It was a gradient. the bottom part of the sea was lighter than the top. And while the intention was to convey movement and luminosity, that's not what a lot of people saw on it. The first time I saw the logo, I immediately thought of a computer icon of something loading. I spent a lot of time in front of my computer. Maybe you do too. This sea looks exactly like a circle indicating a loading browser tab or Skype opening or any other number of loading scenarios on a computer. Reference. In a way that is again, I mean. They were black and white and blue and white versions of the monogram that didn't have a gradient at all. I personally preferred those, but I don't think those were very widely seen. Vanessa also told me that what's gotten drowned out in all the noise of journalists like me wanting to talk to her is the fact that people in the design world do like it. There was an op-ed written in the San Francisco Chronicle by Rob Duncan, formerly of Pentagram. He's now an art director at Apple, and he also runs his own design shop in San Francisco. quote, in the past week, it has become clear that the University of California's system-wide monogram recently created is a source for great debate, so we intend to suspend use of the new monograms. I certainly had an initial negative reaction to the monogram when I first saw it too. I still think the gradient is just not quite right, but overall, after talking to Vanessa, he graduated from Cal in the 1940s. And he said he didn't like it either, for many of the same reasons that we talked about earlier, that it wasn't clear what it was supposed to represent. Here again is Christopher Simmons. I think the role of an expert to me is just someone who is trained in a particular field and has some perhaps or hopefully deep experience in the practice of that field is to see the world through a different lens. So for example, when we had our kitchen renovated here, I don't know anything about architecture, I don't know anything about engineering, I don't know anything about, really, about interior design. I have my opinions, but that's all they are. And so when a designer tells me why I think this would work best, they're telling me how to understand my own body. And I don't know how to interpret what's happening to my body. So I allow them to do that for me. When it comes to design, we don't seem culturally to have that same trust. It's probably strictly speaking true. That's not popular because you like to think that your voice is the same as someone but when it comes to, for example, physics, my voice is not the same as Stephen Hawkins, nor should it be, and they feel that subjective opinion is the rule of the day. I don't like it, therefore it must not be good. So I get that. No one wants to be told how to do their job by rank amateurs who don't understand what they're trying to do. I don't go to restaurants and tell chefs that their pizza could use more basil in the tomato sauce, but the difference between designers like Vanessa and the physics world is that we, the public, are not invited to sit in Stephen Hawking's Physics Lab in Cambridge. We're not part of that world, period. But design in general, and this design in particular, is about communication and interaction with a public who are completely unaware of the motivations behind a certain design. The logo isn't meant to sit in someone's sketchbook. It's meant to be out there in the world, telling the story of the University of California, and right or wrong, the people connected to the university Still feel like they have a say in the matter. It's hard to say what the ultimate effect of this whole fiasco will be. I think institutions like the University of California, which tend to be pretty change-averse anyway, will be more Ganshai about pushing new designs and new ideas forward. If that comes to pass, that will be a real shame. I hope the people who really dislike the logo, at least the thoughtful ones, would also not want to see that happen. But I also don't want designers to circle the wagons and claim that no design can be criticized unless the person with an opinion knows the full backstory of the design process. It was derided by everyone, everywhere. I think it speaks well of his character that Christopher regrets that, but I don't know if he should. He cared, and he commented, fundamentally, because these things mattered to him. On one level it's great that the public is engaged and passionate about design.",
        "transcription_medium": " really matters. It's really important. And like I said, but now he's back home here in the Golden State of California, is that it's all been around for nearly a year. It was part of a massive... There were lots of articles in the media, nearly all of them actually, that put the classic university seal brushing it away and tossing it out. The video reinforced everyone's greatest fear about the new brand. So those two things were working against it from the get-go. And the fact that this was all new, and change is understandably very hard and as a university logo the gravitas of the university he went on instead of being creative with the University of California logo we should be searching for creative solutions for funding the University of California he's wrong because the logo there is no logo to restore Vanessa led the team that came up with this logo and the new visual brand is more of a classic collegiate icon it's circular with the words seal of the University of California around the edge, an image of an open book, and the motto, Let There Be Light, at the bottom. An earlier version of this seal dates back to when the university was founded in the 19th century. In its current form, wait, why not? Korea explained that the logo would never stand on its own as it was depicted in media reports. It would almost always be presented with the words University of California next to it or the motto, Let There Be Light, because when I just see it, the meaning is accrued over time. The The Nike swoosh. Seals now kind of naturally communicate a history and tradition and indeed. They are frustrated because they feel like the administration is inaccessible. They're frustrated because their tuition is going up. They're frustrated for all these things. They're frustrated about the privatization of the university. Rightly so. I'm frustrated too. One common complaint was the fact that the C part of the design wasn't totally solid. It was a gradient. The bottom part of the C was lighter than the top. And while the intention was to convey movement and luminosity, that's not what a lot of people saw in it. The first time I saw the logo, I immediately thought of a computer icon of something loading. I spend a lot of time in front of my computer. Maybe you do too. This C looks exactly like a circle indicating a loading browser tab or Skype opening or any other number of loading scenarios on a computer. Reference in a way that is, again, I mean... There were black and white and blue and white versions of the monogram that didn't have gradient at all. I personally preferred those, but I don't think those were very widely seen. Vanessa also told me that what's gotten drowned out in all the noise of journalists like me wanting to talk to her is the fact that people in the design world do like it. There was an op-ed written in the San Francisco Chronicle by Rob Duncan, formerly of Pentagram. He's now an art director at Apple, and he also runs his own design shop in San Francisco. Quote, in the past week, it has become clear that the University of California system-wide monogram recently created is a source for great debate, so we intend to suspend use of the new monograms. I certainly had an initial negative reaction to the monogram when I first saw it too. I still think the gradient is just not quite right, but overall after talking to Vanessa, he graduated from Cal in the 1940s and he said he didn't like it either for many of the same reasons that we talked about earlier, that it wasn't clear what it was supposed to represent. Here again is Christopher Simmons. I think the role of an expert to me is just someone who is trained in a particular field and has some perhaps or hopefully deep experience in the practice of that field is to see the world through a different lens. So for example, when we had our kitchen renovated here, I don't know anything about architecture, I don't know anything about engineering, I don't know anything about really about interior design. I have my opinions but that's all they are. And so when a designer tells me why I think this would work best, they're telling me how to understand my own body and I don't know how to interpret what's happening to my body so I allow them to do that for me. When it comes to design we don't seem culturally to have that same trust. It's probably strictly speaking true. That's not popular because you like to think that your voice is the same as someone else's, but when it comes to, for example, physics, my voice is not the same as Stephen Hawking's, nor should it be. And they feel that subjective opinion is the rule of the day. I don't like it, therefore it must not be good. So I get that. No one wants to be told how to do their job by rank amateurs who don't understand what they're trying to do. I don't go to restaurants and tell chefs that their pizza could use more basil in the tomato sauce. But the difference between designers like Vanessa and the physics world is that we, The public are not invited to sit in Stephen Hawking's physics lab in Cambridge. We're not part of that world. Period. But design in general, and this design in particular, is about communication and interaction with a public who are completely unaware of the motivations behind a certain design. The logo isn't meant to sit in someone's sketchbook. It's meant to be out there in the world, telling the story of the University of California. And right or wrong, the people connected to the university still feel like they have a say in the matter. It's hard to say what the ultimate effect of this whole fiasco will be. I think institutions like the University of California, which tend to be pretty change-averse anyway, will be more gun-shy about pushing new designs and new ideas forward. If that comes to pass, that will be a real shame. I hope the people who really dislike the logo, at least the thoughtful ones, would also not want to see that happen. But I also don't want designers to circle the wagons and claim that no design can be criticized unless the person with an opinion knows the full backstory of the design process. It was derided by everyone, everywhere. I think it speaks well of his character that Christopher regrets that, but I don't know if he should. He cared and he commented fundamentally because these things matter to him. On one level it's great that the public is engaged and passionate about design.",
        "transcription_large_v3": " really matters. It's really important. And like I said, but now he's back home here in the golden state of California, is that it's all been around for nearly a year. It was part of a massive, there were lots of articles in the media, nearly all of them actually, that put the classic university seal, brushing it away and tossing it out. The video reinforced everyone's greatest fear about the new brand. So those two things were working against it from the get-go. And the fact that this was all new and change is understandably very hard. And as a university logo, the gravitas of the university. He went on, instead of being creative with the University of California logo, we should be searching for creative solutions for funding the University of California. He's wrong because the logo, there is no logo to restore. Vanessa led the team that came up with this logo and the new visual brand is more of a classic collegiate icon. It's circular with the words seal of the University of California around the edge, an image of an open book, and the motto, let there be light at the bottom. An earlier version of this seal dates back to when the university was founded in the 19th century. In its current form, wait, why not? Korea explained that the logo would never stand on its own as it was depicted in media reports. It would almost always be presented with the words University of California next to it, or the motto, let there be light. Because when I just see it, the meaning is accrued over time. The Nike swoosh. Seals now kind of naturally communicate a history and tradition, and indeed. They are frustrated because they feel like the administration isn't accessible. They're frustrated because their tuition's going up. They're frustrated for all these things. They're frustrated about the privatization of the university. Rightly so. I'm frustrated too. One common complaint was the fact that the sea part of the design wasn't totally solid. It was a gradient. The bottom part of the sea was lighter than the top. And while the intention was to convey movement and luminosity, that's not what a lot of people saw in it. The first time I saw the logo, I immediately thought of a computer icon of something loading. I spend a lot of time in front of my computer. Maybe you do too. This C looks exactly like a circle indicating a loading browser tab or Skype opening or any other number of loading scenarios on a computer. Reference in a way that is, again, I mean... There were black and white and blue and white versions of the monogram that didn't have a gradient at all. I personally preferred those, but I don't think those were very widely seen. Vanessa also told me that what's gotten drowned out in all the noise of journalists like me wanting to talk to her is the fact that people in the design world do like it. There was an op-ed written in the San Francisco Chronicle by Rob Duncan, formerly of Pentagram. He's now an art director at Apple, and he also runs his own design shop in San Francisco. Quote, in the past week, it has become clear that the University of California system-wide monogram recently created is a source for great debate. So we intend to suspend use of the new monogram. I certainly had an initial negative reaction to the monogram when I first saw it, too. I still think the gradient is just not quite right. But overall, after talking to Vanessa, he graduated from Cal in the 1940s. And he said he didn't like it either for many of the same reasons that we talked about earlier, that it wasn't clear what it was supposed to represent. Here again is Christopher Simmons. I think the role of an expert to me is just someone who is trained in a particular field and has some perhaps or hopefully deep experience in the practice of that field is to see the world through a different lens. So, for example, when we had our kitchen renovated here, I don't know anything about architecture. I don't know anything about engineering. I don't know anything about really about interior design. I have my opinions, but that's all they are. And so when a designer tells me, well, I think this would work best, they're telling me how to understand my own body. And I don't know how to interpret what's happening to my body, so I allow them to do that for me. When it comes to design, we don't seem culturally to have that same trust. It's probably, strictly speaking, true. That's not popular because you like to think that your voice is the same as someone else's. But when it comes to, for example, physics, my voice is not the same as Stephen Hawking's, nor should it be. And they feel that subjective opinion is the rule of the day. I don't like it, therefore it must not be good. So I get that. No one wants to be told how to do their job by rank amateurs who don't understand what they're trying to do. I don't go to restaurants and tell chefs that their pizza could use more basil in the tomato sauce. But the difference between designers like Vanessa and the physics world is that we, the public, are not invited to sit in Stephen Hawking's physics lab in Cambridge. We're not part of that world. Period. But design in general, and this design in particular, is about communication and interaction with a public who are completely unaware of the motivations behind a certain design. The logo isn't meant to sit in someone's sketchbook. It's meant to be out there in the world, telling the story of the University of California. And right or wrong, the people connected to the university still feel like they have a say in the matter. It's hard to say what the ultimate effect of this whole fiasco will be. I think institutions like the University of California, which tend to be pretty change-averse anyway, will be more gun-shy about pushing new designs and new ideas forward. If that comes to pass, that will be a real shame. I hope the people who really dislike the logo, at least the thoughtful ones, would also not want to see that happen. But I also don't want designers to circle the wagons and claim that no design can be criticized unless the person with an opinion knows the full backstory of the design process. It was derided by everyone, everywhere. I think it speaks well of his character that Christopher regrets that, but I don't know if he should. He cared and he commented fundamentally because these things matter to him. On one level, it's great that the public is engaged and passionate about design."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000384.mp3": {
        "gt": "BEHIND THE LARGE PHOENIX   THE BACKGROUND IS MAINLY WHITE  IRON IN WAR   PLUS   AND THIS IS THE BIG PROBLEM   IT SAYS SAN FRANCISCO ACROSS THE BOTTOM   IF YOU NEED TO WRITE THE NAME OF WHAT YOU'RE REPRESENTING ON YOUR FLAG  YOUR SYMBOLISM HAS FAILED UNITED STATES FLAG DOESN'T SAY USA ACROSS THE FRONT   BUT THE GOOD NEWS IS  SO MAYBE WE CAN BLAME THIS ALL ON OUR CAPITAL CITY   SACRAMENTO  WHICH IS AWESOME   BECAUSE I LOVE BLAMING SACRAMENTO FOR THINGS I LIKE TO SAY THAT IN EVERY BAD FLAG   THERE'S A GOOD FLAG TRYING TO GET OUT  SEE   IT'S NOT JUST ME  \n",
        "transcription_base": " Behind the large phoenix, the background is mainly white, iron in war. Plus, and this is the big problem, it's a San Francisco across the bottom. If you need to write the name of what you're representing on your flag, your symbolism has failed. United States flag doesn't say USA across the front, but the good news is, so maybe we can blame this all on our capital city Sacramento, which is awesome because I love Plain means Sacramento for things. I like to say that in every bad flag there's a good flag trying to get out. This is not just me.",
        "transcription_medium": " Behind the large Phoenix, the background is mainly white, iron in war. Plus, and this is the big problem, it says San Francisco across the bottom. If you need to write the name of what you're representing on your flag, your symbolism has failed. The United States flag doesn't say USA across the front, but the good news is, so maybe we can blame this all on our capital city, Sacramento. Which is awesome because I love blaming Sacramento for things. I like to say that in every bad flag there's a good flag trying to get out. See, it's not just me.",
        "transcription_large_v3": " Behind the large phoenix, the background is mainly white. Iron in war. Plus, and this is the big problem, it says San Francisco across the bottom. If you need to write the name of what you're representing on your flag, your symbolism has failed. The United States flag doesn't say USA across the front. But the good news is, so maybe we can blame this all on our capital city, Sacramento. Which is awesome, because I love blaming Sacramento for things. I like to say that in every bad flag, there's a good flag trying to get out. See, it's not just me."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000400.mp3": {
        "gt": "WHETHER THEY DESIGNED THEM OR NOT  IT'S STILL USED EVERYWHERE AND IT'S CONSIDERED ONE OF THE FIRST OF ITS KIND IN THE U S  CHASE NATIONAL BANK AND THE BANK OF THE MANHATTAN COMPANY  AND THEY HAD A LOGO WHICH FEATURED A MAP OF THE UNITED STATES   A GLOBE OF THE WORLD  THE WORDING CHASE MANHATTAN BANK AND A FEW OTHER THINGS  AND THEY WERE IN THE PROCESS OF BUILDING THE FIRST MODERN SKYSCRAPER IN THE WALL STREET AREA BECAUSE A LOT OF THE FINANCIAL FIRMS WERE MOVING UP TO MIDTOWN AT THAT POINT DAVID ROCKEFELLER WAS IN CHARGE OF THAT PROCESS THOUGH HE WAS ONLY THIRD IN COMMAND AT THE TIME AT THE BANK  AND WE DISCUSSED WITH HIM THE IDEA OF MAYBE WE COULD JUST DO SOMETHING ABSTRACT BECAUSE NO ONE HAD ANY IDEA OF A SYMBOL OF BANKINGLARGEST BANK IN THE COUNTRY   THEY HAD ADVERTISING IN THE NEWSPAPERS EVERY DAY  CERTAINLY AROUND THE NEW YORK METROPOLITAN AREA YOU COULDN'T MISS THEIR BRANCHES   THEY WERE EVERYWHERE   SO THE IDEA THAT YOU COULD ESTABLISH SOMETHING RELATIVELY ABSTRACT AS THEIR MARK  MUCH AS THE RED CROSS OR MERCEDES  BUT NOT MANY AT ALL  AND THAT WAS THE IDEA ANYHOW   THAT WE COULD DO THAT   ESTABLISH SOMETHING THAT WAS BOLD AND THAT WOULD BE RECOGNIZED AS REPRESENTING THE BANK RIGHT  DAVID ROCKEFELLER CERTAINLY WENT ALONG WITH THIS IDEA  CHAMPION SAID   WELL   WHY CAN'T WE JUST HAVE A PICTURE OF THE BUILDING  AND THEN MCCLOY EVENTUALLY SAID  I THINK SIX MONTHS LATER THAT WE WERE DOWN THERE AND RAN INTO MCCLOY IN THE HALLWAY  WITH A PIN IN HIS LAPEL WITH A SYMBOL ON IT  THEY WILL ALMOST INEVITABLY MENTION COMPANIES OR INSTITUTIONS OR WHATEVER THAT THEY THINK HIGHLY OF  SO THEY'LL OFTEN SAY APPLE AND THEY'LL SAY NIKE AND OTHERS THAT THEY THINK HIGHLY OF  THEY'LL ALMOST NEVER SAY ENRON FOR EXAMPLE  THE WAY CBS IS   THE COLUMBIA BROADCASTING SYSTEM AND SO ON  AND THE IDEA WAS COULD WE DO SOMETHING THAT MAKES IT CLEAR THAT IT'S PUBLIC TELEVISION  NOT SOME KIND OF A NETWORKTURN AROUND  THAT IT WAS PUBLIC TV  AND WE OFTEN HAVE A FAVORITE   WHICH WE TRY TO PUSH IF WE HAVE  A GAMESMANSHIP IN THIS AT ALL  AND THAT'S WHAT WE TRY TO SHOW WHEN WE'RE SHOWING DESIGNS TO BE MARKS  WELL   IT IS A COINCIDENCE   BUT IT HAPPENS TO HAVE WORKED VERY MUCH IN OUR FAVOR BECAUSE WE'VE ALWAYS TRIED TO DO THINGS THAT ARE VERY CLEAR   VERY SIMPLE  YOU KNOW IT ACTUALLY HASN'T CHANGED THAT MUCH   AT LEAST OUR APPROACH TO IT HASN'T CHANGED THAT MUCH  AND WE HAVE THREE CRITERIA REALLY   WHICH ARE THE BASIC CRITERIA  YOU WOULD DO SOMETHING FOR A SPORTS TEAM THAT WOULD BE QUITE DIFFERENT FOR SOMETHING YOU WOULD DO FOR A BANK   FOR EXAMPLE  MAYBE YOU CAN DOODLE ITSO IF IT CAN MEET THOSE THREE CRITERIA  WELL   IT DOESN'T HAVE TO BE AN EMPTY VESSEL AT ALL   IT DOESN'T HAVE TO BE ABSTRACT  I MEAN   IF THERE IS SOMETHINGMAKING ABSTRACT MARKS   BUT IT DIDN'T NECESSARILY MAKE SENSE BECAUSE THEY DIDN'T HAVE ANYTHING LIKE THE EXPOSUREAND SO WE'RE EVEN TRYING TO REPRESENT THAT   OBVIOUSLY FISH AND WATER ARE KEY PART OF ALL OF THEM  WE'VE BEEN DOING A LOT OF WORK FOR A LOT OF TECHNOLOGY COMPANIES RECENTLY   ANDWHEN A COMPANY DESCRIBES WHAT THEY DO THAT IS A KEY INTO YOUR PROCESS OF BEGINNING TO DESIGN SOMETHING FOR THEM   OR IS IT JUST DIFFERENT EVERY TIME  WELL   WE GO THROUGH A WHOLE PROCESS OF TRYING TO INTERVIEW A LOT OF PEOPLE  REALLY TRYING TO UNDERSTAND THE CULTURE AND WHAT THEY DO OBVIOUSLY  SO WE TRY NOT TO SHOW ANYTHING TO A CLIENT THAT HASN'T AT LEAST PAST THE INITIAL   WHAT THEY CALL A KNOCKOUT SEARCH  OH SURE  AND SO THEN THERE'S THAT DECISION  WELL   OUR USUAL RECOMMENDATION IS DON'T SAY A WORD  JUST DO IT  WHICH FROM OUR POINT OF VIEW IS CERTAINLY A POSITIVE THING   IS PART OF THAT  \n",
        "transcription_base": " whether they designed them or not. It's still used everywhere and it's considered one of the first of its kind in the U.S. Chase National Bank and the Bank of the Manhattan Company. And they had a logo which featured a map of the United States, a globe of the world, the wording, Chase Manhattan Bank, and a few other things. And they were in the process of building the first modern skyscraper in the Wall Street area because a lot of the financial firms were moving up to Midtown at that point. David Rockefeller was in charge of that process, though he was only third in command at the time at the bank. And we discussed with him the idea of maybe we could just do something abstract because no one had any idea of a symbol of banking, largest bank in the country. They had advertising in the newspapers every day, certainly around the New York metropolitan area you couldn't miss their branches they were everywhere. So the idea that you could establish something relatively abstract as their mark much as the Red Cross or Mercedes but not many at all. And that was the idea. Anyhow, we could do that to establish something that was bold and that would be recognized as representing the bank. Right. David Rockefeller certainly went along with this idea. Champion said, well, why can't we just have a picture of the building? And then McCloy eventually said, I think six months later that we were down there and ran into McCloy in the hallway with a pin in his lapel with a symbol on it, they will almost inevitably mention companies or institutions or whatever that they think highly of. So they'll often say Apple and they'll say Nike and others that they think highly of. They'll almost never say Enron, for example, the way CBS is the Columbia broadcasting system and so on. And the idea was, could we do something that makes it clearer that it's public television, not some kind of network? Turn around that it was public TV. And we often have a favorite, which we try to push, if we can. a gavesmanship in this at all. And that's what we try to show when we're showing designs, to be Marx. Well, it is a coincidence, but it happens to have worked very much in our favor, because we've always tried to do things that are very clear, very simple. You know, it actually hasn't changed that much. At least our approach to it hasn't changed that much. And we have three criteria, really, which are the basic criteria. You would do something for a sports team that would be quite different for something you do for a bank, for example. Maybe you can do it. So if it can meet those three criteria, well, it doesn't have to be an empty vessel at all. It doesn't have to be abstract. I mean, if there is something making abstract marks, but it didn't necessarily make sense because they didn't have anything like the exposure. And so we're even trying to represent that. Obviously fish and water are the key part of all of them. We've been doing a lot of work for a lot of technology companies recently and the company describes what they do. That is a key into your process of beginning to design something for them or is it just different every time. Well, we go through a whole process of trying to interview a lot of people really trying to understand the culture. And what they do obviously so we try not to show anything. to a client that hasn't at least passed the initial, what they call a knockout search. Oh sure. And so then there's that decision. Well, our usual recommendation is don't say a word. Just do it. Which from our point of view, is certainly a positive thing, is part of that.",
        "transcription_medium": " whether they design them or not. It's still used everywhere and is considered one of the first of its kind in the U.S. Chase National Bank and the Bank of the Manhattan Company. And they had a logo which featured a map of the United States, a globe of the world, the wording Chase Manhattan Bank and a few other things. And they were in the process of building the first modern skyscraper in in the Wall Street area because a lot of the financial firms were moving up to midtown at that point. David Rockefeller was in charge of that process, though he was only third in command at the time at the bank. We discussed with him the idea of maybe we could just do something abstract because no one had any idea of a symbol of banking. Largest bank in the country, they had advertising in the newspapers every day, certainly around the New York metropolitan area, you couldn't miss their branches. They were everywhere. So the idea that you could establish something relatively abstract as their mark, much as the Red Cross or Mercedes, but not many at all. And that was the idea anyhow, that we could do that, establish something that was bold and that would be recognized as representing the bank. Right. David Rockefeller certainly went along with this idea. Champion said, well, why can't we just have a picture of the building? And then McCloy eventually said, I think six months later that we were down there and ran into McCloy in the hallway with a pin in his lapel with a symbol on it. They will almost inevitably mention companies or institutions or whatever that they think highly of. So they'll often say Apple and they'll say Nike and others that they think highly of. They'll almost never say Enron, for example, the way CBS is the Columbia broadcasting system and so on. And the idea was, could we do something that makes it clear that it's public television, not some kind of network? Turn around that it was public TV. And we often have a favorite, which we try to push if we can. A gamesmanship in this at all? And that's what we try to show when we're showing designs to be marks. Well it is a coincidence, but it happens to have worked very much in our favor because we've always tried to do things that are very clear, very simple. You know, it actually hasn't changed that much. At least our approach to it hasn't changed that much. And we have three criteria really, which are the basic criteria. You would do something for a sports team that would be quite different for something you would do for a bank, for example. Maybe you can doodle it. So if it can meet those three criteria, well, it doesn't have to be an empty vessel at all. It doesn't have to be abstract. I mean, if there is something making abstract marks, but it didn't necessarily make sense because they didn't have anything like the exposure. And so we're even trying to represent that. Obviously fish and water are the key part of all of them. We've been doing a lot of work for a lot of technology companies recently. The company describes what they do that is a key into your process of beginning to design something for them or is it just different every time? Well, we go through a whole process of trying to interview a lot of people, really trying to understand the culture and what they do, obviously. So we try not to show anything to a client that hasn't at least passed the initial, what they call a knockout search. Oh, sure. And so then there's that decision, well, our usual recommendation is don't say a word, just do it. Which from our point of view is certainly a positive thing, is part of that.",
        "transcription_large_v3": " whether they design them or not. It's still used everywhere, and it's considered one of the first of its kind in the U.S. Chase National Bank and the Bank of the Manhattan Company. And they had a logo which featured a map of the United States, a globe of the world, the wording Chase Manhattan Bank, and a few other things. And they were in the process of building the first modern skyscraper in the Wall Street area because a lot of the financial firms were moving up to midtown at that point. David Rockefeller was in charge of that process, though he was only third in command at the time at the bank. And we discussed with him the idea of maybe we could just do something abstract because no one had any idea of a symbol of banking. Largest bank in the country, they had advertising in the newspapers every day. Certainly around the New York metropolitan area, you couldn't miss their branches. They were everywhere. So the idea that you could establish something relatively abstract as their mark, much as the Red Cross or Mercedes, but not many at all. And that was the idea, anyhow, that we could do that, establish something that was bold and that would be recognized as representing the bank. David Rockefeller certainly went along with this idea. Champion said, well, why can't we just have a picture of the building? And then McCloy eventually said, I think six months later that we were down there and ran into McCloy in the hallway with a pin in his lapel with a symbol on it, they will almost inevitably mention companies or institutions or whatever that they think highly of. So they'll often say Apple and they'll say Nike and others that they think highly of. They'll almost never say Enron, for example, the way CBS is the Columbia Broadcasting System and so on. And the idea was, could we do something that makes it clear that it's public television, not some kind of network? Turn around that it was public TV. And we often have a favorite, which we try to push if we can. A gamesmanship in this at all? And that's what we try to show when we're showing designs to be marks. Well, it is a coincidence, but it happens to have worked very much in our favor because we've always tried to do things that are very clear, very simple. You know, it actually hasn't changed that much. At least our approach to it hasn't changed that much. And we have three criteria, really, which are the basic criteria. You would do something for a sports team that would be quite different for something you would do for a bank, for example. Maybe you can doodle it. So if it can meet those three criteria, well, it doesn't have to be an empty vessel at all. It doesn't have to be abstract. I mean, if there is something making abstract marks, but it didn't necessarily make sense because they didn't have anything like the exposure. And so we're even trying to represent that. Obviously, fish and water are the key part of all of them. We've been doing a lot of work for a lot of technology companies recently. And the company describes what they do. That is a key into your process of beginning to design something for them. Or is it just different every time? Well, we go through a whole process of trying to interview a lot of people, really trying to understand the culture and what they do, obviously. So we try not to show anything to a client that hasn't at least passed the initial what they call a knockout search. Oh, sure. And so then there's that decision. Well, our usual recommendation is don't say a word. Just do it. Which, from our point of view, is certainly a positive thing, is part of that. Mm-hmm."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000416.mp3": {
        "gt": "HE'S LED SUPPORT GROUPS WITH EARLY ALZHEIMER'S PATIENTS AS WELL AS A WRITING GROUP HE CO-DESIGNED WITH THE NOVELIST DON DELILLO  ALAN DIENSTAG HAS OBSERVED THE EARLY STAGES OF ALZHEIMER'S AS A TIME FOR GIVING MEMORIES AWAY RATHER THAN LOSING THEMI'M GOING TO TELL YOU WHO I AM BEFORE IT'S TOO LATE  I'M KRISTA TIPPETT   AND THIS IS ON BEINGYOU KNOW  THAT KIND OF SET ME OFF ON A TRACK TO WORK WITH PEOPLE WITH ALZHEIMER'S DISEASE   AND FROM THERE  THAT WOULD BEST BE DONE BY THE PEOPLE WHO KNEW THEM BESTRATHER THAN THEIR DOCTORSSO   YOU CAN'T CURE THEM  HOW DO YOU THINK ABOUT YOUR ROLE  WHO ARE COGNIZANT OF WHAT'S HAPPENING  I'M ALSO ENCOURAGING THEM   IN WHATEVER WAY THEY ARE COMFORTABLE WITH  THAT YOU CAN MANAGE IT IN SOME ACTIVE WAY  YOU'VE WRITTEN THAT PREVIOUSLY PRIOR TO THE WRITERS GROUP  I THINK I WAS KIND OF I HAD BLINDERS ON  YEAH   YOU THINK DIFFERENTLY WHEN YOU WRITE YEAH YOU DON'T THINK THE SAME WAY  IF I ASK YOU TO THINK ABOUT SOMETHING JUST IN YOUR HEAD  WHEN YOU WRITE SOMETHING DOWN  THAT WAS ONE OF THOSE THINGS THAT UNTIL I WAS IN THE ROOMAND THEY WOULD WRITE  AND I DID THAT BECAUSE I KNEW THEY'D LOSE IT  OR I WAS AFRAID THEY'D LOSE IT   I THOUGHT THERE WAS CERTAINLY A GOOD CHANCE THEY'D LOSE IT  ANXIETY THAT WAS BEHIND THAT TECHNIQUE   IF YOU WILL  BUT ONCE THAT PATTERN GOT ESTABLISHED   I SAW THAT THERE WAS AN ENACTMENT OF SOMETHING ELSE GOING ON THERE THAT WAS VERY PROFOUND  AND THESE WERE PEOPLE WHO MIGHT COME BACK NEXT WEEK AND NOT REMEMBER WHAT THEY HAD WRITTEN  ABSOLUTELY  ABSOLUTELY   AND IT'S NOT A FORM OF CONTROL THAT YOU CAN TAKE IF I SIT YOU DOWN AND I SAY   WELL   I WANT TO TELL YOU SOMETHING THAT I REMEMBER  YOU KNOW IT'S THERE  YOU CAN TURN IT OVER TO SOMEONE ELSE FOR SAFEKEEPING  TODAY EXPLORING THE HUMAN AND SPIRITUAL TERRAIN OF ALZHEIMER'S DISEASE WITH PSYCHOLOGIST ALAN DIENSTAGI SUPPOSE THE EARLY STAGES  AND THEN THE MAN NAMED SAUL WHO SAID  AND HE CONTINUED IN THAT WAY   HE HAD THAT SPIRIT   ABSOLUTELY  YEAH   BUT THEY WERE SO HAPPY   AND THEY ARE SO HAPPY TO FIND ONE ANOTHER  AND   AGAIN   THAT'S THE ONLY WAY TO BREAK THROUGH THE ISOLATION  AND THEIR FAMILY MEMBERS CAN'T GIVE IT TO THEM  THAT'S SO IMPORTANT BECAUSE ISOLATION ISTHEY REALLY NEED THATI THINK THAT SOME PEOPLE   BUT CERTAINLY NOT ALL  THE GENTLENESS   THE KINDNESS   THE JOY THAT WAS ALWAYS AT THE HEART OF MY MOTHER IS NOW THERE   AND IT'S A BEAUTIFUL THING EVEN AS IT'S HARD  YEAH  BUT IT'S HARD   IT'S HARD BECAUSE THERE ARE TIMES WHEN YOU LOOK AND YOU JUST DON'T SEE YOU CAN'T FIND ANYTHING  SO WHERE IS THE PERSON  SOMEBODY TOOK HIM OUT OF THERE  AND THAT'S HER EXPERIENCE WITH HER HUSBAND NOW  IS SOMETHING THAT STAYED WITH HER MOTHERFEELING IS THERE  IT'S THERE  I WOULD GO EVEN A LITTLE BIT FARTHER THAN THAT  THERE ARE FLASHES  THERE ARE MOMENTS THAT I'VE HAD  WHERE THERE'S WISDOMTHAT IS APPARENT  HER HUSBAND   WHO WAS JUST EXTRAORDINARILY DEVOTED TO HER   REALLY WANTED HER TO MAINTAIN HER CONNECTION WITH ME  AND SHE SMILED  THERE'S SOME KIND OF MUSIC THAT LIVES THERE  ANSWER  NOT A SUMMER HAS GONE BY THAT I HAVEN'T THOUGHT OF THAT AT SOME MOMENT AT SOME BEACH  SO TO ME   THAT'S LIKE A PRAYER  SO THAT'S IN THERE TOO  YOU CAN LISTEN AGAIN AND SHARE THIS CONVERSATION WITH ALAN DIENSTAG THROUGH OUR WEBSITE  I'M KRISTA TIPPETT  ON BEING CONTINUES IN A MOMENTWHAT IT REVEALS ABOUT THE NATURE OF MEMORY AND IDENTITY  WHILE I WAS STUDYING THEOLOGY   I SPENT EIGHTEEN MONTHS DOING FIELDWORK AS A CHAPLAIN ON AN ALZHEIMER'S AND DEMENTIA FLOOR OF A HOME AND HOSPITAL FOR THE ELDERLY  MY GUEST   ALAN DIENSTAG   IS A NEW YORK-BASED PSYCHOLOGIST  HE WAS AN EARLY PRACTITIONER TO INTEGRATE SUPPORT GROUPS INTO HIS WORK WITH ALZHEIMER'S PATIENTS  SOMETHING YOU WROTEAND YOU NOTE THAT'S TRUE FOR ALL OF US   AND YOU WROTE WATCHING THE GROUP MEMBERS IN THEIR STRUGGLE TO REMEMBER RIGHT AND READ THEIR WORK IS A MOVING EXPERIENCE ON MANY LEVELS  ONE OF THESE IS SURELY OUR AWARENESS THAT THE PICTURE IS FADING ALONG WITH THE SPARKS OF RECOGNITION  THIS AWARENESS LENDS A POIGNANCY AND TRIUMPH TO THE WORK WITH WHICH ONE CAN IDENTIFY   WE ALL KNOW WHAT FADING IS LIKE   AND WE ALL KNOW THAT OUR FATE IS NOT SO DIFFERENT FROM THEIRS  THE TRIUMPH IS TEMPORARY   IT IS OF THIS MOMENT   BUT IT'S THE TRIUMPH OF LIFE OVER DEATH  AND THE MOMENT THAT THEY WERE IN WITH SUCH THAT IT HAS THIS KIND OF RESONANCE THAT FEELS FAMILIAR TO ALL OF US ON SOME DEEP LEVEL  WE'RE GOING TO RUN OUT OF IT   AND WHEN YOU WATCH THESE PEOPLE   YOU SEE PEOPLE WHO ARE RUNNING OUT OF TIME  I'M GOING TO TELL YOU WHO I AM BEFORE IT'S TOO LATE  NO ONE KNEW WHAT THEY KNEW HERE IN THE LAST CLEAR MINUTE BEFORE IT ALL CLOSED DOWN  IT'S REMARKABLE HOW IT READSTHERE IS BODY MEMORY THAT I THINK WE'RE LEARNING MORE ABOUT IN THE TWENTY FIRST CENTURY EVEN THAN WE KNEW A COUPLE OF YEARS AGO  AND SHE WOULD BE SO SAD AND WITHDRAWN WHEN I ARRIVED   SITTING IN THAT COMMON ROOM  SHE WAS DELIGHTEDIT'S STILL WITH US  AND HERE WE ARE  WHAT WOULD BE YOUR REACTION  I THINK THAT'S WHERE I'D BEAT THE OUTSET OF IT WOULD THAT BE VERY DIFFERENT FROM HOW YOU WOULD'VE REACTED IF YOU HADN'T DONE ALL THIS WORK   YEAH   I DON'T THINK I'M AS SCARED OF IT   ACTUALLY   AS I USED TO BE  I'M NOT SCARED OF IT   I DON'T THINK  YOU DO HEAR ABOUT HOW THIS IS THE DISEASE THAT PEOPLE IN THE UNITED STATES ARE MORE SCARED OF THAN ANYTHING ELSE   THIS IS WHAT NO ONE WANTS TO HAPPEN TO THEM YEAH BUT YOU DON'T FEEL THAT WAY  IT'S TRAGIC  FOR THE PEOPLE WHO GO THROUGH IT  THEY'RE NOT GENERALLY AWARE OF IT ON THIS LEVEL  SITTING BEHIND HIM   WAS HIS WIFE  SOME PEOPLE CALL THIS A DEMISE OF CONSCIOUSNESS  YOU CAN'T HELP BUT RECOGNIZEWHAT A MIRACLE IT IS  THIS MIND THAT WE HAVE  THIS CONVERSATION THAT YOU AND I ARE HAVING  I REALIZE HOW UNGRATEFUL WE ARE  WE DON'T NOTICE IT  BUT FROM MOMENT TO MOMENT  IT'S NOT JUST THE AWE-INSPIRING BEAUTIFUL THINGS  ALL OF IT  ALL OF IT  THAT'S OK  I DO REMEMBER HOW STRIKING IT WAS AND I'VE SINCE READ OTHER ACCOUNTS OF THIS WHEN I WAS WORKING ON THE ALZHEIMER'S FLOOR HOW PEOPLE WHO COULD NOT STRING A SENTENCE TOGETHER   I MEAN   WHO MAYBE DIDN'T EVEN EVER TALK  IT GETS PULLED TOGETHERI WAS WORKING WITH A WOMAN WHOSE HUSBAND WAS IN A NURSING HOME   ANDWHAT STARTED TO HAPPEN WAS THAT SHE WOULD GO AND SEE HIM   AND THE FIRST THING SHE WOULD SAY WAS   DO YOU REMEMBER WHO I AM  I DON'T KNOW WHO YOU ARE  BUT I LOVE YOU  AND I THOUGHT  DOES THE RECOGNITION ENDURE  THAT YOU CAN HOLD ONTO THATSO THAT ONE HAS STAYED WITH ME   I MEAN   SOME OF THESE THINGS JUST FEEL TO ME LIKE PRINCIPLES FOR LIVING A GOOD LIFE  IN CLOSING   HERE ARE SOME LINES FROM THE POET SEAN NEVIN  WHO HAS ALSO LED WRITING GROUPS WITH ALZHEIMER'S PATIENTS AND LIVED THROUGH HIS OWN GRANDFATHER'S STRUGGLE WITH THIS DISEASE  THIS IS AN EXCERPT FROM HIS COLLECTION OF POETRY ABOUT THOSE EXPERIENCES  OBLIVIO GATESOLOMON  YOU CAN READ THE TEXT OF SEAN NEVIN'S POEM  YOU CAN ALSO STREAM IT ON YOUR PHONE THROUGH OUR IPHONE AND ANDROID APPS OR ON OUR FABULOUS NEW TABLET APPA CATALYST FOR EMPOWERED   HEALTHY   AND FULFILLED LIVES OUR CORPORATE SPONSOR IS MUTUAL OF AMERICA  MUTUAL OF AMERICA IS COMMITTED TO PROVIDING QUALITY PRODUCTS AND SERVICES TO HELP YOU BUILD AND PRESERVE ASSETS FOR A FINANCIALLY SECURE FUTURE\n",
        "transcription_base": " He's led support groups with early Alzheimer's patients, as well as a writing group he co-designed with the novelist Don Delilo. Alan Deanstagg has observed the early stages of Alzheimer's as a time for giving memories away rather than losing them. I'm going to tell you who I am before it's too late. I'm Christa Tippett and this is on being. You know that kind of sent me off on the track to work with people with Alzheimer's disease and from there. That would best be done by the people who knew them best rather than their doctors. So you can't cure them. How do you think about your role? Who are cognizant of what's happening. I'm also encouraging them in whatever way they are comfortable with that you can manage it in some active way. You've written that previously prior to the writers group. I think I was kind of, I had blinders on. Yeah, you think differently when you're right. You don't think the same way. If I ask you to think about something just in your head. When you write something down. That was one of those things that until I was in the room and they would write and I did that because I knew they'd lose it or I was afraid they'd lose it. I thought there was certainly a good chance they'd lose it. Anxiety that was behind that technique, if you will. But once that pattern got established, I saw that there was an enactment of something else going on there that was very profound. And these were people who might come back next week and not remember what they had written. Absolutely. Absolutely. And it's not a form of control that you can take if I sit you down and I say, well, I want to tell you something that I remember. You know it's there. You can turn it over to someone else for safekeeping. Today exploring the human and spiritual terrain of Alzheimer's disease with psychologist Alantine Steg. I suppose they're early stages. And then the man named Saul, he said, and he continued in that way and he had that spirit. Absolutely. Yeah, but they were so happy and they are so happy to find one another. And again, that's the only way to break through the isolation and their family members can't give it to them. That's so important because isolation is, they really need that. I think that some people, but certainly not all, the gentleness, the kindness, the joy that was always at the heart of my mother is now there, and it's a beautiful thing, even as it's hard. Yeah, but it's hard. It's hard because there are times when you look and you just don't see, you can't find anything. So where is the person? Somebody took him out of there, and that's her experience with her husband now. Is something that stayed with her mother? feeling is there. It's there. I would go even a little bit farther than that. There are flashes. There are moments that I've had where there's wisdom that is apparent. Her husband who was just extraordinarily devoted to her really wanted her to maintain her connection with me. And she smiled. There's some kind of music that lives there. Answer. Not a summer has gone by that I haven't thought of that at some moment, at some beach. So to me, that's like a prayer. So that's in there, too. You can listen again and share this conversation with Alan Dean's DAG through our website. I'm Krista Tippett on being continues in a moment. What it reveals about the nature of memory and identity While I was studying theology, I spent 18 months doing field work as a chaplain on an Alzheimer's and dementia floor of a home and hospital for the elderly. My guest, Alan Deansteg, is a New York-based psychologist. He was an early practitioner to integrate support groups into his work with Alzheimer's patients. Something you wrote, and you note that's true for all of us, and you wrote, watching the group members in their struggle to remember, write, and read their work, is a moving experience on many levels. One of these is surely our awareness that the picture is fading along with the sparks of recognition. This awareness lends a poignancy and triumph to the work with which one can identify. We all know what fading is like, and we all know that our fate is not so different from theirs. The triumph is temporary, it is of this moment, but it's the triumph of life over death. And the moment that they were in was such that it has this kind of resonance that feels familiar to all of us on some deep level. We're going to run out of it. And when you watch these people, you see people who are running out of time. I'm going to tell you who I am before it's too late. No one knew what they knew here in the last clear minute before it all closed down. It's remarkable how it reads. There is body memory that I think we're learning more about in the the 21st century, even then we knew a couple of years ago. And she would be so sad and withdrawn when I arrived sitting in that common room. She was delighted. It's still with us. And here we are. What would be your reaction? I think that's where I'd be at the outset of it. Would it be very different from how you would have reacted if you hadn't done all this work? Yeah. I don't think I'm as scared of it actually as I used to be. I'm not scared of it. I don't think. If you do hear about how this is the disease that people in the United States are more scared of than anything else, this is what no one wants to happen to them. Yeah. But you don't feel that way. It's tragic. For the people who go through it, they're not generally aware of it on this level, sitting behind him with his wife. Some people call this a demise of consciousness. You can't help but recognize. But a miracle it is, this mind that we have, this conversation that you and I are having. I realize how ungrateful we are. We don't notice it. But from moment to moment, it's not just the awe-inspiring, beautiful things. All of it, all of it. That's okay. I do remember how striking it was, and I've since read other accounts of this when I was working on the Alzheimer's floor have people who could not string a sentence together. I mean, you maybe didn't even ever talk. It gets pulled together. I was working with a woman whose husband was in a nursing home and what started to happen was that she would go and see him and the first thing she would say was do you remember who I am? I don't know who you are but I love you and I thought Does the recognition endure that you can hold onto that? So that one has statements to me. I mean, some of these things just feel to me like principles for living a good life. In closing, here are some lines from the poet, Sean Nevin, who's also led writing groups with Alzheimer's patients and lived through his own grandfather's struggle with this disease. This is an excerpt from his collection of poetry about those experiences, oblivio, gait, Solomon. You can read the text of Sean Nevin's poem. You can also stream it on your phone through our iPhone and Android apps or on our fabulous new tablet app. A catalyst for empowered, healthy, and fulfilled lives. Our corporate sponsor is Mutual of America. Mutual of America is committed to providing quality products and services to help you build and preserve assets for a financially secure future.",
        "transcription_medium": " He's led support groups with early Alzheimer's patients, as well as a writing group he co-designed with the novelist Don DeLillo. Alan Dean-Stagg has observed the early stages of Alzheimer's as a time for giving memories away rather than losing them. I'm gonna tell you who I am before it's too late. I'm Krista Tippett, and this is on Being. You know, that kind of set me off on the track to work with people with Alzheimer's disease, and from there. That would best be done by the people who knew them best. rather than their doctors. So you can't cure them. How do you think about your role? Who are cognizant of what's happening. I'm also encouraging them in whatever way they are comfortable with that you can manage it in some active way. You've written that previously prior to the writers group. I think I was kind of uh I had blinders on. Yeah you think differently when you write. Yeah, you don't think the same way if I ask you to think about something just in your head when you write something down That was one of those things that until I was in the room and they would write and I did that because I knew they'd lose It or I was afraid they'd lose it. I thought there's certainly a good chance. They'd lose it anxiety that was behind that technique if you will, but once That pattern got established. I saw that there was an enactment of something else going on there that was very profound and these were people who might come back next week and not remember what they had written. Absolutely, absolutely. And it's not a form of control that you can take if I sit you down and I say, well, I want to tell you something that I remember. You know it's there. You can turn it over to someone else for safekeeping. Today exploring the human and spiritual terrain of Alzheimer's disease with psychologist Alan Dean's Deck. I suppose they're early stages and then the man named Saul who said... And he continued in that way. He had that spirit, absolutely. Yeah, but they were so happy and they are so happy to find one another. And again, that's the only way to break through the isolation and their family members can't give it to them. That's so important because isolation is, they really need that. I think that some people, but certainly not all, the gentleness, the kindness, the joy that was always at the heart of my mother is now there and it's a beautiful thing even as it's hard. Yeah, but it's hard. It's hard because there are times when you look and you just don't see, you can't find anything. So where is the person? somebody took him out of there and that's her experience with her husband now. Is something that stayed with her mother? Feeling is there. It's there. I would go even a little bit farther than that. There are flashes, there are moments that I've had where there's wisdom that is apparent. Her husband who is just extraordinarily devoted to her really wanted her to maintain her connection with me and she smiled. There's some kind of music that lives there. Answer. Not a summer has gone by that I haven't thought of that at some moment at some beach. So to me that's like a prayer. So that's in there too. You can listen again and share this conversation with Alan Dean's Dag through our website. I'm Krista Tippett on Being Continues in a moment. What it reveals about the nature of memory and identity. While I was studying theology, I spent 18 months doing field work as a chaplain on an Alzheimer's and dementia floor of a home and hospital for the elderly. My guest Alan Dienstag is a New York-based psychologist. He was an early practitioner to integrate support groups into his work with Alzheimer's patients. Something you wrote, and you note that's true for all of us, and you wrote, watching the group members in their struggle to remember, write, and read their work is a moving experience on many levels. One of these is surely our awareness that the picture is fading along with the sparks of recognition. This awareness lends a poignancy and triumph to the work with which one can identify. We all know what fading is like and we all know that our fate is not so different from theirs. The triumph is temporary, it is of this moment, but it's the triumph of life over death. And the moment that they were in was such that it has this kind of resonance that feels familiar to all of us on some deep level. We're going to run out of it. And when you watch these people, you see people who are running out of time. I'm going to tell you who I am before it's too late. No one knew what they knew here in the last clear minute before it all closed down. It's remarkable how it reads. There is body memory that I think we're learning more about in the 21st century even than we knew a couple years ago and she would be so sad and withdrawn when I arrived sitting in that common room. She was delighted. It's still with us and here we are. What would be your reaction? I think that's where I'd be at the outset of it. Would it be very different all this work? Yeah, I don't think I'm as scared of it actually as I used to be. I'm not scared of it, I don't think. You do hear about how this is the disease that people in the United States are more scared of than anything else. This is what no one wants to happen to them. Yeah. But you don't feel that way. It's tragic. For the people who go through it, they're not generally aware of it on this level, sitting behind him with his consciousness. You can't help but recognize what a miracle it is, this mind that we have, this conversation that you and I are having. I realize how ungrateful we are. We don't notice it, but from moment to moment, it's not just the awe-inspiring, beautiful things, all of it, all of it. That's okay. I do remember how striking it was, and I've since read other accounts of this when I was working on the Alzheimer's floor, how people who could not string a sentence together, I mean, who maybe didn't even ever talk. It gets pulled together. I was working with a woman whose husband was in a nursing home and what started to happen was that she would go and see him and the first thing she would say was, do you remember who I am? I don't know who you are but I I love you.\" And I thought, does the recognition endure that you can hold on to that? So that one has stayed with me. I mean, some of these things just feel to me like principles for living a good life. In closing, here are some lines from the poet Sean Nevin, who's also led writing groups with Alzheimer's patients and lived through his own grandfather's struggle with this disease. This is an excerpt from his collection of poetry about those experiences, Oblivio Gate. Solomon? You can read the text of Sean Nevin's poem. You can also stream it on your phone through our iPhone and Android apps or on our fabulous new tablet app. A catalyst for empowered, healthy and fulfilled lives. Our corporate sponsor is Mutual of America. Mutual of America is committed to providing quality products and services to help you build and preserve assets for a financially secure future.",
        "transcription_large_v3": " He's led support groups with early Alzheimer's patients, as well as a writing group he co-designed with the novelist Don DeLillo. Alan Dean Stagg has observed the early stages of Alzheimer's as a time for giving memories away rather than losing them. I'm going to tell you who I am before it's too late. I'm Krista Tippett, and this is On Being. You know, that kind of set me off on the track to work with people with Alzheimer's disease. And from there... That would best be done by the people who knew them best. rather than their doctors. So you can't cure them. How do you think about your role? Who are cognizant of what's happening. I'm also encouraging them in whatever way they are comfortable with, that you can manage it in some active way. You've written that previously, prior to the writers group. I think I was kind of, I had blinders on. Yeah, you think differently when you write. You don't think the same way. If I ask you to think about something just in your head. When you write something down. That was one of those things that until I was in the room and they would write, and I did that because I knew they'd lose it or I was afraid they'd lose it. I thought there was certainly a good chance they'd lose it. Anxiety that was behind that technique, if you will. But once that pattern got established, I saw that there was an enactment of something else going on there that was very profound. And these were people who might come back next week and not remember what they had written. Absolutely. Absolutely. And it's not a form of control that you can take. If I sit you down and I say, well, I want to tell you something that I remember. You know it's there. You can turn it over to someone else for safekeeping. Today, exploring the human and spiritual terrain of Alzheimer's disease with psychologist Alan Dienstag. I suppose the early stages. And then the man named Saul who said... The gentleness, the kindness, the joy that was always at the heart of my mother is now there. And it's a beautiful thing, even as it's hard. Yeah, but it's hard. It's hard because there are times when you look and you just don't see. You can't find anything. So where is the person? Somebody took him out of there. And that's her experience with her husband now. Is something that stayed with her mother? Feeling is there. It's there. I would go even a little bit farther than that. There are flashes, there are moments that I've had where there's wisdom that is apparent. Her husband, who was just extraordinarily devoted to her, really wanted her to maintain her connection with me. And she smiled. There's some kind of music that lives there. Answer. Not a summer has gone by that I haven't thought of that at some moment, at some beach. So to me, that's like a prayer. So that's in there, too. You can listen again and share this conversation with Alan Dean Stagg through our website. I'm Krista Tippett. On Being continues in a moment. What it reveals about the nature of memory and identity. While I was studying theology, I spent 18 months doing fieldwork as a chaplain on an Alzheimer's and dementia floor of a home and hospital for the elderly. My guest, Alan Dienstag, is a New York-based psychologist. He was an early practitioner to integrate support groups into his work with Alzheimer's patients. Something you wrote, and you note that's true for all of us, and you wrote, watching the group members in their struggle to remember, write, and read their work is a moving experience on many levels. One of these is surely our awareness that the picture is fading along with the sparks of recognition. This awareness lends a poignancy and triumph to the work with which one can identify. We all know what fading is like, and we all know that our fate is not so different from theirs. The triumph is temporary. It is of this moment, but it's the triumph of life over death. And the moment that they were in was such that it has this kind of resonance that feels familiar to all of us on some deep level. We're going to run out of it. And when you watch these people, you see people who are running out of time. I'm gonna tell you who I am before it's too late. No one knew what they knew here in the last clear minute before it all closed down. It's remarkable how it reads. There is body memory that I think we're learning more about in the 21st century even though we knew a couple years ago and she would be so sad and withdrawn when I arrived sitting in that common room. She was delighted. It's still with us and here we are. What would be your reaction? I think that's where I'd be at the outset of it. Would that be very different from how you would have reacted if you hadn't done all this work? Yeah, I don't think I'm as scared of it, actually, as I used to be. I'm not scared of it, I don't think. You do hear about how this is the disease that people in the United States are more scared of than anything else. This is what no one wants to happen to them. Yeah. But you don't feel that way. It's tragic. For the people who go through it, they're not generally aware of it on this level. Sitting behind him was his wife. Some people call this a demise of consciousness. You can't help but recognize what a miracle it is, this mind that we have, this conversation that you and I are having. I realize how ungrateful we are. We don't notice it. But from moment to moment, it's not just the awe-inspiring, beautiful things. All of it. All of it. That's okay. I do remember how striking it was, and I've since read other accounts of this, when I was working on the Alzheimer's floor, how people who could not string a sentence together, I mean, who maybe didn't even ever talk. It gets pulled together. I was working with a woman whose husband was in a nursing home, And what started to happen was that she would go and see him. And the first thing she would say was, do you remember who I am? I don't know who you are, but I love you. And I thought, does the recognition endure that you can hold on to that? So that one has stayed with me. I mean, some of these things just feel to me like principles for living a good life. In closing, here are some lines from the poet Sean Nevin, who's also led writing groups with Alzheimer's patients and lived through his own grandfather's struggle with this disease. This is an excerpt from his collection of poetry about those experiences, Oblivio Gate. Solomon, you can read the text of Sean Nevin's poem. You can also stream it on your phone through our iPhone and Android apps or on our fabulous new tablet app. A catalyst for empowered, healthy, and fulfilled lives. Our corporate sponsor is Mutual of America. Mutual of America is committed to providing quality products and services to help you build and preserve assets for a financially secure future."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000432.mp3": {
        "gt": "TO DELVE INTO HIS MIND AND HIS MULTIPLE ARTS IS TO MEET THIS WORLD WITH CREATIVE RAW MATERIALS FOR ENDURING TRUTH AND QUIET HOPEIT MEANS  SITTING TOGETHER IN THE DARK  WAITING FOR SOMETHING TO HAPPEN  HE JOINED ME TOGETHER WITH A LIVE AUDIENCE AT ON BEING STUDIOS IN MINNEAPOLIS  HE WAS IN THE TWIN CITIES WITH THE SAINT PAUL CHAMBER ORCHESTRA'S LIQUID MUSIC SERIES  TOGETHER WITH THE MUSICIAN VIJAY IYER  FOR A PRESENTATION AROUND HIS LATEST BOOK OF PHOTOGRAPHY AND TEXT  BLIND SPOTYOU GREW UPSO YOU WERE BORN IN KALAMAZOO  AND THEN YOUR FAMILY MOVED BACK TO LAGOS  AND THEN YOU WENT BACK TO KALAMAZOO   WHICH YOU DESCRIBED AS HOME   STRANGE HOME  YEAH  EVEN THOUGH THE FAMILY ITSELF BECAME STEADILY MORE RELIGIOUS AS I GOT OLDER  SO THAT BY MY MID TWENTY S  WHEN I GAVE UP ON RELIGION  IT IS BECAUSE  EVEN AFTER HAVING GIVEN UP THE CREDAL BELIEF  AS WELL AS IN LITERATURE AND POETRY IN HOMER WITHOUT CENTERING IT ON STATEMENTS OF BELIEF  WISDOM EMERGES  IT'S NOT ALWAYS HELPFUL IN ITS TOTALITY   SIMPLY BECAUSE IT EMERGES OUT OF HUMAN PROCESSES AS WELL  BUT THERE IS SOMETHING  ALL THE WAY FROM CAVE PAINTING TO THE CHURCH OR TO THE MODERN THEATER  ABSURDIST THEATERTHERE IS SOMETHING THAT EMERGES WHEN WE CONFRONT WHAT IT MEANS TO BE HERE  THAT   IF WE ARE TUNED IN WITH ENOUGH PRECISION  WE MIGHT EMERGE WITH SOMETHING THAT CAN HELP US AND THAT CAN HELP OTHER PEOPLEANDAND HERE IN YOUR WRITING HOLDS A LOT OF DISENCHANTMENT  AND I FIND THAT YOU REALLY COMMUNE WITH MANY TEACHERS ACROSS TIME AND SPACE  SWEDISH POET WHO'S ONE OF YOUR PORTS OF REFUGE  CAN YOU SAY A LITTLE BIT ABOUT HIM JUST   THIS PERSON  WE SOMETIMES THINK OF CULTURE AS SOMETHING WE GO OUT THERE AND CONSUME  JOLT ME AWAKE  NOONDAY BUT FOR THE MIDDLE OF THE NIGHT  HE SEEMED TO HAVE UNUSUAL ACCESS TO THIS MEMBRANE BETWEEN THIS WORLD ANDSOME OTHER WORLD THAT   AS PAUL ELUARD SAID  IS ALSO IN THIS ONE  WE LIVE IN AN AGE OF OPINION  AND PEOPLE ALWAYS HAVE OPINIONS   ESPECIALLY ABOUT THINGS THEY KNOW NOTHING ABOUT   SO PEOPLE WHO WERE HEARING ABOUT TRANSTROMER FOR THE FIRST TIME THAT MORNING WERE VERY GRANDLY OPINING THAT HIS COLLECTED WORKS COME TO MAYBE TWO HUNDRED AND FIFTY PAGES   THAT HOW COULD HE POSSIBLY GETA SEARING OF THE CONSCIOUSNESS THAT WAS ONLY ACHIEVED AT BY GREAT STRUGGLE   I THINK THE BEST THING TO COMPARE HIM TO IS THE GREAT JAPANESEAS MARK TWAIN SAID SOMETIMES  WRITING LETTERS TO PEOPLE   HE'LL SAY  IF I HAD MORE TIME   I WOULD'VE MADE THIS SHORTER  I SENSE THAT YOUI WONDER HOW YOU SENSE HE MIGHT BE SPEAKING OR WOULD SPEAKMITTO BE BLACK AND RELATIVELY CONSCIOUS IN AMERICA IS TO BE IN A CONSTANT STATE OF RAGE  LET ME REVISE THAT TO BE RELATIVELY CONSCIOUS IN AMERICA IS TO BE IN A CONSTANT STATE OF RAGE  IN THE PAST YEAR AND A HALF AND IN THE PASTEIGHT YEARS AND IN THE PAST TWENTY FIVE YEARS SINCE I MOVED TO THIS COUNTRY  BUT I ALSO THINK ABOUTAND THIS ONE IS A BIT MORE COMPLICATEDABOUT WHAT HIS WORDS DO IN OUR DISCOURSE   HE'S VERY QUOTABLE  AS A FORM OF ESCAPE  IF EVERYONE'S SO WOKE  WHY ARE THINGS SO TERRIBLE  HE DIDN'T LIVE LONG ENOUGH   BUT HE LIVED INTO SOME A BIT OF OLD AGE  HE REALLY FELL OUT OF FAVOR  GREW UP POOR   HE WAS QUEER  BUT WHAT I LEARNED FROM HIM IS THATIF EVERYONE IS WOKE  YOU MAY BE CALLED ON TO BE SOMETHING ELSE  SOMETHING A BIT MORE DIFFICULT THAN THAT  IF WE LIVE IN AN ENVIRONMENT WHERE WE TAKE THE RIGHT OPINION FOR GRANTED AS A GIVEN OH   EVERYBODY KNOWS THATMAYBE YOU'RE CALLED ON TO EXPLORE THE IDEAS THAT NOT EVERYBODY KNOWSHOW   AS A WRITER   YOU THINK ABOUT GENEROSITY AND HOSPITALITY  AND THAT PAY WELLI COULD DO THAT  BUT THEN THAT SHOWS UP IN THE WORK IN A CERTAIN WAY  THOUGH THERE IS MORE TO SAY ABOUT THAT THING ABOUT MEMORY AND MACHINES I'M VERY AFRAID OF THE MACHINES  AND FOR A LONG TIME NOW   BUT VERY DEFINITELY SINCE JANUARY ONE OF THIS YEAR  I'VE BEEN THINKING ABOUT HOSPITALITY  BECAUSE I WANTED A CONTAINER FOR SOMETHINGS I DIDN'T KNOW WHERE TO PUT ABOUT THE PRESENT MOMENT  WHO'S KIN  WHO'S FAMILY   WHO'S IN   WHO'S OUT  AROUND THE BORDER BUT ALSO AROUND DOMESTIC POLICY  THE EXTRAORDINARY COURAGE OF LASSANA BATHILY  HE WAS REWARDED WITH FRENCH CITIZENSHIP BY THE FRENCH PRESIDENT   FRANCOIS HOLLANDEBUT THIS IS NOT A STORY ABOUT COURAGETHE SUPERHUMAN AGILITY AND BRAVERY OF MAMADOU GASSAMA  AN IMMIGRANT FROM MALI  HE WAS REWARDED WITH FRENCH CITIZENSHIP BY THE FRENCH PRESIDENT  EMMANUEL MACRONBUT THIS IS NOT A STORY ABOUT BRAVERYTHE SUPERHUMAN IS REWARDED WITH FORMAL STATUS AS A HUMAN  THE MERELY HUMAN  MEANWHILE  REMAINS UNHUMAN  GASSAMA CROSSED THE MEDITERRANEAN IN A TINY BOAT THAT WAS SUPERHUMAN  BUT NO ONE FILMED THAT  HE REMAINED SUBHUMAN  AND THERE WAS NO REWARDSUCH IS EMPIRE'S MAGNANIMITY  THE HAND THAT GIVES  IT IS SAID IN MALI  IS ALWAYS ABOVE THE HAND THAT RECEIVES  THOSE WHO ARE HUNGRY CANNOT REJECT FOOD  NOT ONLY THOSE WHO ARE HUNGRY BUT THOSE WHO HAVE BEEN DELIBERATELY STARVED  BECAUSE I WANTED TO THINK ABOUT THIS BEYONDWHAT SEEMED   TO ME   TOO EASYTHE HEADLINES  THE GRATITUDEHOW DID WE GET HERE  WHY IS THIS ENOUGH  HOW DID WE GET INTO THE POSITIONWHERE HE KNEELS DOWN TO RECEIVE THE CRUMBS  IF I WERE STILL ON TWITTERWHICH ISAND IT'S THE TITLE OF YOUR PHOTOGRAPHY BOOKEVEN IN THE MOST VIGILANT EYE  THERE IS A BLIND SPOT  WHAT IS MISSING  AS AN IDEA  TO THINK ABOUT WHAT IS NOT EVIDENT   WHAT'S NOT APPARENT  I HAVE A REAL STRUGGLE   ESPECIALLY WHEN I'M WRITING FOR THE TIMES  I HAVE A VERY SYMPATHETIC  UNDERSTANDING   AND ENCOURAGING EDITOR   WHO LETS ME GET AWAY WITH ALL KINDS OF THINGS  BUT I'M ALWAYS TRYING TO LOWER THE VOLUME OF MY ESSAYS  IN THE PAST COUPLE OF YEARS   FOR SURE MY MOST-USED EMOJI IS  SEARCH MESKIN TONERAGESTRENGTH ON BEHALF OF THE WEAKENED  AND I HAVE TO BE STRONG ON YOUR BEHALF AND VICE VERSATO BEAND KNOWING THAT THERE ARE THINGS WE CANNOT SOLVE  AND MAYBE THAT MOMENT OF CONTEMPLATION   THAT MOMENT OF QUIET SORROW  SOMEDAY  QARRTSILUNI  IT MEANS SITTINGTOGETHER IN THE DARK  WAITING FOR SOMETHING TO HAPPEN  I'M HAPPY TO HAVE THAT BE MY NEW BIOYOU CAN ALWAYS LISTEN AGAIN AND HEAR UNEDITED VERSIONS OF EVERY CONVERSATION I HAVE ON THE ON BEING PODCAST FEED NOW WITH OCCASIONAL   SPECIAL BITE-SIZED EXTRAS WHEREVER PODCASTS ARE FOUNDTODAY   A LIVE CONVERSATION WITH THE WRITER AND PHOTOGRAPHER TEJU COLE  HE IS A PASSIONATE EXPLORER IN IMAGE AND IN WRITING  WHOSE SUBJECTS RANGE THE GLOBE FROM ART TO POLITICS AND EVERYTHING IN BETWEEN  HE WAS HERE TO PRESENT FROM HIS LATEST BOOK OF PHOTOGRAPHY AND TEXT   BLIND SPOT  WITH THE ST   PAUL CHAMBER ORCHESTRA'S LIQUID MUSIC SERIES  A TRUE PICTURE OF BLACK SKIN  AND YOU SAY  IT CHALLENGES A BIAS OF MAINSTREAM CULTURE THAT TO MAKE SOMETHING DARKER IS TO MAKE IT MORE DUBIOUS  AND YOU SAID   THESE PICTURES MAKE A CASE FOR HOW INDIRECT IMAGES GUARANTEE OUR SENSE OF THE HUMAN  BUT IT DOES NOT GET TO THATDEEPEST PLACE  THAT PLACE OF SELF-RECOGNITION  IN ALL THE ARTS  TO THOSE PLACES WHERE SOMETHING HAS BEEN QUIETENED  WHERE CONCENTRATION HAS BEEN ESTABLISHED  HOW DO YOU HELP OTHER PEOPLE CONCENTRATE ON A MOMENT  WHY AM I FEELING THIS WAY ABOUT THIS IMAGE  IN ALL THE ARTS   THERE ARE THOSE MOMENTS THAT AREAS THOUGH SOMEBODY HAS MADE THE GESTURE OF RAISING A PALM  WHICH IS NOT A STOP SIGN   BUT AATTEND  HUSH  LISTEN  I THINK THOSE ARE THE MOMENTS WE REALLY LIVE FOR IN ART  IS THAT THING WE DON'T HAVE A BETTER WORD FOR BEYOND POETRYWHICH IS SOMETHING DISTINCT FROM MERE FACTTHE WAY WE HAVE RECEIVED THEM  WHO IN VERY OBVIOUS WAYS IS  THINKING OF A PHOTO I SAW   THIS PAST WEEK  OF A BUS USED BY ICE TO TRANSPORT BABIES  IT'S A BUS FULL OF CHILD SEATS  WE REALLY WANT THAT PHOTO TO BE A TRUMP-ERA PHOTO  BUT IT'S AN OBAMA-ERA PHOTO  DOES KNOWING THAT CHANGE THE WAY WE READ THAT PHOTO THAT SO MANY BABIES HAVE BEEN TAKEN FROM THEIR FAMILIES THAT WE NEED A BUS EQUIPPED WITH CHILD SEATS   AN ENTIRE BUSWHERE YOU LOCK BABIES IN  WE DO GET CAUGHT UP INTHE PERSONALITYASPECT OF THE GAME  BUT THERE'S A DEEPER THING IN THERE SOMEWHERE  ABOUT OUR RELATIONSHIP TO THE STATE  FOR EXAMPLE  BUT AS IT IS NOW AND AS WE HAVE GENERALLY KNOWN IT  BOTH THE STATES WE HATE AND THE ONES WE KIND OF LIKE  I KNOW HORRIBLE STATES   AND I KNOW LESS HORRIBLE ONES  AND THAT WE DON'T PLACE OUR ENTIRE FAITHIN STATES WE CANNOT WE CANNOT  SO HARSHLY RIGHT NOW  BUT I THINK YOU'RE SAYING   IT'S A TRUTH THAT IS ENDURING AND THAT APPLIES   ALSO  TO KNOW EXACTLY HOW THEY DO THEIR WORK  THERE'S SO MUCH GOOD WORK FROM THE FIRST HALF OF THE TWENTIETH CENTURY IN ALL THE ARTS   INCREDIBLE STUFF THAT WILL LAST MILLENNIA  AND YET   THIS WAS A PERIOD IN WHICH ALL OF HUMANITY SEEMED INTENT ON OBLITERATING ITSELF JUST MASS KILLINGIN THE SAME PERIOD THAT GAVE US LITERATURE AND JAZZ AND PAINTING AND BOLD NEW MOVES ANDREBECCA SOLNIT CITED THIS  THE FUTURE IS DARK  AND THAT'S THE BEST THING IT CAN BE  THE FUTURE IS DARK DOESN'T MEAN THAT IT'S BAD  THE FUTURE IS DARK MEANS WE DON'T KNOW  WORST FEAR  HOW DARE I BE HOPELESS  THERE ARE PEOPLE WHO NEED THE HOPE THAT I CAN CONVEY  EVEN IF I'M WRITING ABOUT SOMETHING VERY DARK  TO TAKE IT THROUGH EIGHT DRAFTS   TO TAKE IT THROUGH TEN DRAFTS IS AN ACT OF HOPE  BECAUSE YOU'RE SAYING   EVEN IN THIS MOMENT  A WELL-SHAPED SENTENCE MATTERS BECAUSE SOMEBODY COULD SAY   WE'RE FACING THE APOCALYPSE   WHO GIVES A SHIT HOW WELL IT'S WRITTEN  AND MY HOPE IS THAT IF IT'S WRITTEN WELL  BUT IT'S NOT YET THE APOCALYPSEAND HE TALKED ABOUT HOWAND HE SAID   I DIDN'T GO THROUGH THE WORST  BECAUSE TO HAVE GONE THROUGH THE WORST WAS TO NOT HAVE COME OUT OF THE CAMPS  THE WORST IMPLIES NOT LIVING TO TELL THE TALE  THIS IS SOMEBODY WHO SAW HUNDREDS OF THOUSANDS OF PEOPLE KILLED FOR NO REASON  RECOGNIZING THAT AS BAD AS IT MIGHT BE FOR US   WE HAVEN'T BEEN THROUGH THE WORST  BECAUSE THERE WAS A YOUNG WOMAN WHO WAS SHOT ON THE BORDER LAST WEEK FOR THE CRIME OF TRYING TO BE HERE WITH US  SHE WENT THROUGH THE WORST  WE HAVE NOT BEEN THROUGH THE WORST  AND SO WE HAVE TO KEEP HOPE ALIVE IN ORDER TO HELP EACH OTHERI'M KRISTA TIPPETT   AND THIS IS ON BEING   TODAY   WRITER   PHOTOGRAPHER   AND ART HISTORIAN TEJU COLEBUT IT WAS JUST THESE LOVELYTHINGS YOU WERE SAYING ABOUT US  ABOUT BEING HUMAN  I WONDER   IF I ASK YOU THIS VERY LARGE QUESTION   WHICH IS DEFINITELY A FIVE THOUSAND WORD QUESTION   BUT JUST SAY   HOW WOULD YOU BEGIN TO ANSWER IT NOW  THIS IS GOING TO BE MY WORST MISQUOTATION OF THE EVENING  BUT TONI MORRISON TALKS ABOUT WE DIE  AND THAT MAY BE THETHAT MAY BE THEWE DO LANGUAGE  AND THAT MAY BE THE MEANINGOF OUR LIVESSOMETHING IN THAT DIRECTION  A FRANK CONFRONTATION WITH THE FACTSIS THATBETWEEN TWO COSMIC IMMENSITIES OF TIME  YOU ARE BORN  AND WITHIN TWO GENERATIONS  EVERYBODY WHO KNEW YOU PERSONALLY WILL ALSO BE DEAD  YOUR NAME MIGHT SURVIVE   BUT WHO CARES  BUT THEN THE OTHER IS THIS OTHER THINGTHAT HAS NOTHING TO DO WITH THE NOISE OUT THEREADVERTISING  ARGUING ON SOCIAL MEDIA  EVEN OUR STRUGGLES BUT SOME OTHER THING THAT IS LIKE THIS UNDERTOW THAT CONNECTS US TO EVERYONE CURRENTLY ALIVEAND EVERYONE THATHAS LIVED AND EVERYONE THAT WILL LIVE  I CERTAINLY DON'T BELIEVE THAT GOD HAS A WONDERFUL PLAN TO MAKE IT ALL OK   I USED TO   I DON'T BELIEVE THAT ANYMORE  I DON'T KNOW IF THEY'RE ANYWHERE  AND IT HURTS PEOPLE WHO LOVE YOUBUT THEN   THE OTHER THING IS THAT IF THERE'S NO GRANDER  LARGER MEANING  IN REAL TIMETHERE DOES SEEM TO BE A GRAND AND LARGE MEANING  RIGHT THIS MINUTE   THIS DOES SEEM TO BE SOMETHING THAT IS REAL  THAT MIGHT NOT BE MEANINGBUT COMES AWFULLY CLOSE TO ITTO BE SITTING TOGETHER IN THE DARKOF THIS POLITICAL AND SOCIAL MOMENT  TO BE SITTING TOGETHER IN THE DARK OF WHAT IT ACTUALLY MEANS TO BE A HUMAN BEING  EVEN IF THIS WERE A EUPHORIC POLITICAL MOMENTSO THERE'S THE GRIM VIEW OF   WE'RE NOT HERE FOR VERY LONG  AND THEN THERE'S THE OTHER THING   WHICH IS WHEN YOUR FAVORITE SONG GETS TO THAT PART THAT YOU LOVE  WHEN YOU'VE HADGOAT BIRYANIYOU KNOW   WHEN THE SPICES ARE REALLY FRESH  BLACK PEPPER A LOT OF PEOPLE GET BLACK PEPPER WRONG  AND YOU HAVE THIS MOMENT SO THESE MOMENTS OF PLEASURE   OF EPIPHANY   OF FOCUS   OF BEING THERE  IN THEIR INSTANTANEOUS WAY CAN ACTUALLY FEEL LIKEAND IT HAPPENS IN SEX   AND IT HAPPENS IN A LONG WALK   AND IT HAPPENS IN BEING IMMERSED IN A BODY OF WATER BAPTISM   ONCE AGAIN AND IT HAPPENS IN RUNNING ANDENDORPHINS ANDALL THOSE MOMENTS THAT PSYCHOLOGISTS DESCRIBE AS FLOW  USELESS TO THINK YOU'LL PARK AND CAPTURE IT MORE THOROUGHLY  YOU ARE A HURRY THROUGH WHICH KNOWN AND STRANGE THINGS PASS  BUT IF YOU ARE PAYING ATTENTION  I THINK THAT WAS A TREMENDOUS MEDITATION ON THAT QUESTION  WHETHER IT'S TEN MINUTES FROM NOW OR TOMORROW   WHEN THEY HAVE ONE OF THOSE FLOW MOMENTS AND   PERHAPS  ENJOY IT FOR JUST A SECOND LONGER   SO TEJU COLE   THANK YOU SO MUCH THANK YOUHIS BOOKS ARE BLIND SPOT  KNOWN AND STRANGE THINGS  OUR FUNDING PARTNERS INCLUDE THE JOHN TEMPLETON FOUNDATION  HARNESSING THE POWER OF THE SCIENCES TO EXPLORE THE DEEPEST AND MOST PERPLEXING QUESTIONS FACING HUMANKIND  WORKING TO CREATE A FUTURE WHERE UNIVERSAL SPIRITUAL VALUES FORM THE FOUNDATION OF HOW WE CARE FOR OUR COMMON HOME HUMANITY UNITED  \n",
        "transcription_base": " To delve into his mind and his multiple arts is to meet this world with creative raw materials for enduring truth and quiet hope. It means sitting together in the dark waiting for something to happen. He joined me together with a live audience at On Being Studios in Minneapolis. He was in the Twin Cities with the St. Paul Chamber Orchestra's liquid music series, together with the musician Vijay Iyer for a presentation around his latest book of photography and text, Blind Spot. You grew up, so you were born in Kalamazoo, and then your family moved back to Lagos. And then you went back to Kalamazoo, which you described as a home-strange home. Even though the family itself became steadily more religious as I got older, so that by my mid-twenties, when I gave up on religion, it is because even after having given up the credo belief, as well as in literature and poetry, in Homer, without centering it on statements of belief, Wisdom emerges, it's not always helpful in its totality simply because it emerges out of human processes as well, but there is something all the way from cave painting to the church or to the modern theatre, absurdist theatre. There is something that emerges when we confront what it means to be here, that if we are tuned in with enough precision, we might emerge with something that can help us and that can help other people. And here in your writing holds a lot of disenchantment. And I find that you really commune with many teachers across time and space. Swedish poet is one of your ports of refuge. Can you say a little bit about him, just this person? We sometimes think of culture or something We got there in Consume, jolt me awake, noonday, but for the middle of the night. He seemed to have unusual access to this membrane between this world and some other world that, as Paul Iloir said, is also in this one. We live in an age of opinion, and people always have opinions, especially about things they know nothing about. people who were hearing about transstromer for the first time that morning, were very grandly opining that his collected works come to maybe 250 pages. That how could he possibly get a searing of the consciousness that was only achieved at by great struggle? I think the best thing to compare him to is the great Japanese. As Mark Twain said, sometimes writing letters to people who say, if I had more time, I would have made this shorter. I sense that you, I wonder how you sense he might be speaking or would speak. MIT, to be black and relatively conscious in America is to be in a constant state of rage. Let me revise that. To be relatively conscious in America is to be in a constant state of rage. In the past year and a half and in the past eight years and in the past 25 years, since I moved to this country. But I also think about, and this one is a bit more complicated, about what his words do in our discourse. He's very quotable as a form of escape. If everyone's so woke, why I think so terrible. It didn't live long enough, but he lived into some a bit of old age. He really fell out of favor, grew up poor, he was queer, But what I learn from him is that if everyone is woke, you may be called on to be something else, something a bit more difficult than that. If we live in an environment where we take the right opinion for granted as a given, oh, everybody knows that. Maybe you're called on to explore the ideas that not everybody knows. How is a writer you think about generosity and hospitality. And that pay well? I could do that, but then that shows up in the work in a certain way. Though there is more to say about that thing about memory and machines. I'm very afraid of the machines. And for a long time now, but very definitely since January 1 of this year, I've been thinking about hospitality. Because I wanted a container for some things I didn't know where to put about the present moment. who's kin, who's family, who's in, who's out around the border, but also around domestic policy. The extraordinary courage of La Sonna Bhattili, he was rewarded with French citizenship by the French president Francois Hollande. But this is not a story about courage. The superhuman agility and bravery of Mamoudou Gassama, an immigrant from Mali, he was rewarded with French citizenship by the French president Emmanuel Macron. But this is not a story about bravery. The superhuman is rewarded with formal status as a human. The merely human, meanwhile, remains unhuman. Gassama crossed the Mediterranean in a tiny boat that was superhuman, but no one filmed that he remained subhuman and there was no reward. Such is empire's magnanimity. The hand that gives it is said in Mali is always above the hand that receives. Those who are hungry cannot reject food, not only those who are hungry but those who have been deliberately starved. Because I wanted to think about this beyond what seemed to me too easy the headlines, gratitude. How did we get here? Why is this enough? How did we get into the position where he kneels down to receive the crumbs? If I was still on Twitter? Which is an it's the title of your photography book. Even in the most vigilant eye, there is a blind spot. What is missing? As an idea to think about what is not evident, what's not apparent. I have a real struggle, especially when I'm writing for the times. I have a very sympathetic understanding and encouraging editor who lets me get away with all kinds of things. But I'm always trying to lower the volume of my essays. In the past couple of years, for sure, my most used emoji is search me, skin tone, rage, strength on behalf of the weakened, and I have to be strong on your behalf, and vice to be and knowing that there are things we cannot solve. And maybe that moment of contemplation, that moment of quite sorrow, someday, Karate-Ziluni, it means sitting together in the dark, waiting for something to happen. I'm happy to have that be my new bio. You can always listen again and hear unedited versions versions of every conversation I have on the on being podcast feed, now with occasional special bite-sized extras wherever podcasts are found. Today, a live conversation with the writer and photographer, Tasia Cole, he is a passionate explorer, an image and in writing, who subjects ranged the globe from art to politics and everything in between. He was here to present from his latest book of photography and text blind spot with the St. Paul Chamber Orchestra's liquid music series. A true picture of black skin and you say it challenges a bias of mainstream culture that to make something darker is to make it more dubious. And you said these pictures make a case for how indirect images guarantee our sense of the human. But it does not get to that deepest place. that place of self recognition in all the arts to those places where something has been quietened, where concentration has been established. How do you help other people concentrate on a moment? Why am I feeling this way about this image? In all the arts, there are those moments that are, as though somebody has made the gesture of raising a palm, which is not a stop sign but a tend. Hush, listen. I think those are the moments we really live for in art. Is that thing we don't have a better word for beyond poetry? which is something distinct from mere fact. The way we have received them. Who, in very obvious ways, is thinking of a photo I saw this past week of a bus used by ice to transport babies. It's a bus full of child seats. We really want that photo to be a Trump era photo, but it's an Obama era photo. Does knowing that changed the way we read that photo? that so many babies have been taken from their families that we need a bus equipped with child seats an entire bus where you lock babies in. We do get caught up in the personality aspect of the game but there's a deeper thing in there somewhere about our relationship to the state for example But as it is now and as we have generally known it, both the states we hate and the ones we kind of like, I know horrible states and I know less horrible ones. And that we don't place our entire faith in states. We cannot. We cannot. So harshly right now. But I think you're saying it's a truth that is enduring and that applies also. To know exactly how they do their work There's so much good work from the first half of the 20th century in all the arts, incredible stuff that will last millennia. And yet this was a period in which all of humanity seemed intent on obliterating itself. Just mass killing in the same period that gave us literature and jazz and painting and bold new moves and a record soulmate cited this. The future is dark and that's the best thing it can be. The future is dark doesn't mean that it's bad. The future's dark means we don't know worst fear. How dare I be hopeless. There are people who need the hope that I can convey. Even if I'm writing about something very dark, to take it through eight drafts, to take it through ten drafts is an act of hope. because you're saying even in this moment, a well-shaped sentence matters. Because somebody could say we're facing the apocalypse, who gives a sh**, how well it's written. And my hope is that if it's written well, but it's not yet the apocalypse, and he talked about how, and he said, I didn't go through the worst, because to have gone through the worst was to not have come out of the camps. The worst implies not living to tell the tale. This is somebody who saw hundreds, thousands of people killed for no reason. Recognizing that as bad as it might be for us, we haven't been through the worst. Because there was a young woman who was shot on the border last week for the crime of crying to be here with us. She went through the worst. We have not been through the worst, and so we have to keep hope alive in order to help each other. I'm Christa Tippett and this is on being today writer, photographer and art historian, Tadio Cole. But it was just these lovely things you were saying about us, about being human. I wonder if I ask you this very large question, which is definitely a 5,000 word question, but just say, how would you begin to answer it now? This is going to be my worst misquietation of the evening. But Tony Morrison talks about we die and that may be the, that may be the, we do language and that may be the meaning of our lives, something in that direction. A frank confrontation with the facts is that between two cosmic immensities of time, you're born and within two generations, everybody who knew you personally will also be dead. Yeah, they might survive, but who cares? But then the other is this other thing that has nothing to do with the noise out there, advertising, arguing on social media, even our struggles. But some other thing that is like this undertow that connects us to everyone currently alive and everyone that has lived and everyone that will live. I certainly don't believe that God has a wonderful plan to make it all okay. I I used to. I don't believe that anymore. I don't know if they're anywhere. And it hurts. People who love you. But then the other thing is that if there's no grander, larger meaning, in real time, there does seem to be a grand and large meaning. Right this minute, there's does seem to be something that is real. That might not be meaning, but comes awfully close to it to be sitting together in the dark of this political and social moment. To be sitting together in the dark of what it actually means to be a human being, even if this were a euphoric political moment. So there's the grim view of we're not here for very long and then there's the other thing which is when your favorite song gets to that part that you love when you've had goat biryani. You know when the spices are really fresh black pepper a lot of people get black pepper wrong and you have this moment. So these moments of pleasure of epiphany of focus of being there in their instantaneous way can actually feel like, and it happens in sex, and it happens in a long walk, and it happens in being immersed in a body of water, baptism once again. And it happens in running and endorphins, and all those moments that psychologists describe as flow, useless to think you'll park and capture it more thoroughly. You are a hurry through which known and strange things pass. But if you're paying attention. I think that was a tremendous meditation on that question. Whether it's 10 minutes from now or tomorrow when they have one of those flow moments and perhaps enjoy it for just a second longer. So, Tasia, call. Thank you so much. Thank you. His books are Blind Spot, Known and Strange Things. Our funding partners include the John Templeton Foundation, harnessing the power of the sciences to explore the deepest and most perplexing questions facing human kind, working to create a future where universal spiritual values form the foundation of how we care for our common home, humanity united.",
        "transcription_medium": " To delve into his mind and his multiple arts is to meet this world with creative raw materials for enduring truth and quiet hope. It means sitting together in the dark, waiting for something to happen. He joined me together with a live audience at On Being Studios in Minneapolis. He was in the Twin Cities with the St. Paul Chamber Orchestra's Liquid Music Series together with the musician Vijay Iyer for a presentation around his latest book of photography and text, Blindspot. You grew up, so you were born in Kalamazoo and then your family moved back to Lagos and then you went back to Kalamazoo which you described as a home, strange home. Yes, even though the family itself became steadily more religious as I got older, so that by my mid-20s when I gave up on religion it is because even after having given up the credo belief as well as in literature and poetry in Homer without centering it on statements of belief wisdom emerges it's not always helpful in its totality simply because it emerges out of human processes as well but there is something all the way from cave painting to the church or to the modern theater, absurdist theater. There is something that emerges when we confront what it means to be here, that if we are tuned in with enough precision we might emerge with something that can help us and that can help other people. And here in your writing, it holds a lot of disenchantment. And I find that you really commune with many teachers across time and space. Swedish poet is one of your ports of refuge. Can you say a little bit about him? Just this person? Yeah. We sometimes think of culture as something we go out there and consume. Jolt me awake, noon day, but for the middle of the night. He seemed to have unusual access to this membrane between this world and some other world that, as Paul Elroy said, is also in this one. We live in an age of opinion, and people always have opinions, especially about things they know nothing about. So people who were hearing about Transtroma for the first time that morning were very grandly opining that his collected works come to maybe 250 pages, that how could he possibly get a searing of the consciousness that was only achieved at by great struggle. I think the best thing to compare him to is the great Japanese, as Mark Twain said, sometimes writing letters to people who say, if I had more time I would have made this shorter. I sense that you, I wonder how you sense he might be speaking or would speak. MIT. To be black and relatively conscious in America is to be in a constant state of rage. Let me revise that. To be relatively conscious in America is to be in a constant state of rage in the past year and a half, and in the past eight years, and in the past 25 years since I moved to this country. But I also think about, and this one is a bit more complicated, about what his words do in our discourse. He's very quotable as a form of escape. If everyone's so woke, why are things so terrible? He didn't live long enough, but he lived into some, a bit of old age. He really fell out of favor, grew up poor, he was queer. what I learned from him is that if everyone is woke, you may be called on to be something else, something a bit more difficult than that. If we live in an environment where we take the right opinion for granted as a given, oh, everybody knows that, maybe you're called on to explore the ideas that not everybody knows. How, as a writer, you think about generosity and hospitality? And that pay well? I could do that, but then that shows up in the work in a certain way. Though there is more to say about that thing about memory and machines. I'm very afraid of the machines. And for a long time now, but very definitely since January 1 of this year, I've been thinking about hospitality. Because I wanted a container for some things I didn't know where to put about the present moment. Whose kin? Whose family? Who's in? Who's out? Around the border, but also around domestic policy. The extraordinary courage of Lassana Batili, he was rewarded with French citizenship by the French president, Francois Hollande. But this is not a story about courage. The superhuman agility and bravery of Mamoudou Gassama, an immigrant from Mali, he was rewarded with French citizenship by the French president Emmanuel Macron. But this is not a story about bravery. The superhuman is rewarded with formal status as a human. The merely human, meanwhile, remains unhuman. Gassama crossed the Mediterranean in a tiny boat. was superhuman but no one filmed that. He remained subhuman and there was no reward. Such is Empire's magnanimity. The hand that gives, it is said in Mali, is always above the hand that receives. Those who are hungry cannot reject food. Not only those who are hungry but those who have been deliberately starved. Because I wanted to think about this beyond what seemed to me too easy. The headlines, the gratitude. How did we get here? Why is this enough? How did we get into the position where he kneels down to receive the crumbs? If I was still on Twitter, which is and it's the title of your photography book, even in the most vigilant eye there is a blind spot. What is missing? As an idea to think about what is not evident, what's not apparent. I have a real struggle, especially when I'm writing for the Times. I have a very sympathetic understanding and encouraging editor who lets me get away with all kinds of things. But I'm always trying to lower the volume of my essays. In the past couple of years, for sure my most used emoji is, search me, skin tone, rage, strength on behalf of the weakened, and I have to be strong on your behalf, and vice versa, to be and knowing that there are things we cannot solve. And maybe that moment of contemplation, that moment of quiet sorrow, someday, carzelluni, it means sitting together in the dark, waiting for something to happen. I'm happy to have that be my new bio. You can always listen again and hear unedited versions of every conversation I have on the on being podcast feed, now with occasional special bite-sized extras wherever podcasts are found. Today, a live conversation with the writer and photographer Teju Cole. He is a passionate explorer in image and in writing, whose subjects range the globe from art to politics and everything in between. He was here to present from his latest book of photography and text, Blind Spot, with the St. Paul Chamber Orchestra's Liquid Music series. true picture of black skin and you say it challenges a bias of mainstream culture that to make something darker is to make it more dubious. And you said these pictures make a case for how indirect images guarantee our sense of the human. But it does not get to that deepest place, that place of self-recognition in all the arts to those places where something has been quietened, where concentration has been established. How do you help other people concentrate on a moment? Why am I feeling this way about this image? In all the arts, there are those moments that are as though somebody has made the gesture of raising a palm, which is not a stop sign but a attend. Hush, listen. I think those are the moments we really live for in art is that thing we don't have a better word for beyond poetry. Which is something distinct from mirror fact. The way we have received them. Who in very obvious ways is thinking of a photo I saw this past week of a bus used by ICE to transport babies. It's a bus full of child seats. We really want that photo to be a Trump-era photo, but it's an Obama-era photo. Does knowing that change the way we read that photo? That so many babies have been taken from their families that we need a bus equipped with child seats, an entire bus where you lock babies in. We do get caught up in the personality aspect of the game, but there's a deeper thing in there somewhere about our relationship to the state, for example. But as it is now and as we have generally known it, both the states we hate and the ones we kind of like. I know horrible states and I know less horrible ones. And that we don't place our entire faith in states. We cannot. We cannot. So harshly right now. But I think you're saying it's a truth that is enduring and that applies also. To know exactly how they do their work. There's so much good work from the first half of the 20th century in all the arts. Incredible stuff that will last millennia. And yet this was a period in which all of humanity seemed intent on obliterating itself. Just mass killing. In the same period that gave us literature and jazz and painting and bold new moves and Rekosolnet cited this. The future is dark and that's the best thing it can be. The future is dark doesn't mean that it's bad. The future is dark means we don't know. Worst fear. How dare I be hopeless? There are people who need the hope that I can convey. Even if I'm writing about something very dark, to take it through eight drafts, to take it through ten drafts is an act of hope. Because you're saying even in this moment, a well-shaped sentence matters. Because somebody could say we're facing the apocalypse, who gives a s*** how well it's written? My hope is that if it's written well, but it's not yet the apocalypse. And he talked about how, and he said, I didn't go through the worst because to have gone through the worst was to not have come out of the camps. The worst implies not living to tell the tale. This is somebody who saw hundreds of thousands of people killed for no reason, recognizing that as bad as it might be for us, we haven't been through the worst. there was a young woman who was shot on the border last week for the crime of trying to be here with us. She went through the worst. We have not been through the worst. And so we have to keep hope alive in order to help each other. I'm Krista Tippett and this is on being today writer, photographer and art historian Teju Cole. That it was just these lovely things you were saying about us, about being human. I wonder If I ask you this very large question, which is definitely a 5,000 word question, but just say how would you begin to answer it now? This is going to be my worst misquotation of the evening. But Toni Morrison talks about we die and that may be the, that may be the, we do language and that may be the meaning of our lives. Something in that direction. A frank confrontation with the facts is that between two cosmic immensities of time, you're born and within two generations, everybody who knew you personally will also be dead. Your name might survive, but who cares? But then the other is this other thing that has nothing to do with the noise out there, advertising, arguing on social media, Even our struggles. But some other thing that is like this undertow that connects us to everyone currently alive and everyone that has lived and everyone that will live. I certainly don't believe that God has a wonderful plan to make it all okay. I used to. I don't believe that anymore. I don't know if they're anywhere. And it hurts people who love you. But then the other thing is that if there's no grander, larger meaning, in real time, there does seem to be a grand and large meaning. Right this minute, there does seem to be something that is real, that might not be meaning, but comes awfully close to it, to be sitting together in the dark of this political and social moment, to be sitting together in the dark of what it actually means to be a human being, even if this were a euphoric political moment. So there's the grim view of we're not here for very long. And then there's the other thing, which is when your favorite song gets to that part that you love, when you've had goat biryani, you know, when the spices are really fresh, pepper, a lot of people get black pepper wrong. And you have this moment, so these moments of pleasure, of epiphany, of focus, of being there in their instantaneous way can actually feel like, and it happens in sex, and it happens in a long walk, and it happens in being immersed in a body of water, baptism once again, and it happens in running and endorphins and all those moments that psychologists describe as flow, useless to think you'll park and capture it more thoroughly. You are a hurry through which known and strange things pass. But if you're paying attention. I think that was a tremendous meditation on that question, whether it's 10 minutes from now or tomorrow when they have one of those flow moments and perhaps enjoy it for just a second longer. So Teju Kal, thank you so much. Thank you. His books are Blind Spot, Known and Strange Things. Our funding partners include the John Templeton Foundation, harnessing the power of the sciences to explore the deepest and most perplexing questions facing humankind, working to create a future where universal spiritual values form the foundation of how we care for our common home. Humanity United.",
        "transcription_large_v3": " To delve into his mind and his multiple arts is to meet this world with creative raw materials for enduring truth and quiet hope. It means sitting together in the dark, waiting for something to happen. He joined me together with a live audience at On Being Studios in Minneapolis. He was in the Twin Cities with the St. Paul Chamber Orchestra's Liquid Music series, together with the musician Vijay Iyer, for a presentation around his latest book of photography and text, Blindspot. You grew up, so you were born in Kalamazoo, and then your family moved back to Lagos, and then you went back to Kalamazoo, which you described as a home, strange home. Yeah. Even though the family itself became steadily more religious as I got older, so that by my mid-20s, when I gave up on religion, it is because even after having given up the creedal belief, as well as in literature and poetry, in Homer, without centering it on statements of belief, wisdom emerges. it's not always helpful in its totality simply because it emerges out of human processes as well but there is something all the way from cave painting to the church or to the modern theater absurdist theater there is something that emerges when we confront what it means to be here that if If we are tuned in with enough precision, we might emerge with something that can help us and that can help other people. And here in your writing holds a lot of disenchantment. And I find that you really commune with many teachers across time and space. Swedish poet is one of your ports of refuge. Can you say a little bit about him? Just this person? We sometimes think of culture as something we go out there and consume. Jolt me awake. Noonday, but for the middle of the night. He seemed to have unusual access to this membrane between this world and some other world that, as Paul Elroy said, is also in this one. We live in an age of opinion, and people always have opinions, especially about things they know nothing about. So people who were hearing about Transtroma for the first time that morning were very grandly opining that his collected works come to maybe 250 pages, that how could he possibly get a searing of the consciousness that was only achieved at by great struggle. I think the best thing to compare him to is the great Japanese. As Mark Twain said, sometimes writing letters to people who say, if I had more time, I would have made this shorter. I sense that you, I wonder how you sense he might be speaking or would speak. MIT. To be black and relatively conscious in America is to be in a constant state of rage. Let me revise that. To be relatively conscious in America is to be in a constant state of rage in the past year and a half and in the past eight years and in the past 25 years since I moved to this country. But I also think about, and this one is a bit more complicated, about what his words do in our discourse. He's very quotable as a form of escape. If everyone's so woke, why are things so terrible? He didn't live long enough, but he lived into a bit of old age. He really fell out of favor, grew up poor, he was queer. But what I learned from him is that if everyone is woke, you may be called on to be something else, something a bit more difficult than that. If we live in an environment where we take the right opinion for granted as a given, oh, everybody knows that. Maybe you're called on to explore the ideas that not everybody knows. How, as a writer, you think about generosity and hospitality. And that pay well. I could do that, but then that shows up in the work in a certain way. Though there is more to say about that thing about memory and machines. I'm very afraid of the machines. And for a long time now, but very definitely since January 1 of this year, I've been thinking about hospitality. because I wanted a container for some things I didn't know where to put about the present moment. Who's kin, who's family, who's in, who's out around the border, but also around domestic policy. The extraordinary courage of Lassana Batili, he was rewarded with French citizenship by the French president, François Hollande. But this is not a story about courage. The superhuman agility and bravery of Mamoudou Gassama, an immigrant from Mali. He was rewarded with French citizenship by the French president, Emmanuel Macron. But this is not a story about bravery. The superhuman is rewarded with formal status as a human. The merely human, meanwhile, remains unhuman. Gassama crossed the Mediterranean in a tiny boat. that was superhuman, but no one filmed that. He remained subhuman and there was no reward. Such is empire's magnanimity. The hand that gives, it is said in Mali, is always above the hand that receives. Those who are hungry cannot reject food, not only those who are hungry, but those who have been deliberately starved. Because I wanted to think about this beyond what seemed to me too easy, the headlines, the gratitude. How did we get here? Why is this enough? How did we get into the position where he kneels down to receive the crumbs? If I was still on Twitter, which is, and it's the title of your photography book, even in the most vigilant eye, there is a blind spot. What is missing? As an idea to think about what is not evident, what's not apparent. I have a real struggle, especially when I'm writing for The Times. I have a very sympathetic, understanding and encouraging editor who lets me get away with all kinds of things. But I'm always trying to lower the volume of my essays. In the past couple of years, for sure, my most used emoji is search me, skin tone, rage, strength on behalf of the weakened. And I have to be strong on your behalf. and vice versa. To be and knowing that there are things we cannot solve. And maybe that moment of contemplation, that moment of quiet sorrow, someday, kartsiluni, it means sitting together in the dark, waiting for something to happen. I'm happy to have that be my new bio. You can always listen again and hear unedited versions of every conversation I have on the On Being podcast feed, now with occasional special bite-sized extras wherever podcasts are found. Today, a live conversation with the writer and photographer Teju Cole. He is a passionate explorer in image and in writing, whose subjects range the globe from art to politics and everything in between. He was here to present from his latest book of photography and text, Blindspot, with the St. Paul Chamber Orchestra's Liquid Music series. a true picture of black skin. And you say it challenges a bias of mainstream culture that to make something darker is to make it more dubious. And you said these pictures make a case for how indirect images guarantee our sense of the human. But it does not get to that deepest place, that place of self-recognition in all the arts to those places where something has been quietened, where concentration has been established. How do you help other people concentrate on a moment? Why am I feeling this way about this image? In all the arts, there are those moments that are as though somebody has made the gesture of raising a palm, which is not a stop sign, but a attend. Hush, listen. I think those are the moments we really live for in art. It's that thing we don't have a better word for beyond poetry. Which is something distinct from mere fact. The way we have received them. Who in very obvious ways is thinking of a photo I saw this past week of a bus used by ICE to transport babies. It's a bus full of child seats. We really want that photo to be a Trump era photo. But it's an Obama era photo. Does knowing that change the way we read that photo? that so many babies have been taken from their families that we need a bus equipped with child seats, an entire bus where you lock babies in. We do get caught up in the personality aspect of the game, but there's a deeper thing in there somewhere about our relationship to the state, for example. But as it is now, and as we have generally known it, both the states we hate and the ones we kind of like. I know horrible states and I know less horrible ones. And that we don't place our entire faith in states. We cannot. We cannot. So harshly right now. But I think you're saying it's a truth that is enduring and that applies also. To know exactly how they do their work. There's so much good work from the first half of the 20th century in all the arts. Incredible stuff. that will last millennia. And yet this was a period in which all of humanity seemed intent on obliterating itself. Just mass killing in the same period that gave us literature and jazz and painting and bold new moves. And Rebecca Solnit cited this. The future is dark, and that's the best thing it can be. The future is dark doesn't mean that it's bad. The future is dark means we don't know. Worst fear. How dare I be hopeless? There are people who need the hope that I can convey. Even if I'm writing about something very dark, to take it through eight drafts, to take it through 10 drafts is an act of hope. Because you're saying even in this moment, a well-shaped sentence matters. Because somebody could say we're facing the apocalypse. who gives a shit how well it's written. And my hope is that if it's written well, but it's not yet the apocalypse. And he talked about how, and he said, I didn't go through the worst because to have gone through the worst was to not have come out of the camps. The worst implies not living to tell the tale. This is somebody who saw hundreds of thousands of people killed for no reason. Recognizing that as bad as it might be for us, we haven't been through the worst because there was a young woman who was shot on the border last week for the crime of trying to be here with us. She went through the worst. We have not been through the worst. And so we have to keep hope alive in order to help each other. I'm Krista Tippett, and this is On Being. Today, writer, photographer, and art historian and Teju Cole. But it was just these lovely things you were saying about us, about being human. I wonder if I ask you this very large question, which is definitely a 5,000 word question, but just say, how would you begin to answer it now? This is going to be my worst misquotation of the evening. But Toni Morrison talks about we die and that may be the, that may be the, we do language And that may be the meaning of our lives. Something in that direction. A frank confrontation with the facts is that between two cosmic immensities of time, you're born and within two generations, everybody who knew you personally will also be dead. Your name might survive, but who cares? But then the other is this other thing that has nothing to do with the noise out there. advertising, arguing on social media, even our struggles, but some other thing that is like this undertow that connects us to everyone currently alive and everyone that has lived and everyone that will live. I certainly don't believe that God has a wonderful plan to make it all okay. I used to. I don't believe that anymore. I don't know if they're anywhere. And it hurts people who love you. But then the other thing is that if there's no grander, larger meaning, in real time, there does seem to be a grand and large meaning. Right this minute, there does seem to be something that is real, that might not be meaning, but comes awfully close to it, to be sitting together in the dark of this political and social moment, To be sitting together in the dark of what it actually means to be a human being, even if this were a euphoric political moment. So there's the grim view of we're not here for very long. And then there's the other thing, which is when your favorite song gets to that part that you love. When you've had goat biryani, you know, when the spices are really fresh. Black pepper. A lot of people get black pepper wrong. And you have this moment. So these moments of pleasure, of epiphany, of focus, of being there in their instantaneous way can actually feel like. And it happens in sex, and it happens in a long walk, and it happens in being immersed in a body of water, baptism once again. And it happens in running and endorphins and all those moments that psychologists describe as flow. Useless to think you'll park and capture it more thoroughly. You are a hurry through which known and strange things pass. But if you're paying attention, I think that was a tremendous meditation on that question, whether it's 10 minutes from now or tomorrow when they have one of those flow moments and perhaps enjoy it for just a second longer. So Teju Kahl, thank you so much. Thank you. His books are Blindspot, Known and Strange Things. Our funding partners include the John Templeton Foundation, harnessing the power of the sciences to explore the deepest and most perplexing questions facing humankind, working to create a future where universal spiritual values form the foundation of how we care for our common home. Humanity United."
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        "gt": "THAT CAN HELP  THE IDEA IS A VERY SIMPLE IDEA   AND YOU HEAR IT FROM PEOPLE ALL THE TIME  I'VE BEEN CHANGED   I AM NOT THE SAME PERSON THAT I WAS  AND EPIGENETICS GIVES US THE LANGUAGE AND THE SCIENCE TO BE ABLE TO START UNPACKING THAT GENETICS DESCRIBES DNA SEQUENCING   BUT THE NEW FIELD OF EPIGENETICS SEES THAT GENES CAN BE TURNED ON AND OFF AND EXPRESSED DIFFERENTLY  BUT HER SCIENCE IS A FORM OF POWER FOR FLOURISHING BEYOND THE TRAUMAS   LARGE AND SMALL  RACHEL YEHUDA IS A PROFESSOR OF PSYCHIATRY AND NEUROSCIENCE AND THE DIRECTOR OF THE TRAUMATIC STRESS STUDIES DIVISION AT THE MOUNT SINAI SCHOOL OF MEDICINE  SHE GREW UP IN A NEIGHBORHOOD IN CLEVELAND THAT WAS HEAVILY POPULATED WITH HOLOCAUST SURVIVORS  A FACT SHE DIDN'T REGISTER SO MUCH AS A CHILD  SO I WAS SURROUNDED BY ACTUALLY   IMMERSED IN THE BUBBLE OF OBSERVANT JUDAISM RIGHT  MY WORK IN GRADUATE SCHOOL WAS FOCUSED ON STRESS HORMONES  IT WAS AN ABILITY OF STRESS HORMONES TO CIRCLE BACK AND INFLUENCE HOW THE BRAIN FUNCTIONED  AND THAT WAS NEW  THE BRAIN BEGINS TO DEVELOP MUCH MORE THAN USUAL   AND YOU GET AN ADULT RODENT THAT HAS A BRAIN THAT IS FIFTEEN PERCENT LARGER THAN IF YOU HADN'T REMOVED THE ADRENAL GLANDS   AND THAT WAS REALLY INTERESTING  BECAUSE WHAT IT MEANT WAS THAT STRESS HORMONES PLAY A REALLY CRITICAL ROLE IN HOW THE BRAIN DEVELOPS AND HOW BEHAVIOR DEVELOPS WOW  I ASKED TO DO SOME PROJECTS IN PEOPLE  AND ONE THING LED TO ANOTHER  WE WERE REALLY AMONG THE FIRST PEOPLE   THAT GROUP   TO LOOK AT THE BIOLOGY OF POST-TRAUMATIC STRESS DISORDER  AND THE OBSERVATION THAT WE MADE   WHICH WAS REALLY VERY HARD TO UNDERSTAND AT THAT TIME  WAS THAT THE COMBAT VIETNAM VETERANS SHOWED LOWER CORTISOL LEVELS  AND PEOPLE THAT HAVE DEPRESSION AND OTHER KINDS OF MENTAL ILLNESSES AND SYMPTOMS OFTEN SHOW HIGH CORTISOL LEVELS  THEY HAD BEEN SUFFERING   MANY OF THEM   FOR DECADES WITH THESE SYMPTOMS  AND WHEN WE ASKED   WELL  MANY OF THEM SAID  WHO COULD UNDERSTAND WHAT WE HAD GONE THROUGH  WHICH IS THE IDEA THAT NOT ONLY DO EXPERIENCES LODGE PHYSIOLOGICALLY  AND IT'S ALL AROUND THIS TRAUMA   SO THAT TRAUMA ITSELF GETS INHERITEDYOU'RE NOT IN A BIOLOGIC PRISON AS A RESULT OF THOSE GENES THAT CHANGES CAN BE MADE TO HOW THOSE GENES FUNCTION  THAT CAN HELP  BUT THE IDEA IS A VERY SIMPLE IDEA   AND YOU HEAR IT FROM PEOPLE ALL THE TIME  PEOPLE SAY   WHEN SOMETHING CATACLYSMIC HAPPENS TO THEM   I'M NOT THE SAME PERSON  I'VE BEEN CHANGED   I AM NOT THE SAME PERSON THAT I WAS  THEY DO  AND WHAT I THINK IT MEANS IS THAT THE ENVIRONMENTAL INFLUENCE HAS BEEN SO OVERWHELMING THAT IT HAS FORCED A MAJOR CONSTITUTIONAL CHANGE  TODAY   WITH NEUROSCIENTIST AND EPIGENETICIST RACHEL YEHUDA  SHE'S A PIONEER IN UNDERSTANDING HOW ENVIRONMENTAL AND BEHAVIORAL EXPERIENCES CAN TRANSMIT EFFECTS AT A CELLULAR LEVEL AND ACROSS GENERATIONSSO IT MAKES SENSE TO US   I THINK  THAT PARENTS WHO ARE TRAUMATIZED   IN WHATEVER WAY  BORN WITH LESS OF A CAPACITY TO METABOLIZE STRESS   AND IS THAT AN ACTUAL GENETIC CHANGE  THERE ARE TWO WAYS TO INFLUENCE THE NEXT GENERATION AT LEAST  ONE WAY IS TO DIRECTLY TRANSMIT SOMETHING THAT YOU HAVE  AND YOU TRANSMIT IT IN THE FORM THAT YOU HAVE IT  SO LET'S SAY A CHANGE HAS BEEN MADE ONTO YOUR DNA AN EPIGENETIC MARK NOW SITS ON A PROMOTER REGION OF YOUR GENE   FOR EXAMPLE  AND THROUGH THE MAGIC OF MEIOSIS  THAT MARK GETS TRANSMITTED THROUGH THE ACT OF REPRODUCTION  THAT'S ONE THING   THAT'S A TRANSMITTED CHANGE THERE'S ANOTHER KIND OF CHANGE THAT INVOLVES GIVING YOUR CHILD EITHER AT CONCEPTION OR IN UTERO OR POST-CONCEPTION A SET OF CIRCUMSTANCES  AND THE CHILD IS FORCED TO MAKE AN ADAPTATION TO THOSE CIRCUMSTANCES RIGHT  AND WHAT WE FOUND WAS THAT OUR PHONE DID RING   BUT IT WAS MOSTLY CHILDREN OF HOLOCAUST SURVIVORS WHO CALLED US  AND THEY TALKED ABOUT THE EXPECTATIONS BEING TRAUMATIZED BY SOME OF THE EXPECTATIONS THAT THE HOLOCAUST HAD PLACED ON THEM  OH  WELL   FIRST OF ALL   THIS IDEA THAT THEY FELTMORE VULNERABLE  THAT COULD BE SUPPORTED BY FACT   AND IT TURNED OUT THAT HOLOCAUST OFFSPRING WERE THREE TIMES MORE LIKELY TO DEVELOP POST-TRAUMATIC STRESS DISORDER  IF THEY WERE EXPOSED TO A TRAUMATIC EVENT  SO THAT WE REALIZED THAT THE SPECIFIC RISK FOR CERTAIN THINGS   LIKE POST-TRAUMATIC STRESS DISORDER  YESWE DID  BUT WHAT WE HAVE TO REALIZE IS THAT INDIVIDUALS WHO ARE TRAUMATIZED  MAYBE IN A VERY PRIVATE WAY  ARE DEVASTATED BY THE THINGS THAT HAPPENED TO THEM   THEY'RE JUST NOT AS PUBLIC  THEY MAY NOT BE AS PROLONGED   THEY MAY NOT BE AS GREAT  BUT FOR SOMEBODY TO BE PREGNANT AND IN THE WORLD TRADE CENTER WHILE THOSE BUILDINGS ARE COMING DOWN THAT'S YOUR OWN PERSONAL HOLOCAUST  IS HOW BIG THE EVENT IS COMPARED TO WHAT USUALLY GOES ON FOR A PERSON  I'M KRISTA TIPPETT   AND THIS IS ON BEING  TODAY   IN CONVERSATION WITH NEUROSCIENTIST RACHEL YEHUDA  THE YOUNG FIELD IN WHICH SHE WORKS   EPIGENETICS  SHE HAS PIONEERED STUDIES WITH THE CHILDREN OF TRAUMA SURVIVORS AND HELPED DEMONSTRATE HOW EXPERIENCES CAN TRANSMIT A BIOLOGICAL VULNERABILITY TO STRESS IN FUTURE GENERATIONSAND THAT IT HOLDS LOTS OF PROMISE AND   ALSO  VERY PRACTICAL APPLICATIONS NOW   SO WE WILL TALK ABOUT THAT  IT GIVES A KIND OF A CHEMICAL BASIS FOR TALKING ABOUTOR SOMEBODY THAT HAS NEVER HAD TO FIGHT FOR ANYTHING  IT OPENS UP A NEW VOCABULARY FOR TALKING ABOUT THINGS THAT ARE VERY DIFFICULTTHEY ENDURE  AND NOW EPIGENETICS ALLOWS US TO EXTEND IT TO GENERATIONAL YEAH  AND TRYING TO ACKNOWLEDGE THAT AND TREAT THAT  IN THE JEWISH RELIGION   WE DO MEMORIALIZE TRAUMA  THEY START AT A CERTAIN TIME   THEY END AT A CERTAIN TIME  BUT IT DOESN'T OWN YOU  WHEN YOU'RE ABLE TO PUT SOMETHING IN A CONTEXT   YOU CARRY IT WITH YOU   BUT YOU CARRY IT WITH YOU IN A WAY THAT PROMOTES MORE REFLECTION  IN A WAY THAT GIVES YOU MORE OF A CONTEXT  IN A WAY THAT SHOWS YOU WHERE YOU'VE COME FROM   IN A WAY THAT HONORS YOUR PAST  BUT THEY'RE MERELY EFFECTS YOU CANNOT RUN FROM YOUR PAST  BUT MAYBE YOU WOULD RUN FARTHER IF YOU CARRIED YOUR PAST WITH YOU  AS LONG AS YOU CAN CONTROL IT   AND I THINK THAT THAT IS REALLY WHAT WE WANT TO UNDERSTAND WE WANT TO UNDERSTAND WHAT IT MEANS TO HAVE A GREATER REPERTOIRE OF BEHAVIOR  WE HAVE A CONCEPT ABOUT BEING OPTIMIZED TO YOUR ENVIRONMENT  THEN I THINK WE CAN DEVELOP A BETTER WAY OF EXPLAINING TO OURSELVES WHAT OUR TRUE CAPABILITIES AND POTENTIALS ARE YEAH  IT SEEMS TO ME THAT ONE OF THE THINGS THIS SCIENCE IS SAYING IS THAT SOMEHOW   IN THE PROCESS OF HEALING AND ADDRESSING THAT IN A NEW WAY  THERE IS KIND OF A NEED TO CREATE THAT CONTAINER OF ACKNOWLEDGEMENT  SHOWED THAT SOME EPIGENETIC CHANGES OCCUR IN RESPONSE TO PSYCHOTHERAPY  A DIFFERENT ENVIRONMENTAL CIRCUMSTANCE CREATES ANOTHER KIND OF CHANGE  THEY WANT TO NOT BE TORMENTED BY THAT MEMORY  I THINK THAT THE PODIUM OF SUFFERING PROVIDES AN UNPARALLELED OPPORTUNITY  NOT TO MENTION THE FACT THAT WHAT TRAUMA DOES   SOMETIMES   FOR PEOPLE IS THAT IT REALLY FOCUSES THEM ON THE PAST  THEY HAVE A LOT OF TROUBLE STAYING IN THE PRESENT  AND REALLY   IT'S VERY IMPORTANT THAT ALTHOUGH YOU CAN'T CHANGE WHAT HAS HAPPENED TO YOU IN THE PAST  THERE'S THIS WHOLE FUTURE THAT YOU MIGHT BE ABLE TO DO SOMETHING ABOUTTODAY   WITH NEUROSCIENTIST AND EPIGENETICIST RACHEL YEHUDA  SHE'S A PIONEER IN UNDERSTANDING HOW TRAUMA LODGES IN OUR BODIES AND CAN TRANSMIT EFFECTS AT A CELLULAR LEVEL   ACROSS GENERATIONSBUT THE IDEA IS THAT IT'S A HARD THING TO IMAGINE THAT IF YOUR FATHER ATE SOUR GRAPES   THE CHILDREN'S TEETH WILL BE ROTTED   AND YET  SCIENCE IS TEACHING US EXACTLY THAT YEAH  IT THROWS THINGS OFF WHEN PEOPLE RESPOND DIFFERENTLY TO EVENTS  THIS EVENT DERAILED ME   WHEN SOMEBODY ELSE WHO EXPERIENCED THE SAME EVENT WASN'T DERAILED BY THE EVENT  WE HAVE TO APPRECIATE THAT THERE IS QUITE A LOT OF VARIABILITY AND DIVERSITY IN THE WAY THAT WE RESPOND  BUT ONE THING IS FOR CERTAIN POST-TRAUMATIC STRESS DISORDER IS ONE KIND OF RESPONSE TO TRAUMA   AND THERE ARE PROBABLY MANY OTHERS   INCLUDING RESILIENCEPARENTS WHO'VE EXPERIENCED TRAUMA DO PASS THAT ON IN WAYS THAT HAVE GENETIC   BIOLOGICAL FORCE  YOU KNOW WHAT I'M ASKING  THE REASON THAT THAT STUDY WAS SO PIVOTAL   EVEN THOUGH WE WEREN'T ABLE TO DO AS COMPREHENSIVE A BIOLOGIC ASSESSMENT AS WE HAD BEEN ABLE TO DO IN ADULTS  WAS THAT WHAT WE LEARNED WAS THAT THERE WAS A TRIMESTER EFFECT ON CORTISOL LEVELS IN THE BABIES  BUT THEN SHE STOPPED   AND SHE SAID   AND THEN I REMEMBERED THAT DR   YEHUDA SAID I HAVE POOR SHOCK ABSORBERS  AND I SHOULD JUST LET IT PASS   BECAUSE MY BIOLOGY IS GOING TO HAVE EXTREME RESPONSES BEFORE IT CALMS DOWN  AND THEN I DID  AND IT REALLY WORKED   NOW   I DIDN'T SAY THAT  BUT WHAT WAS SO INTERESTING WAS HOW SHE HAD INTERNALIZED THE INFORMATION THAT HER STRESS SYSTEM WAS MORE RESPONSIVE  CALM DOWN ALL BY HERSELF   IN RESPONSE TO A STRESSFUL SITUATION  ESPECIALLY IF WE HAVE THIS IDEA THAT THIS IS A STEP ON THE WAY TO HAVING AN EQUILIBRATION OF SOME SORT DOES WHAT YOU'RE LEARNING ALSO HOLD FORINSTEAD OF SAYING THINGS LIKE  WELL I HAVE DEPRESSION  YOU SAY THINGS LIKE  I WORRY   SOMETIMES   THAT YOU MIGHT GET SCARED WHEN YOU'RE DOWN  SO THE WORST THING THAT YOU CAN PROBABLY DO WHEN YOU HAVE DEPRESSION IS TO NOT NAME IT AND TO MAKE A LOT OF ATTRIBUTIONS THAT ARE NOT VALID  THE THING TO DO WHEN YOU FEEL YOUR DEPRESSION IS WHAT YOU WOULD DO WHEN YOU FEEL ANY ILLNESS  AND OF COURSE   NOT EVERY ILLNESS IS TREATED VERY EASILY  BUT YOU DEAL WITH IT FOR WHAT IT IS   SO TEACHING SOMEBODY HOW THEY MIGHT DEAL WITH SOMETHING THAT YOU MIGHT PASS ONBUT IT ALSO HAS BOUNDARIES  AND ALSO   I JUST THINK THERE'S LANGUAGE LIKE THERE'S THE LANGUAGE OF LAMENTATIONS  WELL   JEWISH TRADITIONBELIEVES THAT THE SAME PERSON WHO WROTE LAMENTATIONS ALSO WROTE THE SONG OF SONGSOR THEY GET VERY HYSTERICAL ABOUTAND REALLY   WHAT WE HAVE TO DO IS GIVE OURSELVES A LITTLE TIME AFTER AN ADVERSE EVENT   TO KIND OF TAKE STOCK AND NOT BE SO HARD ON OURSELVES   OR NOT SET EXPECTATIONS  AND JUST LISTEN TO OUR BODIES AND GIVE OURSELVES THE SPACE TO BE QUIET AND TO HEAL AND TO SEE  IT BOILS DOWN TO TWO WORDS  IT BOILS DOWN TO BEING ABLE TO ASK SOMEONE   YOU OK  IS REALLY  REALLY AT THE HEART OF HOW MILITARY CULTURES REALLY CHECK UP ON EACH OTHER  BUTABOUT HOW SOMEONE IS DOING AND EVEN IF THEY DON'T TELL YOU   AND EVEN IF THEY LIE TO YOU  WHAT I'M ALWAYS STRUCK WITH IS HOW UPSETTING IT IS WHEN OTHER PEOPLE DON'T HELP   OR DON'T ACKNOWLEDGE   OR RESPOND VERY POORLY TO NEEDS OR DISTRESS  SO HOW WE BEHAVE TOWARDS ONE ANOTHER  INDIVIDUALLY AND IN SOCIETY   I THINK  OUR LOVELY THEME MUSIC IS PROVIDED AND COMPOSED BY ZOE KEATING  OUR FUNDING PARTNERS INCLUDE THE JOHN TEMPLETON FOUNDATION  SUPPORTING ACADEMIC RESEARCH AND CIVIL DIALOGUE ON THE DEEPEST AND MOST PERPLEXING QUESTIONS FACING HUMANKIND WHO ARE WE   WHY ARE WE HERE  \n",
        "transcription_base": " that can help. The idea is a very simple idea and you hear it from people all the time. I've been changed. I am not the same person that I was. And epigenetics gives us the language and the science to be able to start unpacking that. Genetics describes DNA sequencing, but the new field of epigenetics sees that genes can be turned on and off and expressed differently, but her science is a form of power for flourishing beyond the trauma's large and small. Rachel Yehuda is a professor of psychiatry and neuroscience and the director of the Traumatic Stress Studies Division at the Mount Sinai School of Medicine. She grew up in a neighborhood in Cleveland that was heavily populated with Holocaust survivors, In fact, she didn't register so much as a child. So I was surrounded by actually immersed in the bubble of observant Judaism. Right. My work in graduate school was focused on stress hormones. It was an ability of stress hormones to circle back and influence how the brain functioned. And that was new. The brain begins to develop much more than usual and you get an adult rodent that has a brain that is 15% larger than if you hadn't removed the adrenal glands. And that was really interesting because what it meant was that stress hormones play a really critical role in how the brain develops and how behavior develops. I asked to do some projects in people and one thing led to another. We were really among the first people that group to look at the biology of post-traumatic stress disorder, and the observation that we made, which was really very hard to understand at that time, was that the combat Vietnam veterans showed lower cortisol levels. And people that have depression and other kinds of mental illnesses and symptoms often show high cortisol levels. They had been suffering many of them for decades with these symptoms. And when we asked, well, many of them said, who could understand what we had gone through? Which is the idea that not only do experiences lodge physiologically, and it's all around this trauma, so that trauma itself gets inherited. You're not in a biologic prison as a result of those genes that changes can be made to how those genes function that can help. But the idea is a very simple idea and you hear it from people all the time. People say when something cataclysmic happens to them, I'm not the same person. I've been changed. I am not the same person that I was. They do. And what I think it means is that the environmental influence has been so overwhelming that it has forced a major constitutional change. Today with neuroscientist and epigeneticist Rachel Yehuda, she's a pioneer in understanding how environmental and behavioral experiences can transmit effects at a cellular level in across generations. So it makes sense to us, I think, that parents who are traumatized in whatever way, born with less of a capacity to metabolize stress. And is that an actual genetic change? There are two ways to influence the next generation at least. One way is to directly transmit something that you have and you transmitted in the form that you have it. So let's say a change has been made onto your DNA, an epigenetic mark, now sits on a promote a region of your gene, for example. And through the magic of myosis, that mark gets transmitted through the active reproduction. That's one thing. That's a transmitted change. There's another kind of change that involves giving your child either at conception or in utero or post-conception, a set of circumstances, and the child is forced to make an adaptation to those circumstances. Right. And what we found was that our phone did ring, but it was mostly children of Holocaust survivors who called us, and they talked about the expectations being traumatized by some of the expectations that the Holocaust had placed on them. Oh, well, first of all, While this idea that they felt more vulnerable, that could be supported by fact, it turned out that Holocaust offspring were three times more likely to develop post-traumatic stress disorder if they were exposed to a traumatic event so that we realized that the specific risk for certain things like post-traumatic stress disorder, yes, we did. What we have to realize is that individuals who are traumatized, maybe in a very private way, are devastated by the things that happen to them. They're just not as public. They may not be as prolonged. They may not be as great. But for somebody to be pregnant and in the World Trade Center, while those buildings are coming down, that's your own personal Holocaust is how big the event is compared to what usually goes on for a person. I'm Christa Tiffett and this is on being. Today in conversation with neuroscientist Rachel Yehuda, the young field in which she works at the genetics. She has pioneered studies with the children of trauma survivors and helped demonstrate how experiences can transmit a biological vulnerability to stress in future generations. And that it holds lots of promise and also very practical applications now. So we will talk about that. It gives a kind of a chemical basis for talking about or somebody that has never had to fight for anything. It opens up a new vocabulary for talking about things that are very difficult. They endure. And now every genetic allows us to extend it to generational. Yeah. And trying to acknowledge that and treat that. In the Jewish religion, we do memorialize trauma. they start at a certain time, they end at a certain time, but it doesn't own you. When you're able to put something in a context, you carry it with you, but you carry it with you in a way that promotes more reflection in a way that gives you more of a context, in a way that shows you where you've come from, in a way that honors your past, but there merely effects. You cannot run from your past, but maybe you would run farther if you carried your past with you as long as you can control it. And I think that that is really what we want to understand. We want to understand what it means to have a greater repertoire of behavior. We have a concept of being optimized to your environment. Then I think we can develop a better way of explaining to ourselves what our true capabilities and potentials are. Yeah. It seems to me that one of the things this science is saying is that somehow in the process of healing and addressing that in a new way, there is kind of a need to create that container of acknowledgement. It showed that some epigenetic changes occur in response to psychotherapy. A different environmental circumstance creates another kind of change. They want to not be tormented by that memory. I think that the podium of suffering provides an unparalleled opportunity, not to mention the fact that what trauma does sometimes for people is that it really focuses them on the past. They have a lot of trouble staying in the present. And really, it's very important that although you can't change what has happened to you in the past, there's this whole future. that you might be able to do something about. Today with neuroscientist and epigeneticist Rachel Yehuda, she's a pioneer in understanding how trauma lodges in our bodies and can transmit effects at a cellular level across generations. But the idea is that it's a hard thing to imagine that if your father eats our grapes, the children's teeth will be rotted and yet science is teaching us exactly that. Yeah. It throws things off when people respond differently to events. This event derailed me when somebody else who experienced the same event wasn't derailed by the event. We have to appreciate that there is quite a lot of variability and diversity in the way that we respond. But one thing is for certain post-traumatic stress disorder is one kind of response to trauma and there There are probably many others, including resilience. Parents have experienced trauma, do pass that on in ways that have genetic biological force. You know what I'm asking? The reason that that study was so pivotal, even though we weren't able to do as comprehensive a biological assessment as we had been able to do in adults, was that what we learned was that there was a trimester effect on cortisol levels in the babies. But then she stabbed and she said, and then I remembered that Dr. Yehuda said, I have poor shock absorbers and I should just let it pass because my biology is going to have extreme responses before it calms down. And then I did, and it really worked. Now I didn't say that. But what was so interesting was how she had internalized the information that her stress system was more responsive, calm down all by herself in response to a stressful situation, especially if we have this idea that this is a step on the way to having an equal of some sort. Just what you're learning also hold for. Instead of saying things like, well, I have depression, you say things like, I worry sometimes that you might get scared when you're down. So the worst thing that you can probably do when you have depression is to not name it. And to make a lot of attributions that are not valid. The thing to do when you feel your depression is what you would do when you feel any illness. And of course, not every illness is treated very easily, but you deal with it for what it is. So teaching somebody how they might deal with something that you might pass on. But it also has boundaries. And also I just think there's language like, there's the language of lamentations. Well, to a tradition believes that the same person who wrote lamentations also wrote the song of songs. Or they get very hysterical about and really what we have to do is give ourselves a little time after an adverse event to kind of take stock and not be so hard on ourselves or not set expectations and just listen to our bodies and Give ourselves the space to be quiet and to heal and to see it boils down to two words It boils down to being able to ask someone you okay is really really at the heart of how military cultures really check up on each other but about how someone is doing and even if they don't tell you and even if they lie to you What I'm always struck with is how upsetting it is when other people don't help or don't acknowledge or respond very poorly to needs or distress So how we behave towards what another individually and in society, I think our lovely theme music is provided and composed by Zoe Keating. Our funding partners include the John Templeton Foundation, supporting academic research and civil dialogue on the deepest and most perplexing questions facing humankind. Who are we? Why are we here?",
        "transcription_medium": " that can help. The idea is a very simple idea and you hear it from people all the time. I've been changed. I am not the same person that I was. And epigenetics gives us the language and the science to be able to start unpacking that. Genetics describes DNA sequencing, but the new field of epigenetics sees that genes can be turned on and off and expressed differently. But her science is a form of power for flourishing beyond the traumas large and small. Rachel Yehuda is a professor of psychiatry and neuroscience and the director of the Traumatic Stress Studies Division at the Mount Sinai School of Medicine. She grew up in a neighborhood in Cleveland that was heavily populated with Holocaust survivors, a fact she didn't register so much as a child. So I was surrounded by, actually immersed in the bubble of observant Judaism. My work in graduate school was focused on stress hormones. It was an ability of stress hormones to circle back and influence how the brain functioned. And that was new? The brain begins to develop much more than usual and you get an adult rodent that has a brain that is 15% larger than if you hadn't removed the adrenal glands. And that was really interesting because what it meant was that stress hormones play a really critical role in how the brain develops and how behavior develops. I asked to do some projects in people and one thing led to another. We were really among the first people, that group, to look at the biology of post-traumatic stress disorder. And the observation that we made, which was really very hard to understand at that time, was that the combat Vietnam veterans showed lower cortisol levels. And people that have depression and other kinds of mental illnesses and symptoms often show high cortisol levels. They had been suffering, many of them, for decades with these symptoms. And when we asked, well, many of them said, who could understand what we had gone through? Which is the idea that not only do experiences lodge physiologically, and it's all around this trauma, so that trauma itself gets inherited. You're not in a biologic prison as a result of those genes. That changes can be made to how those genes function, that can help. But the idea is a very simple idea, and you hear it from people all the time. People say when something cataclysmic happens to them, I'm not the same person. I've been changed. I am not the same person that I was. They do. And what I think it means is that the environmental influence has been so overwhelming that it has forced a major constitutional change. with neuroscientist and epigeneticist Rachel Yehuda. She's a pioneer in understanding how environmental and behavioral experiences can transmit effects at a cellular level and across generations. So it makes sense to us, I think, that parents who are traumatized in whatever way, born with less of a capacity to metabolize stress. And is that an actual genetic change? There are two ways to influence the next generation at least. One way is to directly transmit something that you have and you transmit it in the form that you have it. So let's say a change has been made onto your DNA, an epigenetic mark now sits on a promoter region of your gene, for example, and through the magic of meiosis, that mark gets transmitted through the act of reproduction, that's change. There's another kind of change adaptation to those circumstances. And what we found was that our phone did ring but it was mostly children of Holocaust survivors who called us and They talked about the expectations being traumatized by some of the expectations that the Holocaust had placed on them. First of all, this idea that they felt more vulnerable, that could be supported by fact. It turned out that Holocaust offspring were three times more likely to develop post-traumatic stress disorder if they were exposed to a traumatic event so that we realized that the the specific risk for certain things like post-traumatic stress disorder. Yes, we did. But what we have to realize is that individuals who are traumatized, maybe in a very private way, are devastated by the things that happen to them. They're just not as public. They may not be as prolonged. They may not be as great. But for somebody to be pregnant and in the World Trade Center while those buildings are coming down, that's your own personal holocaust, is how big the event is compared to what usually goes on for a person. I'm Krista Tippett and this is On Being. Today in conversation with neuroscientist Rachel Yehuda. The young field in which she works, epigenetics. She has pioneered studies with the children of trauma survivors and helped demonstrate how experiences can transmit a biological vulnerability to stress in future generations. And that it holds lots of promise and also very practical applications now. So we will talk about that. It gives a kind of a chemical basis for talking about. Or somebody that has never had to fight for anything. It opens up a new vocabulary for talking about things that are very difficult. they endure. And now, every genetics allows us to extend it to generational. Yeah. And trying to acknowledge that and treat that. In the Jewish religion, we do memorialize trauma. They start at a certain time, they end at a certain time, but it doesn't own you. When you're able to put something in a context, you carry it with you, but you carry it with you in a way that promotes more reflection in a way that gives you more of a context, in a way that shows you where you've come from, in a way that honors your past, but they're merely facts. You cannot run from your past, but maybe you would run farther if you carried your past with you as long as you can control it. And I think that that is really what we want to understand. We want to understand what it means to have a greater repertoire of behavior. We have a concept about being optimized to your environment. Then I think we can develop a better way of explaining to ourselves what our true capabilities and potentials are. Yeah. It seems to me that one of the things this science is saying is that somehow in the process of healing and addressing that in a new way, there is kind of a need to create that container of acknowledgement. It showed that some epigenetic changes occur in response to psychotherapy. A different environmental circumstance creates another kind of change. They want to not be tormented by that memory. I think that the podium of suffering provides an unparalleled opportunity, not to mention the fact that what trauma does sometimes for people is that it really focuses them on the past. They have a lot of trouble staying in the present. And really it's very important that although you can't change what has happened to you in the past, there's this whole future that you might be able to do something about. Today with neuroscientist and epigeneticist Rachel Yehuda, she's a pioneer in understanding how trauma lodges in our bodies and can transmit effects at a cellular level across generations. But the idea is that it's a hard thing to imagine that if your father eats sour grapes, the children's teeth will be rotted, and yet science is teaching us exactly that. It throws things off when people respond differently to events. This event derailed me when somebody else who experienced the same event wasn't derailed by the event. We have to appreciate that there is quite a lot of variability and diversity in the way that we respond. But one thing is for certain, post-traumatic stress disorder is one kind of response to trauma and there are probably many others, including resilience. Parents have experienced trauma do pass that on in ways that have genetic biological force. You know what I'm asking? The reason that that study was so pivotal even though we weren't able to do as comprehensive a biologic assessment as we had been able to do in adults was that what we learned was that there was a trimester effect on cortisol levels in the babies. But then she stopped and she said, and then I remembered that Dr. Yehuda said, I have poor shock absorbers and I should just let it pass because my biology is going to have extreme responses before it calms down and then I did and it really worked. Now I didn't say that but what was so interesting was how she had internalized the information that her stress system was more responsive, calmed down all by herself in response to a stressful situation, especially if we have this idea that this is a step on the way to having an equilibration of some sort. Does what you're learning also hold for, instead of saying things like, well, I have depression, you say things like, I worry sometimes that you might get scared when you're down. So the worst thing that you can probably do when you have depression is to not name it and to make a lot of attributions that are not valid. The thing to do when you feel your depression is what you would do when you feel any illness. And of course, not every illness is treated very easily, but you deal with it for what it is. teaching somebody how they might deal with something that you might pass on. But it also has boundaries and also I just think there's language like there's the language of Lamentations. Well Jewish tradition believes that the same person who wrote Lamentations also wrote the Song of Songs or they get very hysterical about and really what we have to do is give ourselves a little time after an adverse event to kind of take stock and not be so hard on ourselves or not set expectations and just listen to our bodies and give ourselves the space to be quiet and to heal and to see. It boils down to two words. It boils down to being able to ask someone, you okay? It's really really at the heart of of how military cultures really check up on each other, but about how someone is doing. And even if they don't tell you, and even if they lie to you, what I'm always struck with is how upsetting it is when other people don't help or don't acknowledge or respond very poorly to needs or distress. So how we behave towards one another individually and in society. I think... Our lovely theme music is provided and composed by Zoe Keating. Our funding partners include the John Templeton Foundation, supporting academic research and civil dialogue on the deepest and most perplexing questions facing humankind. Who are we? Why are we here?",
        "transcription_large_v3": " that can help. The idea is a very simple idea, and you hear it from people all the time. I've been changed. I am not the same person that I was. And epigenetics gives us the language and the science to be able to start unpacking that. Genetics describes DNA sequencing, but the new field of epigenetics sees that genes can be turned on and off and expressed differently. But her science is a form of power for flourishing beyond the traumas large and small. Rachel Yehuda is a professor of psychiatry and neuroscience and the director of the Traumatic Stress Studies Division at the Mount Sinai School of Medicine. She grew up in a neighborhood in Cleveland that was heavily populated with Holocaust survivors, a fact she didn't register so much as a child. So I was surrounded by, actually immersed in the bubble of observant Judaism. Right. My work in graduate school was focused on stress hormones. It was an ability of stress hormones to circle back and influence how the brain functioned. And that was new? The brain begins to develop much more than usual, and you get an adult rodent that has a brain that is 15% larger than if you hadn't removed the adrenal glands. And that was really interesting because what it meant was that stress hormones play a really critical role in how the brain develops and how behavior develops. I asked to do some projects in people, and one thing led to another. We were really among the first people, that group, to look at the biology of post-traumatic stress disorder. And the observation that we made, which was really very hard to understand at that time, was that the combat Vietnam veterans showed lower cortisol levels. And people that have depression and other kinds of mental illnesses and symptoms often show high cortisol levels. They had been suffering, many of them, for decades with these symptoms. And when we asked, well, many of them said, who could understand what we had gone through? Which is the idea that not only do experiences lodge physiologically, and it's all around this trauma. So that trauma itself gets inherited. You're not in a biologic prison as a result of those genes. that changes can be made to how those genes function that can help. But the idea is a very simple idea, and you hear it from people all the time. People say when something cataclysmic happens to them, I'm not the same person. I've been changed. I am not the same person that I was. They do. And what I think it means is that the environmental influence has been so overwhelming that it has forced a major constitutional change. Today with neuroscientist and epigeneticist Rachel Yehuda. She's a pioneer in understanding how environmental and behavioral experiences can transmit effects at a cellular level and across generations. So it makes sense to us, I think, that parents who are traumatized in whatever way, born with less of a capacity to metabolize stress. And is that an actual genetic change? There are two ways to influence the next generation, at least. One way is to directly transmit something that you have, and you transmit it in the form that you have it. So let's say a change has been made onto your DNA. An epigenetic mark now sits on a promoter region of your gene, for example. and through the magic of meiosis, that mark gets transmitted through the act of reproduction. That's one thing. That's a transmitted change. There's another kind of change that involves giving your child, either at conception or in utero or post-conception, a set of circumstances and the child is forced to make an adaptation to those circumstances. And what we found was that our phone did ring, but it was mostly children of Holocaust survivors who called us. And they talked about the expectations, being traumatized by some of the expectations that the Holocaust had placed on them. Oh, well, first of all, this idea that they felt more vulnerable, that could be supported by fact. It turned out that Holocaust offspring were three times more likely to develop post-traumatic stress disorder if they were exposed to a traumatic event, so that we realized that the specific risk for certain things like post-traumatic stress disorder. Yes, we did. But what we have to realize is that individuals who are traumatized, maybe in a very private way, are devastated by the things that happen to them. They're just not as public. They may not be as prolonged. They may not be as great. But for somebody to be pregnant and in the World Trade Center while those buildings are coming down, that's your own personal holocaust, is how big the event is compared to what usually goes on for a person. I'm Krista Tippett, and this is On Being. Today in conversation with neuroscientist Rachel Yehuda. The young field in which she works, epigenetics. She has pioneered studies with the children of trauma survivors and helped demonstrate how experiences can transmit a biological vulnerability to stress in future generations. And it holds lots of promise and also very practical applications now. So we will talk about that. It gives a kind of a chemical basis for talking about. Or somebody that has never had to fight for anything. It opens up a new vocabulary for talking about things that are very difficult. They endure. And now epigenetics allows us to extend it to generational. Yeah. And trying to acknowledge that and treat that. In the Jewish religion, we do memorialize trauma. They start at a certain time. They end at a certain time. But it doesn't own you. When you're able to put something in a context, you carry it with you, but you carry it with you in a way that promotes more reflection, in a way that gives you more of a context, in a way that shows you where you've come from, in a way that honors your past. But they're merely effects. You cannot run from your past. but maybe you would run farther if you carried your past with you as long as you can control it and I think that that is really what we want to understand we want to understand what it means to have a greater repertoire of behavior we have a concept about being optimized to your environment then I think we can develop a better way of explaining to ourselves what our true capabilities and potentials are. Yeah. It seems to me that one of the things this science is saying is that somehow in the process of healing and addressing that in a new way, there is kind of a need to create that container of acknowledgement. Showed that some epigenetic changes occur in response to psychotherapy. A different environmental circumstance creates another kind of change. They want to not be tormented by that memory. I think that the podium of suffering provides an unparalleled opportunity, not to mention the fact that what trauma does sometimes for people is that it really focuses them on the past. They have a lot of trouble staying in the present. And really, it's very important that although you can't change what has happened to you in the past, There's this whole future that you might be able to do something about. Today with neuroscientist and epigeneticist Rachel Yehuda. She's a pioneer in understanding how trauma lodges in our bodies and can transmit effects at a cellular level across generations. But the idea is that it's a hard thing to imagine that if your father eats sour grapes, the children's teeth will be rotted. And yet science is teaching us exactly that. Yeah. It throws things off when people respond differently to events. This event derailed me when somebody else who experienced the same event wasn't derailed by the event. We have to appreciate that there is quite a lot of variability and diversity in the way that we respond. But one thing is for certain, post-traumatic stress disorder is one kind of response to trauma. and there are probably many others, including resilience. Parents who have experienced trauma do pass that on in ways that have genetic biological force. You know what I'm asking? The reason that that study was so pivotal, even though we weren't able to do as comprehensive a biologic assessment as we had been able to do in adults, was that what we learned was that there was a trimester effect on cortisol levels in the babies. But then she stopped and she said, and then I remembered that Dr. Yehuda said, I have poor shock absorbers, and I should just let it pass because my biology is going to have extreme responses before it calms down. And then I did, and it really worked. Now, I didn't say that. But what was so interesting was how she had internalize the information that her stress system was more responsive, calmed down all by herself in response to a stressful situation, especially if we have this idea that this is a step on the way to having an equilibration of some sort. Does what you're learning also hold for, instead of saying things like, well, I have depression, you say things like, I worry sometimes that you might get scared when you're down. So the worst thing that you can probably do when you have depression is to not name it and to make a lot of attributions that are not valid. The thing to do when you feel your depression is what you would do when you feel any illness. And of course, Not every illness is treated very easily, but you deal with it for what it is. So teaching somebody how they might deal with something that you might pass on. But it also has boundaries. And also, I just think there's language, like there's the language of lamentations. Well, Jewish tradition believes that the same person who wrote Lamentations also wrote the Song of Songs. Or they get very hysterical about it. And really what we have to do is give ourselves a little time after an adverse event to kind of take stock and not be so hard on ourselves or not set expectations. And just listen to our bodies and give ourselves the space to be quiet and to heal and to see. It boils down to two words. It boils down to being able to ask someone, you okay, is really at the heart of how military cultures really check up on each other, but about how someone is doing. And even if they don't tell you and even if they lie to you, what I'm always struck with is how upsetting it is when other people don't help or don't acknowledge or respond very poorly to needs or distress. So how we behave towards one another individually and in society, I think..."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000464.mp3": {
        "gt": "IN A PIECE OF WOOD  IT'S THE EMPTY SPACE AND SPACES BETWEEN THE GRAINS OF WOOD THAT MAKE IT STRONG  IT'S BOTH  WAKING A MEMOIR OF TRAUMA AND TRANSCENDENCE  HERE HE READS A PASSAGE FROM THAT IN PRINCIPLE  MY EXPERIENCE IS NOT SO DIFFERENT FROM YOURS  IT IS ONLY MORE EXTREME  MY MIND-BODY RELATIONSHIP CHANGED IN AN INSTANT THE TIME IT TOOK FOR MY BACK TO BREAK  BUT THE CHANGING RELATIONSHIP BETWEEN MIND AND BODY IS A FEATURE OF EVERYONE'S LIFE  WE ARE ALL LEAVING OUR BODIES THIS IS THE INEVITABLE ARC OF LIVING  DEATH CANNOT BE AVOIDED NEITHER CAN THE INWARD SILENCE THAT COMES WITH THE AGING PROCESSI NOW EXPERIENCE A DIFFERENT   MORE SUBTLE CONNECTION BETWEEN MIND AND BODY  IT DOES NOT REQUIRE THAT I FLEX MUSCLES  IT DOES NOT DISSIPATE IN THE PRESENCE OF INCREASING INWARD SILENCE  IT DOES REQUIRE   HOWEVER   THAT I SEEK MORE PROFOUNDLY WITHIN MY OWN EXPERIENCE AND DO SO WITH AN OPEN MIND  IT MEANS THAT I MUST REACH INTUITIVELY INTO WHAT MAY FEEL LIKE DARKNESSON THE SUNDAY AFTER THANKSGIVING  TUMBLED FRONT TO BACK THREE TIMES IN THE CAR MY FATHER AND SISTER WERE KILLED  THEY WERE DESPERATE AND THEY NEEDED ME TO LIVE   AND IT WAS A GREAT WAY FOR ME TO ATTACH TO SOMETHING LIVING  RIGHT AWAY  I THINK HEALING STORIES CAN DEFINITELY BE NEGATIVE  AND MY ANSWER WOULD BE   WELL   I'VE HAD TWO LIVES  WELL   THAT WAS A VERY SMART HEALING STORY BECAUSE I HAD TO PUT AWAY  EXACTLY WHAT I NEEDED TO SAY   HOWEVER  I NEEDED TO HAVE ALL MY AGES  HERE'S ANOTHER PASSAGE FROM MATTHEW SANFORD'S BOOK   WAKINGI AM TOLD REPEATEDLY THAT MY ARMS MUST NOW DO DOUBLE TIME FOR BOTH MY ARMS AND MY LEGS  MANY PEOPLE ADD TO THIS IMAGE  THE REHAB SPECIALISTS DO IT TO MOTIVATE ME  A MALE NURSE TELLS ME THAT CHICKS ARE GOING TO DIG IT  AND WITH APPROVING EYES   MY FRIENDS AND FAMILY BEAM  WOW   THOSE ARMS ARE GOING TO BE HUGE  DURING MY WORKOUTS IN REHAB   HOWEVER   I DRIFT OUT THE WINDOW   NOT INTO MY ARMS  THE REHAB GYM IS FULL OF PEOPLE STANDING PEOPLE   WALKING PEOPLE   SITTING PEOPLE  MOST OF THEM ARE OLDER   THEIR DYSFUNCTION BROUGHT ON BY AGE  I AM IN BETWEEN  TOO OLD FOR PEDIATRIC REHABILITATION AND DEFINITELY THE LONE BOY BEGINNING PUBERTY  AS I WATCH THIS SCENE   I SET IT AGAINST THE VIEW OUT THE LARGE SOUTH-FACING WINDOWS  I AM NOT MAKING THE PROGRESS THEY WOULD LIKE  I AM AGING MUCH TOO QUICKLYI MEAN  THE OVERT CONNECTIONS BETWEEN MY MIND AND MY PARALYZED BODY   THE ONES THAT ARE MOST EASY AND MOST EFFICIENT  WELL   THAT CONNECTION GOT CHANGED IN MY CASE  SO WHAT ENDS UP HAPPENING WITH ME IS THAT I HAVE TO GO INWARD AND LISTEN TO LEVELS THAT WE ALL SHARE   YOU HAVE THE SAME CONNECTIONS IN YOUR MIND-BODY RELATIONSHIP THAT I USE TO DO YOGA AND THAT I USE IN THE REST OF MY LIFE  AND I BELIEVE THAT WE NEED THOSE CONNECTIONS  IT WENT TO A MORE SUBTLE WHISPER THAT DOESN'T HAVE AS MUCH CLARITY  IT'S SWEETER   IT'S QUIETER AND IT DOESN'T AS QUICKLY REACT  I CAN FEEL THE SURGE UP MY BODY THROUGH MY SPINE BUT YOU FEEL IT AS ENERGY RATHER THAN AS NERVE ENDINGS RIGHT   IT'S NOT AS LOUD   IT'S NOT AS CRISP  I PAY ATTENTION AND I CAN FEEL THESE CHANGES  I DON'T HEAR IT AT ALL  IT TAKES SOME ATTENTION  AND IF YOU FOCUS TOO MUCH ON IT   YOU   YOU CAN AMPLIFY IT TO THE POINT OF EXAGGERATION  I MEAN   TELL ME ABOUT THATAND I GOT SHOWN SOMETHING THERE ABOUT THE FLUCTUATION AND MOVEMENT THAT CAN HAPPEN BETWEEN MIND AND BODY  IS ACTUALLY MUCH MORE LOOSE  EVEN IF YOU'RE USING ANESTHESIA   IT'S STILL REALLY HARD ON THE BODY  I THINK THAT WE DO THAT ALL THE TIME THROUGH THE COURSE OF OUR DAY  YOU KNOW   WHEN WE'RE JUST KIND OF NOT PAYING ATTENTION AND KIND OF OFF SOMEWHERE ELSE   THAT WE HAVE THAT CAPABILITY WITHIN OUR MIND-BODY RELATIONSHIP   WITHIN OUR CONSCIOUSNESS  AND THEY WERE REALLY WORRIED THAT I'D THINK THAT WOULD BE HELPING ME WALK AGAIN  AND THOSE SENSATIONS   LISTENING TO MY OWN EXPERIENCE  ENDS UP BEING THOSE SENSATIONS I WERE TOLD WEREN'T REAL THEN AT THIRTEEN AND I BELIEVED  THEY'RE WELL-INTENDING   BUT WHAT ENDS UP HAPPENING IS THAT LEVEL OF MIND-BODY CONNECTION IS NOT ONE THAT WE RECOGNIZE HERE  IT ENDED UP BEING THE CORNERSTONE OF MY YOGA PRACTICE  AND WHAT I ONLY FIGURED OUT OVER TIME WAS THAT IT ISN'T JUST THE ABILITY TO DISASSOCIATE  AND THEN FOR ME WITH MY PARTICULAR INJURY   BEING A MIND-BODY INJURY AT CORE  IT'S GOT A PHYSICAL CAUSE   BUT THE REAL INJURY I LIVE WITH IS THAT MY MIND HAS A HARDER TIME BEING IN MY BODY THAN YOURS DOES  THAT LITERALLY A LEVEL OF SILENCE OR ABSENCE OF NORMAL SENSATION  SILENCE   GOT INFUSED INTO MY MIND-BODY RELATIONSHIP  BUT I THINK THAT'S HAPPENING TO ALL OF US   I THINK THAT'S AGING  TODAY   THE BODY'S GRACE I'M WITH YOGA TEACHER MATTHEW SANFORD  THE WORD YOGA MEANS TO YOKE  TO DISSOLVE SEPARATION BETWEEN BODY   MIND   AND BREATH  IT'S AN ANCIENT DISCIPLINE   WITH ROOTS IN HINDU METAPHYSICS  FOR MATTHEW SANFORD  YOGA BECAME A WAY TO DELVE INTO THE INNER SILENCE HE DISCOVERED AFTER HE BECAME PARAPLEGIC  IT'S A SILENCE HE DESCRIBES NOW AS BEING AT THE CORE OF HIS DISABILITY AND ALL OF HUMAN EXPERIENCETHE SILENCE IS THE ASPECT OF OUR CONSCIOUSNESS THAT MAKES US FEEL SLIGHTLY HEAVY  IT IS THE SOURCE OF OUR FEELING OF LOSS   BUT ALSO OF A SENSE OF AWE  WHEN I DO COMPARE IT TO OUR EXPERIENCES   I  YOU KNOW   LIKE WHEN YOU'RE WASHING YOUR DISHES FOR ANOTHER DAY AFTER ANOTHER MEAL AND YOU HAVE THAT KIND OF QUIET FEELING  I THINK WE ALL KNOW WHAT I'M TALKING ABOUT  YOU CAN KIND OF FEEL IT  WHEN YOU FEEL BEAUTY IT'S THE SILENCE WITHIN USFOR EXAMPLE  YOU KNOW   WHEN YOU LEARN TO SOFTEN YOUR ORGANS OF PERCEPTION   LET'S SAY IF I'D ASK YOU RIGHT NOW TO SOFTEN THE INSIDE OF YOUR MOUTH   AND IN PARTICULAR   RELAX YOUR TONGUE  SOMETHING WILL HAPPEN TO YOUR PERCEPTION INWARD IN YOUR BODY AND YOU WILL HEAR SOMETHING DIFFERENT  AND I DO THINK IT'S AN ORDINARY EXPERIENCE  I THINK THAT WE HAVE IT ALL THE TIME   WE JUST DON'T RECOGNIZE IT  I THINK THAT'S WHERE STRESS LANDS  THAT WE NEED TO MANAGE BETTER   WE NEED TO BE MORE PRESENT WITH FOR A LOT OF REASONS BECAUSE I THINK THIS SAME SILENCE WE'RE TALKING ABOUT BOTH CONNECTS US TO OTHER PEOPLE AND SEPARATES  AND SO IT'S NOT THAT THE SILENCE CAN GO AWAY FROM IT  I THINK IN TRYING TO LISTEN   FOR EXAMPLE   TO THE SILENCE OF MY PARALYSIS  THAT IT ITSELF HAS TEXTURE  THAT IT ITSELF HAS LIFE IN IT  YOU TRY TO MAKE WHAT I WOULD SAY THE SILENCE CONGRUENT WITH PHYSICAL EXERTION  NOT JUST PHYSICALLY EXERT WITH A LOT OF WILL  YOU ONLY FEEL A LITTLE PORTION OF IT  IF I WERE TO ASK YOU TO STRETCH THE INTERCOSTAL MUSCLES RIGHT NOW  YOU WOULDN'T EXACTLY KNOW HOW TO DO THAT YEAH LIKE YOU HAVE SILENCE TOO IN YOUR MIND-BODY RELATIONSHIP  AND START TO LISTEN AND TO BE QUIET  IT'S A DIFFERENT QUALITY OF AWARENESS THAT'S RESIDING WITHIN YOU  THAT IN THAT SILENCE  SOUNDS CAN GAIN TEXTURE AGAIN AND I SAY ONE PLACE THE MOON MIGHT REVEAL ITSELF   LIFE REVEAL ITSELF AGAIN   ONLY DARKER  AT FIRST YOU CAN'T SEE ANYTHING  USUALLY THERE'S ENOUGH LIGHT TO GET ACROSS THE ROOM  YOU KNOW   IT'S NOT GOING TO BE LIKE TURNING THE LIGHT BACK ON   BUT IN FACT   THE WORLD GETS THIS OTHER KIND OF TEXTURE THAT MAKES IT BEAUTIFUL  ALSO MAKES IT SCARY IN THE DARK  YOU KNOW   IT GOES EITHER WAYIMAGINE THE DARKNESS AS A VISUAL EXPRESSION OF SILENCE  MY REHABILITATION MADE A MISTAKE WITH THE SILENCE BY FOCUSING ON THE ABSENCE OF LIGHT  IT TOO QUICKLY ACCEPTED THE LOSS AND TAUGHT ME TO WILLFULLY STRIKE OUT AGAINST THE DARKNESS  IT TOLD ME TO MOVE FASTER RATHER THAN SLOWER  IT GUIDED ME TO COMPENSATE FOR WHAT I COULD NOT SEEANOTHER COURSE OF ACTION   HOWEVER   IS PATIENCE  STOP MOVING  WAIT FOR THE EYES TO ADJUST  ALLOW FOR STILLNESS AND THEN SEE WHAT'S POSSIBLE  ALTHOUGH FULL-FLEDGED VISION DOES NOT RETURN  USUALLY THERE IS ENOUGH LIGHT TO FIND ONE'S WAY ACROSS THE ROOM  AFTER A WHILE   THE MOON MAY COME OUT  SOUNDS MIGHT GAIN TEXTURE  I STILL AM   I MEAN I'VE HAD A SET OF EXPERIENCES IN MY LIFE AND IT'S NOT JUST THE CAR ACCIDENT   THERE'S A LOT OF TRAUMA GOING THROUGH MY STORY IN THE LAST TWENTY SEVEN YEARS  THAT THEY'RE TRYING TO PUT IN CONTEXT AND INTO STORY AN EXPERIENCE THAT WE ALL HAVE  THERE WAS A TIME WHERE ALL   AND I KNEW I COULD FEEL STUFF   I COULD FEEL   THE FIRST TIME I MET MY YOGA TEACHER  BECAUSE I HAD A LOT OF THINGS  WHEN I WAS FIRST STARTING YOGA   A LOT OF   LIKE I SAID   I WAS ASLEEP IN THE CAR  BUT WHAT I HAD DONE IS MADE MY BODY ABSORB IT ALONE  SO AS I STARTED TO RECONNECT TO MY BODY  I CAN FEEL THE SKID OFF THE BRIDGE   I CAN FEEL WHERE THE BLOW CAME FROM  MY LUNG WAS COLLAPSING   I HAD TROUBLE BREATHING   I CAN FEEL THAT ANGST  IT'S ALL IN MY BODY  AND IT COMPLETELY CHANGED MY LIFE  BUT WHAT'S ENDED UP HAPPENING   AND THIS GETS BACK TO YOUR EARLIER QUESTION   IS THAT WHAT ENDS UP HAPPENING IS THAT THAT SILENCE THAT I USED TO DISCONNECT  I START TO REALIZE IS EMBODIED IN MY PARALYSIS AND THAT THE PARALYSIS IS ITSELF A TEACHER OF PRESENCE TO ME  AND I COMPARE IT TO AN ARTICHOKE   YOU TAKE AN ARTICHOKE AND YOU PULL  THAT'S WHAT I THINK I EXPERIENCED IN MY PARALYSIS   I EXPERIENCED WHAT EXISTENCE WOULD BE LIKE BEFORE TOIL  BEFORE ACTION  LIKE THIS IS WHAT IT IS WHEN IT JUST HUMS  AND TO WHATEVER EXTENT I CAN FEEL AND INTUIT THAT   WHICH I CALL ENERGETIC AWARENESS OR SENSATION  I'M GETTING A GLIMPSE INTO A LEVEL OF EXISTENCE THAT WE HAVE A HARD TIME HEARING  WHICH  WITH YOUR SPINE AND ALSO IT FOCUSES ON EACH INDIVIDUAL POSE RIGHT   INSTEAD OF SEQUENCES THAT HAVE TO GO TOGETHER  SO MR   IYENGAR   HE'S ALIVE IN PUNE   INDIA   STILL HE REVEALS THE UNIVERSE OF YOGA IN EACH INDIVIDUAL POSE  THERE'S A LEVEL OF DEPTH AND PRECISION TO IT THAT'S MIND-BOGGLING  BUT IT WAS EXACTLY WHAT I NEEDED BECAUSE I COULD ONLY DO AND STARTED OFF WITH A FEW POSES  OVER TIME BECAUSE THEY SEAL ENERGY OR THEY MAKE IT RESONATE THROUGH THE MIND-BODY RELATIONSHIP   THE PARTICULAR POSITIONS MAKE US   IT FLOWED DIFFERENTLY  I CAN FEEL THAT   THAT'S HOW I CAN TEACH YOU YOGA IF YOU WANTED TO DO YOGA  MY MIND CAN FEEL INTO MY LEGS   YEAH WHAT'S THAT LIKE  IF YOU'RE REALLY   REALLY TIRED AND YOU FINALLY GET INTO BED  RELIEF   AND YOU FEEL LIKE YOU'RE FALLING EVEN THOUGH YOU'RE JUST LAYING THERE   YOU KEEP FALLING   CAUSE YOU'RE SO TIRED  THAT LEVEL OF DROPPING INTO YOUR BODY AND FEELING  THERE'S A REASON WHY  WHEN MY SON WHO'S SIX IS CRYING   HE NEEDS A HUG  IT'S NOT JUST THAT HE NEEDS MY LOVE  HE NEEDS BOUNDARY AROUND HIS EXPERIENCE  HE NEEDS TO KNOW THAT THE PAIN IS CONTAINED AND CAN BE HOUSED AND IT WON'T BE LIMITING HIS WHOLE BEING THAT HE CAN HE GETS A HUG AND  SO I CAN BE PART OF THE WORLDYOU CAN ALSO WATCH A VIDEO OF OUR IN-STUDIO CONVERSATION  WE'VE POSTED A CLIP FROM HIS DVD BEYOND DISABILITY ON OUR WEBSITE  THIS PROGRAM COMES TO YOU FROM APM  AMERICAN PUBLIC MEDIATODAY   THE BODY'S GRACE   WITH YOGA TEACHER MATTHEW SANFORDHE'S BEEN DESCRIBING HIS ARC OF LEARNING TO BE PHYSICALLY WHOLE  HE'S WRITTEN A BOOK CALLED WAKING A MEMOIR OF TRAUMA AND TRANSCENDENCE  IT'S ALSO A REFLECTION ON DEEPER LESSONS MATTHEW SANFORD'S LIFE HAS FOR OUR LARGER CULTURE  HERE'S ANOTHER PASSAGE HE READ FOR MEI AM FORCED TO FEEL DEATH NOT THE END OF MY LIFE   BUT THE DEATH OF MY LIFE AS A WALKING PERSON  IN PRINCIPLE   MY EXPERIENCE IS NOT THAT UNCOMMON  ONLY MORE EXTREME  IF WE CAN SEE DEATH AS MORE THAN BLACK AND WHITE  AS MORE THAN ON AND OFF  THERE ARE MANY VERSIONS OF REALIZED DEATH SHORT OF PHYSICALLY DYING  THE DEATH OF A LOVED ONE SETS SO MUCH IN MOTION  THEN THERE ARE ALSO THE QUIET DEATHS  HOW ABOUT THE DAY YOU REALIZED YOU WEREN'T GOING TO BE AN ASTRONAUT OR THE QUEEN OF SHEBA  FEEL THE SILENT DISTANCE BETWEEN YOURSELF AND HOW YOU FELT AS A CHILD  BETWEEN YOURSELF AND THOSE FEELINGS OF WONDER AND SPLENDOR AND TRUST  FEEL YOUR MATURE FONDNESS FOR WHO YOU ONCE WERE  AND YOUR CURRENT NEED TO PROTECT INNOCENCE WHEREVER YOU MIGHT FIND IT  THE SILENCE THAT SURROUNDS THE LOSS OF INNOCENCE IS A MOST SERIOUS DEATH  AND YET   IT IS NECESSARY FOR THE ONSET OF MATURITY WHAT ABOUT THE DAY WE BEGAN WORKING NOT FOR OURSELVES  OR THE DAY WE REALIZED THAT   ON THE WHOLE   ADULT LIFE IS DEEPLY REPETITIVE  AS OUR LIVES ROLL INTO THE ORDINARY   WHEN OUR IDEALS SPUTTER AND DISSIPATE  AS WE WASH THE DISHES AFTER YET ANOTHER MEAL  WE ARE INTEGRATING DEATH  A LITTLE PART OF US IS DYING   SO THAT ANOTHER PART CAN LIVEAND THAT WOULD BE A PERFECT EXAMPLE OF A HEALING STORY  AND BELIEVE ME   I DIDN'T GET THIS RIGHT AWAY  I MEAN   I BROKE MY LEG DOING YOGA  BUT YOU NEED ALL KINDS OF STRENGTH  IT HAS THAT LIKE   AH FEELING  THAT IS REALLY STRONG   BUT YOUR HEART FEELS VULNERABLE WHEN YOU LET YOURSELF BE IN THE WORLD LIKE THAT  THAT'S WHY WE AVOID IT  YOU KNOW   DID I FEEL INVINCIBLE   NO  THAT MAKES YOU FEEL A TYPE OF CONTROL OVER THE WORLD  BUT I ALSO KNOW THE UNTHINKABLE IS POSSIBLE  YOU CAN HAVE AS MUCH CONTROL AS YOU WANT  BUT THE WORLD IS SO BIG  LIFE DOES ITS OWN THING WITH US ON SOME LEVEL YOU KNOW WHAT'S SO INTERESTING   THE  WHETHER IT BE NATURE   WHETHER IT BE EACH OTHER  THAT IT'S MY WHOLE POINT IS THAT WE ALSO NEED THAT'S ONE THING WE WANT IN THE TOOL BELT  TO USE WILL WHEN YOU NEED TO HAVE IT  BUT WE   I THINK   ARE JUST ON THE BEGINNING OF REALIZING THAT THERE ARE MANY OTHER WAYS TO INTEGRATE WITH BODY  IT'S NOT ABOUT THE PERFECT POSE   IT'S NOT THAT   IT'S LIKE LITERALLY IT'S A PHENOMENON THAT OCCURS AT YOUR MIND'S INTENT AND YOUR BODY'S LIMITS  THE THINGS THAT SOME OF MY STUDENTS ALREADY DO JUST TO LIVE THEIR EVERYDAY LIFE ARE THEMSELVES MIRACULOUS SOLUTIONS TO A MIND-BODY PROBLEM  IT'S NOT   LIKE   OH   DO IT THIS WAY   THIS WAY IS BETTER   THIS WAY IS BETTER   YOU BETTER MAKE SURE YOU UNDERSTAND WHY THEY'RE MOVING THE WAY THEY'RE MOVING  WHAT PROBLEM IT'S SOLVING  I HAVE NEVER SEEN ANYONE TRULY BECOME MORE AWARE OF HIS OR HER BODY WITHOUT ALSO BECOMING MORE COMPASSIONATE  WHEN MIND SEPARATES FROM BODY   WE GET MORE SELF-DESTRUCTIVE  AND WHEN YOU'RE PART OF THE WORLD  IT'S MUCH HARDER TO NOT FEEL COMPASSION ABOUT THE WORLDA REHABILITATION COMPLEX FOR PEOPLE WITH ALL KINDS OF PHYSICAL CHALLENGES IN GOLDEN VALLEY   MINNESOTA  HE'S ALSO WORKED IN RECENT YEARS WITH MILITARY VETERANS  IN THIS CLASS   VOLUNTEERS ASSIST THE STUDENTS   SOME OF WHOM ARE PARAPLEGIC  LITERALLY GROW   GET TALLER  LIKE LAY IN WHERE YOUR BACK IS TOUCHING THE FLOOR IN THE MID-BACK  STRETCHING FROM THE FINGERTIPS OUT THROUGH THE FEET  RIGHT   I WANT YOU TO START SEEING YOUR PRESENCE IN YOUR BODY AS IF IT'S GROWING   LIKE IT'S ORGANICI'M KRISTA TIPPETT   AND THIS IS ON BEING CONVERSATION ABOUT MEANING   RELIGION   ETHICS   AND IDEAS TODAY   WITH MATTHEW SANFORD ON THE BODY'S GRACE  YOU KNOW   BUT WHEN SOMEONE TELLS ME THAT I CAN'T CALL MYSELF DISABLED OR A PARAPLEGIC OR SOMETHING   OR WHATEVER THE WORD MAY BE  BUT I THINK IT BRINGS TOO MUCH MORALITY AROUND IT   LIKE THERE'S A RIGHT THING AND WRONG THING TO SAY  AND I THINK THAT THAT'S NOT CONSCIOUSNESS   THAT'S JUST WORDSWHERE I WILL SEE MY SHADOW AND BE SHOCKED  WOW  I DON'T   BUT AT THE SAME TIME  THAT THERE'S SOMETHING HERE   I DON'T KNOW WHAT IT IS AND I DON'T CARE OF IT'S NEUROPHYSIOLOGICALLY EXPLAINED  BUT THERE'S A PRESENCE HERE THAT FLOWS THROUGH US THAT ISN'T SOLELY DETERMINED BY THE FACT IF I COULD STAND UP OR NOT  AND I'VE ALWAYS FELT THAT SURGE  I ALSO KNOW THAT THAT CONNECTION WAS WHAT MADE ME SUCH A GOOD ATHLETE AS A LITTLE KID   IT'S LIKE  YOU FEEL A FREE THROW  AND IT COMES FROM YOUR LEGS   AND IT COMES FROM YOUR ARMS   AND IT COMES FROM UNITY  ALL THAT UNITY IS STILL HERE  YOU THEN   AT SOME POINT   STARTED TO REALIZE THAT HEALING COULD LOOK LIKE SOMETHING DIFFERENT THAN BEING ABLE TO WALK AGAIN  I MEAN   DO YOU FEEL THAT YOU ARE HEALED  I THINK MY MIND-BODY RELATIONSHIP CONTINUES TO HEAL  THAT AS I PRACTICE YOGA AND PAY ATTENTION AND BE IN LOVE WITH THE WORLD   ACTUALLY   IT CONTINUES TO HEAL  BEFORE I STARTED YOGA  I REALLY DID FEEL LIKE A FLOATING UPPER TORSO  IT'S LIKE YOGA POURED WATER ON ME AND THROUGH ME  RIGHT   AND SO I PRACTICE YOGA NOT JUST TO BECOME   LIKE   REALLY GREAT AT YOGA POSES   I PRACTICE YOGA TO FEEL THIS UM   YOU SAY AT ONE POINT IN YOUR MEMOIR THAT YOU COMPLETELY DISAGREE WHEN PEOPLE SAY   MY BODY IS FAILING ME  I'M IN MY FORTY S TOO  AND ONE OF THE LESSONS THAT I'VE LEARNED IS IT WAS MY BODY THAT KEPT ME LIVING  YOUR BODY   FOR AS LONG AS IT POSSIBLY CAN  WILL BE FAITHFUL TO LIVING  AND MANY BONES BROKEN  AND ONLY A LITTLE PART OF MY BODY DIDN'T HEAL  ONLY YOU KNOW   AN INCH OR TWO OF MY SPINAL CORD WAS NOT ABLE TO REGENERATE  IT WENT TO WORK  RIGHT   AND THAT'S WHAT IT'LL DO  IT MIGHT GET CONFUSED  HOW MIGHT WE LIVE DIFFERENTLY IN THAT AWARENESS  ANDYOU BREATHE IN A YOGA POSE FOR THE SPACES I BELIEVE THIS FOR THE SPACES THAT YOU CAN'T FEEL  YOU DON'T JUST BREATHE FOR THE BICEP THAT YOU CAN REALLY FLEX  YOU ARE TRYING TO GET LIFE FORCE THROUGH THE SPACES YOU CAN'T FEEL  WHEN YOU DO  YOUR BALANCE INCREASES  YOUR STRENGTH INCREASES   YOUR FLEXIBILITY INCREASES  I THINK THAT WHEN YOU TALK ABOUT IN TERMS OF HONORING YOUR BODY  THEY'RE NOT LOST   THEY'RE NOT ABSENCE   THEY'RE PART OF YOUR STRENGTH   OF YOUR FIBER  IN A PIECE OF WOOD  IT'S NOT JUST THE GRAINS OF WOOD  IT'S THE EMPTY SPACE AND SPACES BETWEEN THE GRAINS OF WOOD THAT MAKE IT STRONG  IT'S BOTH  AND SO THE WORLD GETS LIGHTER AND EASIER WHEN YOU INCLUDE MORE OF YOURSELF HEREAND HOW DO YOU THINK ABOUT DEAL WITH THOSE PARTS OF YOUR BODY THAT YOU DON'T LIKE WHAT'S HAPPENING TO THEM   THE SKIN THAT'S AGING   THE KNEES THAT HURT  I MEAN   THOSE ARE MINOR PROBLEMS COMPARED TO THE PAIN THAT YOU  THIS TAKES PATIENCE  I'D LIKE TO TELL YOU THERE'S A ONE MAGIC INSIGHT AND SUDDENLY IT'S ALL EASY  NO   IT'S WORK   LIKE EVERYTHING ELSE  I THINK MORE I DON'T KNOW MORE DEEPLY   BUT DIFFERENTLY THAN MOST PEOPLE  HOW MUCH MY BODY HAS ABSORBED AND MOVED TOWARD LIVING STILL SO I LOOK AT YOU KNOW   I HAVE PLACES SKIN ON MY BODY   YOU KNOW   OLD PRESSURE SORES AND OLD STUFF THAT HAPPENED THAT YOU CAN SEE THE SKIN IS STRUGGLING TO STAY AND HOLD  MAN   IT'S WORKING AS HARD AS IT CAN  YOU KNOW  ARE YOU LEAVING HERE  IS YOUR PRESENCE CHANGING AS YOU LEAVE HERE THAT ALLOWS FOR OTHER THINGS  THAT'S TRUE   MY PHYSICAL BODY DOESN'T DO IT  SOMETHING ELSE IS HEALINGHOW DOES YOUR SON THINK ABOUT YOUR BODY  THERE IS ONE STORY THAT IT WAS A RELAY RACE AT   LIKE   HIS NURSERY SCHOOL OR PRESCHOOL  AND I COULDN'T LINE UP WITH THEM AND DO THE RELAY WITH THEM  SO THE OTHER DADS AND SONS WERE DOING IT  BUT HE DID IT ON HIS OWN RIGHT DOWN ALONG THE SIDE   AND RAN DOWN AND THEN CAME BACK  AND CAME BACK AND GAVE ME A BIG HIGH-FIVE  AND SO HE KNOWS THAT I CAN'T DO ALL THE THINGS  BUT WHEN HE CAME BACK AND HIGH-FIVED ME AND WENT  HEY   WE DID IT ANYWAY   IT WAS LIKESILENCE AND LOVEHIS DVD IS BEYOND DISABILITY  HE'S THE FOUNDER AND PRESIDENT OF MIND BODY SOLUTIONS IN MINNETONKA   MINNESOTALIKE MANY OF YOU   I PRACTICE YOGA  YOU CAN READ ABOUT OUR PERSONAL EXPERIENCES ON OUR BLOG  YOU CAN TAKE IN A VIDEO OF HER DEMONSTRATING WHAT SHE CALLS BODY PRAYER  AND YOU CAN WATCH MY IN-STUDIO CONVERSATION WITH MATTHEW SANFORD OR LISTEN AGAIN AND DOWNLOAD THIS SHOW  THIS PROGRAM IS PRODUCED BY CHRIS HEAGLE   NANCY ROSENBAUM   SUSAN LEEM   AND STEFNI BELL  ANNE BRECKBILL IS OUR WEB DEVELOPER  EVEN IF YOU CAN'T DO IT   TIM   COME ON   DO IT ANYWAY  \n",
        "transcription_base": " In a piece of wood, it's the empty space and spaces between the grains of wood that make it strong. It's both. Waking, a memoir of trauma and transcendence. Here he reads a passage from that. In principle, my experience is not so different from yours. It is only more extreme. My mind-body relationship changed in an instant. The time it took for my back to break. But the changing relationship between mind and body is a feature of everyone's life. We are all leaving our bodies. This is the inevitable arc of living. Death cannot be avoided. Neither can the inward silence that comes with the aging process. I now experience a different, more subtle connection between mind and body. It does not require that I flex muscles. It does not dissipate in the presence of increasing inward silence. It does require, however, that I seek more profoundly within my own experience and do so with an open mind. It means that I must reach intuitively into what may feel like darkness. On the Sunday after Thanksgiving, tumbled front to back three times in the car. My father and sister were killed. They were desperate and they needed me to live. And it was a great way for me to attach to something living right away. I think healing stories can definitely be negative. And my answer would be, well, I've had two lives. Well, that was a very smart healing story because I had to put away exactly what I needed to say. However, I needed to have all my ages. Here's another passage from Matthew Sanford's book, Waking. I am told repeatedly that my arms must now do double time for both my arms and my legs. Many people add to this image. The rehab specialist do it to motivate me. A male nurse tells me that chicks are going to dig it. And with the proving eyes my friends and family beam, wow those arms are going to be huge. During my workouts in rehab however, I drift out the window not into my arms. The rehab gym is full of people, standing people, walking people, sitting people. Most of them are older, their dysfunction brought on by age. I am in between, to alter pediatric rehabilitation, and definitely the lone boy begin impuberty. As I watch this scene, I set it against the view out the large south facing windows. I am not making the progress they would like. I am aging much too quickly. I mean, the overt connections between my mind and my paralyzed body, the ones that are most easy and most efficient, well, that connection got changed in my case. So, what ends up happening with me is that I have to go inward and listen to levels that we all share. You have the same connections in your mind body relationship that I use to do yoga and that I use in the rest of my life. And I believe that we need those connections. It went to a more subtle whisper that doesn't have as much clarity. It's sweeter, it's quieter, and it doesn't as quickly react. I can feel the surge up my body through my spine. But you feel it as energy rather than as nerve endings. Right. It's not as loud, it's not as crisp. I pay attention, and I can feel these changes. I don't hear it at all. It takes some attention. And if you focus too much on it, you can amplify it to the point of exaggeration. Tell me about that. And I got shown something there about the fluctuation and movement that can happen between mind and body. It's actually much more loose. Even if you're using anesthesia, it's still really hard on the body. I think that we do that all the time to the course of our day. You know, when we're just kind of not paying attention and kind of off somewhere else, that we have that capability within our mind-body relationship, within our consciousness. And they were really worried that I think that would be helping me walk again. And those sensations listening to my own experience ends up being those sensations I were told weren't real then at 13 and I believed. They're well intending, but what ends up happening is that level of mind body connection is not one that we recognize here. It ended up being the cornerstone of my yoga practice. And what I only figured out over time was that it isn't just the ability to disassociate. And then for me with my particular injury being a mind body injury at core, it's got a physical cause, but the real injury I live with is that my mind is a harder time being in my body than yours does. That literally a level of silence or absence of normal sensation, silence got infused into my mind-body relationship. But I think that's happening to all of us. I think that's aging. Today, the body's grace. I'm with yoga teacher Matthew Sandford. The word yoga means to yoke, to dissolve separation between body, mind, and breath. It's an ancient discipline with roots in Hindu metaphysics. For Matthew Sanford, yoga became a way to delve into the inner silence he discovered after he became paraplegic. It's a silence he describes now as being at the core of his disability and all of human experience. The silence is the aspect of our consciousness that makes us feel slightly heavy. It is the source of our feeling of loss but also of a sense of awe. When I do compare it to our experiences, you know, like when you're watching your dishes for another day, after another meal and and you have that kind of quiet feeling, I think we all know what I'm talking about. You can kind of feel it when you feel beauty. It's the silence within us. For example, when you learn to soften your organs of perception, let's say if I'd ask you right now to soften the inside of your mouth and in particular relax your tongue, something will happen to your perception inward in your body and you will hear something different. And I do think it's an ordinary experience. I think that we have it all the time. We just don't recognize it. I think that's where stress lands, that we need to manage better. We need to be more present with for a lot of reasons because I think the same silence we're talking about both connects us to other people and separates. And so it's not that the silence can go away from it. I think in trying to listen, for example, to the silence of my paralysis, that it itself has texture, that it itself has life in it. try to make what I would say the silence can gruel with physical exertion, not just physically exert with a lot of will. You only feel a little portion of it. We've hard to ask you to stretch your inner costume muscles right now. You wouldn't exactly know how to do that. Like you have silence too in your mind body relationship and start to listen and to be quiet. It's a different quality of awareness that's residing within you that in that silence, sounds can gain texture again. And I'm saying one place in the moon might reveal itself. Life reveals itself again only darker. At first you can't see anything. Usually there's enough light that get across the room. You know it's not gonna be like turning the light back on. But in fact the world gets this other kind of texture. That makes it beautiful. It also makes it scary in the dark. You know it goes either way. Imagine the darkness as a visual expression of silence. My rehabilitation made a mistake with the silence by focusing on the absence of light. It too quickly accepted the loss and taught me to willfully strike out against the darkness. It told me to move faster rather than slower. It guided me to compensate for what I could not see. Another course of action however is patience. Stop moving, wait for the eyes to adjust, allow for stillness, and then see what's possible. Although full fledged vision does not return, usually there is enough light to to find one's way across the room. After a while, the moon may come out, sounds might gain texture. I still am. I mean, I've had a set of experiences in my life and it's not just a car accident. There's a lot of trauma going through my story in the last 27 years, that they're trying to put in context and into story and experience that we all have. There was a time where all, and I knew I could feel stuff, I could feel the first time I met my yoga teacher because I had a lot of things when I was first starting yoga, a lot of like I said I was asleep in the car, but what I had done is made my body absorb it alone. So as I started to reconnect to my body, I can feel to skid off the bridge, I can feel where the blow came from. My lung was collapsed and I had trouble breathing. I can feel that angst. It's all in my body. And it completely changed my life. But what's end of happening, and this gets back to your earlier question, is that what ends up happening, is that that silence that I used to disconnect. I start to realize is embodied in my paralysis and that the paralysis is itself a teacher of presence to me. And I compare it to an artichoke. If you take an artichoke and you pull, that's what I think I experience in my paralysis. I experience what existence would be like before toil, before action. Like this is what it is when it just homes. And to whatever extent I can feel and intuit that, which I call energetic awareness or sensation, I'm getting a glimpse into a level of existence that we have a hard time hearing. Which, with your spine? And also it focuses on each individual pose, right? Instead of sequences that have to go together. So Mr. Angar, he's alive in Pune, India still. He reveals the universe of yoga in each individual pose. There's a level of depth and precision to it that's mind-boggling. But it was exactly what I needed because I could only do and start off with a few poses. Over time, because they seal energy or they make it resonate through the mind-body relationship, the particular positions make it flow differently. I can feel that. That's how I can teach you yoga if you wanted to do yoga. My mind can feel into my legs. Yeah. What's that like? If you're really, really tired and you finally get into bed, and you feel like you're falling, even though you're just laying there, keep falling because you're so tired. That level of dropping into your body and feeling. There's a reason why when my son, he's sick, is crying. He needs a hug. It's not just that he needs my love. He needs boundary around his experience. He needs to know that the pain is contained and can be housed and won't be limiting his whole being that he can, he gets a hug and so I can be part of the world. You can also watch a video of our in-studio conversation. We've posted a clip from his DVD Beyond Disability on our website. This program comes to you from APM, American Public Media. Today the body's grace with yoga teacher Matthew Sanford. He's been describing his arc of learning to be physically whole. He's written a book called Waking, a memoir of trauma and transcendence. It's also a reflection on deeper lessons Matthew Sanford's life has for our larger culture. Here's another passage he read for me. I am forced to feel death. Not the end of my life, but the death of my life as a walking person. In principle, my experience is not that uncommon, only more extreme. If we can see death as more than black and white, as more than on and off, there are many versions of realized death short of physically dying. The death of a loved one sets so much in motion. Then there are also the quiet deaths. How about the day you realized you weren't going to be an astronaut or the Queen of Shiba? Feel the silent distance between yourself and how you felt as a child. Between yourself and those feelings of wonder and splendor and trust. Feel your mature fondness for who you once were and your current need to protect innocents wherever you might find it. The silence that surrounds the loss of innocence is the most serious death, and yet it is necessary for the onset of maturity. What about the day we began working not for ourselves, or the day we realized that, on the whole, adult life is deeply repetitive. As our lives roll into the ordinary, when our ideals sputter and dissipate, as we wash the dishes after yet another meal, we are integrating death. a little part of us is dying so that another part can live. And that would be a perfect example of a healing story. And believe me, I didn't get this right away. I mean, I broke my leg doing yoga, but you need all kinds of strength. It has that like, ah, feeling. That is really strong, but your heart feels vulnerable when you let yourself be in the world like that. That's why we avoid it. You know, did I feel invincible? No, that makes you feel a type of control over the world. but I also know the unthinkable is possible. You can have as much control as you want, but the world is so big. Life does its own thing with us on some level. You know what's so interesting? Whether it be nature, whether it be each other, that it's my whole point is that we also need, that's one thing we want in the tool belt. They use will when you need to have it, but we I think are just on the beginning of realizing that there are many other ways to integrate with body. It's not about the perfect pose, it's not that. It's like literally it's a phenomena that occurs at your mind's intent and your body's limits. The things that some of my students already do just to live their everyday life are themselves miraculous solutions to a mind body problem. It's not like, oh, do it this way, this way is better, this way is better. You better make sure you understand why they're moving the way they're moving, what problem it's solving. I have never seen anyone truly become more aware of his or her body without also becoming more compassionate. When mind separates from body, we get more self-destructive. And when you're part of the world, it's much harder to not feel compassion about the world. A rehabilitation complex for people with all kinds of physical challenges in Golden Valley, Minnesota. He's also worked in recent years with military veterans. In this class, volunteers assist the students, some of whom are paraplegic. Literally grow, get taller, like lay, and where your back is touching the floor in the mid-back, stretching from the fingertips out through the feet. I want you to start seeing your presence in your body as if it's growling like it's organic. I'm Christa Tippett, and this is on being conversation about meaning, religion, ethics, and ideas. Today with Matthew Sanford on, the body's grace. But when someone tells me that I can't call myself disabled or a paraplegic or something, or whatever the word may be, but I think it brings too much morality around it, like there's a right thing and wrong thing to say. And I think that that's not consciousness, that's just words. Where I will see my shadow and be shocked. Wow, I don't, but at the same time, that there's something here, I don't know what it is, and I don't care if it's neurophysiologically explained, but there's a presence here that flows through us that isn't solely determined by the fact if I could stand up or not. And I've always felt that search. I also know that that connection was what made me such a good athlete as a little kid. It's like you feel a free throw and it comes from your legs and it comes from your arms and it comes from unity. All that unity still here. You then at some point started to realize that healing could look like something different than being able to walk again. I mean, do you feel that you are healed? I think my mind-body relationship continues to heal. But as I practice yoga and pay attention and being loved with the world actually, it continues to heal. Before I started yoga, I really did feel like a floating upper torso. It's like yoga poured water on me and threw me, right? And so I practice yoga not just to become really great at yoga poses, I practice yoga to feel this. You say at one point in your memory that you completely disagree when people say my body is failing me. I'm in my 40s too. And one of the lessons that I've on is it was my body that kept me living. Your body for as long as it possibly can will be faithful to living. And many bones broken. And only a little part of my body didn't heal. Only, you know, an inch or two of my spinal cord was not able to regenerate. It went to work. Right. And that's what it'll do. It might get confused. How might we live differently in that awareness? And you breathe in a yoga pose for the spaces I believe this, for the spaces that you can't feel. You don't just breathe for the bicep that you can really flex. You are trying to get life force through the spaces you can't feel. When you do your balance increases, your strength increases, your flexibility increases. I think that when you talk about in terms of honoring your body, they're not lost, they're not absence, they're part of your strength of your fiber. In a piece of wood, it's not just the greens of wood. It's the empty space and spaces between the greens of wood that make it strong. It's both. And so the world gets lighter and easier when you include more of yourself here. And how do you think about deal with those parts of your body that you don't like what's happening to them? The skin, the aging, the knees that hurt. I mean, those are minor problems compared to the pain that you... This takes patience. I'd like to tell you there's a one magic insight and suddenly it's all easy. No, it's work like everything else. I think more... I don't know more deeply, but differently than most people. How much my body has absorbed and moved towards living still. So, I look at, you know, I have places, the skin on my body, you know, old pressure sores and old stuff that happen that you can see the skin is struggling to stay and hold. Man, it's working as hard as it can. You know, are you leaving here? Is your presence changing as you leave here that allows for other things? That's true. My physical body doesn't do it. Something else is healing. How did it feel to think about your body? There's one story that there was a relay race at like his nursery school or preschool and I couldn't line up with them and do the relay with them. So the other dads and sons were doing it. But he did it on his own right down along the side and ran down and then came back and came back and gave me a big high-fi. And so he knows that I can't do all the things. But when he came back and high-fied me and went, hey, we did it anyway. It was like silence and love. His DVD is Beyond Disability. He's the founder and president of MindBody Solutions in Minnetonka, Minnesota. Like many of you, I practice yoga. You can read about our personal experiences on our blog. You can take in a video of her demonstrating what she calls body prayer. And you can watch my in-studio conversation with Matthew Sanford or listen again and download this show. This program is produced by Chris Hegel, Nancy Rosenbaum, Susan Leam, and Stephanie Bell. And Breckbill is our web developer. Even if you can't do it, Tim, come on, do it anyway.",
        "transcription_medium": " In a piece of wood, it's the empty space and spaces between the grains of wood that make it strong. It's both. Waking, a memoir of trauma and transcendence. Here he reads a passage from that. In principle, my experience is not so different from yours. It is only more extreme. My mind-body relationship changed in an instant, the time it took for my back to break. But the changing relationship between mind and body is a feature of everyone's life. We are all leaving our bodies. This is the inevitable arc of living. Death cannot be avoided. Neither can the inward silence that comes with the aging process. I now experience a different, more subtle connection between mind and body. It does not require that I flex muscles. It does not dissipate in the presence of increasing inward silence. It does require, however, that I seek more profoundly within my own experience and do so with an open mind. It means that I must reach intuitively into what may feel like darkness. On the Sunday after Thanksgiving, tumbled front to back three times in the car, my father and sister were killed. They were desperate and they needed me to live and it was a great way for me to attach to something living right away. I think healing stories can definitely be negative and my answer would be, well, I've had two lives. Well, that was a very smart healing story because I had to put away exactly what I needed to say. However, I needed to have all my ages. Here's another passage from Matthew Sanford's book, Waking. I am told repeatedly that my arms must now do double time for both my arms and my legs. Many people add to this image. The rehab specialists do it to motivate me. A male nurse tells me that chicks are going to dig it. And with the proving eyes, my friends and family beam, wow, those arms are going to be huge. During my workouts in rehab however, I drift out the window, not into my arms. The rehab gym is full of people, standing people, walking people, sitting people. Most of them are older, their dysfunction brought on by age. I am in between, too old for pediatric rehabilitation and definitely the lone boy beginning puberty. As I watch this scene, I set it against the view out the large south facing windows. I am not making the progress they would like. I am aging much too quickly. I mean the overt connections between my mind and my paralyzed body, the ones that are most easy and most efficient, well that connection got changed in my case. So what ends up happening with me is that I have to go inward and listen to levels that we all share. You have the same connections in your mind-body relationship that I used to do yoga and that I use in the rest of my life. And I believe that we need those connections. it went to a more subtle whisper that doesn't have as much clarity. It's sweeter, it's quieter, and it doesn't as quickly react. I can feel the surge up my body through my spine. But you feel it as energy rather than as nerve endings. Right. It's not as loud, it's not as crisp. I pay attention and I can feel these changes. I don't hear it at all. It takes some attention and if you focus too much on it, you can amplify it to the point of exaggeration. Tell me about that. I got shown something there about the fluctuation and movement that can happen between mind and body. It's actually much more loose. Even if you're using anesthesia, it's still really hard on the body. I think that we do that all the time through the course of our day. When we're just kind of not paying attention and kind of off somewhere else, that we have that capability within our mind-body relationship, within our consciousness. they were really worried that I think that would be helping me walk again. And those sensations, listening to my own experience, ends up being those sensations I were told weren't real then at 13 and I believed. They're well intending. But what ends up happening is that level of mind-body connection is not one that we recognize here. It ended up being the cornerstone of my yoga practice. And what I only figured out over time was that it isn't just the ability to disassociate. And then for me with my particular injury being a mind-body injury at core, it's got a physical cause, but the real injury I live with is that my mind has a harder time being in my body than yours does. That literally a level of silence or absence of normal sensation, silence got infused into my mind-body relationship. But I think that's happening to all of us. I think that's aging. Today the body's grace. I'm with yoga teacher Matthew Sanford. The word yoga means to yoke, to dissolve separation between body, mind and breath. It's an ancient discipline with roots in Hindu metaphysics. For Matthew Sanford, yoga became a way to delve into the inner silence he discovered after he became paraplegic. It's a silence he describes now as being at the core of his disability and all of human experience. The silence is the aspect of our consciousness that makes us feel slightly heavy. It is the source of our feeling of loss but also of a sense of awe. When I do compare it to our experiences, like when you're washing your dishes for another day after another meal and you have that kind of quiet feeling, I think we all know what I'm talking about. You can kind of feel it when you feel beauty. It's the silence within us. For example, when you learn to soften your organs of perception, let's say if I'd ask right now to soften the inside of your mouth and in particular relax your tongue. Something will happen to your perception inward in your body and you will hear something different. And I do think it's an ordinary experience. I think that we have it all the time. We just don't recognize it. I think that's where stress lands. That we need to manage better. We need to be more present with for a lot of reasons because I think this same silence we're talking about both connects us to other people and separates. And so it's not that the silence can go away from it. I think in trying to listen for example to the silence of my paralysis that it itself has texture, that it itself has life in it. You try to make what I would say the silence congruent with physical exertion. Not just physically exert with a lot of will. You only feel a little portion of it. If I were to ask you to stretch your costal muscles right now, you wouldn't exactly know how to do that. You have silence too in your mind-body relationship and start to listen and to be quiet. It's a different quality of awareness that's residing within you that in that silence, sounds can gain texture again. I say one place, the moon might reveal itself. Life reveals itself again only darker. At first you can't see anything. Usually there's enough light to get across the room. You know, it's not gonna be like turning the light back on. But in fact, the world gets this other kind of texture that makes it beautiful. Also makes it scary in the dark. You know, it goes either way. Imagine the darkness as a visual expression of silence. My rehabilitation made a mistake with the silence by focusing on the absence of light. It too quickly accepted the loss and taught me to willfully strike out against the darkness. It told me to move faster rather than slower. It guided me to compensate for what I could not see. Another course of action, however, is patience. Stop moving, wait for the eyes to adjust, allow for stillness, and then see what's possible. Although Full Flood's vision does not return, usually there is enough light to find one's way across the room. After a while, the moon may come out. Sounds might gain texture. I still am. I mean, I've had a set of experiences in my life, and it's not just the car accident. There's a lot of trauma going through my story. in the last 27 years, that they're trying to put in context and into story an experience that we all have. There was a time where all, and I knew I could feel stuff, I could feel the first time I met my yoga teacher because I had a lot of things when I was first starting yoga, a lot of like I said I was asleep in the car, but what I had done is made my body absorb it alone. So as I started to reconnect to my body, I can feel the skid off the bridge, I can feel where the blow came from, my lung was collapsing, I had trouble breathing, I can feel that angst, it's all in my body and it completely changed my life. But what's ended up happening, and this gets back to your earlier question, is that what ends up happening is that that silence that I use to disconnect, I start to realize is embodied in my paralysis and that the paralysis is itself a teacher of presence to me and I compare it to an artichoke. If you take an artichoke and you pull, that's what I think I experience in my paralysis. I experience what existence would be like before toil, before action. This is what it is when it just hums and to whatever extent I can feel and intuit that, which I call energetic awareness or sensation, I'm getting a glimpse into a level of existence that we have a hard time hearing. Which with your spine? And also it focuses on each individual pose, right? Instead of sequences that have to go together. So Mr. Angar, he's alive in Pune, India still, he reveals the universe of yoga in each individual pose. There's a level of depth and precision to it that's mind-boggling, but it was exactly what I needed because I could only do and start off with a few poses over time because they seal energy or they make it resonate through the mind body relationship. The particular positions make it flow differently. I can feel that. That's how I can teach you yoga if you wanted to do yoga. My mind can feel into my legs. Yeah. What's that like? If you're really really tired and you finally get into bed, relief and you feel like you're falling even though you're just laying there you keep falling because you're so tired, that level of dropping into your body and feeling. There's a reason why when my son, he's six, is crying, he needs a hug. It's not just that he needs my love, he needs boundary around his experience. He needs to know that the pain is contained and can be housed and it won't be limiting his whole being. That he can, he gets a hug so I can be part of the world. You can also watch a video of our in-studio conversation. We've posted a clip from his DVD, Beyond Disability, on our website. This program comes to you from APM, American Public Media. Today, The Body's Grace with yoga teacher Matthew Sanford. He's been describing his arc of learning to be physically whole. He's written a book called Waking, a memoir of trauma and transcendence. It's also a reflection on deeper lessons Matthew Sanford's life has for our larger culture. Here's another passage he read for me. I am forced to feel death, not the end of my life, but the death of my life as a walking person. In principle, my experience is not that uncommon, only more extreme. If we can see death as more than black and white, as more than on and off, there are many versions of realized death short of physically dying. The death of a loved one sets so much in motion, then there are also the quiet deaths. How about the day you realized you weren't going to be an astronaut or the queen of Sheba? Feel the silent distance between yourself and how you felt as a child, between yourself and those feelings of wonder and splendor and trust. Feel your mature fondness for who you once were and your current need to protect innocence wherever you might find it. The silence that surrounds the loss of innocence is the most serious death and yet it is necessary for the onset of maturity. What about the day we began working not for ourselves, or the day we realized that on the whole adult life is deeply repetitive? As our lives roll into the ordinary, when our ideals sputter and dissipate, as we wash the dishes after yet another meal, we are integrating death. A little part of us is dying so that another part can live. And that would be a perfect example of a healing story. And believe me, I didn't get this right I mean I broke my leg doing yoga but you need all kinds of strength that has that like feeling. That is really strong but your heart feels vulnerable when you let yourself be in the world like that. That's why we avoid it. You know did I feel invincible? No. That makes you feel a type of control over the world but I also know the unthinkable is possible. You can have as much control as you want but the world is so big. does its own thing with us on some level. You know what's so interesting? Whether it be nature, whether it be each other, that it's my whole point is that we also need that's one thing we want in the tool belt to use well when you need to have it. But we I think are just on the beginning of realizing that there are many other ways to integrate with body. It's not about the perfect pose, it's not that. It's like literally it's a phenomena that occurs at your mind's intent in your body's limits. The things that some of my students already do just to live their everyday life are themselves miraculous solutions to a mind-body problem. It's not like, oh do it this way, this way is better, this way is better. You better make sure you understand why they're moving the way they're moving, what problem it's solving. I have never seen anyone truly become more aware of his or her body without also becoming more compassionate. When When mind separates from body, we get more self-destructive. And when you're part of the world, it's much harder to not feel compassion about the world. A rehabilitation complex for people with all kinds of physical challenges in Golden Valley, Minnesota. He's also worked in recent years with military veterans. In this class, volunteers assist the students, some of whom are paraplegic. Literally grow. Get taller. And where your back is touching the floor in the mid-back, stretching from the fingertips out through the feet, right? I want you to start seeing your presence in your body as if it's growing, like it's organic. I'm Krista Tippett, and this is On Being, conversation about meaning, religion, ethics and ideas, today with Matthew Sanford on the body's grace. You know, but when someone tells me that I can't call myself disabled or a paraplegic or something or whatever the word may be, but I think it brings too much morality around like there's a right thing and wrong thing to say. And I think that that's not consciousness, that's just words. Where I will see my shadow and be shocked. Wow, I don't, but at the same time that there's something here and I don't know what it is and I don't care if it's neurophysiologically explained, but there's a presence here that flows through us that isn't solely determined by the fact if I could stand up or not. And I've always felt that surge. I also know that that connection was what made me such a good athlete as a little kid. It's like, you feel a free throw, and it comes from your legs, and it comes from your arms, and it comes from unity. All that unity's still here. You then at some point started to realize that healing could look like something different than being able to walk again. I mean, do you feel that you are healed? I think my mind-body relationship continues to heal. That as I practice yoga and pay attention and be in love with the world actually, continues to heal. Before I started yoga, I really did feel like a floating upper torso. It's like yoga poured water on me and through me, right? And so I practice yoga not just to become like really great at yoga poses, I practice yoga to feel this. You say at one point in your memoir that you completely disagree when people say my body is failing me. I'm in my 40s too. And one of the lessons that I've been is it was my body that kept me living. Your body for as long as it possibly can will be faithful to living and many bones broke in and only a little part of my body didn't heal. Only you know an inch or two of my spinal cord was not able to regenerate. It went to work and that's what it'll do. It might get confused. How might we live differently in that awareness. And you breathe in a yoga pose for the spaces, I believe this, for the spaces that you can't feel. You don't just breathe for the bicep that you can really flex. You are trying to get life force through the spaces you can't feel. When you do, your balance increases, your strength increases, your flexibility increases. I think that when you talk about in terms of honoring your body, They're not lost. They're not absence. They're part of your strength, of your fiber. In a piece of wood, it's not just the grains of wood. It's the empty space and spaces between the grains of wood that make it strong. It's both. And so the world gets lighter and easier when you include more of yourself here. And how do you think about, deal with those parts of your body that you don't like what's happening to them, the skin that's aging, the knees that hurt. I mean those are minor problems compared to the pain that you've. This takes patience. I'd like to tell you there's a one magic insight and suddenly it's all easy. No, it's work like everything else. I think more, I don't know more deeply but differently than most people, how much my body has absorbed and moved towards living still. So I look at, you know, I have places, skin on my body, you know, old pressure sores and old stuff that happened that you can see the skin is struggling to stay and hold. Man, it's working as hard as it can, you know. Are you leaving here? Is your presence changing as you leave here that allows for other things? That's true. My physical body doesn't do it. Something else is healing. How did your son think about your body. There is one story that there was a relay race at like his nursery school or preschool and I couldn't line up with them and do the relay with them so the other dads and sons were doing it but he did it on his own right down along the side and ran down and then came back and came back and gave me a big hi-fi and so he knows that I can't do all the things but when he came back and high-fived me and went hey we did it anyway always like silence and and love. Susan Lehm and Stephanie Bell. Ann Breckbill is our web developer. Even if you can't do it, Tim, come on, do it anyway.",
        "transcription_large_v3": " In a piece of wood, it's the empty space and spaces between the grains of wood that make it strong. It's both. Waking, a memoir of trauma and transcendence. Here he reads a passage from that. In principle, my experience is not so different from yours. It is only more extreme. My mind-body relationship changed in an instant, the time it took for my back to break. But the changing relationship between mind and body is a feature of everyone's life. We are all leaving our bodies. This is the inevitable arc of living. Death cannot be avoided, neither can the inward silence that comes with the aging process. I now experience a different, more subtle connection between mind and body. It does not require that I flex muscles. It does not dissipate in the presence of increasing inward silence. It does require, however, that I seek more profoundly within my own experience and do so with an open mind. It means that I must reach intuitively into what may feel like darkness. On the Sunday after Thanksgiving, I tumbled front to back three times in the car. My father and sister were killed. They were desperate and they needed me to live. And it was a great way for me to attach to something living right away. I think healing stories can definitely be negative. And my answer would be, well, I've had two lives. Well, that was a very smart healing story because I had to put away exactly what I needed to say. However, I needed to have all my ages. Here's another passage from Matthew Sanford's book, Waking. I am told repeatedly that my arms must now do double time for both my arms and my legs. Many people add to this image. The rehab specialists do it to motivate me. A male nurse tells me that chicks are going to dig it. And with the proving eyes, my friends and family beam, wow, those arms are going to be huge. During my workouts in rehab, however, I drift out the window, not into my arms. The rehab gym is full of people. standing people, walking people, sitting people. Most of them are older, their dysfunction brought on by age. I am in between, too old for pediatric rehabilitation and definitely the lone boy beginning puberty. As I watch this scene, I set it against the view out the large south-facing windows. I am not making the progress they would like. I am aging much too quickly. I mean, the overt connections between my mind and my paralyzed body, the ones that are most easy and most efficient, Well, that connection got changed in my case. So what ends up happening with me is that I have to go inward and listen to levels that we all share. You have the same connections in your mind-body relationship that I used to do yoga and that I used in the rest of my life. And I believe that we need those connections. It went to a more subtle whisper that doesn't have as much clarity. It's sweeter, it's quieter, and it doesn't as quickly react. I can feel the surge up my body through my spine. But you feel it as energy rather than as nerve endings. Right. It's not as loud. It's not as crisp. I pay attention and I can feel these changes. I don't hear it at all. It takes some attention. And if you focus too much on it, you can amplify it to the point of exaggeration. Tell me about that. And I got shown something there about the fluctuation and movement that can happen between mind and body. is actually much more loose. Even if you're using anesthesia, it's still really hard on the body. I think that we do that all the time to the course of our day. You know, when we're just kind of not paying attention and kind of off somewhere else, that we have that capability within our mind-body relationship, within our consciousness. And they were really worried that I think that would be helping me walk again. And those sensations, listening to my own experience, ends up being those sensations I were told weren't real then at 13. And I believed. They're well-intending. But what ends up happening is that level of mind-body connection is not one that we recognize here. It ended up being the cornerstone of my yoga practice. And what I only figured out over time was that it isn't just the ability to disassociate. And then for me, with my particular injury being a mind-body injury at core, it's got a physical cause. But the real injury I live with is that my mind has a harder time being in my body than yours does. that literally a level of silence or absence of normal sensation, silence got infused into my mind-body relationship. But I think that's happening to all of us. I think that's aging. Today, the body's grace. I'm with yoga teacher Matthew Sanford. The word yoga means to yoke, to dissolve separation between body, mind, and breath. It's an ancient discipline with roots in Hindu metaphysics. For Matthew Sanford, yoga became a way to delve into the inner silence he discovered after he became paraplegic. It's a silence he describes now as being at the core of his disability and all of human experience. The silence is the aspect of our consciousness that makes us feel slightly heavy. It is the source of our feeling of loss, but also of a sense of awe. When I do compare it to our experiences, like when you're washing your dishes for another day after another meal and you have that kind of quiet feeling, I think we all know what I'm talking about. You can kind of feel it when you feel beauty. It's the silence within us. For example, when you learn to soften your organs of perception, let's say if I'd ask you right now to soften the inside of your mouth and particularly relax your tongue, something will happen to your perception inward in your body. and you will hear something different. And I do think it's an ordinary experience. I think that we have it all the time. We just don't recognize it. I think that's where stress lands, that we need to manage better. We need to be more present with for a lot of reasons because I think this same silence we're talking about both connects us to other people and separates. And so it's not that the silence can go away from it. I think in trying to listen, for example, to the silence of my paralysis, that it itself has texture, that it itself has life in it. You try to make what I would say the silence congruent with physical exertion, not just physically exert with a lot of will. You only feel a little portion of it. If I were to ask you to stretch your intercostal muscles right now, you wouldn't exactly know how to do that. Like you have silence too in your mind-body relationship and start to listen and to be quiet. It's a different quality of awareness that's residing within you, that in that silence, sounds can gain texture again. And I say one place in the book, the moon might reveal itself. Life reveals itself again, only darker. At first, you can't see anything. Usually there's enough light to get across the room. You know, it's not going to be like turning the light back on. But in fact, the world gets this other kind of texture that makes it beautiful. Also makes it scary in the dark. You know, it goes either way. Imagine the darkness as a visual expression of silence. My rehabilitation made a mistake with the silence by focusing on the absence of light. It too quickly accepted the loss and taught me to willfully strike out against the darkness. It told me to move faster rather than slower. It guided me to compensate for what I could not see. Another course of action, however, is patience. Stop moving, wait for the eyes to adjust, allow for stillness, and then see what's possible. Although full-fledged vision does not return, usually there is enough light to find one's way across the room. After a while, the moon may come out. Sounds might gain texture. I still am. I mean, I've had a set of experiences in my life, and it's not just a car accident. There's a lot of trauma going through my story in the last 27 years that they're trying to put in context and into story, an experience that we all have. There was a time where all and I knew I could feel stuff I could feel the first time I met my yoga teacher Because I had a lot of things when I was first starting yoga a lot of like I said I was asleep in the car, but what I had done is made my body absorb it alone So as I started to reconnect to my body, I can feel the skid off the bridge I can feel where the blow came from. My lung was collapsed and I had trouble breathing. I can feel that angst It's all in my body and it completely changed my life But what ends up happening, and this gets back to your earlier question, is that what ends up happening is that that silence that I use to disconnect, I start to realize is embodied in my paralysis. And that the paralysis is itself a teacher of presence to me. And I compare it to an artichoke. If you take an artichoke and you pull, that's what I think I experience in my paralysis. I experience what existence would be like before toil, before action. Like this is what it is when it just hums. And to whatever extent I can feel and intuit that, which I call energetic awareness or sensation, I'm getting a glimpse into a level of existence that we have a hard time hearing. Which, with your spine. And also it focuses on each individual pose, right? Instead of sequences that have to go together. So Mr. Angar, he's alive in Pune, India still. He reveals the universe of yoga in each individual pose. There's a level of depth and precision to it that's mind-boggling. But it was exactly what I needed because I could only do and start off with a few poses. Over time, because they seal energy or they make it resonate through the mind-body relationship, the particular positions make it flow differently. I can feel that. That's how I can teach you yoga if you wanted to do yoga. My mind can feel into my legs. Yeah. What's that like? If you're really, really tired and you finally get into bed, relief. And you feel like you're falling, even though you're just laying there, you keep falling because you're so tired. That level of dropping into your body and feeling. There's a reason why when my son, he's six, is crying, he needs a hug. It's not just that he needs my love. He needs boundary around his experience. He needs to know that the pain is contained and can be housed and won't be limiting his whole being. He gets a hug so I can be part of the world. You can also watch a video of our in-studio conversation. We've posted a clip from his DVD, Beyond Disability, on our website. This program comes to you from APM American Public Media. Today, The Body's Grace with yoga teacher Matthew Sanford. He's been describing his arc of learning to be physically whole. He's written a book called Waking, a memoir of trauma and transcendence. It's also a reflection on deeper lessons Matthew Sanford's life has for our larger culture. Here's another passage he read for me. I am forced to feel death, not the end of my life, but the death of my life as a walking person. In principle, my experience is not that uncommon, only more extreme. If we can see death as more than black and white, as more than on and off, there are many versions of realized death short of physically dying. The death of a loved one sets so much in motion. Then there are also the quiet deaths. How about the day you realized you weren't going to be an astronaut or the Queen of Sheba? Feel the silent distance between yourself and how you felt as a child, between yourself and those feelings of wonder and splendor and trust. Feel your mature fondness for who you once were and your current need to protect innocence wherever you might find it. The silence that surrounds the loss of innocence is the most serious death, and yet it is necessary for the onset of maturity. What about the day we began working not for ourselves or the day we realized that, on the whole, adult life is deeply repetitive? As our lives roll into the ordinary, when our ideals sputter and dissipate, As we wash the dishes after yet another meal, we are integrating death. A little part of us is dying so that another part can live. And that would be a perfect example of a healing story. And believe me, I didn't get this right away. I mean, I broke my leg doing yoga, but you need all kinds of strength. It has that like, ah, feeling. That is really strong. But your heart feels vulnerable when you let yourself be in the world like that. That's why we avoid it. You know, did I feel invincible? No, that makes you feel a type of control over the world. But I also know the unthinkable is possible. You can have as much control as you want, but the world is so big. Life does its own thing with us on some level. You know what's so interesting? Whether it be nature, whether it be each other, that it's my whole point is that we also need, that's one thing we want in the tool belt, to use will when you need to have it. But we, I think, are just on the beginning of realizing that there are many other ways to integrate with body. It's not about the perfect pose. It's not that. It's like literally it's a phenomena that occurs at your mind's intent and your body's limits. The things that some of my students already do just to live their everyday life are themselves miraculous solutions to a mind-body problem. It's not like, oh, do it this way, this way is better, this way is better. You better make sure you understand why they're moving the way they're moving. What problem it's solving. I have never seen anyone truly become more aware of his or her body without also becoming more compassionate. When mind separates from body, we get more self-destructive. And when you're part of the world, it's much harder to not feel compassion about the world. A rehabilitation complex for people with all kinds of physical challenges in Golden Valley, Minnesota. He's also worked in recent years with military veterans. In this class, volunteers assist the students, some of whom are paraplegic. Literally grow. Get taller. Where your back is touching the floor in the mid-back, stretching from the fingertips out through the feet. I want you to start seeing your presence in your body as if it's growing, like it's organic. I'm Krista Tippett, and this is On Being, conversation about meaning, religion, ethics, and ideas. Today with Matthew Sanford on the body's grace. You know, but when someone tells me that I can't call myself disabled or a paraplegic or something, or whatever the word may be, but I think it brings too much morality around it, like there's a right thing and wrong thing to say, and I think that that's not consciousness, that's just words. Where I will see my shadow and be shocked. Wow. I don't, but at the same time that there's something here. I don't know what it is, and I don't care if it's neurophysiologically explained, but there's a presence here that flows through us that isn't solely determined by the fact if I could stand up or not. And I've always felt that search. I also know that that connection was what made me such a good athlete as a little kid. It's like you feel a free throw, and it comes from your legs, and it comes from your arms, and it comes from unity. all that unity is still here. You then at some point started to realize that healing could look like something different than being able to walk again. I mean, do you feel that you are healed? I think my mind-body relationship continues to heal. That as I practice yoga and pay attention and be in love with the world, actually, it continues to heal. Before I started yoga, I really did feel like a floating upper torso. It's like yoga poured water on me and through me. And so I practice yoga not just to become really great at yoga poses. I practice yoga to feel this. You say at one point in your memoir that you completely disagree when people say my body is failing me. I'm in my 40s too. And one of the lessons that I've learned is it was my body that kept me living. Your body, for as long as it possibly can, will be faithful to living. And many bones broke in. And only a little part of my body didn't heal. Only an inch or two of my spinal cord was not able to regenerate. It went to work. And that's what it'll do. It might get confused. How might we live differently in that awareness? And you breathe in a yoga pose for the spaces, I believe this, for the spaces that you can't feel. You don't just breathe for the bicep that you can really flex. You are trying to get life force through the spaces you can't feel. When you do, your balance increases, your strength increases, your flexibility increases. I think that when you talk about in terms of honoring your body, they're not loss, they're not absence, they're part of your strength, of your fiber. In a piece of wood, it's not just the grains of wood. It's the empty space and spaces between the grains of wood that make it strong. It's both. And so the world gets lighter and easier when you include more of yourself here. And how do you think about, deal with those parts of your body that you don't like what's happening to them? The skin that's aging, the knees that hurt. I mean, those are minor problems compared to the pain that you've... This takes patience. I'd like to tell you there's a one magic insight and suddenly it's all easy. No, it's work like everything else. I think more, I don't know, more deeply, but differently than most people. How much my body has absorbed and moved towards living still. So I look at, you know, I have places, skin on my body, you know, old pressure sores and old stuff that happened that you can see the skin is struggling to stay and hold. Man, it's working as hard as it can. You know, are you leaving here? Is your presence changing as you leave here that allows for other things? That's true. My physical body doesn't do it. Something else is healing. How did your son think about your body? There was one story that there was a relay race at like his nursery school or preschool and I couldn't line up with them and do the relay with them. So the other dads and sons were doing it, but he did it on his own right down along the side and ran down and then came back and came back and gave me a big high five. And so he knows that I can't do all the things. But when he came back and high fived me and went, hey, we did it anyway. It was like silence and love. His DVD is Beyond Disability. He's the founder and president of MindBody Solutions in Minnetonka, Minnesota. Like many of you, I practice yoga. You can read about our personal experiences on our blog. You can take in a video of her demonstrating what she calls body prayer. And you can watch my in-studio conversation with Matthew Sanford or listen again and download this show. This program is produced by Chris Hegel, Nancy Rosenbaum, Susan Lehm, and Stephanie Bell. Ann Breckbill is our web developer. Even if you can't do it, Tim, come on, do it anyway."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/POD0000000480.mp3": {
        "gt": "A WAY OF BEING THAT GIVES YOU THE RESOURCES TO DEAL WITH THE UPS AND THE DOWNS OF LIFE AND THAT ENCOMPASSES MANY EMOTIONAL STATES   INCLUDING SADNESS  WE EXPERIENCE MATTHIEU RICARD'S WAY OF BEING  AND WE TAKE IN HIS VERY PRACTICAL TEACHINGS FOR CULTIVATING INNER STRENGTH   JOY   AND DIRECTION YOU CANNOT   IN THE SAME MOMENT OF THOUGHT  SO THE MORE YOU WILL BRING BENEVOLENCE IN YOUR MIND AT EVERY OF THOSE MOMENTS   THERE'S NO SPACE FOR HATRED  WE DON'T SIT FOR TWENTY MINUTES TO CULTIVATE COMPASSION   IF WE WERE TO DO SO  HE HAD A SECULAR UPBRINGING IN FRANCE WITH HIS ARTIST MOTHER AND A FAMOUS PHILOSOPHER FATHER  GROWING UP   HE HAD LUNCH WITH THE COMPOSER STRAVINSKY  THE PHOTOGRAPHER CARTIER-BRESSON CAME FOR DINNER AT HIS FAMILY HOME  AND MATTHIEU RICARD WAS SURROUNDED IN ADULTHOOD BY BRILLIANT SCIENTISTS  HE BEGAN HIS PROFESSIONAL LIFE AT THE CELLULAR GENETICS LABORATORY OF A NOBEL PRIZE-WINNING BIOLOGIST AT THE PASTEUR INSTITUTE IN PARIS  WHERE HE COORDINATES A NUMBER OF HUMANITARIAN PROJECTS  AS A STARTING QUESTION  I STARTED READING A LOT  AND BEAUTIFUL ADVENTURES  SO WHILE HE WAS DOING THE CIRCUMNAVIGATION   HE WAS ALSO READING BOOKS ABOUT HINDUISM   SUFISM  SO I STARTED READING ABOUT ALL THOSE GREAT TRADITIONS  AND EVEN INCLUDING CHRISTIAN MYSTICS   LIKE THE EARLY ORTHODOX WRITINGS AND MEISTER ECKHART   AND EVERYTHING YOU CAN THINK OF  AT THE SAME TIME   THERE WAS NO LIVING TRADITION  I THEN SAW A SERIES OF DOCUMENTARIES WITH ONE OF THE DALAI LAMA'S INTERPRETERS FOR MONTHS AND MONTHS  BUT THERE WAS A COMMON QUALITY THAT'S HARD TO DESCRIBE   BUT IT'S SOMETHING TO DO WITH INNER STRENGTH  COMPASSION  AND I ENDED UP WORKING IN THESE VERY ELEVATED CIRCLES OF POLITICAL STRATEGY AND MILITARY STRATEGY  MY SPIRITUAL JOURNEY STARTED WHEN I KIND OF RECOILED AT THE CONTRAST BETWEEN THE IMPORTANCE OF THE ISSUES AND THE INTELLECTUAL AND STRATEGIC SUBSTANCE OF THESE PEOPLE   THE CONTRAST BETWEEN THAT AND THE VERY SMALL INNER LIVES A LOT OF THEM HAD  RETROSPECTIVELY   ALMOST  PAINTERS   ORDINARY FOLKS  SO THERE HAS TO BE A PERFECT ADEQUATION  AND ALSO   IT HAS TO BE NOT A FACADE  YOU WILL SEE THAT THERE AREIS THAT   FOR INSTANCE  IN ANY CIRCUMSTANCES   HE'S JUST SUCH AN EXTRAORDINARY   GOOD HUMAN BEING  THERE'S NO HIDDEN SIDE OF IT  HERE IS SOMEONE WHO DID IT  IT DOCUMENTS A DIALOGUE BETWEEN HIM AND HIS FATHER  WHO WAS A PILLAR OF TWENTIETH CENTURY FRENCH SECULAR INTELLECTUAL LIFE  ASKED BY HIS FATHER   AS THE DIALOGUE OPENS   WHY HE LEFT HIS PROMISING SCIENTIFIC CAREER FOR A BUDDHIST PATH  MATTHIEU RICARD SAYS THIS MY SCIENTIFIC CAREER WAS THE RESULT OF A PASSION FOR DISCOVERY  WHATEVER I WAS ABLE TO DO AFTERWARD WAS IN NO WAY A REJECTION OF SCIENTIFIC RESEARCH  BUT AROSE RATHER FROM THE REALIZATION THAT SUCH RESEARCH WAS UNABLE TO SOLVE THE FUNDAMENTAL QUESTIONS OF LIFE AND WASN'T EVEN MEANT TO DO SO  AT THE SAME TIME I WAS BECOMING MORE AND MORE INTERESTED IN THE SPIRITUAL LIFE IN TERMS OF A CONTEMPLATIVE SCIENCE  YOU ABANDONED YOUR CAREER IN ORDER TO COMMIT YOURSELF COMPLETELY TO BUDDHIST PRACTICE   AND IT SEEMS TO ME THAT HE FELT  AND INSTEAD YOU WENT BACK TO SOMETHING THAT HAD BEEN AROUND FOR THOUSANDS OF YEARS YEAH   HE THOUGHT THAT WAS A WASTE I MEAN WASTE OF POTENTIAL  YOU LOOK GOOD   YOU LOOK GOOD  IT WAS LESS OF A DEPARTURE FROM YOUR CURIOSITY   YOUR PASSION FOR DISCOVERY AS A SCIENTIST  IS THERE A SOLID REALITY BEHIND APPEARANCES  WHAT IS THE ORIGIN OF THE WORLD OF PHENOMENA   THE WORLD THAT WE SEE AS REAL ALL AROUND US  WHAT IS THE RELATIONSHIP BETWEEN THE ANIMATE AND THE INANIMATE   BETWEEN THE SUBJECT AND THE OBJECT  DO TIME   SPACE   AND THE LAWS OF NATURE REALLY EXIST  YEAH   I MEAN   FOR ME  I MEAN OF COURSE   YOU CHANGE ROOMS  YOU CHANGE CLOTHES   YOU MOVE FROM ONE PLACE TO ANOTHER  BUT THERE'S A CONTINUITY IN WHAT YOU DO   UNLESS YOU ARE FORCED BY A TRAGIC  TRAUMATIC EVENT   OR YOU BECOME MAD  SO IN MY CASE  BUT THEN   THAT WAS IT  FORTUNATELY  HE SAYS WHEN HE SEES TOOLS   HE HAS A HARD TIME KEEPING HIS HANDS OFF  HE'S TEASING  BUT FROM AN EARLY AGE  AND SO WHEN HE CAME IN EXILE  SO WHEN THEY SAW THAT   SOME OF THEM GOT THE IDEA OF CREATING THAT MIND AND LIFE INSTITUTE FRANCISCO VARELA   A GREAT NEUROSCIENTIST   ADAM ENGLE  AND THAT WAS IT  BUT ALSO THE IDEA OF STARTING A RESEARCH PROGRAM  THE MECHANISM OF HAPPINESS AND SUFFERING  SO IN TWO THOUSAND  ALL THIS IS VERY NICE   BUT WHAT CAN WE CONTRIBUTE TO SOCIETY  USING SCIENTIFIC PROTOCOL TO INVESTIGATE THE TANGIBLE PHYSIOLOGICAL EFFECTS OF MEDITATION  SOME OF THE MOST HIGHLY INFLUENTIAL STUDIES HAVE BEEN DONE SINCE BY RICHARD DAVIDSON AT THE UNIVERSITY OF WISCONSIN AT MADISON  SUCH RESEARCH MIGHT ONE DAY YIELD NEW UNDERSTANDING OF THE MIND  OF THE ULTIMATE NATURE OF HUMAN CONSCIOUSNESS  A CAPACITY KNOWN AS NEUROPLASTICITYBUT YES   BECAUSE I WAS AT THAT FIRST MEETING  AND I WAS FROM BOTH WORLDS  AT LEAST PART OF WHAT'S BEEN LEARNED  AS YOU SAY  IT'S NO SURPRISE THAT THERE'S A PHYSICAL CORRELATE  THAT YOU'RE MEDITATING AND THAT IN THAT MOMENT THEY MIGHT SEE SOMETHING HAPPENING IN YOUR BRAIN  \n",
        "transcription_base": " A way of being that gives you the resources to deal with the ups and the downs of life and that encompasses many emotional states, including sadness. We experience mature cards way of being, and we take in his very practical teachings for cultivating inner strength, joy and direction. You cannot in the same moment of thought, so the more you will bring benevolence in your mind, at every of those moments there is no space for hatred. We don't sit for 20 minutes to cultivate compassion. If we were to do so, he had a secular upbringing in France with his artist mother and a famous philosopher father. Growing up, he had lunch with the composer Stravinsky. The photographer Cartier-Bresson came for dinner at his family home. A mature card was surrounded in adulthood by brilliant scientists. He began his professional life at the cellular genetics laboratory of a Nobel Prize-winning biologist at the Pasteur Institute in Paris, where he coordinates a number of humanitarian projects. As a starting question. I start reading a lot and beautiful adventures. So while he was doing the circumambulation, he was also reading books about endosymsophism. So I start reading about all those great traditions and even including Christian mystics, like the early orthodox writings and master Eckhart No, everything you can think of. At the same time, there was no living tradition. I then saw a series of documentaries with one of the dilemmas interpreters for months and months. But there was a common quality that's hard to describe, but it's something to do with inner strength, compassion. And I ended up working in these very elevated circles of political strategy and military strategy. My spiritual journey started when I kind of recoiled at the contrast between the importance of the issues and the intellectual and strategic substance of these people, the contrast between that and the very small inner lives a lot of them had. retrospectively almost painters, ordinary folks. So there has to be a perfect adecuation and also it has to be not a facade. You will see that there are, is that for instance, in any circumstances, he's just such an extraordinary good human being. There's no hidden side of it. Here is someone who did it. It documents a dialogue between him and his father, who was a pillar of 20th century French secular intellectual life. As for his father as the dialogue opens, why he left his promising scientific career for a Buddhist path, Maturakard says this. My scientific career was the result of a passion for discovery. Whatever I was able to do afterward was in no way a rejection of scientific research, but arose rather from the realization that such research was unable to solve the fundamental questions of life and wasn't even meant to do so. At the same time, I was becoming more and more interested in the spiritual life in terms of a contemplative science. You abandoned your career in order to commit yourself completely to Buddhist practice. And it seems to me that he felt and instead you went back to something that had been around for thousands of years. I thought that was the waste, I mean, waste of potential. You look good, you look good. It was less of a departure from your curiosity, your passion for discovery as a scientist. Is there a solid reality behind appearances? What is the origin of the world, a phenomena of the world that we see as real all around us? What is the relationship between the animate and the inanimate, between the subject and the object? Do times, space and the laws of nature really exist? Yeah, I mean for me. Of course you change rooms, you change clothes, you move from one place to another, but there's a continuity in what you do, unless you are forced by a tragic dramatic event or you become mad. So in my case, but then that was it. Fortunately, he said when he said tools, he has hard time keeping his hand off, he's teasing. But from the early age, and so when he came in exile, so when they saw that, some of them got the idea of creating that minor life institute, you know, Francisco Varela, great neuroscientist, Adam Mangel, and that was it. But also, the idea of starting a research program, the mechanism of happiness and suffering. So in 2000, all this is very nice, but what can we contribute to society? Using scientific protocol to investigate the tangible physiological effects of meditation. Some of the most highly influential studies have been done since by Richard Davidson at the University of Wisconsin at Madison. Such research might one day yield new understanding of the mind of the ultimate nature of human consciousness, a capacity known as neuroplasticity. But yes, because I was at that first meeting and I was from both worlds. At least part of what's been learned. As you say, it's no surprise that there's a physical correlate that you're meditating and that in that moment they might see something happening in your brain.",
        "transcription_medium": " A way of being that gives you the resources to deal with the ups and the downs of life and that encompasses many emotional states including sadness. We experience Mathieu Ricard's way of being and we take in his very practical teachings for cultivating inner strength, joy and direction. You cannot in the same moment of thought, so the more you will bring benevolence in your mind, at every of those moments there is no space for hatred. We don't sit for 20 minutes to cultivate compassion. If we were to do so... He had a secular upbringing in France with his artist mother and a famous philosopher father. Growing up, he had lunch with the composer Stravinsky. The photographer Cartier-Bresson came for dinner at his family home. And Mathieu Ricard was surrounded in adulthood by brilliant scientists. He began his professional life at the Cellular Genetics Laboratory of a Nobel Prize winning biologist at the Pasteur Institute in Paris where he coordinates a number of humanitarian projects as a starting question. I started reading a lot and beautiful adventures. So while he was doing the circumambulation, he was also reading books about Hinduism, Sufism. So I started reading about all those great traditions and even including Christian mystics like the early Orthodox writings and Master Eckhart and everything you can think of. At the same time, there was no living tradition. I then saw a series of documentaries with one of the Dalai Lama's interpreters for months and months. But there was a common quality that's hard to describe, but it's something to do with inner strength, compassion. And I ended up working in these very elevated circles of political strategy and military strategy. spiritual journey started when I kind of importance of the issues and the intellectual and strategic substance of these people, the contrast between that and the very small inner lives a lot of them had? Retrospectively almost painters, ordinary folks. So there has to be a perfect adéquation and also it has to be not a facade. You will see that there are, is that for instance in any circumstances is just such an extraordinary good human There's no hidden side of it. Here is someone who did it. It documents a dialogue between him and his father, who was a pillar of 20th century French secular intellectual life. Asked by his father as the dialogue opens why he left his promising scientific career for a Buddhist path, Mathieu Ricard says this, My scientific career was the result of a passion for discovery. for discovery. Whatever I was able to do afterward was in no way a rejection of scientific research but arose rather from the realization that such research was unable to solve the fundamental questions of life and wasn't even meant to do so. At the same time I was becoming more and more interested in the spiritual life in terms of a contemplative science. You abandoned your career in order to commit yourself completely to Buddhist practice. And it seems to me that he felt and instead you went back to something that had been around for thousands of years. Yeah I thought that was a waste. I mean waste of potential. You look good, you look good. It was less of a departure from your curiosity, your passion for discovery as a scientist. Is there a solid reality behind appearances? What is the origin of the world of phenomena, the world that we see as real all around us? What is the relationship between the animate and the inanimate, between the subject and the object? Do time, space, and the laws of nature really exist? Yeah, I mean, for me, of course you change rooms, you change clothes, you move from one place to another, but there's a continuity in what you do unless you're forced by a tragic, dramatic event or you become mad. So in my case, but then that was it. Fortunately, he He says when he sees tools, he has a hard time keeping his hand off. He's teasing. But from an early age, and so when he came in exile, so when they saw that, some of them got the idea of creating that Mind and Life Institute, you know, Francisco Varela, a great neuroscientist, Adam Engel, and that was it. But also the idea of starting a research program, the mechanism of happiness and suffering. So in 2000, all this is very nice, but what can we contribute to society? Using scientific protocol to investigate the tangible physiological effects of meditation. Some of the most highly influential studies have been done since by Richard Davidson at the University of Wisconsin at Madison. Such research might one day yield new understanding of the mind of the ultimate nature of human consciousness, a capacity known as neuroplasticity. But yes, because I was at that first meeting and I was from both worlds. At least part of what's been learned. As you say, it's no surprise that there's a physical correlate that you're meditating and that in that moment they might see something happening in your brain.",
        "transcription_large_v3": " a way of being that gives you the resources to deal with the ups and the downs of life and that encompasses many emotional states including sadness. We experience Mathieu Ricard's way of being and we take in his very practical teachings for cultivating inner strength, joy and direction. You cannot in the same moment of thought, so the more you will bring benevolence in your mind, at every of those moments there is no space for hatred. We don't sit for 20 minutes to cultivate compassion. If we were to do so... He had a secular upbringing in France with his artist mother and a famous philosopher father. Growing up, he had lunch with the composer Stravinsky. The photographer Cartier-Bresson came for dinner at his family home. And Mathieu Ricard was surrounded in adulthood by brilliant scientists. He began his professional life at the Cellular Genetics Laboratory of a Nobel Prize winning biologist at the Pasteur Institute in Paris, where he coordinates a number of humanitarian projects. As a starting question. I started reading a lot and beautiful adventures. So while he was doing the circumambulation, he was also reading books about Hinduism, Sufism. So I started reading about all those great traditions and even including Christian mystics, like the early Orthodox writings and Master Eckhart and everything you can think of. At the same time, there was no living tradition. I then saw a series of documentaries with one of the Dalai Lama's interpreters for months and months. But there was a common quality that's hard to describe, but it's something to do with inner strength, compassion. And I ended up working in these very elevated circles of political strategy and military strategy. My spiritual journey started when I kind of recoiled at the contrast between the importance of the issues and the intellectual and strategic substance of these people, the contrast between that and the very small inner lives a lot of them had. Retrospectively, almost painters, ordinary folks. So there has to be a perfect adequation. And also it has to be not a facade. You will see that there are, for instance, in any circumstances, he's just such an extraordinary good human being. There's no hidden side of it. Here is someone who did it. It documents a dialogue between him and his father, who was a pillar of 20th century French secular intellectual life. Asked by his father as the dialogue opens why he left his promising scientific career for a Buddhist path, Mathieu Ricard says this. my scientific career was the result of a passion for discovery whatever i was able to do afterward was in no way a rejection of scientific research but arose rather from the realization that such research was unable to solve the fundamental questions of life and wasn't even meant to do so at the same time i was becoming more and more interested in the spiritual life in terms of a contemplative science. You abandoned your career in order to commit yourself completely to Buddhist practice. And it seems to me that he felt, and instead you went back to something that had been around for thousands of years. Yeah, I thought that was a waste. I mean, waste of potential. You look good. You look good. It was less of a departure from your curiosity, your passion for discovery as a scientist? Is there a solid reality behind appearances? What is the origin of the world of phenomena, the world that we see as real all around us? What is the relationship between the animate and the inanimate, between the subject and the object? Do time, space, and the laws of nature really exist? Yeah, I mean, for me, of course, you change rooms, you change clothes, you move from one place to another, but there's a continuity in what you do unless you are forced by a tragic, dramatic event, or you become mad. So in my case, but then that was it. Fortunately, he says when he sees tools, he has a hard time keeping his hand off. He's teasing. But from an early age, and so when he came in exile, so when they saw that, some of them got the idea of creating that Mind and Life Institute. Francisco Varel, a great neuroscientist, Adam Engel, and that was it. But also the idea of starting a research program. the mechanism of happiness and suffering. So in 2000, all this is very nice, but what can we contribute to society? Using scientific protocol to investigate the tangible physiological effects of meditation. Some of the most highly influential studies have been done since by Richard Davidson at the University of Wisconsin at Madison. Such research might one day yield new understanding of the mind, of the ultimate nature of human consciousness, a capacity known as neuroplasticity. But yes, because I was at that first meeting and I was from both worlds. At least part of what's been learned. As you say, it's no surprise that there's a physical correlate that you're meditating and that in that moment they might see something happening in your brain."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000001.mp3": {
        "gt": "THE VIEW IS FROM BEHIND YOUR CHARACTER  OH   YEAH  OH   I'M BLANKING ON THE JOB   OH   WHOA   THERE HE IS  OH   CREEPY PEEPING  BUT   YOU KNOW   THAT'S JUST ME   OOH  I GOT THOSE MASSIVE OBBY SKILLS  JUMP OVER THAT ONE  IT SEEMS LIKE IT MIGHT BE A LITTLE BIT UNFAIR THAT I HAVE DOUBLE JUMP  MAKES IT A LOT EASIER TO GET OVER OBSTACLES  OH   YEAH   THERE HE IS  WOULD YOU JUST LOOK AT IT  I REALLY FELL FOR THAT OBSTACLE  IT'S NOT AN EASY GAME  OH  RUNNING AND GUNNING IT   BABY  I FORGOT I CAN RUN   YEAH   I'M SO USED TO PLAYING ROBLOX OBBIES OOBIES OBIES  HERE I CAN RUN  WHAT  FLOATING BRICKS  HEY   GUYS   WHAT HAPPENS WHEN YOU WHEN YOU SHINE A POLICE OFFICER'S SHOES  YOU HAVE A BRUSH WITH THE LAWTHAT'S HOW I WANNA GO OUT   GUYS  RUNNING AND PUNNING AND GUNNING   RUNNING AND GUNNING AND PUNNING  WHY WOULD YOU WANT TO   YOU WOULDN'T   YOU COULDN'TALRIGHT   ONLY FOUR MORE STAGES LEFT   HERE WE GO  YOU CAN'T STOP ME   NEIGHBOR  LET'S SEE IF I CAN JUST DOUBLE JUMP THE WHOLE THING   WHAT DO YOU THINK   THINK I CAN DO IT   I CAN DO IT   THINK I CAN DO IT  IT'S NOT EVEN WORTH IT TO MAKE OBSTACLES   YOU GUYS   CAUSE I JUST JUMP RIGHT OVER EM   SEE YOU LATER   WHOA   WHAT'S THIS  \n",
        "transcription_base": " The view is from behind your character. Oh yeah. Oh, I'm blanking on the job. Oh, well, there he is. Oh, creepy, beabin. But, you know, that's just me. I got those massive obby skills. Jump over that one. It seems like it might be a little bit unfair that I have double jump. Makes it a lot easier to get over obstacles. Oh yeah, there he is. Would you just look at it? I really fell for that obstacle. It's not an easy game. Oh, running and gun and a baby. I forgot I could run. Yeah, I'm so used to playing Roblox obby's Obby's Obby's. Here I can run! What? Floating bricks! Hey guys, what happens when you shine a police officer shoes? You have a brush with a lot! That's how I want to go out, guys. Runnin' and punnin' and gunnin'. Runnin' and gunnin' and punnin'? Why would you want to? You wouldn't! You couldn't! All right, only four more stages left, here we go! You can't stop me, neighbor! Let's see if I can just double jump the whole thing. What do you think? Think I can do it? I can do it. Think I can do it? It's not even worth it to make obstacles to you guys because I just jump right over and see you later. What was this?",
        "transcription_medium": " The view is from behind your character. Oh yeah. Oh, I'm blanking on the job. Oh, whoa, there he is. Whoa, creepy peeping. But, you know, that's just me. I got those massive obby skills. Jump over that one. It seems like it might be a little bit unfair that I have double jump. Makes it a lot easier to get over obstacles. Oh yeah, there he is. Would you just look at it? I really fell for that obstacle. It's not an easy game. Oh, running and gunning it, baby. I forgot I can run. Yeah, I'm so used to playing Roblox, obbies, oobies, obies. Here I can run. What? Floating bricks. Hey guys, what happens when you shine a police officer's shoes? You have a brush with a law. That's how I wanna go out, guys. Running and punning and gunning. Running and gunning and punning? Why would you want to? You wouldn't. You couldn't. Alright, only four more stages left. Here we go. You can't stop me, neighbor. Let's see if I can just double jump the whole thing. What do you think? Think I can do it? I can do it. Think I can do it? It's not even worth it to make obstacles, you guys, cause I just jump right over them. See you later. Whoa, what's this?",
        "transcription_large_v3": " The view is from behind your character. Oh, yeah. Oh, I'm blanking on the job. Oh, whoa, there he is. Whoa, creepy peeping. But, you know, that's just me. I got those massive obby skills. Jump over that one. It seems like it might be a little bit unfair that I have double jump. Makes it a lot easier to get over obstacles. Oh, yeah, there he is. Would you just look at it? I really fell for that obstacle. It's not an easy game. Oh, running and gunning it, baby. I forgot I can run. Yeah, I'm so used to playing Roblox obbies, oobies, obies. Here I can run. What? Floating bricks. Hey guys, what happens when you shine a police officer's shoes? You have a brush with a law. That's how I want to go out guys. Running and punning and gunning. Running and gunning and punning. Why would you want to? You wouldn't. You couldn't. Alright, only four more stages left. Here we go. You can't stop me neighbor. Let's see if I can just double jump the whole thing. What do you think? Think I can do it? I can do it. Think I can do it? It's not even worth it to make obstacles you guys, because I just jump right over them. See you later."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000017.mp3": {
        "gt": "DROPPING YOUR PHONE INSIDE AN AIRPLANE TOILET  WHO HASN'T BEEN THERE   NO   OKAY  CAN LEAVE IT  YOU CAN LEAVE IT  VERY   VERY CHAFED NIPPLES BEHIND A DENIM VEST   OW   OW  EVERYBODY   HANDS IN THE AIR  HERE WE GO  VERY   VERY CHAFED NIPPLES BEHIND A DENIM VEST OW  OW   OW TENDER NIPSI COULDN'T CONTROL   I WAS JUST LIKE  WE NASTY OUT HERE  IT SAYS  WHEN YOU'RE POPPING YOUR PIMPLE IN THE MIRROR AND THE PUS SHOOTS OUT AND HITS THE MIRROR\n",
        "transcription_base": " Dropping your phone inside an airplane toilet who hasn't been there. No, okay You can leave it you can leave it very very chaffed nipples behind a denim vest Ow ow everybody hands in the air here we go Very very chaffed nipples behind a denim vest Ow ow Tender nips. I couldn't control. I was just like we nasty out here. It says When you're popping your pimple in the mirror and the pus shoots out and hits the mirror",
        "transcription_medium": " dropping your phone inside an airplane toilet. Who hasn't been there? No? Okay. You can leave it. You can leave it?! Very, very chafed nipples behind a denim vest. Ow, ow. Everybody, hands in the air. Here we go. Very, very chafed nipples behind a denim vest. Ow, ow, ow. Tender nips. I couldn't control. I was just like, we nasty out here. It says... When you're popping your pimple in the mirror And the puss shoots out and hits the mirror",
        "transcription_large_v3": " Dropping your phone inside an airplane toilet who hasn't been there. No, okay You can leave it you can leave it very very chafed nipples behind a denim vest. Ow Everybody hands in the air. Here we go. Very very chafed nipples behind a denim vest. Oh Tender nips I couldn't control I was just like we nasty out here It says when you're popping your pimple in the mirror And the puss shoots out and hits the mirror"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000033.mp3": {
        "gt": "ONE OF THE THINGS I ABSOLUTELY LOVE OF YOU   ONE OF MANY   IS YOUR INSTAGRAM GAME   I'VE BEEN FOLLOWING YOU FOR A REALLY LONG TIME   AND IF YOU FOLLOW JOHN   YOU KNOW THIS AS WELL  YOU NEVER  EVER POST CAPTIONS WITH YOUR PICTURES  YET YOUR PICTURES ARE SO RANDOM AND CONFUSING  OKAY   I WANT TO TAKE A LOOK AT SOME OF YOUR POSTS   WE HAVE SOME OF THEM RIGHT HERE  SO THIS IS SOMETHING YOU POSTED   THIS IS THE WHOLE POST   YEAH   AND THERE'S NO CAPTION  WHAT WAS GOING THROUGH YOUR MIND WHEN YOU DID THIS   OH   THIS ONE'S SIMPLE THE DAY BEFORE INSTAGRAM WENT DOWN  YOU DID THIS THE DAY BEFORE INSTAGRAM WENT DOWN   NO   NO   THE DAY BEFORE  AND I WAS LIKE   YO  I'M GONNA BLAST OUT THAT INSTAGRAM WENT DOWN ON INSTAGRAM  BUT HERE'S MY BEEF IS THAT THERE ARE SO MANY VARIATIONS OF THIS CHOCOLATE THAT ANNOY ME BECAUSE THIS IS THE PERFECT RATIO OF PEANUT BUTTER AND CHOCOLATE   OKAY   THIS ORIGINAL ONE  EXHIBIT A  \n",
        "transcription_base": " One of the things I absolutely love of you, one of many, is your Instagram game. I've been following you for a really long time. And if you follow John, you know this as well. You never, ever post captions with your pictures. Yet your pictures are so random and confusing. Okay, I want to take a look at some of your posts. We have some of them right here. So this is something you posted. This is the whole post. Yeah. And there's no caption. What was going through your mind when you did this? Oh, it's simple. The day before Instagram went down. You did this the day before Instagram went down? No, no, the day before. And I was like, yo, I'm gonna blast out that Instagram went down on Instagram. But here's my beef. Is that there's so many variations of this chocolate that annoy me? Because this is the perfect ratio of peanut butter and chocolate, okay? This original one. Exhibit A.",
        "transcription_medium": " One of the things I absolutely love of you, one of many, is your Instagram game. I've been following you for a really long time, and if you follow John, you'd know this as well. You never, ever post captions with your pictures, yet your pictures are so random and confusing. Okay, I want to take a look at some of your posts. We have some of them right here. So this is something you posted. This is the whole post. And there's no caption. What was going through your mind when you did this? Oh, it's from Simple, the day before Instagram went down. You did this the day before Instagram went down? No, no, the day before, and I was like, yo, I'm gonna blast out that Instagram went down on Instagram. But here's my beef, is that there's so many variations of this chocolate that annoy me, because this is the perfect ratio of peanut butter and chocolate, okay? This original one. Exhibit A.",
        "transcription_large_v3": " One of the things I absolutely love of you, one of many, is your Instagram game. I've been following you for a really long time. And if you follow John, you'd know this as well. You never, ever post captions with your pictures, yet your pictures are so random and confusing. Okay, I want to take a look at some of your posts. We have some of them right here. So this is something you posted. This is the whole post. Yeah. And there's no caption. What was going through your mind when you did this? Oh, this one's simple. The day before Instagram went down. You did this the day before Instagram went down? No, no, the day before. And I was like, yo, I'm gonna blast out that Instagram went down on Instagram. But here's my beef, is that there's so many variations of this chocolate that annoy me. Because this is the perfect ratio of peanut butter and chocolate, okay? This original one. Exhibit A."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000049.mp3": {
        "gt": "WE CAN GO TO THE BACKLINKS REPORT IN THE SIDEBAR   THIS PAGE SHOWS YOU WHERE THE LINK IS COMING FROM  METRICS ON THE LINKING PAGE  AND THEN THE CONTEXT OF THE BACKLINK   FOR EXAMPLE   YOU'LL SEE THAT THIS LINK WAS EARNED BECAUSE OF A STAT FROM THE PAGE   BUT FILTERING THROUGH ALL OF THE LINKING PAGES WOULD TAKE A LONG TIME   SO YOU CAN ACTUALLY USE FILTERS TO NARROW IN ON A SPECIFIC SUBSET OF LINKS   FOR EXAMPLE   IF YOU WANTED TO REACH OUT TO ALL LINKING PAGES THAT ARE FROM OTHER BLOG POSTS  YOU COULD SET THE LINK TYPE FILTER TO CONTENT  THEN WE'LL SET THESE TWO CHECKBOXES SINCE THAT'S WHERE OUR KEYWORD USUALLY APPEARS  AND IF WE CLICK THROUGH TO THE FIRST LINKING PAGE   YOU'LL SEE THAT IT SEEMS LIKE A PERFECTLY GOOD PLACE WHERE YOU COULD REACH OUT AND GET YOUR PAGE ADDED  NOW WHAT THIS COMBINATION OF FILTERS DOES   IS IT SHOWS US ALL OF THE PAGES THAT CONTAIN THE WORD BACKPACKS  HAVE ZERO BACKLINKS POINTING AT THEM  PLUS   WE TAKE THE GUESSWORK OUT OF KNOWING WHICH KEYWORDS TO CREATE YOUR CONTENT AROUND   JUST CLICK ON THE DETAILS BUTTON AND THEN THE ORGANIC KEYWORDS TAB   AND YOU'LL SEE THE KEYWORDS THEY RANK FOR  OR ANY OF THESE OTHER PLATFORMS  ENTER YOUR KEYWORD  SINCE WE CHOSE GOOGLE   YOU'LL SEE SOME HELPFUL KEYWORD METRICS LIKE KEYWORD DIFFICULTY   SEARCH VOLUME   CLICKS DATA   AND MORE   YOU CAN GENERATE MORE KEYWORD IDEAS FROM ANY OF THE REPORTS HERE IN THE SIDEBAR  OR YOU CAN DIG DEEPER INTO THIS SEARCH QUERY BY SCROLLING DOWN AND ANALYZING THE POSITION HISTORY  IF YOU'VE EVER LOOKED FOR GUEST POSTING OPPORTUNITIES  NOW THERE ARE A FEW PROBLEMS WITH THIS   FIRST   YOU DON'T HAVE ANY OF THE SEO METRICS SO YOU WON'T KNOW IF WRITING FOR THIS SITE WOULD HAVE ANY BENEFIT AT ALL  AND SECOND   YOU'LL ALMOST ALWAYS HAVE TO SPEND A TON OF TIME FILTERING THROUGH A LOT OF IRRELEVANT RESULTS  AND THREE  YOU'RE REALLY LIMITING YOURSELF TO SITES THAT HAVE CONTRIBUTE OR WRITE FOR US PAGES  NOW   ANY TIME THIS PAGE GETS A NEW BACKLINK   YOU'LL GET AN EMAIL NOTIFICATION   AND IF YOU SEE AN OPPORTUNITY TO PITCH YOUR PAGE  WHERE YOUR WEBSITE ISN'T   LOGICALLY SPEAKING   IF TWO OR MORE OF YOUR DIRECT ORGANIC SEARCH COMPETITORS ARE RANKING FOR THESE KEYWORDS  THEN THERE'S A GOOD CHANCE THAT YOU SHOULD GO AND TARGET THEM TOO   TO GET STARTED   ENTER YOUR DOMAIN INTO SITE EXPLORER  AFTER YOU'VE DONE THAT   I RECOMMEND CHANGING THIS DROPDOWN TO ALL OF THE BELOW TARGETS  THIS WILL KEEP OUR RESULTS SUPER RELEVANT BY ONLY SHOWING KEYWORDS WHERE BOTH OF THESE WEBSITES RANK  NEXT   I'LL COPY THE TOP THREE RELEVANT RANKING RESULTS AND PASTE THEM INTO THE TOP SECTION  THEN YOU'RE COMPLETELY WASTING PERFECTLY GOOD LINKS   YOU CAN FIND THESE PAGES REALLY QUICK IN SITE EXPLORER   JUST SEARCH FOR YOUR DOMAIN  AND THEN GO TO THE BEST BY LINKS REPORT  THIS REPORT SHOWS YOU THE PAGES ON YOUR WEBSITE THAT HAVE THE MOST BACKLINKS  ALL YOU NEED TO DO NOW IS FIX THE PAGE OR ADD A REDIRECT TO ANOTHER RELEVANT PAGE  AND THE REASON WHY WE WERE ABLE TO FIND THESE PAGES IS BECAUSE THERE ARE INTERNAL LINKS ON YOUR WEBSITE POINTING AT THEM  SO YOU'D PROBABLY WANT TO REMOVE THESE  YOU CAN JUST CLICK ON THE NUMBER OF INLINKS BESIDE THE PAGE YOU WANT TO INVESTIGATE  EXPORT THE REPORT  AND THEN YOU OR YOUR DEVELOPER CAN REMOVE THE INTERNAL OUTLINKS   SITE AUDIT ALSO HAS DEDICATED REPORTS TO SPECIFIC TECHNICAL CATEGORIES LIKE PAGE SPEED  YOU'LL SEE THAT A LOT OF THE PAGES ARE MISSING A META DESCRIPTION TAG   SO LET'S CLICK ON THAT ERROR   WHICH WILL OPEN UP DATA EXPLORER SHOWING YOU THE AFFECTED PAGES  A COOL FEATURE WITH THINGS LIKE META DESCRIPTIONS AND TITLES IS THAT YOU CAN ACTUALLY ADD A DESCRIPTION BY CLICKING THE PLUS BUTTON HERE  AND ENTER IN THE TEXT THAT YOU WANT TO INPUT  AFTER YOU'VE CREATED ALL OF YOUR NOTES  GO TO THE TO-DO REPORT AND YOU CAN EXPORT THE RESULTS  SEND IT TO YOUR DEVELOPER   AND HAVE THEM ADD YOUR DESCRIPTIONS  IN TOTAL   WE TRACK THIRTEEN SERP FEATURES FOR ALL OF YOUR KEYWORDS   NOT ONLY DO WE SHOW YOU WHICH FEATURES ARE VISIBLE IN THE SERPS  BUT WE SHOW YOU THE HISTORY OF THESE TRACKED FEATURES WHICH YOU MAY HAVE OWNED  ANOTHER UNIQUE FEATURE WITHIN RANK TRACKER IS THE COMPETITORS REPORT  AND IF YOU'RE NOT   WHICH FEATURE WOULD YOU WANT TO USE MOST   MAKE SURE TO LEAVE A COMMENT BELOW AND IF YOU ENJOYED THIS VIDEO  SO KEEP GRINDING AWAY   AND I'LL SEE YOU IN THE NEXT VIDEO  \n",
        "transcription_base": " we can go to the backlinks report in the sidebar. This page shows you where the link is coming from, metrics on the linking page, and then the context of the backlink. For example, you'll see that this link was earned because of a stat from the page. But filtering through all of the linking pages would take a long time. So you can actually use filters to narrow it on a specific subset of links. For example, if you wanted to reach out to all linking pages that are from other blog posts, you could set the link type filter to content. Then we'll set these two checkboxes since that's where our keyword usually appears. And if we click through to the first linking page, you'll see that it seems like a perfectly good place where you could reach out and get your page added. Now what this combination of filters does is it shows us all of the pages that contain the word backpacks, have zero backlinks pointing at them, plus we take the guesswork out of knowing which keywords to create your content around. Just click on the details button and then the organic keywords tab. And you'll see the keywords they rank for or any of these other platforms Enter your keyword. Since we chose Google, you'll see some helpful keyword metrics like keyword difficulty, search volume, clicks data, and more. You can generate more keyword ideas from any of the reports here in the sidebar. Or you can dig deeper into the search query by scrolling down and analyzing the position history. If you've ever looked for guest posting opportunities, now there are a few problems with this. First, you don't have any of the SEO metrics, so you won't know if writing for the site would have any benefit at all. And second, and you'll almost always have to spend a ton of time filtering through a lot of irrelevant results. In 3, you're really limiting yourself to sites that have contribute or write for us pages. Now anytime this page gets a new backlink, you'll get an email notification. And if you see an opportunity to pitch your page, where your website isn't. Logically speaking, if two or more of your direct organic search competitors are ranking for these keywords, then there's a good chance that you should go and target them too. To get started, enter your domain into Site Explorer. After you've done that, I recommend changing this dropdown to all of the below targets. This will keep our results super relevant by only showing keywords where both of these websites rank next up copy the top three relevant ranking results and paste them into the top section. Then, you're completely wasting perfectly good links. You can find these pages really quick in Site Explorer to search for your domain and then go to the Best Buy link support. This report shows you the pages on your website that have the most backlinks. All you need to do now is fix the page or add a redirect to another relevant page. And the reason why we were able to find these pages is because there are internal links on your website pointing at them. So you'd probably want to remove these. You can just click on the number of in links beside the page you want to investigate, export the report, and then you or your developer can remove the internal out links. that also has dedicated reports to specific technical categories like page speed. You'll see that a lot of the pages are missing a meta description tag. So let's click on that error, which will open up data explorer showing you the effective pages. A cool feature with things like meta descriptions and titles is that you can actually add a description by clicking the plus button here and enter in the text that you want to input. After you've created all of your notes, go to the to do report and you can export the results, send it to developer and have them add your descriptions. In total, we track 13 SERP features for all of your keywords. Not only do we show you which features are visible in the SERPs, but we show you the history of these track features which you may have owned. Another unique feature within Rank Tracker is the Competitors Report. And if you're not, which feature would you want to use most? Make sure to leave a comment below and if you enjoyed this video, so keep grinding away and I'll see you in the next video.",
        "transcription_medium": " we can go to the backlinks report in the sidebar. This page shows you where the link is coming from, metrics on the linking page, and then the context of the backlink. For example, you'll see that this link was earned because of a stat from the page. But filtering through all of the linking pages would take a long time. So you can actually use filters to narrow in on a specific subset of links. For example, if you wanted to reach out to all linking pages that are from other blog posts, you could set the link type filter to content. Then we'll set these two checkboxes, since that's where our keyword usually appears. And if we click through to the first linking page, you'll see that it seems like a perfectly good place where you could reach out and get your page added. Now what this combination of filters does is it shows us all of the pages that contain the word backpacks, have zero backlinks pointing at them, plus we take the guesswork out of knowing which keywords to create your content around. Just click on the details button and then the organic keywords tab, and you'll see the keywords they rank for or any of these other platforms. Enter your keyword. Since we chose Google, you'll see some helpful keyword metrics like keyword difficulty, search volume, clicks data, and more. You can generate more keyword ideas from any of the reports here in the sidebar. Or you can dig deeper into the search query by scrolling down and analyzing the position history. If you've ever looked for guest posting opportunities, now there are a few problems with this. First, you don't have any of the SEO metrics, so you won't know if writing for the site would have any benefit at all. And second, you'll almost always have to spend a ton of time filtering through a lot of irrelevant results. And three, you're really limiting yourself to sites that have Contribute or Write for Us pages. Now, anytime this page gets a new backlink, you'll get an email notification. And if you see an opportunity to pitch your page, where your website isn't. Logically speaking, if two or more of your direct organic search competitors are ranking for these keywords, then there's a good chance that you should go and target them too. To get started, enter your domain into Site Explorer. After you've done that, I recommend changing this dropdown to all of the below targets. This will keep our results super relevant by only showing keywords where both of these websites rank. Next, I'll copy the top three relevant ranking results and paste them into the top section. Then you're completely wasting perfectly good links. You can find these pages really quick in Site Explorer. Just search for your domain and then go to the Best By Links report. This report shows you the pages on your website that have the most backlinks. All you need to do now is fix the page or add a redirect to another relevant page. And the reason why we were able to find these pages is because there are internal links on your website pointing at them. So you'd probably want to remove these. You can just click on the number of inlinks beside the page you want to investigate, export the report, and then you or your developer can remove the internal outlinks. MetaOnit also has dedicated reports to specific technical categories like page speed. You'll see that a lot of the pages are missing a meta description tag. So let's click on that error which will open up Data Explorer showing you the effective pages. A cool feature with things like meta descriptions and titles is that you can actually add a description by clicking the plus button here and enter in the text that you want to input. After you've created all of your notes, go to the to-do report and you can export the results, send it to your developer, and have them add your descriptions. In total, we tracked 13 SERP features for all of your keywords. Not only do we show you which features are visible in the SERPs, but we show you the history of these tracked features which you may have owned. Another unique feature within Rank Tracker is the Competitor's Report. And if you're not, which feature would you want to use most? Make sure to leave a comment below and if you enjoyed this video, so keep grinding away and I'll see you in the next video.",
        "transcription_large_v3": " we can go to the backlinks report in the sidebar. This page shows you where the link is coming from, metrics on the linking page, and then the context of the backlink. For example, you'll see that this link was earned because of a stat from the page. But filtering through all of the linking pages would take a long time, so you can actually use filters to narrow in on a specific subset of links. For example, if you wanted to reach out to all linking pages that are from other blog posts, you could set the link type filter to content. Then we'll set these two checkboxes since that's where our keyword usually appears. And if we click through to the first linking page, you'll see that it seems like a perfectly good place where you could reach out and get your page added. Now what this combination of filters does is it shows us all of the pages that contain the word backpacks, have zero backlinks pointing at them, plus we take the guesswork out of knowing which keywords to create your content around. Just click on the details button and then the organic keywords tab and you'll see the keywords they rank for or any of these other platforms. Enter your keyword. Since we chose Google, you'll see some helpful keyword metrics like keyword difficulty, search volume, clicks data, and more. You can generate more keyword ideas from any of the reports here in the sidebar, or you can dig deeper into the search query by scrolling down and analyzing the position history. If you've ever looked for guest posting opportunities, now there are a few problems with this. First, you don't have any of the SEO metrics, so you won't know if writing for the site would have any benefit at all. And second, you'll almost always have to spend a ton of time filtering through a lot of irrelevant results. And three, you're really limiting yourself to sites that have contribute or write for us pages. Now, anytime this page gets a new backlink, you'll get an email notification. And if you see an opportunity to pitch your page where your website isn't. Logically speaking, if two or more of your direct organic search competitors are ranking for these keywords, then there's a good chance that you should go and target them too. To get started, enter your domain into Site Explorer. After you've done that, I recommend changing this dropdown to all of the below targets. This will keep our results super relevant by only showing keywords where both of these websites rank. Next, I'll copy the top three relevant ranking results and paste them into the top section. Then you're completely wasting perfectly good links. You can find these pages really quick in Site Explorer. Just search for your domain and then go to the Best Buy Links report. This report shows you the pages on your website that have the most backlinks. All you need to do now is fix the page or add a redirect to another relevant page. And the reason why we were able to find these pages is because there are internal links on your website pointing at them. So you probably want to remove these. You can just click on the number of inlinks beside the page you want to investigate, export the report, and then you or your developer can remove the internal outlinks. Site Audit also has dedicated reports to specific technical categories like page speed. You'll see that a lot of the pages are missing a meta description tag. So let's click on that error which will open up Data Explorer showing you the effective pages. A cool feature with things like meta descriptions and titles is that you can actually add a description by clicking the plus button here and enter in the text that you want to input. After you've created all of your notes, go to the to do report and you can export the results, send it to your developer and have them add your descriptions. In total we track 13 SERP features for all of your keywords. Not only do we show you which features are visible in the SERPs but we show you the history of these track features which you may have owned. Another unique feature within Rank Tracker is the competitors report and if you're not which feature would you want to use most? Make sure to leave a comment below and if you enjoyed this video so keep grinding away and I'll see you in the next video."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000065.mp3": {
        "gt": "MIGUELADAN MENDOZA  WHOA   THIS AIN'T NOTHING BUT A PIPE DREAM  I THOUGHT I MADE THAT JUMP  HEY WHO'S DARTH VADER'S SISTER  ELI-VADER  YEAH THIS IS RIGHT OUTSIDE MY WINDOW   COOL  OH I CAN MAKE THIS  SHAKE AND BACON  THE HOTEL SIGN  OH I CAN JUST CLIMB RIGHT UP IT  I'M KIND OF FLOATING  OKAY THAT WAS WEIRD   I WAS FLOATING ABOUT  LEAST I DIDN'T DIE  YES   IT IS  OR IN MY CASE   SPEEDY SHORTS  SPEEDY JEAN SHORTS   THERE YOU GO  \n",
        "transcription_base": " Magellan, Magellos! Whoa! It's a nothing but a pipe dream! I thought I'd be that job! Hey, who starts Vader's sister? Ali Vader! Yeah, this is right out something window! Cool! Oh, I can make this chicken bacon! We'll go hotel sign. Okay, oh, I can just climb right out of it. I'm kind of floating. Okay, that was weird. I was floating my boat. We started in debt. Yes, it is! Or in my case, speedy shorts. Speedy jeans shorts, there we go.",
        "transcription_medium": " McGillidan Medosa. Whoa! This ain't nothing but a part dream! I thought I made that jump! Hey, who's Darth Vader's sister? Ellie Vader. Yeah, this is right outside my window. Cool! Oh, I can make this. Shakin' pinkin'! With a hotel sign. Oh, I can just climb right off it. I'm kinda floatin'. Okay, that was weird. I was floatin' in my boat. At least I didn't die. Yes, it is! Or in my case, Speedy Shorts. Speedy jeans shorts, there we go.",
        "transcription_large_v3": " Miguel and Dan Mendoza. Wow, this ain't nothing but a pipe dream. I thought I made that jump. Hey, who's Darth Vader's sister? Ellie Vader. Yeah, this is right outside my window. Cool. Oh, I can make this. Shake and bacon. The hotel sign. Oh, I can just climb right up it. I'm kind of floating. Okay, that was weird. I was floating my boat. At least I didn't die. Yes, it is. Or in my case, speedy shorts. Speedy jean shorts, there we go."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000081.mp3": {
        "gt": "OH   MY GOODNESS   WHAT A PSYCHOPATH   ALL RIGHT   HOW DO I GET OUT OF THIS ROOM  OH   OH   SCARY   SCARY MUSIC   OH   JEEZ  SORRY   I FOUND YOUR HOUSE OF CREEPY STUFF  DON'T DO IT  JUST LET ME LOOK IN HERE  OKAY   THANK YOU  GONNA OPEN THIS GUY  NOTHIN' THERE   YOU STAY RIGHT THERE  I'M JUST GONNA TURN AND LOOK  THERE WE GO  YOU JUST STAY OVER THERE  KEEP WALKIN' YOUR PATH   BUDDY   YEAH   DADDY LONG LEGS   I'M GONNA THIS WAY   SEE WHAT'S DOWN THIS CORRIDOR  IT'S COOL   OKAY   JUST GONNA SEE  IT'S A BEAR TRAP  MY PANCREAS  NOTHING DOWN THERE  THAT'S GOOD  OKAY   NOTHING DOWN THERE  OKAY   JUST KEEP GOIN' STRAIGHT  JUST GONNA SLAP THIS  THING IS SO ANNOYING   IT'S SO ANNOYING CAUSE IT KEEPS SHUTTING OFF  WHAT ARE YOU   YOU'RE LIKE SOME KINDA GOAT MONSTER  NO   NO   NO   YOU JUST STAY RIGHT THERE   OKAY   BUDDY  OKAY   HE DOESN'T LIKE THE FLASHLIGHT  HE'S JUST HANGIN' RIGHT THERE   SO I THINK WE'REOKAY   NO   DON'T SEE ANYTHING IN THAT ONE  YOU CREEPY PEOPLE-BUTT-TOUCHIN' WEIRDO   JUNIOR  YOU KNOW PENNYWISE   HE'S ALWAYS CLOWNIN' AROUND  WHAT ARE YOU DOIN' THERE   CREEPY TEETH  HEY   HEY   BALDY   IT'S SODA LICIOUS  SHE'S GOT SOMETHING ON HER BACK   TOO  ON THE FRONT   THERE'S A PICTURE OF BALDY  SHE KILLED BALDY CAUSE SHE WAS SUCH A HUGE FAN   BECAUSE SHE WANTED TO BE BALDY  NOW   SHE'S WEARING HIS FACE AND WEARING ALL KINDS OF BALDY PARAPHERNALIA   WOW   THIS ROOM IS CRAZY  NO   NO   NO  NO   THAT'S TERRIFYING   OKAY   SHE'S STOPPED AND NO  TO MAKE SURE THERE ISN'T ANYTHING ELSE STUCK INSIDE  NO ONE TOUCH ANYTHING  FREDDY   YOU'RE LOOKIN' A LITTLE WIRED   OKAY  HOT WIRED FOR SOME KIND OF BOOBY TRAPS BY   OH   NO  YOU ARE NOW CONSTIPATED   HOW COULD ANYBODY BE CONSTIPATED  OH   HE WAS A BLOCKHEAD   ANYWAYSOH   YEAH   OH   YOU LIKEYTHAT'S NOT FUNNY  SEE   I HEAR THINGS OPENING AND CLOSING  OH   HEY   IT'S MARGE   BRING MEOH   NO  NOT ONCE   NOT TWICE  NOT EVER  OH NO  IT'S LIKE I'M LIVING IT OVER AGAIN  WHAT IS HAPPENING  AM I IN THE MATRIX  WHICH WAY TO GO   WHICH WAY TO GO  FIND A WAY OUT OF HERE  I DID  I DID   YOU LITERALLY TOLD ME  JEP   WHY ARE YOU RUBBING YOUR NIPPLES ON THE WALL   THAT'S WEIRD  NO   ZOMBIES   NO   DON'T EAT ME   PLEASE  OH   HOW COME I HAVE ZERO LIVES   I HAD FIVE LIVES   OH   BUT THEN I GOT CAPTURED  OH   NO   OKAY   HE GOT AWAY  IMPORTABLE  I DON'T THINK YOU KNOW WHAT THAT WORD MEANS   OH  PURPLE NURPLES IN CHIRPIN' SQUIRPROTH  WHY  IS THIS LIKE TATTLETALE  OKAY  WE'RE DOIN' GOOD  OH  OKAY   I'M GONNA HAVE TO GET THE SPAGHETTI  OKAY LET'S GO GET SOME OF THAT CANDY   OH   THERE'S ANOTHER ONE OVER HERE   WHAT'S THIS  YEAH I GOT THREE DOLLARS  SLENDY BENDY  SO BAD  IT IS STARTING TO FREAK ME OUTWHAT IS GOING ON  OH I GOT AWAY FROM SLENDY BENDY  BREAK DOWN THIS BOARD  OH JEEZ  LEGIT   OKAY  WHEN IT COMES TO SQUIDWARD   IT'S ALWAYS SQUID PRO QUO  LATER SQUIDWARD  GET AWAY  WELL IT'S WORTH A SHOT RIGHT  OKAY LET'S DOOH YEAH  YOU STOLE MY BOUNTY  WOW HE ACTUALLY HELPED ME   THANK YOU BUDDY  OH  HAMBURGER MAN YOU COULDN'T GET ME  OKAY SO I KNOCKED DOWN THE GATE  LITTLE APPLE STYLE BREAKING OUT OF PRISON   YO  WHAT WE DO   WHAT'S THAT NOISE  NO I DON'T WANT TO BE TURNED INSIDE OUT   PLEASE LET ME GO   PLEASE I DON'T WANNA PLAY THIS GAME ANYMORE  TOO MANY CREEPIES  IT'S GOOD  HAVE I BEEN IN HERE LONG ENOUGH   AH OKAY  CREEPY PEEPERSIS HE GONE  WE'RE GONNA BEAT  WE'RE GONNA BEAT FIVE NIGHTS AT FREDDY'S  \n",
        "transcription_base": " Oh my goodness, what a psychopath. All right, how do I get out of this room? It's all out scary, scary music. Oh, geez! Sorry, I found your house of creepy stuff. Don't do it. Just let me look in here. Okay, thank you. I'm gonna open this guy, nothing there. You stay right there. I'm just gonna turn and look. There we go. You just stay over there. Keep walking, you're bad, buddy. Yeah, daddy long legs. I'm gonna go this way. Let's see what's down this corridor. He's cool, okay, just gonna see. It's a bear trap! My pancreas! Okay, nothing down there. That's good. Okay, nothing down there. Okay, just keep going straight. It's gonna slap this. Thing is so annoying! It's so annoying, because it keeps shutting off. What are you? I like some kind of goat monster! No, no, no, no, you just stay right there, okay buddy? Okay, he doesn't like the flashlight. He's just hanging right there, so I think we're out. Okay, now don't see anything in that one. Oh, you creepy people, but that's a weirdo, junior. You know, Pennywise. She's always clad in her own. What are you doing there, creepy case? Hey, hey Baldi, it's so delicious. She's got something on her back too. On the front, there's a picture of Baldi. She killed Baldi because she was such a huge fan because she wanted to be Baldi. Now she's wearing his face and wearing all kinds of Baldi paraphernalia. Wow, this room is crazy. No, no, no. No, that's terrifying. Okay, she stopped it, no. Let's make sure there isn't anything else. That's stuck inside. Don't touch anything. Freddie, you're looking a little wired. Hot wired for some kind of booby traps, but oh no. You are now constipated? How could anybody be constipated? Oh, he was a blockhead anyways. Oh yeah, are you lucky? Oh, that's not funny. See, I hear things opening and closing. Oh hey, it's March. Bring me in. Oh no. Not once, not twice. Not ever. Oh no. I try to get living it over again. What is happening? Am I in the matrix? Which way to go? Which way to go? Find a way out of here. I did. I did. You literally told me. Champ, why are you rubbing your nipples on the wall? That's weird. No zombies. No, don't even. Please, I have zero lives. I had five lives. Oh, but I got captured. Oh no. Okay, got away. Importable. I don't think you know what that word means. Purple, narples, and chirping squirrel growth. Why? Is this like tantalty? Okay, we're doing good. Ooh, okay, I'm gonna have to get this kitty. Okay, let's go get some of that candy. Ooh, there's another one over here with this. Yeah, I got $3. Slendy Bentley, face over. Hey, he's stuck. The freak me out, thing. What is going on? Oh, I got away from Slendy Bentley. Break down this board. Oh, geez. Luget. Okay. When it comes to Squidward, it's always squid pro quo. Later Squidward, who can away? Well, it's worth a shot, right? Okay, let's do it. Oh, yeah? I stole my bounty. Wow, he actually helped me. Thank you buddy. Oh, oh, oh, oh. Hey, I'm a command you couldn't get me. Okay, so I knocked down the gate. Little Apple style, breaking out of prison, yo. That's what we do. What's that noise? Oh, I don't want to be turned inside out. Please let me go, please. I don't want to play this game anymore. Somebody creepies. He is good. Have I been in here long enough? Okay, creepy beepers. Is he guys? We're gonna beat five nights in Freddy's.",
        "transcription_medium": " Oh my goodness, what a psychopath. Alright, how do I get out of this room? Oh, scary music. Oh jeez, sorry I found your house of creepy stuff. Don't do it, just let me look in here. Okay, thank you. Gonna open this guy, nothing there. You stay right there. I'm just gonna turn and look. There we go. You just stay over there. Keep walking your path, buddy. Yeah, daddy long legs, I'm gonna go this way. Let's see what's down this corridor. Please collocate, just gonna see. It's a bear trap! My pan crass. Okay, nothing down there. That's good. Okay, nothing down there. Okay, just keep going straight. Just gonna slap this. This thing is so annoying! It's so annoying because it keeps shutting off. What are you? You're like some kind of goat monster! No, no, no, no, you just stay right there, okay buddy? Okay, he doesn't like the flashlight. He's just hanging right there, so I think we're okay. Okay, no, don't see anything in that one. Oh, you creepy, peeping butt-touching weirdo, Junior. You know Pennywise, he's always clowning around. What are you doing there, creepy teeth? Hey, hey Baldi, it's so delicious! She's got something on her back too. On the front, there's a picture of Baldi. She killed Baldi, because she was such a huge fan, because she wanted to be Baldi. Now she's wearing his face and wearing all kinds of Baldi paraphernalia. Wow, this room is crazy. No, no, no! No, that's terrifying. Okay, she stopped, don't, don't. Let's make sure there isn't anything else stuck inside. Don't touch anything. Freddy, you're looking a little wired. Hot wired for some kind of booby traps like oh no you are now constipated. How could anybody be constipated? Oh? He was a blockhead anyways. Oh, yeah, are you lucky? Oh, that's not funny see I hear things opening and closing Oh, hey, it's March bring me oh No Not once not twice not ever. Oh, no. It's like I'm living it over again What is happening am I in the matrix? Hey, Trix. Oh, which way to go, which way to go? Find a way out of here? I did! I did, you literally told me. Chip, why are you rubbing your nipples on the wall? That's weird. No zombies, no, don't eat me, please help me. How come I have zero lives? I had five lives, oh, but then I got captured. Oh no, okay, he got away. Importable? I don't think you know what that word means. Purple narples and chirping square growth. Why? Is this like Tattletale? Okay, we're doing good. Okay, I'm gonna have to get this teddy. Okay, let's go get some of that candy. Ooh, there's another one over here. What's this? Yeah, I got three dollars. Slendy Bendy, pay so bad. It is time to freak me out, Bing. What is going on? I got away from Slendy Bendy. Break down this board. Oh, jeez. Legit. Okay. When it comes to Squidward, it's always squid pro quo. Later, Squidward. Get away. Well, it's worth a shot, right? Okay, let's do it. Oh, yeah? You stole my bounty. Wow, he actually helped me. Thank you, buddy. Oh ho ho ho ho. Amber, command, you couldn't get me. Okay, so I knocked down the gate. Little Apple style, break it out of prison, yo. That's what we do. What's that noise? No, I don't want to be turned inside out. Please let me go, please. I don't want to play this game anymore. Too many creepies. It's good. Have I been in here long enough? Huh, okay. Creepy beepers. Is he gone? We're gonna beat Five Nights at Freddy's.",
        "transcription_large_v3": " Oh my goodness, what a psychopath. Alright, how do I get out of this room? Oh, scary music. Oh, jeez! Sorry I found your house of creepy stuff. Don't do it. Just let me look in here. Okay, thank you. I'm going to open this guy. Nothing there. You stay right there. I'm just going to turn and look. There we go. You just stay over there. Keep walking your path, buddy. Yeah! Daddy Longlegs, I'm going to go this way. See what's down this corridor. He's cool, okay, just gonna see. It's a bear trap! My pancreas! Okay, nothing down there. That's good. Okay, nothing down there. Okay, just keep going straight. Just gonna slap this. Thing is so annoying! It's so annoying because it keeps shutting off. What are you? You're like some kind of goat monster! No, no, no, no, you just stay right there, okay, buddy? Okay, he doesn't like the flashlight. He's just hanging right there, so I think we're okay. Okay, no, don't see anything in that one. Oh, you creepy people butt-touching weirdo junior! You know Pantywise, he's always clowning around. What are you doing there creepy teeth? Hey, hey Baldi, it's so delicious. She's got something on her back too. On the front there's a picture of Baldi. She killed Baldi because she was such a huge fan because she wanted to be Baldi. Now she's wearing his face and wearing all kinds of Baldi paraphernalia. Wow, this room is crazy. No, no, no. No, that's terrifying. Okay, she stopped. Let's make sure there isn't anything else stuck inside. Don't touch anything. Freddy, you're looking a little wired. Hot wired for some kind of booby trap. Oh, no. You are now constipated? How could anybody be constipated? Oh, he was a blockhead anyways. Oh, yeah. How you likey? Oh, that's not funny. See, I hear things opening and closing. Oh, hey, it's Marge. Bring me. Oh, no. Not once, not twice, not ever. Oh, no. It's like I'm living it over again. What is happening? Am I in the matrix? Which way to go? Which way to go? Find a way out of here? I did! I did! You literally told me! Jeff, why are you rubbing your nipples on the wall? That's weird! No zombies! No! Don't eat me! Please! How come I have zero lives? I had five lives. Oh, but then I got captured. Oh no! Okay, he got away. Importable? I don't think you know what that word means. Purple, narples, and chirpin' squirrel bros. Why? Is this like Tattletail? Okay, we're doing good. Okay, I'm gonna have to get this penny. Okay, let's go get some of that candy. Ooh, there's another one over here. What's this? Yeah, I got three dollars. Slendy Bendy, thanks so bad. It is starting to freak me out, Bing. What is going on? Oh, I got away from Slendy Bendy. Break down this board. Oh, jeez. Legit. Okay. When it comes to Squidward, it's always Squid pro quo. Later, Squidward. Get away. Well, it's worth a shot, right? Okay, let's do it. Oh, yeah? You stole my bounty. Wow, he actually helped me, thank you buddy. Hamburger man, you couldn't get me. Okay, so I knocked down the gate. Little Apple style, breaking out of prison, yo. That's what we do, what's that noise? No, I don't wanna be turned inside out, please let me go, please, I don't wanna play this game anymore. Too many creepies. Yeah, it's good. Have I been in here long enough? Okay, creepy beepers. Is he gone? We're gonna beat Five Nights at Freddy's."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000097.mp3": {
        "gt": "HEY   GIMME BACK MY CONTROLLER   NO  BECAUSE  DIDN'T YOU HEAR  THIS MINI GAME HAS A SPECIAL CONTROLLER   OOH   LET ME SEE   I'LL BE RIGHT BACK  LOOKS A LOT LIKE BABY CARROT   KUDOS FOR REALISM   NINTENDO  I'M WINNING  YOU SURE ARE   ORANGE   NOW EXCUSE ME   I'M JUST GONNA BORROW THIS FOR A SECOND  I'M OVER IT  BESIDES   I'M NOT HERE ABOUT THAT  OH   YOU WANNA TALK ABOUT THAT TIME I SWINDLED YOU FOR TWENTY BUCKS AND TOLD EVERYONE AT SCHOOL YOU WERE BALD  NEVER MIND   LISTEN  WHAT DO YOU THINK ABOUT IMPROVISING SOME NEW MINI GAMES   SAY   FROM THIS LIST   I COULD DO THAT  IF YOU MAKE IT WORTH MY WHILE   HERE  GOT IT  WHAT  OH   YEAH   A LITTLE HIGHER   THERE YOU GO   EXCUSE ME   SWITCH  OKAY   ENOUGH   I WANT MY MONEY BACK   YOU BROKE OUR AGREEMENT  I DON'T THINK SO   PAL   THE PRICE JUST WENT UP  YEAH   AND WHY'S THAT  I'M TRYING TO GO FOR THE HIGH SCORE  NEW GAME   DO A NEW GAME   SURE THING  BUT YOU GET EXTRA POINTS FOR HEIGHT  I SAID NO   ORANGE  OKAY OKAY   NO NEED TO BE SUCH A HOTHEAD ABOUT IT  NO   FINE   HERE   TAKE IT ALL   IT'S EVERYTHING ITHIS'LL DO NICELY  YES   YES   THANK YOU  DO THAT ONE  AGREED  THIS IS NICE  CATCHING FIRE   NICE   I LOVE THE HUNGER GAMES   NO   CATCHING FIRE  \n",
        "transcription_base": " Baby, best my controller! No, because... Didn't you hear? This mini-game has a special controller! Ooh, let me see! I'll be right back! Looks a lot like Baby Carrot! Kudos for realism Nintendo! I'm winning! You sure are, Orange! Excuse me, I'm just gonna borrow this for a second. I'm over it. Besides, I'm not here about that. Oh, you wanna talk about that time? I swindled you for 20 bucks and told everyone at school you were bald? Never mind. Listen, what do you think about improvising some new mini games? Say, from this list? I could do that if you make it worth my while. Ah, here. Got it? What? Oh yeah, little higher. There you go. Excuse me, Switch? Okay, enough. I want my money back. You broke our agreement. I don't think so, pal. The price just went up. Yeah, and why is that? I'm trying to go for the high score! New game! Do a new game! Sure thing! But you get extra points for height! I said no, Orange! Okay, okay! No need to be such a hothead about it! No! Fine! Here! Take it all! It's everything I have! This'll do nicely! Yes! Yes! Thank you! Do that one! Agreed! This is nice! Catching fire? Nice! I love the Hunger Games! No! Catching fire!",
        "transcription_medium": " Give me back my controller! No, because... Didn't you hear? This mini-game has a special controller! Ooh, let me see! I'll be right back! Looks a lot like Baby Carrot. Kudos for realism, Nintendo! I'm winning! You sure are, Orange. Now excuse me, I'm just gonna borrow this for a second. I'm over it. Besides, I'm not here about that. Oh, you wanna talk about that time I swindled you for 20 bucks and told everyone at school you were bald? Never mind. Listen, what do you think about improvising some new minigames? Say, from this list? I could do that, if you make it worth my while. Ah, here, got it? What? Oh yeah, little higher. There you go. Excuse me, Switch? Okay, enough! I want my money back! You broke our agreement! I don't think so, pal. The price just went up. Yeah? And why's that? I'm trying to go for the high score! New game! Do a new game! Sure thing! But you get extra points for height! I said no, Orange! Okay, okay. No need to be such a hothead about it. No! Fine! Here, take it all! It's everything I ha- This'll do nicely. Yes! Yes, thank you! Do that one! Agreed! This is nice! Catching fire? Nice! I love the Hunger Games! No! Catching fire!",
        "transcription_large_v3": " Give me back my controller! No, because... Didn't you hear? This minigame has a special controller! Ooh, let me see! I'll be right back! Looks a lot like Baby Carrot! Kudos for realism, Nintendo! I'm winning! You sure are, Orange! Now, excuse me. I'm just gonna borrow this for a second. I'm over it. Besides, I'm not here about that. Oh, you wanna talk about that time I swindled you for 20 bucks and told everyone at school you were bald? Never mind. Listen, what do you think about improvising some new minigames? Say, from this list? I could do that, if you make it worth my while. Here, got it? What? Oh, yeah. Little higher. There you go. Excuse me, Switch. Okay, enough. I want my money back. You broke our agreement. I don't think so, pal. The price just went up. Yeah? And why's that? I'm trying to go for the high score. New game! Do a new game! Sure thing! But you get extra points for height! I said no, Orange! Okay, okay, no need to be such a hothead about it! No! Fine, here, take it all, it's everything I have! This'll do nicely. Yes, yes, thank you, do that one. Agreed, this is nice. Catching fire! Nice, I love the Hunger Games. No, catching fire!"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000113.mp3": {
        "gt": "MY NAME IS SHERRI HUGHES  I'M THE ASSISTANT VICE PRESIDENT FOR PROFESSIONAL LEARNING AT THE AMERICAN COUNCIL ON COUNCIL OF EDUCATION  AS WE GET STARTED FIRST   I WANT TO COMMEND EVERYONE ACROSS HIGHER EDUCATION FOR MAKING THIS ASTONISHING TRANSITION TO REMOTE LEARNING IN A MATTER OF DAYS   IN MANY CASES  AND WITH A REAL COMMITMENT TO OUR STUDENTS LEARNING  BUT WE KNOW THAT MOVING   OF COURSE   ONLINE LIKE BEING ASSIGNED TO A CLASSROOM IS JUST THE START  THIS WEBINAR SERIES EMERGED TO SUPPORT THE NEXT PHASE OF THAT WORK TO ENSURE THAT FACULTY RECEIVED THE SUPPORT THEY NEED TO ENSURE THAT EVERY STUDENT HAS A QUALITY ONLINE EXPERIENCE  OUR GOAL IN THESE WEBINARS IS TO HAVE PRACTICAL CONVERSATIONS WITH EXPERTS ON HOW TO TEACH WELL ONLINE  SO NOW I'M GOING TO TURN THINGS OVER TO KIM MIDDLETON FROM ACUE   WHO WILL SERVE AS TODAY'S MODERATOR  THANKS SO MUCH   SHERRI  WELCOME TO ALL OF YOU FROM ALL OF US HERE AT THE ASSOCIATION OF COLLEGE AND UNIVERSITY EDUCATORS  I AM REALLY DELIGHTED TO BE JOINED TODAY BY TWO INCREDIBLY CREATIVE AND THOUGHTFUL PEDAGOGY EXPERTS  AND THEY'LL START OFF OUR CONVERSATION TODAY ON THE TOPIC RECORDING EFFECTIVE MICRO LECTURES  BEFORE I INTRODUCE THEM AND GET STARTED   HOWEVER   I'D LIKE TO QUICKLY REVIEW OUR AGENDA FOR THE HOUR  FIRST  OUR PRESENTERS WILL BRIEFLY DISCUSS THE CONTEXT FOR THIS TOPIC   WHAT EXACTLY IS A MICRO LECTURE AND WHY IS IT AN IMPORTANT ONLINE TEACHING TECHNIQUE  WE THINK THAT THAT WILL BE RELEVANT   WHETHER YOU'RE IN YOUR FIRST OR YOUR FORTIETH WEEK OF YOUR ONLINE TEACHING EXPERIENCE  THE MAJORITY OF TODAY'S SESSION   HOWEVER   ABOUT THIRTY FIVE MINUTES  IS RESERVED FOR DISCUSSION   LED BY THE QUESTIONS THAT YOU SUBMIT TO OUR PANELISTS  OUR GOAL IS TO HAVE AN INTERACTIVE CONVERSATION THAT FOCUSES ON THIS TOPIC AND THAT CONTINUES TO PROVIDE PRACTICAL IDEAS AND SUGGESTIONS FOR YOUR ONLINE TEACHING  SO IF YOU WOULD PLEASE USE THE Q AND A BOX AT THE BOTTOM OF YOUR ZOOM SCREEN AS YOU DO   YOU MIGHT SEE THAT SOMEONE ELSE HAS SUBMITTED A QUESTION THAT'S SORT OF SIMILAR TO YOURS  AND IN THAT CASE   YOU CAN USE THAT THUMBS UP SYMBOL TO HIGHLIGHT THAT QUESTION  IT'LL SAVE YOU SOME TYPING   AND IT ALSO HELPS US PRIORITIZE THE QUESTIONS THAT HAVE THE MOST INTEREST  AND THEN FINALLY   DON'T FORGET THE CHAT ROOM WINDOW  THROUGHOUT TODAY'S SESSION   WE'LL USE THAT AS A SORT OF ONE WAY INFORMATION SPACE  IT WILL PROVIDE REFERENCES AND RESOURCES THAT COME UP DURING OUR DISCUSSION  THE TOPIC FOR TODAY'S WEBINAR AND FOR THE SERIES AS A WHOLE WERE INSPIRED BY THE FREE RESOURCES RECENTLY PUBLISHED BY ACUE AND OUR ONLINE TEACHING TOOLKIT  MORE FROM OUR EXPERTS AND THEN MORE FROM EACH OTHER ABOUT THESE SIX TOPICS  SO NOW   WITHOUT FURTHER ADO   I WANT TO INTRODUCE OUR EXPERTS  JOINING US TODAY ARE MIKE WESCH   ASSOCIATE PROFESSOR OF CULTURAL ANTHROPOLOGY AT KANSAS STATE UNIVERSITY AND VIJI SATHY PROFESSOR IN THE DEPARTMENT OF PSYCHOLOGY AND NEUROSCIENCE AT THE UNIVERSITY OF NORTH CAROLINA   CHAPEL HILL  AND KIM MIDDLETON  ACADEMIC DIRECTOR AT ACUE  I'M PARTICULARLY EXCITED TO HEAR THESE TO LAUNCH OUR DISCUSSION ON THIS TOPIC  AFTER HAVING INTRODUCED VIDEO AND AUDIO PROJECTS TO BOTH MY STUDENTS AND FACULTY COLLEAGUES AT THE COLLEGE OF SAINT ROSE IN NEW YORK AND MOUNT ST   MARY'S UNIVERSITY IN LOS ANGELES  SO WE'RE GOING TO DIVE IN  OUR EXPERTS THOUGHT IT WAS ESPECIALLY IMPORTANT TO BEGIN WITH A REALLY CLEAR UNDERSTANDING OF WHAT A MICRO LECTURE IS  AND SO TO MAKE THAT POINT   WHAT BETTER WAY IS THERE THAN TO SHOW US ONE   RIGHT  SO MIKE HAS MADE US A VIDEO TO EXPLAIN THE CONCEPT  A VIDEO MICRO LECTURE IS USUALLY UNDER FIVE MINUTES AND FOCUSED ON ONE SPECIFIC CONCEPT OR SKILL MAKING THE CONTENT EASY TO FIND WITHIN THE STRUCTURE OF A LARGER COURSE  FAMOUS EXAMPLES INCLUDE SIMPLE SCREEN RECORDINGS LIKE THOSE OF KHAN ACADEMY  SHORT ANIMATED PIECES LIKE THOSE OF TED ED AND THE PUNCHY MINI LECTURES OF CRASH COURSE  YOU CAN ALSO LOOK FOR INSPIRATION FROM THE MANY TUTORIALS AVAILABLE ON YOUTUBE  ROCK-STAR EDGE YOUTUBERS LIKE MARK ROBER AND EVEN TRAVEL TUBERS CAN OFFER SOMETHING TO ASPIRE TO   IF YOU'RE AN ANTHROPOLOGIST LIKE ME  I'VE BEEN DOING SHORT-FORM VIDEOS PROFESSIONALLY FOR ABOUT THIRTEEN YEARS  I STARTED WITH SOME EDUCATIONAL SCREEN CAPTURES  I THEN STARTED INVITING MY STUDENTS IN TO COLLABORATE TO MAKE SOME SHORT CULTURAL COMMENTARIES  LATER I LEARNED HOW TO ANIMATE SO I COULD TELL SOME SHORT STORIES  AND MOST RECENTLY I STARTED TAKING MY CAMERA OUT INTO THE WORLD TO SHARE MY ETHNOGRAPHIC FIELD EXPERIENCES WITH MY STUDENTS  I THINK VIDEO IS A HUGE PIECE OF OUR FUTURE AS PROFESSORS  IT IS A NEW POWERPOINT AND I WANT TO DO WHATEVER I CAN TO HELP OTHER FACULTY MASTER THIS  NOT JUST BECAUSE IT WILL IMPROVE THEIR CLASSES  BUT BECAUSE ULTIMATELY I THINK IT WILL UNLEASH A TREMENDOUS WAVE OF OUTSTANDING EDUCATIONAL CONTENT INTO THE WORLD  A VIDEO MICRO LECTURE  AND I'LL JUST BRIEFLY SAY SOMETHING REAL QUICK HERE  I THOUGHT I SHOULD DO A MICRO LECTURE SORT OF ABOUT JUST TALKING ON CAMERA   BECAUSE TALKING ON CAMERA CAN ACTUALLY BE ONE OF THE BIGGEST BARRIERS TO DOING A MICRO LECTURE  AND YOU DON'T NECESSARILY HAVE TO BE ON CAMERA   BUT I WANTED TO GIVE YOU AN EXAMPLE OF WHAT THAT LOOKS LIKE AND WHY IT'S HARD AND MAYBE HELP YOU GET ON CAMERA IF THAT'S HARD FOR YOU  HI  HI  HI   I'M MIKE WESCH   AND I'M GOING TO SHOW YOU HOW TO MAKE A VIDEO FOR YOUR CLASS   IT'S GONNA BE A SUPER SIMPLE VIDEO AND YOU DON'T NEED A LOT OF SPECIAL EQUIPMENT   IN FACT   YOU ONLY NEED THREE THINGS   HERE'S GONNA NEED A NICE BIG LIGHT SOURCE   AND AS YOU CAN SEE   I'M JUST ACTUALLY USING THIS NICE BIG WINDOW I HAVE HERE  IT RETAILS FOR ABOUT SIXTY FIVE DOLLARS ON EBAY   AND AS YOU CAN SEE   YOU CAN ACTUALLY GET A PRETTY GOOD LOOKING SHOT EVEN WITH CHEAP EQUIPMENT LIKE THIS  WHY DO YOU THINK IT'S WEIRD  YEAH   I THINK IT'S WEIRD   TOO  I'M TRYING TO HELP PEOPLE BE LESS WEIRD ABOUT IT  WHAT IF YOU HAVE A JOB SUNDAY WHERE YOU HAVE TO BE ON CAMERA  SO WHY EVEN TRY  THE FIRST AND MOST IMPORTANT THING IS IT JUST THAT IT ALLOWS YOU TO BUILD CONNECTION WITH YOUR STUDENTS  STUDIES HAVE SHOWN THAT THE MORE YOU CAN BUILD A SENSE OF SOCIAL PRESENCE IN YOUR CLASS  THE BETTER THE LEARNING   SECOND VIDEO IS JUST SUPER ENGAGING   YOU HAVE SO MANY MORE PATHWAYS TO ACTUALLY ENGAGE YOUR AUDIENCE  NOT JUST THE AUDIO   BUT ALSO THE VISUAL   YOU CAN SHOW THINGS AND DEMONSTRATE THINGS  EVENTUALLY YOU CAN EVEN TAKE PEOPLE OUT INTO THE WORLD  AND THIRD VIDEO IS JUST GOING TO MAKE YOU SEEM MORE APPROACHABLE   IT WILL HUMANIZE YOU AND HUMANIZE YOUR WHOLE CLASS  HOPEFULLY THE MORE VIDEO YOU DO   THE MORE VIDEO YOUR STUDENTS WILL DO AS WELL AND WILL JUST CREATE THIS SYNERGY BETWEEN ALL THREE OF THESE ELEMENTS  YOU'LL ALL BE MORE CONNECTED THAT ALLOW YOU TO BE MORE ENGAGING WITH ONE ANOTHER  AND THAT'LL ALSO JUST MAKE YOU MORE APPROACHABLE   AND ALL THREE OF THESE THINGS WILL JUST BUILD UPON EACH OTHER   WHETHER WE LIKE IT OR NOT   THIS IS OUR FUTURE   AND IF YOU WANT TO DO THE VERY BEST FOR YOUR STUDENTS  YOU'RE GOING TO HAVE TO OVERCOME YOUR FEARS AND GET ON CAMERA AND START CONNECTING AND ENGAGING AND BUILD OUT APPROACHABILITY IN THIS ONLINE ENVIRONMENT  I'M DOING A VIDEO ABOUT HOW TO TALK ON VIDEO CAMERA AND SHOW PEOPLE HOW YOU TALK ON VIDEO  HOW DO YOU LIKE TO TALK ON VIDEO  SO TALKING ON CAMERA CAN BE SUPER HARD   BUT I WANNA GIVE YOU FIVE TIPS JUST TO GET STARTED  NUMBER ONE  TRY CONNECTING RATHER THAN PERFORMING  LOOK RIGHT INTO THE LENS   BUT NOT AT THE LENS   LOOK RIGHT THROUGH IT TO THE PEOPLE YOU'RE ACTUALLY TALKING TO  IMAGINE THEM THERE AND JUST TALK RIGHT TO THOSE PEOPLE   SECONDLY  BECAUSE WHEN YOU JUST RECORD YOURSELF IN FRONT OF A CAMERA   YOU DON'T HAVE ALL THAT ENERGY THAT YOU TYPICALLY GET IN A SOCIAL SITUATION  AND YOU CAN KIND OF LOOK KIND OF FLAT   YOU MIGHT FIND THAT WHEN YOU WATCH YOUR FIRST FEW VIDEOS BACK  YOU JUST SEEM LIKE KIND OF  I DON'T KNOW  JUST KIND OF SAD AND QUIET AND NOT REALLY ENERGIZED   RIGHT  SO YOU HAVE TO GO A LITTLE BIT ABOVE WHAT YOU THINK IS NATURAL   GO TO LIKE A HUNDRED TWENTY FIVE PERCENT AND IT SHOULD LOOK JUST ABOUT   RIGHT   NUMBER THREE   HAVE A PLAN  I LIKE TO PLAN AROUND WHAT I CALL THE FIVE HOURS   THE FIRST ONE IS YOU HAVE TO HAVE A REASON FOR THE VIDEO   THERE SHOULD BE REALLY STRONG Y DRIVING THE VIDEO  SECOND IS RELEVANCE THAT Y SHOULD BE REALLY CLEAR TO THE PEOPLE WHO ARE WATCHING  NUMBER THREE IS RESONANCE  YOU SHOULD CONSTANTLY BE CONNECTING WITH THE PEOPLE ON THE OTHER SIDE OF THAT LENS   AND THEY SHOULD FEEL THAT CONNECTION   IT SHOULD RESONATE WITH THEM  YOU DON'T WANT TO SPEND TOO LONG ON A TOPIC OR GO TOO FAST   YOU GOT TO HAVE A NICE PACE THAT FEELS JUST RIGHT  AND FINALLY   NUMBER FIVE IS JUST BE REAL   JUST BE YOURSELF   BE AUTHENTIC AND BE WHO YOU REALLY ARE   DON'T TRY TO BE ANYBODY ELSE FOR PRACTICE   PRACTICE ALL THE TIME  YOU MIGHT WANT TO START REALLY SIMPLE JUST BY MAYBE GIVING SOME VIDEO FEEDBACK TO STUDENTS OR WHEN STUDENTS ARE DOING AN ONLINE DISCUSSION   POP IN ON VIDEO TO RESPOND TO A STUDENT  IN THE CLASS   NOT ON THE CLASS  EVERYBODY JUST KEEP PRACTICING AND WE'LL GET THERE  I LOOK FORWARD TO OUR DISCUSSION TODAY  WE'RE GIVEN TIPS ON HOW TO GET ON CAMERA   YOU WANT TO HELP  AND THEN YOU WOULD USE THAT AND CUT THAT DOWN AND EDIT IT AND CHANGE IT AROUND UNTIL IT WAS JUST TIGHT AND HOW YOU WANTED IT  KIM OR V J  AND SO   YEAH   I THINK WE WILL JUST GO STRAIGHT INTO VIJI AND WHAT SHE WANTS TO TALK ABOUT  I WANTED TO JUSTSOME FOR SOME OF US  YOU KNOW   IT'S ENOUGH TO JUST HEAR  AND SO IN THAT CASE   MAYBE A PODCASTER OR JUST HAVING AUDIO FILES AVAILABLE TO YOUR STUDENTS MIGHT BE SUFFICIENT  IT'S EXACTLY WHAT YOU WANT THEM TO HEAR   AND NONE OF WHAT YOU DON'T WANT THEM TO HEAR   WHICH CAN BE HARD TO FIND SOMETIMES WHEN YOU'RE LOOKING AT INFORMATION ONLINE  AND THEN I ALSO THINK IT'S REALLY IMPORTANT   AND MIKE COMMENTED ON THIS   THE SOCIAL PRESENCE ELEMENT  THE VIDEOS THAT I CREATE FOR MY CLASS  BREAK THEM UP OVER SEVERAL DAYS AND THEY ARE FAIRLY SHORT   I AIMED FOR FIVE MINUTES OR LESS   ALTHOUGH SOMETIMES I GOT A LITTLE BIT LONGER  AND I THINK THAT THAT'S ALSO REALLY HELPFUL FOR LEARNING   RIGHT   SO THEY UNDERSTAND  AND THEN I'M ALSO ANNOTATING OVER SOME SLIDES  AND I THINK THE STUDENTS REALLY APPRECIATE HAVING THIS RESOURCE TO GO BACK TO  SO I NEVER HAVE TO DO IT AGAIN BECAUSE IT'S IN THIS RECORDING AND I CAN DIRECT THEM TO THE RECORDING   FOR AN EXAMPLE  MIKE   DID YOU WANT TO ADD ANYTHING ON TO VIJI PRESENTATION BEFORE WE JUMP INTO DISCUSSION  I THINK I THINK THERE'S A LOT OF DISCUSSION IN THE Q AND AAND I THINK MY FIRST ANSWER TO THAT IS JUST THAT YOU REALLY DO HAVE TO THINK OF THIS AS THE WHOLE ECOSYSTEM OF YOUR FULL COURSE  AND MAYBE YOU FEEL LIKE A CONCEPT TAKES LIKE  YOU KNOW   TWENTY TO THIRTY MINUTES TO EXPLAIN   BUT YOU COULD STILL PERHAPS BREAK THAT UP INTO AN INTRODUCTION  AND HAVE EACH OF THOSE BE A SEPARATE VIDEO   IT'S REALLY ABOUT CREATING SEARCH ABILITY WITHIN YOUR COURSE SO THAT  THEY CAN JUST SEE IT AS THE THUMBNAIL OF THAT VIDEO  AND IT'S GOT THE TITLE THERE   IT'S JUST IT'S JUST A WAY OF CHUNKING THINGS UP   IT'S NOT THAT YOU'RE DOING EVERYTHING IN FIVE MINUTES   IT'S THAT YOU'RE DOING ONE THING IN FIVE MINUTES  BUT YOU'RE DOING LOTS OF THOSE FIVE MINUTE THINGS  IT'S EASY TO THINK ABOUT REPLACING IT  BUT THERE IS SO MUCH ABOUT PRODUCTION AND HOW THAT IT FEELS LIKE IT'S WORTH OUR TIME TO JUST SPEND A COUPLE OF MINUTES HERE AT THE BEGINNING AND ASK YOUTUBE FOR  YOU KNOW   WHAT YOU WOULD SUGGEST  I THINK I SHOULD DEMONSTRATE IT   I TRIED TO DEMONSTRATE THAT EVEN A CHEAP FOUR YEAR OLD CELL PHONE CAN GET A REALLY GOOD IMAGE  THE MOST IMPORTANT PIECE IS THE LIGHT SOURCE  SO YOU NEED LIKE A REALLY BIG LIGHT SOURCE  BUT WHEN I NEED A RECORD   I GO UP INTO THIS ROOM THAT HAS ALL THIS LIGHT JUST  YOU KNOW   SORT OF SHOWERING ME WITH LIGHT  SO THAT'S THE IMAGE  I DID HAVE A FIFTEEN DOLLAR LITTLE LAPEL MIC CONNECTED TO ME  ADAPTER OR SOMETHING  AND EVEN THE LIKE FIFTEEN TO THIRTY DOLLARS LAPEL MIKES ON AMAZON MAKE A HUGE   HUGE DIFFERENCE  SO AUDIO IS PRETTY IMPORTANT   I THINK THAT MAKES IT SOUND A LOT MORE PROFESSIONAL   SO THAT'S ON THE PRODUCTION SIDE  YEAH   I HAVE TO AGREE WITH THAT   I THINK BECAUSE I CHOSE THIS GREEN CAST OPTION   THE AUDIO WAS ESSENTIAL FOR IT TO BE VERY GOOD  FOR SCREENCAPS   OF COURSE   LIGHTING SOURCE DOESN'T QUITE MATTER   BUT YOU DO NEED TO THINK ABOUT WHAT YOU'RE DISPLAYING TO YOUR STUDENTS AND THAT IT'S HIGH QUALITY  THAT YOU'RE THINKING ABOUT PRINCIPLES OF GOOD SLIDE DESIGN   FOR EXAMPLE  FOR SOME PEOPLE THAT MIGHT BE AFTER THEY HAVE THEIR CUP OF COFFEE IN THE MORNING AND THEY'RE READY TO GO  FOR ME PERSONALLY   I HAVE TO KIND OF WARM UP TO BEING ABLE TO SPEAK  I HAVE TO GO TEACH A CLASS   FOR EXAMPLE   AND THEN I'M REALLY WARMED UP TO DO A SHORT VIDEO RECORDING  EVEN THOUGH YOU FEEL LIKE YOU'RE DOING IT LIKE YOU WOULD HAVE DONE IT LIVE   SO YOU DO HAVE TO GIVE THAT EXTRA   AND WHEN WHEN IS IT THE BEST TIME TO DO THAT   AND WHAT RESOURCES DO YOU NEED TO HAVE AROUND YOU AS YOU SIT DOWN TO DO THAT WORK   AND WHEN I MAKE RECORDINGS   IT'S A MESS   I HAVE PAPERS ALL AROUND ME BECAUSE I DON'T KNOW WHAT I'M GOING TO WANT TO PICK UP AND HOLD IN MY HAND AT A MOMENT  AND WHAT YOU DON'T WANT TO DO IS GET TO GET STARTED IN YOUR RECORDING AND HAVE TO STOP AND GO GET THINGS AND COME BACK AND YOU JUST WANT TO HAVE IT RECORDING   AND THEN IF YOU MESS UP OR YOU NEED SOMETHING  STOP TALKING  JUST BEGIN AGAIN AND YOU CAN EDIT OUT THINGS THAT YOU DON'T WANT TO HAVE   SO HAVING THOSE SESSIONS WHERE YOU JUST SIT DOWN AND YOU LET IT   YOU JUST LET IT GO  AND THE SECOND TIME WAS THE BETTER TAKE  IT FEELS ARTIFICIAL BECAUSE YOU ARE TALKING TO A CAMERA  BUT EVENTUALLY A LISTENER IS GOING TO BE THERE   SO THINK ABOUT WHO THAT LISTENER IS AND WHAT THEY MIGHT LIKE TO HEAR FROM YOU AND ALSO CONNECT THE DOTS ABOUT WHERE THIS VIDEO FITS IN THEIR CURRICULUM  IF IT SEEMS TO ME LIKE THIS IS A KIND OF NATURAL SEGWAY  AND IT SAYS   IS IT CRUCIAL TO HAVE A FACE ON THE PRESENTATION VIDEO FOR IT TO BE ENGAGING FOR THE STUDENTS  AND I KNOW WE'VE TALKED A LOT ABOUT VIDEO AND THEN MOVED TO SCREEN CAST   BUT I KNOW YOU TWO ALSO HAVE SOME THINKING ABOUT OTHER KINDS OF REPRESENTATIONS THAT CAN BE GIVEN TO STUDENTS THAT ARE STILL ENGAGING  YEAH   I THINK MAYBE WE SHOULD START WITH  A COMMON THING THAT FACULTY DO   ESPECIALLY IN AN EMERGENCY SITUATION LIKE THIS   IS THEY TAKE THEIR POWERPOINT SLIDES AND THEY JUST WANT TO LIKE SORT OF PRESENT THEM   RIGHT   SO THEY READ OVER THEM  AND TYPICALLY   THAT'S JUST AUDIO  I THINK  THE SLIDES THEMSELVES ARE BORING  BUT IF YOU'RE A DYNAMIC PRESENTER   MAYBE THAT'S OK   BECAUSE YOU'RE BECAUSE YOU'RE THERE AND YOU BEING THERE MAKES A DIFFERENCE  SO  YOU KNOW   WHAT ARE THE OPTIONS HERE   I THINK EITHER YOU CAN MAKE YOUR VISUAL MORE DYNAMIC WITHOUT YOU BEING ON IT   AND THAT COULD BE DONE THROUGHSAL KHAN IS NOT ON THOSE VIDEOS AND THOSE ARE STILL REALLY GOOD  SO I THINK THAT WORKS REALLY WELL  COUNSEL AGAINST THE IDEA OF JUST READING THROUGH POWERPOINT SLIDES WITHOUT BEING PRESENT IN SOME WAY   LIKE WITHOUT BEING DYNAMICALLY ENGAGED AND PRESENT  THAT'S THAT'S MY MY GENERAL TAKE ON THAT  BUT IF YOU DO NEED ANIMATION AND YOU DO NEED SOME DYNAMIC AS I'M WORKING PROBLEMS   OR MAYBE YOU'RE HAVING THINGS OVERLAID  LIKE IF YOU NEED SOME OF THAT ANIMATION IN THERE   THEN THEN BY ALL MEANS USE THE VIDEO  ONLINE   BUT I THINK THAT IT IS YOU HAVE TO THINK ABOUT WHAT THE END GOAL IS AND WHAT WILL BEST ACCOMPLISH THE END GOAL  AND I FIND IT REALLY LIBERATING TO JUST HAVE THE SCREEN CAST BECAUSE I DON'T HAVE TO CARE ABOUT HOW I LOOK WHEN I SIT DOWN TO MAKE THE RECORDING  AND I'LL COVER A RANGE OF DIFFERENT TYPES OF MICRO LECTURES   INCLUDING  THOSE ARE THOSE ARE ACTUALLY REALLY GREAT IF YOU'VE GOT THE MONEY  BUT A LOT OF THESE THINGS CAN BE DONE AND ACTUALLY BE DONE BETTER IN POWERPOINT   AND THAT SURPRISES A LOT OF PEOPLE THAT POWERPOINT HAS COME A LONG WAY IN THE LAST TEN YEARS AND YOU CAN DO ALL SORTS OF REALLY GREAT ANIMATIONS  AND YOU'LL SEE SOME REALLY AMAZING THINGS   AND IN FACT   A LOT OF SOME OF THE VIDEOS THAT MIGHT BE SOME OF YOUR FAVORITE VIDEOS ON YOUTUBE THAT YOU'RE JUST LIKE   WOW   HOW THEY DO THAT  YOU MIGHT BE SURPRISED THAT THEY ACTUALLY DID IT IN POWERPOINT  SO I JUST I MENTIONED THAT POWERPOINT IS ONE OF THE MOST FLEXIBLE AND BEST ANIMATION SOFTWARE LIKE OUT THERE  THANKS  SO I'M GOING TO SORT OF DRIVE THE TRAIN A LITTLE IN A SLIGHTLY DIFFERENT DIRECTION  BUT WE MIGHT THINK A LITTLE MORE   YOU KNOW  HOW DO I KNOW THAT THIS IS THE RIGHT APPROACH TO TAKE WITH THE PROBLEM   WELL   I'LL TELL YOU AS I'M WORKING THE PROBLEM  YOU CAN TAKE STUFF THAT YOU DON'T LIKE TO DO AND PUT IT IN A VIDEO AND THEN GIVE GIVE YOUR STUDENTS THE CHANCE TO DO THE MORE EXCITING THE THINGS THAT YOU FIND EXCITING ABOUT YOUR FIELD  BRING THAT INTO YOUR EXPERIENCES WITH STUDENTS  THING HERE   BECAUSE IN ANTHROPOLOGY WE'RE RARELY EXPLAININGAND I ACTUALLY JUST WANT TO EXPAND THE NOTION OF MICRO LECTURE HERE AND MAYBE MICRO LECTURE ISN'T THE RIGHT WORD   I JUST LIKE SHORT FORM VIDEO BECAUSE A LOT OF MY SHORT FORM VIDEOS ARE STORIES OR QUESTION PROMPTS OR EXAMPLES OF STUDENTS ACTUALLY GOING OUT AND DOING THE ASSIGNMENT THAT WAS ASSIGNED  AND SO I JUST WENT OUT IN KANSAS CITY AND I JUST SORT OF  YOU KNOW   JUST WALKED AROUND KANSAS CITYI THINK   IMPORTANT VIDEO AND VERY CONTROVERSIAL   IT OBVIOUSLY SPARKED A LOT OF CONVERSATION  I THINK THAT THAT COULD BE A GOOD IDEA   DEPENDING ON WHAT YOU'RE TALKING ABOUT  I ACTUALLY WANTED TO SORT OF GIVE TO KANSAS CITY A SHORT HISTORY OF HOW THIS HAPPENED IN THE COMMUNITY  AND SO I PUT IT OUT PUBLICLY  AND I THINK THAT WAS ACTUALLY REALLY GOOD FOR THE COMMUNITY TO ACTUALLY TALK ABOUT STRUCTURAL RACISM IN OUR OWN COMMUNITY AND HOW THAT HAPPENED AND WHAT CAN WE DO ABOUT IT  SO IT'S UP TO YOU   I THINK   I THINK THERE'S LIKE A REALON THE ONE HAND   I THINK WE NEED TO HAVE THESE QUIET SPACES IN THESE SEALED OFF SPACES WHERE WE CAN WORK THROUGH IDEAS AND THAT KIND OF THING  BUT I ALSO THINK THAT THERE'S A REAL OPPORTUNITY HERE AS FACULTY GET BETTER WITH VIDEO TO EDUCATE THE PUBLIC AND TO SHARE IDEAS MORE BROADLY   SO I'M ACTUALLY KIND OF REALLY EXCITED ABOUT PEOPLE LEARNING MORE VIDEO  I THINK THERE'S A LOT TO BE  I DON'T KNOW   I THINK THERE'S I THINK WE'RE WE'RE ONLY LIKE HALFWAY TO WHERE WE COULD BE IN TERMS OFSORT OF EXCELLENCE IN HOW WE PRESENT OURSELVES TO THE WORLD AS ACADEMICS  AND I HOPE THAT THIS SORT OF PUSHES THE ENVELOPE A LITTLE BIT AND WE ALL START ENGAGING THE PUBLIC WITH SOME OF OUR KNOWLEDGE MORE  YEAH  JUST THINKING ABOUT WHAT YOU HAVE TO OFFER  PEOPLE WHO ARE NOT WITHIN THE WALLS OF OUR CLASSROOM  AND WHY NOT   IF WE HAVE THE OPPORTUNITY   WHY NOT CREATE RESOURCES THAT OTHERS CAN USE  REALLY  BUT OFTENTIMES WE HAVE TO GO IN AND ACTUALLY SEE IF THE CAPTIONING IS CORRECT  BUT FOR EXAMPLE   ON OUR CAMPUS   WE HAVE SOME SOME PEOPLE WHO THAT IS THERE   THEIR ROLE IS TO SORT OF HELP US THINK ABOUT HOW TO CREATE MORE ACCESSIBLE CONTENT FOR OUR STUDENTS  AND SO I CAN WORK WITH SOMEONE TO SAY HERE   I MADE THE SCREEN CAST   CAN YOU HELP ME WITH PROVIDING THE CAPTIONING OR OTHER ANY OTHER RESOURCES THAT ARE NEEDED FOR ACCESSIBILITY   SO I WOULD WORK WITH INDIVIDUALS ON YOUR CAMPUS   DON'T FEEL LIKE YOU HAVE TO DO EVERYTHING  THERE ARE SOME GOOD FREE ONES  SAY A TEN MINUTE VIDEO  KIND OF A COOL THING IF YOU HAVE TEENAGERS  AND IF YOU HAVE A TEEN WHO IS TRYING TO LEARN HOW TO TYPE  I WANTED TO ADD TO THAT  BUT THAT'S AN THAT'S A GREAT EXAMPLE OF ONE IN WHICH IT'S NOT JUST PEOPLE WHO WHO MIGHT NOT BE ABLE TO HEAR   BUT IT MIGHT BE PEOPLE WHO FOR WHOM ENGLISH AS A SECOND LANGUAGE AND HAVING THOSE WORDS ON THE SCREEN ACTUALLY HELP THEM UNDERSTAND THE MATERIAL BETTER   RIGHT  AT THE FOREFRONT WHEN WE'RE PLANNING THIS   SO JUST KEEP THAT IN MIND AS WELL  THERE'S ALSO A LOT OF STUDENTS   YOU KNOW   ON A SUBWAY OR SOMETHING   AND THEY JUST DON'T HAVE THEIR EARBUDS WITH THEM  AND YES   HAVING CLOSED CAPTIONS ARE ESSENTIAL FOR ALL THOSE REASONS  SO I GUESS IT'S COPYRIGHT   BUT THEN ALSO SORT OF STUDENT REACTIONS WHEN YOU BRING THINGS INTO YOUR COURSES  YEAH   I I   I HAVE IN MIND LIKE THAT I NEED TO CREATE A CHART OF SORT OF WHEN TO USE SOMEBODIES MATERIAL AND WHEN NOT TO  YOU KNOW   IN GENERAL   I THINK THERE'S NO PROBLEM IF YOU'RE USINGWHEREAS KHAN ACADEMY STUFF CROSSES A DIFFERENT LINE BECAUSE THAT'S LIKE EXPLAINING CONCEPTS AND YOU'RE ALMOST JUST LETTING KHAN TEACH FOR YOU AT THAT POINT   THAT'S THAT ONE'S A LITTLE TRICKIER  AND I DON'T SAY NECESSARILY I'M AGAINST THAT   BUT I THINK THAT'S WHERE STUDENTS KIND OF START TO FEEL LIKE   HEY   WAIT   WHO'S TEACHING ME HERE IS KHAN ACADEMY OR AM I ACTUALLY BEING TAUGHT BY PROFESSOR IN MY FIELD   IT'S QUITE A BIT DIFFERENT BECAUSE  YOU KNOW   THERE'S NOT LIKE THIS FIXED BODY OF KNOWLEDGE NECESSARILY THAT HAS TO BE TRANSMITTED AND   YOU KNOW   IT'S NOT JUST  YOU KNOW   MASS AND THINGS LIKE THAT   IT'SSO THIS IS TRICKY  BUT I THINK IT'S IT IS VERY IMPORTANT TO BE CAREFUL ABOUT THE PERCEPTIONS THAT STUDENTS MIGHT HAVE ABOUT WHETHER OR NOT YOU'RE TEACHING THE COURSE  BUT IF YOU'RE ALWAYS PRESENTING SOMEONE ELSE'S MATERIALS  BUT THEY WILL OBJECT TO WATCHING KHAN ACADEMY VIDEOS ALL THE TIME IF YOU DON'T ACTUALLY ASK THEM TO DO SOMETHING WITH THOSE KHAN ACADEMY VIDEOS  SO I'LL JUST SAY I'LL TYPICALLY HAVE LIKE TEN MICRO LECTURES PER WEEK AND THOSE RANGE FROM FIVE TO TWENTY MINUTES EACH  AND THEY'RE USUALLY REPRESENT TEN BIG IDEAS LIKE EACH   EACH MICRO LECTURE INTRODUCES SOME BIG IDEA  AND THOSE WILL BE IN A IN A CANVAS MODULE   SO IF YOU GET THIS   IMAGINE THERE'S A PAGE FOR EACH ONE IN EACH VIDEO IS CONTEXTUALIZED   SO I BASICALLY SAY LIKE WHY THIS IS IMPORTANT  AND THEN HERE'S THE VIDEO  AND THAT INTRODUCTION IS JUSTAND  AND THEN THEY GO THROUGH THEM AND WE HAVE DISCUSSIONS AND QUIZZES INTERMIXED WITH ALL OF THAT  AGAIN  NO LONGER THAN FIVE OR SIX MINUTES   IF I CAN AVOID IT  PUT THIS INTO THAT OUTSIDE WORK THAT'S REQUIRED FOR THE TYPICAL COURSE AND DON'T BURDEN THEM   DON'T THINK JUST BECAUSE I CAN OFFLOAD THIS CONTENT THAT I CAN NOW ADD MORE AND MORE AND MORE AND MORE ON TOP OF THAT   THAT THIS IS THIS IS PART OF WHAT YOU'RE ASKING THEM TO DIGEST AS PART OF THE COURSE  THROUGH A VIDEO FORMAT   LIKE MAYBE THE HOMEWORK ASSIGNMENTS NEED TO BE SHORTER BECAUSE THEY REALLY DO NEED TO HAVE THE TIME TO WATCH THE VIDEOS  AND THEN ALSO   I WOULD SAY BEFORE YOU GET TOO FAR ALONG IN RECORDING THE VIDEOS  I JUST WANTED TO ASK IF YOU HAD   YOU KNOW  MINE WOULD BE   START SMALL   BUT DREAM BIG  AND THEN I STARTED SORT OF WATCHING PEOPLE ON YOUTUBE FOR INSPIRATION   REALLY LIKE BLOGGERS AND WHATNOT   AND I STARTED REALIZING LIKE   OH   WOW  THESE ARE MAYBE LIKE THE NEW PROFESSORS   THEY'RE EDUCATING MILLIONS OF PEOPLE AND THEY'RE DOING IT REALLY   REALLY WELL  AND THEY MAY NOT HAVE LIKE P H D NEXT TO YOUR NAME   THEIR NAME   BUT SOME OF THEM ARE REALLY OUTSTANDING EDUCATORS  AND SO I STARTED TAKING NOTES ANDI SORT OF SEE MY CAREER DEVELOPING OVER THE NEXT SEVERAL YEARS MORE AND MORE TOWARD THE VIDEO PLATFORM  AND I THINK VIDEO IS A HUGE PART OF OUR FUTURE AS FACULTY   I THINK IT'S KIND OF LIKE THE NEW LECTURE PODIUM AND WE ALL IT TOOK ALL OF US A LOT OF TIME TO MASTER LECTURING   IT'S GOING TO TAKE ALL OF US A LOT OF TIME TO MASTER VIDEO  YEAH   AND LIKE I SAID   I'LL BE DOING LIKE SOME TUTORIALS IN A SORT OF FOLLOW MY PROGRESS   I HAVE A LONG WAY TO GO   BUT MAYBE WE CAN LEARN TOGETHER  BUT WE'RE GONNA DO THAT AS NORMAL HUMAN BEHAVIOR TO TO BE A LITTLE BIT SQUEAMISH  LOOKING AT OURSELVES IN THIS WAY  SO BE KIND TO YOURSELF BECAUSE YOU'RE GONNA FEEL TIRED OF EVEN RECORDING JUST A FIVE MINUTE VIDEO  BUT GIVE YOURSELF THAT PERMISSION TO FEEL TIRED AND EXHAUSTED BECAUSE YOU'RE BRINGING YOUR HUNDRED AND TWENTY FIVE PERCENT INTO IT  DOING ALL OF THAT PREPARATION AND NOT GETTING THAT FEEDBACK OR CUES THAT YOU MIGHT GET IN A REAL CONVERSATION  I CANNOT UNDERSCORE THAT ENOUGH BECAUSE OF THE ACCESSIBILITY OF BECAUSE OF THE ABILITY TO REWATCH TO AT ANY POINT AT ANYTIME YOUR YOU ARE WITH THEM WHENEVER THEY WANT TO PULL UP THAT RESOURCE  ON THE DISCUSSION BOARD   IF YOU HAVE HAD QUESTIONS THAT HAVE NOT YET BEEN ADDRESSED   YOU CAN CONTINUE THE CONVERSATION  SO THOSE OF YOU WHO ARE FAMILIAR WITH US AT ACUE KNOW THAT OUR MISSION IS STUDENT SUCCESS THROUGH EFFECTIVE INSTRUCTION   WHICH WE'VE TALKED A LOT ABOUT TODAY  WE KNOW THAT MANY OF YOU MIGHT STILL BE LOOKING FOR OUR ONLINE CONTENT THAT SERVES THE REALLY VARIED NEEDS OF YOUR STUDENTS   AND ONE WAY TO SERVE THAT NEED IS THROUGH OPEN EDUCATIONAL RESOURCES  THOSE ARE THE ONES THAT ARE FREE AND DON'T REQUIRE PASSWORDS   AND THEY'RE AVAILABLE IN A VARIETY OF LOCATIONS AND DIGITAL FORMATS LIKE VIDEOS   FOR INSTANCE   WORKSHEETS   ASSESSMENTS   ETC  IF YOU'RE NOT FAMILIAR WITH THEM   OPENSTAX IS AN INITIATIVE HOUSED AT RICE UNIVERSITY AND IT'S COMMITTED TO IMPROVING ACCESS TO QUALITY LEARNING MATERIALS  THEY'VE DEVELOPED A VARIETY OF RESOURCES THAT INCLUDE MORE THAN TWENTY EDUCATIONAL TECHNOLOGY PRODUCTS   AS WELL AS SUBJECT SPECIFIC LISTS OF TEACHING AND LEARNING RESOURCES   AND THEY'RE ALL AVAILABLE FOR FREE  OUR LAST THING ABOUT ADDITIONAL RESOURCES   WE JUST WANT TO REMIND YOU THAT EVERYTHING WE'VE REFERENCED TODAY IS AVAILABLE AT THE ACUE WEB SITE  AND WE ARE GOING TO INVITE YOU TO JOIN US ON MONDAY FOR OUR FINAL WEBINAR IN THE SERIES   AND IT WILL FOCUS ON ENGAGING STUDENTS IN READING AND MICRO LECTURES AND WE'LL FEATURE FLOWER DARBY  LUDWIKA GOODSON AND CATHERINE HARAS   SO THANK YOU SO MUCH FOR SPENDING YOUR TIME WITH US TODAY  PLEASE STAY SAFE AND HAVE A TERRIFIC ONLINE CLASS   GOOD LUCK  \n",
        "transcription_base": " My name is Sherry Hughes. I'm the Assistant Vice President for Professional Learning at the American Council of Education. As we get started, first I want to commend everyone across higher education for making this astonishing transition to remote learning in a matter of days in many cases and with a real commitment to our students learning. But we know that moving the course online, like being assigned to a classroom is just the start. This webinar series emerged to support the next phase of that work, to ensure that faculty received the support they need, to ensure that every student has a quality online experience. Our goal in these webinars is to have practical conversations with experts on how to teach well online. So now I'm going to turn things over to Kim Middleton from AQ who will serve us today's moderator. Thanks so much Sherry. Welcome to all of you from all of us here at the Association of of College and University Educators, I am really delighted to be joined today by two incredibly creative and thoughtful pedagogy experts, and they'll start off our conversation today on the topic Recording Effective Microlectors. Before I introduce them and get started, however, I'd like to quickly review our agenda for the hour. First, our presenters will briefly discuss the context for this topic. What exactly is a microlector, and why is it an important online teaching technique? We think that that will be relevant, whether you're in your first or your 40th week of your online teaching experience. The majority of today's session, however, about 35 minutes is reserved for discussion led by the questions that you submit to our panelists. Our goal is to have an interactive conversation that focuses on this topic and that continues to provide practical ideas and suggestions for your online teaching. So if you would please use the Q&A box at the bottom of your Zoom screen. As you do, you might see that someone else has submitted a question that's sort of similar to yours. And in that case, you can use that thumbs up symbol to highlight that question. It'll save you some typing, and it also helps us prioritize the questions that have the most interest. And then finally, don't forget the chat room window. Throughout today's session, we'll use that as a sort of one-way information space. It will provide references and resources that come up during our discussion. The topic for today's webinar, and for the series as a whole, were inspired by the free resources recently published by AQ in our online teaching toolkit. more from our experts and then more from each other about these six topics. So now without further ado, I wanna introduce our experts. Joining us today are Mike Wesh, associate professor of Cultural Anthropology at Kansas State University. And Vigie Sathy, professor in the Department of Psychology and Neuroscience at the University of North Carolina, Chapel Hill. I'm Kim Middleton, academic director at AQ. I'm particularly excited here, these two long-term discussion on this topic. After having introduced video and audio projects to both my students and faculty colleagues at the College of St. Rose in New York and Mount St. Mary's University in Los Angeles. So we're gonna dive in. Our experts thought it was especially important to begin with a really clear understanding of what a microlector is. And so to make that point, what better way is there than to show us one, right? So Mike has made us a video to explain the concept. A video microlector is usually under five minutes and focused on one specific concept or skill, making the content easy to find within the structure of a larger course. Famous examples include simple screen recordings, like those of Khan Academy, short animated pieces, like those of Ted Ed, and the punchy mini lectures of Crash Course. You can also look for inspiration from the mini tutorials available on YouTube, rockstar edgetubers like Mark Rober, and even travel tubers can offer something to aspire to if you're an anthropologist like me. I've been doing short form videos professionally for about 13 years. I started with some educational screen captures. I then started inviting my students in to collaborate to make some short cultural commentaries. Later I learned how to animate so I could tell some short stories. And most recently, I've started taking my camera out into the world to share my ethnographic field experiences with my students. I think video is a huge piece of our future as professors. It is a new PowerPoint, and I want to do whatever I can to help other faculty master this. Not just because it will improve their classes, but because ultimately, I think it will unleash a tremendous wave of outstanding educational content into the world. A video micro lecture. Yeah, and I'll just briefly say something real quick here. I thought I should do a micro lecture, sort of about just talking on camera, because talking on camera can actually be one of the biggest barriers to doing a micro lecture. You don't necessarily have to be on camera, but I wanted to give you an example of what that looks like and why it's hard, and maybe help you get on camera if that's hard for you. Hi. Hi. I'm Mike Wesh, and I'm going to show you how to make a video for your class. This is going to be a super simple video, and you don't need a lot of special equipment. In fact, you only need three things. You're just gonna need a nice big light source. And as you can see, I'm just actually using this nice big window I have here. It retails for about $65 on eBay. And as you can see, you can actually get a pretty good looking shot, even with cheap equipment like this. Why do you think it's weird? Yeah, I think it's weird too. I'm trying to help people be less weird about it. What if you have a job Sunday where you have to be on camera? So why even try? Well, the first and most important thing, is just that it allows you to build connection with your students. Studies have shown that the more you can build sense of social presence in your class, the better the learning. Second, video is just super engaging. You have so many more pathways to actually engage your audience. Not just the audio, but also the visual. You can show things, demonstrate things. Eventually, you can even take people out into the world. And third, video is just going to make you seem more approachable. It will humanize you and humanize your whole class. Hopefully, the more video you do, the more video your students will do as well. And that'll just create this synergy between all three of these elements. You'll all be more connected. I'll allow you to be more engaging with one another and that'll also just make you more approachable and all three of these things will just build upon each other. Whether we like it or not, this is our future. And if you want to do the very best for your students, you're going to have to overcome your fears and get on camera and start connecting and engaging and build that approachability in this online environment. I'm doing a video about how to talk on video. Come here and show people how you talk on video. How do you like to talk on video? So talking on camera can be super hard, but I want to give you five tips just to get started. Number one, try connecting rather than performing. Look right into the lens, but not at the lens. Look right through it to the people you're actually talking to. Imagine them there and just talk right to those people. Secondly, because when you just record yourself in front of a camera, you don't have all that energy that you typically get in a social situation and you can kind of look kind of flat. You might find that when you watch your first few videos back, you just seem like kind of, I don't know, just kind of sad and quiet and not really energized, right? So you have to go a little bit above what you think is natural, go to like 125% and it should look just about right. Number three, have a plan. I like to plan around what I call the five Rs. The first one is you have to have a reason for the video. There should be really strong Y driving the video. Second is relevance. That Y should be really clear to the people who are watching. Number three is resonance. You should constantly be connecting with the people on the other side of that lens and they should feel that connection and it should resonate with them. You don't want to spend too long on a topic or go too fast. You got to have a nice pace that feels just right. And finally, number five is just be real. Just be yourself, be authentic and be who you really are. Don't try to be anybody else for practice. Practice all the time. You might want to start really simple just by maybe giving some video feedback to students or when students are doing an online discussion, pop in on video to respond to a student in the class, not on the class. Everybody just keep practicing and we'll get there. I look forward to our discussion today. We're giving tips on how to get on camera. Do you want to help? And then you would use that and cut that down and edit it and change it around until it was just tight and how you wanted it. Cam or BJ? And so yeah, I think we will just go straight into VIGI and what she wants to talk about. I wanted to just some for some of us. You know, it's enough to just hear. And so in that case, maybe a podcast or just having audio files available to your students might be sufficient. It's exactly what you want them to hear and none of what you don't want them to hear, which can be hard to find sometimes when you're looking at information online. And then I also think it's really important and Mike commented on this social presence element. The videos that I create for my class break them up over several days. And they are fairly short. I aimed for five minutes or less, although sometimes I got a little bit longer. And I think that that's also really helpful for learning, right? So they understand. And then I'm also annotating over some slides. And I think the students really appreciate having this resource to go back to. So I never have to do it again because it's in this recording. And I can direct them to the recording for an example. Mike, did you want to add anything on to Fiji's presentation before we jump into discussion? Well, I think there's a lot of discussion in the Q&A. And I think my first answer to that is just that you really do have to think of this as the whole ecosystem of your full course. And maybe you feel like a concept takes like, you know, 20 to 30 minutes to explain, but you could still perhaps break that up into an introduction and have each of those be a separate video. It's really about creating searchability within your course so that they can just see it as the thumbnail of that video and it's got the title there. It's just a way of chunking things up. It's not that you're doing everything in five minutes. It's that you're doing one thing in five minutes, but you're doing lots of those five minute things. It's easy to think about replacing it, but there is so much about production and how that it feels like it's worth our time to just spend a couple minutes here at the beginning and ask P2 for what you would suggest. I think I demonstrated, I tried to demonstrate that even a cheap four-year-old cell phone can get a really good image. The most important piece is the light source. So you need like a really big light source. But when I need to record, I go up into this room that has all this light just sort of showering me with light. So that's the image. I did have a $15 little lapel mic connected to me adapter or something. And even the like $15 to $30 lapel mics on Amazon make a huge, huge difference. So audio is pretty important. I think that makes it sound a lot more professional. So that's on the production side. Yeah, I have to agree with that. I think because I chose the screencast option, the audio was essential for it to be very good. For screencasts, of course, lighting source doesn't quite matter. but you do need to think about what you're displaying to your students and that it's high quality that you're thinking about principles of good slide design for example. For some people that might be after they have their cup of coffee in the morning and they're ready to go. For me personally, I have to kind of warm up to being able to speak. I have to go teach a class for example and then I'm really warmed up to do a short video recording even though you feel like you're doing it like you would have done it live. So you do have to give that extra and when when is it the best time to do that and what resources do you need to have around you as you sit down to do that work? I mean, when I make recordings, it's a mess. I have papers all around me because I don't know what I'm going to want to pick up and hold in my hand at any moment. And what you don't want to do is get started and you're recording and have to stop and go get things and come back and you just want to have it recording. And then if you mess up or you need something, stop talking, just begin again and you can edit out things that you don't want to have. So having those sessions where you just sit down and you let it go, and the second time was the better take. It feels artificial because you are talking to a camera, but eventually a listener is going to be there. So think about who that listener is and what they might like to hear from you, and also connect the dots about where this video fits in their curriculum. It seems to me like this is a kind of natural segue, and it says, is it crucial to have a face on the presentation video for it to be engaging for the students? I know we've talked a lot about video and then move to screencasts, but I know you two also have some thinking about other kinds of representations that could be given to students that are still engaging. Yeah, I think maybe we should start with a common thing that faculty do, especially in an emergency situation like this is they take their PowerPoint slides and they just want to like sort of present them, right? So they read over them and typically that's just audio. I think the slides themselves are boring, But if you're a dynamic presenter, maybe that's okay, because you're there and you being there makes a difference. So what are the options here? I think either you can make your visual more dynamic without you being on it, and that could be done through Salcon is not on those videos. And those are still really good. So I think that works really well. Council against the idea of just reading through PowerPoint slides without being present in some way, like without being dynamically engaged and present. That's my general take on that. But if you do need animation, and you do need some dynamic as I'm working problems, or maybe you're having things overlaid, like if you need some of that animation in there, then by all means use the video online. But I think that it is, you have to think about what the end goal is and what will best accomplish the end goal. And I find it really liberating to just have the screen cast because I don't have to care about how I look when I sit down to make the recording. And I'll cover a range of different types of micro lectures, including those are actually really great if you've got the money. But a lot of the things can be done and actually be done better in PowerPoint. And that surprises a lot of people. At PowerPoint has come a long way in the last 10 years. And you can do all sorts of really great animations. And you'll see some really amazing things. And in fact, a lot of some of the videos, There might be some of your favorite videos on YouTube that you're just like, wow, how they do that. You might be surprised that they actually did it in PowerPoint. So I just want to mention that PowerPoint is one of the most flexible and best animation software like out there. Thanks. So I'm just going to sort of drive the train a little in a slightly different direction. But we might think a little more, you know. How do I know that this is the right approach to take with the problem? Well, I'll tell you as I'm working the problem, you can take stuff that you don't like to do and put it in a video and then give your students the chance to do the more exciting, the things that you find exciting about your field, bring that into your experiences with students. Thing here, because in anthropology, we're rarely explaining. And I actually just wanna expand the notion of micro lecture here, and maybe micro lecture isn't the right word. I just like short form video, because a lot of my short form videos are stories or question prompts or examples of students actually going out and doing the assignment that was assigned. And so I just went out in Kansas City and I just sort of, you know, just walked around Kansas City. I think important video and very controversial. Obviously sparked a lot of conversation. I think that could be a good idea depending on what you're talking about. I actually wanted to sort of give to Kansas City a short history of how this happened in the community. And so I put it out publicly and I think that was actually really good for the community to actually talk about structural racism in our own community and how that happened and what can we do about it. So it's up to you. I think there's like a real, on the one hand, I think we need to have these quiet spaces and these sealed off spaces where we can work through ideas and that kind of thing. But I also think that there's a real opportunity here as faculty get better with video to educate the public and to share ideas more broadly. So I'm actually kind of really excited about people learning more video. I think there's a lot to be, I don't know, I think we're only like halfway to where we could be in terms of sort of excellence in how we present ourselves to the world as academics. And I hope that this sort of pushes the envelope a little bit and we all start engaging the public with some of our knowledge more. Yeah, I just thinking about what you have to offer, people who are not within the laws of our classroom. And why not? If we have the opportunity, why not create resources that others can use? Really? But oftentimes we have to go in and actually see if the captioning is correct. But for example, on our campus, we have some people who, that is their role, is to sort of help us think about how to create more accessible content for students. And so I can work with someone to say here, I made this screencast, can you help me with providing the captioning or any other resources that are needed for accessibility? So I would work with individuals on your campus. Don't feel like you have to do everything. There are some good free ones, say a 10 minute video, kind of a cool thing. If you have teenagers and if you have a teen who's trying to learn how to type. I wanted to add too, but that's a great example of one which it's not just people who might not be able to hear, but it might be people who, for whom English is a second language, and having those words on the screen actually help them understand the material better, right? At the forefront when we're planning this. So just keep that in mind as well. There's also a lot of students, you know, on a subway or something, and they just don't have their earbuds with them. And, yes, having closed captions are essential for all those reasons. So I guess it's copyright, but then also sort of student reactions when you bring things into your courses. Yeah, I have in mind that I need to create a chart of sort of when to use somebody's material and when not to. You know, in general, I think there's no problem if you're using. Whereas Khan Academy stuff crosses a different line because that's like explaining concepts. And you're almost just letting Khan teach for you at that point. That's that one's a little trickier. And I don't say necessarily, I'm against that, but I think that's where students kind of start to feel like, hey, wait, who's teaching me here is economy? Or am I actually being taught by professor? In my field, it's quite a bit different because you know, there's not like this fixed body of knowledge necessarily that has to be transmitted, and you know, it's not just, you know, math and things like that. It's, so, it's tricky. But I think it is very important to be careful about the perceptions that students might have about whether or not you're teaching the course. But if you're always presenting someone else's materials, but they will object to watching Khan Academy videos all the time, if you don't actually ask them to do something with those Khan Academy videos. So I'll just say I'll typically have like 10 micro lectures per week and those range from 5 to 20 minutes each and they're usually represent 10 big ideas like each each micro lecture introduces some big idea and those will be in a canvas module. canvas module. So if you just imagine there's a page for each one and each video is contextualized. So I basically say like why this is important and then here's the video and that introduction is just and then they go through them and we have discussions and quizzes intermixed with all of that. Again no longer than five or six minutes if I can avoid it. Put this into that outside work that's required for the typical course and don't burden them. Don't think just because I can offload this content that I can now add more and more and more and more on top of that. But this is part of what you're asking them to digest as part of the course. Through a video format, like maybe you'd be at home work assignments need to be shorter, because they really do need to have the time to watch the videos. And then also I would say before you get too far along in recording the videos, I just wanted to ask if you had, you know, mine would be start small but dream big. And then I started sort of watching people on YouTube for inspiration really, like vloggers and whatnot. And I started realizing like, oh wow, these are maybe like the new professors. They're educating millions of people and they're doing it really, really well. And they may not have like PhD next to your name, their name, but some of them are really outstanding educators. And so I started taking notes and I sort of see my career developing over the next several years more and more toward the video platform. And I think video is a huge part of our future as faculty. I think it's kind of like the new lecture podium and we all it took all of us a lot of time to master lecturing. It's going to take all of us a lot of time to master video. Yeah. And like I said, I'll be doing like some tutorials and you can sort of follow my progress. I have a long way to go, but maybe we can learn together. But we're going to do that. That's normal human behavior to be a little bit squeamish looking at ourselves in this way. So be kind to yourself because you're going to feel tired even recording just a five minute video, but give yourself that permission to feel tired and exhausted because you're bringing your 125% into it, doing all of that preparation and not getting that feedback or cues that you might get in a real conversation. I cannot underscore that enough because of the accessibility, and because of the ability to rewatch to at any point at any time you are with them whenever they want to pull up that resource on the discussion board. If you have had questions that have not yet been addressed, you can continue the conversation. So those of you who are familiar with us at AQ know that our mission is student success through effective instruction, which we've talked a lot about today. We know that many of you might still be looking for online content that serves the really varied needs of your students. And one way to serve that need is through open educational resources. Those are the ones that are free and don't require passwords and they're available in a variety of locations and digital formats like videos, for instance, worksheets, assessments, etc. If you're not familiar with them, OpenStax is an initiative housed at Rice University and it's committed to improving access to quality learning materials. They've developed a variety of resources that include more than 20 educational technology products as well as subject-specific lists of teaching and learning resources and they're all available for free. Our last thing about additional resources. We just want to remind you that everything we've referenced today is available at the AQ website and we are going to invite you to join us on Monday for our final webinar in this series and it will focus on engaging students in reading and micro lectures and will feature flower Darby, Ludi Goodson and Catherine Harris. So thank you so much for spending your time with us today. Please say safe and have a terrific online class. Good luck.",
        "transcription_medium": " My name is Sherry Hughes. I'm the Assistant Vice President for Professional Learning at the American Council on Council of Education. As we get started, first, I want to commend everyone across higher education for making this astonishing transition to remote learning in a matter of days in many cases, and with a real commitment to our students learning. But we know that moving a course online, like being assigned to a classroom, is just the start. This webinar series emerged to support the next phase of that work to ensure that faculty received the support they need to ensure that every student has a quality online experience. Our goal in these webinars is to have practical conversations with experts on how to teach well online. So now I'm going to turn things over to Kim Middleton from AQ who will serve as today's moderator. Thanks so much Sheri. Welcome to all of you from all of us here at the Association of College and University Educators. I am really delighted to be joined today by two incredibly creative and thoughtful pedagogy experts. And they'll start off our conversation today on the topic, Recording Effective Microlectures. Before I introduce them and get started, however, I'd like to quickly review our agenda for the hour. First, our presenters will briefly discuss the context for this topic. What exactly is a micro lecture? And why is it an important online teaching technique? We think that that will be relevant whether you're in your first or your 40th week of your online teaching experience. The majority of today's session, however, about 35 minutes, is reserved for discussion led by the questions that you submit to our panelists. Our goal is to have an interactive conversation that focuses on this topic and that continues to provide practical ideas and suggestions for your online teaching. So if you would please use the Q&A box at the bottom of your Zoom screen. As you do, you might see that someone else has submitted a question that's sort of similar to yours. And in that case, you can use that thumbs up symbol to highlight that question. It'll save you some typing and it also helps us prioritize the questions that have the most interest. And then finally, don't forget the chat room window. Throughout today's session, we'll use that as a sort of one way information space. It will provide references and resources that come up during our discussion. The topic for today's webinar and for the series as a whole, we're inspired by the free resources recently published by AQ in our online teaching toolkit. More from our experts and then more from each other about these six topics. So now without further ado, I want to introduce our experts. Joining us today are Mike Wesch, Associate Professor of Cultural Anthropology at Kansas State University and Vijji Sathi, Professor in the Department of Psychology and Neuroscience at the University of North Carolina, Chapel Hill. I'm Kim Middleton, Academic Director at AQ. I am particularly excited to hear these two launch our discussion on on this topic after having introduced video and audio projects to both my students and faculty colleagues at the College of St. Rose in New York and Mount St. Mary's University in Los Angeles. So we're gonna dive in. Our experts thought it was especially important to begin with a really clear understanding of what a micro lecture is. And so to make that point, what better way is there than to show us one, right? So Mike has made us a video to explain the concept. A video micro lecture is usually under five minutes and focused on one specific concept or skill, making the content easy to find within the structure of a larger course. Famous examples include simple screen recordings like those of Khan Academy, short animated pieces like those of Ted Ed, and the punchy mini lectures of Crash Course. You can also look for inspiration from the many tutorials available on YouTube. Rockstar edgy tubers like Mark Rober and even travel tubers can offer something to aspire to if you're an anthropologist like me. I have been doing short form videos professionally for about 13 years. I started with some educational screen captures. I then started inviting my students in to collaborate to make some short cultural commentaries. Later I learned how to animate so I could tell some short stories. And most recently, I've started taking my camera out into the world to share my ethnographic field experiences with my students. I think video is a huge piece of our future as professors. It is the new PowerPoint and I want to do whatever I can to help other faculty master this, not just because it will improve their classes, but because ultimately I think it will unleash a tremendous wave of outstanding educational content into the world. A video micro lecture. And I'll just briefly say something real quick here. I thought I should do a micro lecture sort of about just talking on camera because talking on camera can actually be one of the biggest barriers to doing a micro lecture. And you don't necessarily have to be on camera, but I wanted to give you an example of what that looks like and why it's hard and maybe help you get on camera if that's hard for you. Hi. I'm Mike Wesch and I'm going to show you how to make a video for your class. This is going to be a super simple video and you don't need a lot of special equipment. In fact, you only need three things. You're just going to need a nice big light source. And as you can see, I'm just actually using this nice big window I have here. It retails for about $65 on eBay. And as you can see, you can actually get a pretty good looking shot, even with cheap equipment like this. Why do you think it's weird? Yeah, I think it's weird too. I'm trying to help people be less weird about it. What if you have a job Sunday where you have to be on camera? So why even try? Well, the first and most important thing is just that it allows you to build connection with your students. Studies have shown that the more you can build a sense of social presence in your class, the better the learning. Second, video is just super engaging. You have so many more pathways to actually engage your audience, not just the audio, but also the visual. You can show things and demonstrate things. Eventually, you can even take people out into the world. And third, video is just going to make you seem more approachable. It'll humanize you and humanize your whole class. Hopefully the more video you do, the more video your students will do as well. And that will just create this synergy between all three of these elements. You'll all be more connected, that'll allow you to be more engaging with one another, and that'll also just make you more approachable and all three of these things will just build upon each other. Whether we like it or not, this is our future. And if you want to do the very best for your students, you're going to have to overcome your fears and get on camera and start connecting and engaging and build that approachability in this online environment. I'm doing a video about how to talk on video. Come here and show people how you talk on video. How do you like to talk on video? So talking on camera can be super hard, but I wanna give you five tips just to get started. Number one, try connecting rather than performing. Look right into the lens, but not at the lens. Look right through it to the people you're actually talking to. Imagine them there and just talk right to those people. Secondly, because when you just record yourself in front of a camera, you don't have all that energy that you typically get in a social situation and you can kind of look kind of flat. You might find that when you watch your first few videos back, you just seem like kind of, I don't know, just kind of sad and quiet and not really energized, right? So you have to go a little bit above what you think is natural, go to like 125% and it should look just about right. Number three, have a plan. I like to plan around what I call the five Rs. The first one is you have to have a reason for the video. There should be really strong why driving the video. Second is relevance. That why should be really clear to the people who are watching. Number three is resonance. You should constantly be connecting with the people on the other side of that lens and they should feel that connection. It should resonate with them. You don't wanna spend too long on a topic or go too fast. You gotta have a nice pace that feels just right. And finally, number five is just be real. Just be yourself, be authentic and be who you really are. Don't try to be anybody else. Four, practice. Practice all the time. You might wanna start really simple just by maybe giving some video feedback to students or when students are doing an online discussion, pop in on video to respond to a student in the class, not on the class. Everybody just keep practicing and we'll get there. I look forward to our discussion today. We're giving tips on how to get on camera. Do you wanna help? And then you would use that and cut that down and edit it and change it around until it was just tight and how you wanted it? Kim or VJ? And so yeah, I think we will just go straight into Vigi and what she wants to talk about. I wanted to just, for some of us, it's enough to just hear. And so in that case, maybe a podcast or just having audio files available to your students might be sufficient. It's exactly what you want them to hear and none of what you don't want them to hear, which can be hard to find sometimes when you're looking at information online. And then I also think it's really important, and Mike commented on this, the social presence element. The videos that I create for my class, break them up over several days, and they are fairly short. I aimed for five minutes or less, although sometimes I got a little bit longer. And I think that that's also really helpful for learning, right? So they understand. And then I'm also annotating over some slides. And I think the students really appreciate having this resource to go back to. So I never have to do it again because it's in this recording and I can direct them to the recording for an example. Mike, did you want to add anything on to Fiji's presentation before we jump into discussion? Well, I think there's a lot of discussion in the Q&A. And I think my first answer to that is just that you really do have to think of this as the whole ecosystem of your full course. And maybe you feel like a concept takes like 20 to 30 minutes to explain, but you could still perhaps break that up into an introduction and have each of those be a separate video. It's really about creating searchability within your course so that they can just see it as the thumbnail of that video and it's got the title there. It's just a way of chunking things up. It's not that you're doing everything in five minutes. It's that you're doing one thing in five minutes, but you're doing lots of those five minute things. It's easy to think about replacing it. But there is so much about production and how that it feels like it's worth our time to just spend a couple minutes here at the beginning and ask you two for, you know, what you would suggest. I think I demonstrated, I tried to demonstrate that even a cheap four-year-old cell phone can get a really good image. The most important piece is the light source. So you need like a really big light source. But when I need to record, I go up into this room that has all this light just, you know, sort of showering me with light. So that's the image. I did have a $15 little lapel mic connected to me, adapter or something. And even the like $15 to $30 lapel mics on Amazon make a huge, huge difference. So audio is pretty important. I think that makes it sound a lot more professional. So that's on the production side. Yeah, I have to agree with that. I think because I chose the screencast option, the audio was essential for it to be very good. Of course, lighting source doesn't quite matter, but you do need to think about what you're displaying to your students and that it's high quality that you're thinking about principles of good slide design, for example. For some people that might be after they have their cup of coffee in the morning and they're ready to go. For me personally I have to kind of warm up to being able to speak. I have to go teach a class, for example, and then I'm really warmed up to do a short video recording, even though you feel like you're doing it like you would have done it live. So you do have to give that extra. And when is it the best time to do that? And what resources do you need to have around you as you sit down to do that work? When I make recordings, it's a mess. I have papers all around me because I don't know what I'm going to want to pick up and hold in my hand at any moment. And what you don't want to do is get started on your recording and have to stop and go get things and come back and you just want to have it recording and then if you mess up or you need something stop talking just begin again and you can edit out things that you don't want to have so having those sessions where you just sit down and you let it you just let it go and the second time was the better take it feels artificial because you are talking to a camera but eventually a listener is going to be there so think about who that listener is and what they might like to hear from you and also connect the dots about where this video fits in their curriculum. It seems to me like this is a kind of natural segue and it says is it crucial to have a face on the presentation video for it to be engaging for the students? And I know we've talked a lot about video and then move to screencasts but I know you two also have some thinking about other kinds of representations that could be given to students that are still engaging. Yeah I think maybe we should start with a common thing that faculty do especially in an emergency see a situation like this is they take their PowerPoint slides and they just want to like sort of present them, right? So they read over them. And typically that's just audio. I think the slides themselves are boring. But if you're a dynamic presenter, maybe that's okay because you're there and you being there makes a difference. So, you know, what are the options here? I think either you can make your visual more dynamic without you being on it and that could be done through, Sal Khan is not on those videos and those are still really good. So I think that works really well. Council against the idea of just reading through PowerPoint slides without being present in some way, like without being dynamically engaged and present. That's my general take on that. But if you do need animation and you do need some dynamic as I'm working problems or maybe you're having things overlaid. Like if you need some of that animation in there, then by all means use the video online. But I think that it is, you have to think about what the end goal is and what will best accomplish the end goal. And I find it really liberating to just have the screencast because I don't have to care about how I look when I sit down to make the recording. And I'll cover a range of different types of micro lectures, including those are actually really great if you've got the money. But a lot of those things can be done and actually be done better in PowerPoint. And that surprises a lot of people. But PowerPoint has come a long way in the last 10 years. And you can do all sorts of really great animations and you'll see some really amazing things. And in fact, a lot of some of the videos that might be some of your favorite videos on YouTube that you're just like, wow, how they do that. You might be surprised that they actually did it in PowerPoint. So I just want to mention that PowerPoint is one of the most flexible and best animation software like out there. Thanks. So I'm just gonna sort of drive the train a little in a slightly different direction, but we might think a little more, you know, how do I know that this is the right approach to take with the problem? Well, I'll tell you as I'm working the problem. You can take stuff that you don't like to do and put it in a video and then give give your students the chance to to do the more exciting, the things that you find exciting about your field, bring that into your experiences with students. Thing here, because in anthropology, we're rarely explaining. And I actually just want to expand the notion of micro lecture here. And maybe micro lecture isn't the right word. I just like short form video, because a lot of my short form videos are stories or question prompts or examples of students actually going out and doing the assignment that was assigned. And so I just went out in Kansas City and I just sort of, you know, just walked around Kansas City. I think important video and very controversial, obviously sparked a lot of conversation. I think that that could be a good idea depending on what you're talking about. I actually wanted to sort of give to Kansas City a short history of how this happened in the community. And so I put it out publicly. And I think that was actually really good for the community to actually talk about structural racism in our own community and how that happened and what can we do about it. So it's up to you. I think I think there's like a real on the one hand, I think we need to have these quiet spaces and these sealed off spaces where we can work through ideas and that kind of thing. But I also think that there is a real opportunity here as faculty get better with video to educate the public and to share ideas more broadly. So I'm actually kind of really excited about people learning more video. I think there's a lot to be. I don't know. I think there's, I think we're, we're only like halfway to where we could be in terms of sort of excellence in how we present ourselves to the world as academics. And I hope that this sort of pushes the envelope a little bit and we all start engaging the public with some of our knowledge more. Yeah. I just thinking about what you have to offer people who are not within the laws of our classroom. And why not? If we have the opportunity, why not create resources that others can use? Really? But oftentimes we have to go in and actually see if the captioning is correct. But for example, on our campus, we have some people who that is their role is to sort of help us think about how to create more accessible content for our students. And so I can work with someone to say, here, I made this screencast. Can you help me with providing the captioning or other, any other resources that are needed for accessibility? So I would work with individuals on your campus. Don't feel like you have to do everything. There are some good free ones, say a 10 minute video, kind of a cool thing. If you have teenagers and if you have a teen who's trying to learn how to type. I wanted to add too that, but that's a great example of one in which it's not just people who might not be able to hear, but it might be people who, for whom English is a second language, and having those words on the screen actually help them understand the material better, right, at the forefront when we're planning this. So just keep that in mind as well. There's also a lot of students, you know, on a subway or something, and they just don't have their earbuds with them. And yes, having closed captions are essential for all those reasons. So I guess it's copyright, but then also sort of student reactions when you bring things into your courses. Yeah, I have in mind that I need to create a chart of sort of when to use somebody's material and when not to. You know, in general, I think there's no problem if you're using, whereas Khan Academy stuff crosses a different line, because that's like explaining concepts and you're almost just letting Khan teach for you at that point. That's that one's a little trickier. And I don't say necessarily I'm against that, but I think that's where students kind of start to feel like, hey, wait, who's teaching me here? Is it Khan Academy or am I actually being taught by professor? In my field, it's quite a bit different because there's not like this fixed body of knowledge necessarily that has to be transmitted. And it's not just math and things like that. So it's tricky. But I think it is very important to be careful about the perceptions that students might have about whether or not you're teaching the course. but if you're always presenting someone else's materials, but they will object to watching Khan Academy videos all the time if you don't actually ask them to do something with those Khan Academy videos. So I'll just say, I'll typically have like 10 micro lectures per week and those range from five to 20 minutes each. And they're usually represent 10 big ideas. Like each micro lecture introduces some big idea and those will be in a canvas module. So if you just imagine there's a page for each one and each video is contextualized. So I basically say like, why this is important. And then here's the video. And that introduction is just, and then they go through them and we have discussions and quizzes intermixed with all of that. Again, no longer than five or six minutes if I can avoid it. Put this into that outside work that's required for the typical course and don't burden them. Don't think just because I can offload this content that I can now add more and more and more and more on top of that, that this is part of what you're asking them to digest as part of the course. Through a video format, like maybe the homework assignments need to be shorter because they really do need to have the time to watch the videos. And then also I would say, before you get too far along in recording the videos, I just wanted to ask if you had, you know, Mine would be start small, but dream big. And then I started sort of watching people on YouTube for inspiration really, like vloggers and whatnot. And I started realizing like, oh wow, these are maybe like the new professors, they're educating millions of people and they're doing it really, really well. And they may not have like PhD next to their name, but some of them are really outstanding educators. And so I started taking notes and I sort of see my career developing over the next several years, more and more toward the video platform. And I think video is a huge part of our future as faculty. I think it's kind of like the new lecture podium And we all, it took all of us a lot of time to master lecturing. It's gonna take all of us a lot of time to master video. Yeah, and like I said, I'll be doing like some tutorials and you can sort of follow my progress. I have a long way to go, but maybe we can learn together. But we're gonna do that as normal human behavior to be a little bit squeamish looking at ourselves in this way. So be kind to yourself because you're gonna feel tired even recording just a five minute video, But give yourself that permission to feel tired and exhausted because you're bringing your 125% into it, doing all of that preparation, and not getting that feedback or cues that you might get in a real conversation. I cannot underscore that enough because of the accessibility or because of the ability to rewatch to at any point at any time you are with them whenever they want to pull up that resource. On the discussion board, if you have had questions that have not yet have been addressed, you can continue the conversation. So those of you who are familiar with us at AQ know that our mission is student success through effective instruction, which we've talked a lot about today. We know that many of you might still be looking for online content that serves the really varied needs of your students. And one way to serve that need is through open educational resources. Those are the ones that are free and don't require passwords. And they're available in a variety of locations and digital formats, like videos, for instance, worksheets, assessments, et cetera. If you're not familiar with them, OpenStax is an initiative housed at Rice University, and it's committed to improving access to quality learning materials. They've developed a variety of resources that include more than 20 educational technology products, as well as subject-specific lists of teaching and learning resources, and they're all available for free. Our last thing about additional resources, we just want to remind you that everything we've referenced today is available at the AQ website, And we are going to invite you to join us on Monday for our final webinar in this series. And it will focus on engaging students in reading and micro lectures, and will feature Flower Darby, Ludie Goodson and Katherine Harris. So thank you so much for spending your time with us today. Please stay safe and have a terrific online class. Good luck.",
        "transcription_large_v3": " My name is Sherry Hughes. I'm the Assistant Vice President for Professional Learning at the American Council on Council of Education. As we get started, first I want to commend everyone across higher education for making this astonishing transition to remote learning in a matter of days in many cases and with a real commitment to our students learning. But we know that moving a course online, like being assigned to a classroom, is just the start. This webinar series emerged to support the next phase of that work, to ensure that faculty receive the support they need to ensure that every student has a quality online experience. Our goal in these webinars is to have practical conversations with experts on how to teach well online. So now I'm going to turn things over to Kim Middleton from ACUE, who will serve as today's moderator. Thanks so much, Sherry. Welcome to all of you from all of us here at the Association of College and University Educators. I am really delighted to be joined today by two incredibly creative and thoughtful pedagogy experts, and they'll start off our conversation today on the topic recording effective micro lectures. Before I introduce them and get started, however, I'd like to quickly review our agenda for the hour. First, our presenters will briefly discuss the context for this topic. What exactly is a micro lecture and why is it an important online teaching technique? We think that that will be relevant whether you're in your first or your 40th week of your online teaching experience. The majority of today's session, however, about 35 minutes, is reserved for discussion led by the questions that you submit to our panelists. Our goal is to have an interactive conversation that focuses on this topic and that continues to provide practical ideas and suggestions for your online teaching. So if you would please use the Q&A box at the bottom of your Zoom screen. As you do, you might see that someone else has submitted a question that's sort of similar to yours. And in that case, you can use that thumbs up symbol to highlight that question. It'll save you some typing and it also helps us prioritize the questions that have the most interest. And then finally, don't forget the chat room window. Throughout today's session, we'll use that as a sort of one way information space. It will provide references and resources that come up during our discussion. The topic for today's webinar and for the series as a whole were inspired by the free resources recently published by ACUE in our online teaching toolkit. More from our experts and then more from each other about these six topics. So now without further ado, I want to introduce our experts. Joining us today are Mike Wesch, Associate Professor of Cultural Anthropology at Kansas State University and Viji Sothi, Professor in the Department of Psychology and Neuroscience at the University of North Carolina Chapel Hill. I'm Kim Middleton, academic director at AQ. I am particularly excited to hear these two launch our discussion on this topic after having introduced video and audio projects to both my students and faculty colleagues at the College of Saint Rose in New York and Mount Saint Mary's University in Los Angeles. So we're going to dive in. Our experts thought it was especially important to begin with a really clear understanding of what a micro lecture is. And so to make that point, what better way is there than to show us one, right? So Mike has made us a video to explain the concept. A video micro lecture is usually under five minutes and focused on one specific concept or skill, making the content easy to find within the structure of a larger course. Famous examples include simple screen recordings like those of Khan Academy, short animated pieces like those of TED-Ed, and the punchy mini lectures of Crash Course. You can also look for inspiration from the many tutorials available on YouTube. Rock star edgy tubers like Mark Rober and even travel tubers can offer something to aspire to if you're an anthropologists like me. I have been doing short form videos professionally for about 13 years. I started with some educational screen captures. I then started inviting my students in to collaborate to make some short cultural commentaries. Later, I learned how to animate so I could tell some short stories. And most recently, I've started taking my camera out into the world to share my ethnographic field experiences with my students. I think video is a huge piece of our future as professors. It is the new PowerPoint, and I want to do whatever I can to help other faculty master this not just because it will improve their classes but because ultimately I think it will unleash a tremendous wave of outstanding educational content into the world. A video micro lecture and I'll just briefly say something real quick here I thought I should do a micro lecture sort of about just talking on camera because talking on camera can actually be one of the biggest barriers to doing a micro lecture and you don't necessarily have to be on camera but I wanted to give you an example of what that looks like and why it's hard and maybe help you get on camera if that's hard for you. Hi. Hi. Hi. I'm Mike Wesch and I'm going to show you how to make a video for your class. This is going to be a super simple video and you don't need a lot of special equipment. In fact, you only need three things. You're just going to need a nice big light source and as you can see, I'm just actually using this nice big window I have here. It retails for about $65 on eBay and as you can see, you can actually get a pretty good looking shot even with cheap equipment like this. Why do you think it's weird? Yeah, I think it's weird too. I'm trying to help people be less weird about it. What if you have a job someday where you have to be on camera? So why even try? Well, the first and most important thing is just that it allows you to build connection with your students. Studies have shown that the more you can build a sense of social presence in your class, the better the learning. Second, video is just super engaging. You have so many more pathways to actually engage your audience, not just the audio, but also the visual. You can show things and demonstrate things. Eventually, you can even take people out into the world. And third, video is just going to make you seem more approachable. It'll humanize you and humanize your whole class. Hopefully, the more video you do, the more video your students will do as well. And that'll just create this synergy between all three of these elements. You'll all be more connected. That'll allow you to be more engaging with one another. And that'll also just make you more approachable. And all three of these things will just build upon each other. Whether we like it or not, this is our future. And if you want to do the very best for your students, you're going to have to overcome your fears and get on camera and start connecting and engaging and build that approachability in this online environment. I'm doing a video about how to talk on video. Come here and show people how you talk on video. How do you like to talk on video? So talking on camera can be super hard, but I want to give you five tips just to get started. Number one, try connecting rather than performing. Look right into the lens, but not at the lens. Look right through it to the people you're actually talking to. Imagine them there and just talk right to those people. Secondly, because when you just record yourself in front of a camera, you don't have all that energy that you typically get in a social situation and you can kind of look kind of flat. You might find that when you watch your first few videos back, you just seem like kind of, I don't know, just kind of sad and quiet and not really energized, right? So you have to go a little bit above what you think is natural, go to like 125% and it should look just about right. Number three, have a plan. I like to plan around what I call the five R's. The first one is you have to have a reason for the video. There should be a really strong why driving the video. Second is relevance. That why should be really clear to the people who are watching. Number three is resonance. You should constantly be connecting with the people on the other side of that lens and they should feel that connection. It should resonate with them. You don't wanna spend too long on a topic or go too fast. You gotta have a nice pace that feels just right. And finally, number five is just be real. Just be yourself, be authentic, and be who you really are. Don't try to be anybody else. Four, practice. Practice all the time. You might want to start really simple just by maybe giving some video feedback to students or when students are doing an online discussion, pop in on video to respond to a student in the class, not on the class. Everybody just keep practicing and we'll get there. I look forward to our discussion today. We're given tips on how to get on camera. Do you want to help? And then you would use that and cut that down and edit it and change it around until it was just tight and how you wanted it? Kim or Vijay? And so, yeah, I think we will just go straight into Vijay and what she wants to talk about. I wanted to just, for some of us, you know, it's enough to just hear. And so in that case, maybe a podcast or just having audio files available to your students might be sufficient. It's exactly what you want them to hear and none of what you don't want them to hear, which can be hard to find sometimes when you're looking at information online. And then I also think it's really important, and Mike commented on this, the social presence element. The videos that I create for my class, I break them up over several days, and they are fairly short. I aimed for five minutes or less, although sometimes I got a little bit longer, and I think that that's also really helpful for learning, right? So they understand. And then I'm also annotating over some slides. And I think the students really appreciate having this resource to go back to. So I never have to do it again because it's in this recording and I can direct them to the recording, for an example. Mike, did you want to add anything on to Vijay's presentation before we jump into discussion? Well, I think there's a lot of discussion in the Q&A. And I think my first answer to that is just that you really do have to think of this as the whole ecosystem of your full course. And maybe you feel like a concept takes like, you know, 20 to 30 minutes to explain but you could still perhaps break that up into an introduction and have each of those be a separate video it's really about creating search ability within your course so that they can just see it as the thumbnail of that video and it's got the title there it's just it's just a way of chunking things up it's not that you're doing everything in five minutes it's that you're doing one thing in five minutes but you're doing lots of those five minute things It's easy to think about replacing it. But there is so much about production and how that it feels like it's worth our time to just spend a couple minutes here at the beginning and ask you two for, you know, what you would suggest. I think I demonstrated, I tried to demonstrate that even a cheap four-year-old cell phone can get a really good image. The most important piece is the light source. So you need like a really big light source. But when I need to record, I go up into this room that has all this light just, you know, sort of showering me with light. So that's the image. I did have a $15 little lapel mic connected to me, adapter or something. And even the like $15 to $30 lapel mics on Amazon make a huge, huge difference. So audio is pretty important. I think that makes it sound a lot more professional. So that's on the production side. Yeah, I have to agree with that. I think because I chose the screencast option, the audio was essential for it to be very good. For screencasts, of course, lighting source doesn't quite matter, but you do need to think about what you're displaying to your students and that it's high quality, that you're thinking about principles of good slide design, for example. for some people that might be after they have their cup of coffee in the morning and they're ready to go for me personally I have to kind of warm up to being able to speak I have to go teach a class for example and then I'm really warmed up to do a short video recording even though you feel like you're doing it like you would have done it live so you do have to give that extra and when when is it the best time to do that and what resources do you need to have around you as you sit down to do that work I mean when I make recordings it's a mess I have papers all around me because I don't know what I'm going to want to pick up and hold in my hand at any moment. And what you don't want to do is get started in your recording and have to stop and go get things and come back. And you just want to have it recording. And then if you mess up or you need something, stop talking, just begin again. And you can edit out things that you don't want to have. So having those sessions where you just sit down and you let it, you just let it go. And the second time was the better take. It feels artificial because you are talking to a camera, but eventually a listener is going to be there. So think about who that listener is and what they might like to hear from you, and also connect the dots about where this video fits in their curriculum. It seems to me like this is a kind of natural segue, and it says, is it crucial to have a face on the presentation video for it to be engaging for the students? And I know we've talked a lot about video and then move to screencasts, but I know you two also have some thinking about other kinds of representations that could be given to students that are still engaging. Yeah, I think maybe we should start with a common thing that faculty do, especially in an emergency situation like this, is they take their PowerPoint slides and they just want to like sort of present them, right? So they read over them. And typically that's just audio. I think the slides themselves are boring, but if you're a dynamic presenter, maybe that's okay because you're there and you being there makes a difference. So, you know, what are the options here? I think either you can make your visual more dynamic without you being on it, and that could be done through Sal Khan is not on those videos, and those are still really good. So I think that works really well. Counsel against the idea of just reading through PowerPoint slides without being present in some way, like without being dynamically engaged and present. That's my general take on that. But if you do need animation and you do need some dynamic as I'm working problems or maybe you're having things overlaid, like if you need some of that animation in there, then by all means use the video online. But I think that it is you have to think about what the end goal is and what will best accomplish the end goal. And I find it really liberating to just have the screencast because I don't have to care about how I look when I sit down to make the recording. And I'll cover a range of different types of micro lectures, including those are those are actually really great if you've got the money. But a lot of those things can be done and actually be done better in PowerPoint. And that surprises a lot of people. PowerPoint has come a long way in the last 10 years. And you can do all sorts of really great animations and you'll see some really amazing things. And in fact, a lot of some of the videos that might be some of your favorite videos on YouTube that you're just like, wow, how they do that. you might be surprised that they actually did it in PowerPoint. So I just want to mention that PowerPoint is one of the most flexible and best animation software out there. Thanks. So I'm going to sort of drive the train a little in a slightly different direction. But we might think a little more, you know. How do I know that this is the right approach to take with the problem? Well, I'll tell you as I'm working the problem. You can take stuff that you don't like to do and put it in a video and then give your students the chance to do the more exciting, the things that you find exciting about your field. Bring that into your experiences with students. Thing here, because in anthropology, we're rarely explaining. And I actually just want to expand the notion of micro lecture here. And maybe micro lecture isn't the right word. I just like short form video because a lot of my short form videos are stories or question prompts or examples of students actually going out and doing the assignment that was assigned. And so I just went out in Kansas City and I just sort of, you know, just walked around Kansas City. I think important video and very controversial obviously sparked a lot of conversation. I think that that could be a good idea, depending on what you're talking about. I actually wanted to sort of give to Kansas City a short history of how this happened in the community. And so I put it out publicly. And I think that was actually really good for the community to actually talk about structural racism in our own community and how that happened and what can we do about it. So it's up to you. I think there's like a real, on the one hand, I think we need to have these quiet spaces and these sealed off spaces where we can work through ideas and that kind of thing. But I also think that there's a real opportunity here as faculty get better with video to educate the public and to share our ideas more broadly. So I'm actually kind of really excited about people learning more video. I think there's a lot to be, I don't know, I think we're only like halfway to where we could be in terms of sort of excellence in how we present ourselves to the world as academics. And I hope that this sort of pushes the envelope a little bit and we all start engaging the public with some of our knowledge more. Yeah, just thinking about what you have to offer people who are not within the walls of our classroom and why not, if we have the opportunity, why not create resources that others can use really? But oftentimes we have to go in and actually see if the captioning is correct. But for example, on our campus, we have some people who, that is their role is to sort of help us think about how to create more accessible content for our students. And so I can work with someone to say, here, I made this screencast, can you help me with providing the captioning or any other resources that are needed for accessibility? So I would work with individuals on your campus. Don't feel like you have to do everything. There are some good free ones, say a 10 minute video, kind of a cool thing. if you have teenagers and if you have a teen who's trying to learn how to type. I wanted to add, too, that that's a great example of one in which it's not just people who might not be able to hear, but it might be people for whom English is a second language. And having those words on the screen actually help them understand the material better, right, at the forefront when we're planning this. So just keep that in mind as well. There's also a lot of students, you know, on a subway or something, and they just don't have their earbuds with them. And yes, having closed captions are essential for all those reasons. So I guess it's copyright, but then also sort of student reactions when you bring things into your courses. Yeah, I have in mind like that I need to create a chart of sort of when to use somebody's material and when not to. You know, in general, I think there's no problem if you're using, whereas Khan Academy stuff crosses a different line because that's like explaining concepts. and you're almost just letting Khan teach for you at that point, that's, that one's a little trickier, and I don't say necessarily I'm against that, but I think that's where students kind of start to feel like, hey, wait, who's teaching me here? Is it Khan Academy, or am I actually being taught by a professor? In my field, it's quite a bit different, because, you know, there's not, like, this fixed body of knowledge, necessarily, that has to be transmitted, and, you know, it's not just you know math and things like that it's so it's tricky but I think it's it is very important to be careful about the perceptions that students might have about whether or not you're teaching the course but if you're always presenting someone else's materials but they will object to watching Khan Academy videos all the time if you don't actually ask them to do something with those Khan Academy videos so I'll just say I'll typically have like 10 micro lectures per week and those range from five to 20 minutes each. And they're usually represent 10 big ideas. Like each micro lecture introduces some big idea and those will be in a Canvas module. So if you could just imagine there's a page for each one and each video is contextualized. So I basically say like why this is important and then here's the video. And that introduction is just, and then they go through them and we have discussions and quizzes intermixed with all of that. Again, no longer than five or six minutes if I can avoid it. Put this into that outside work that's required for the typical course and don't burden them. Don't think just because I can offload this content that I can now add more and more and more and more on top of that, that this is part of what you're asking them to digest as part of the course. Through a video format, like maybe the homework assignments need to be shorter because they really do need to have the time to watch the videos. And then also I would say before you get too far along in recording the videos, I just wanted to ask you had you know mine would be start small but dream big and then i started sort of watching people on youtube uh for inspiration really like vloggers and whatnot and i started realizing like oh wow these are maybe like the new professors they're educating millions of people and they're doing it really really well and they may not have like phd next to your name their name but some of them are really outstanding educators. And so I started taking notes and I sort of see my career developing over the next several years more and more toward the video platform. And I think video is a huge part of our future as faculty. I think it's kind of like the new lecture podium and we all it took all of us a lot of time to master lecturing. It's going to take all of us a lot of time to master video. Yeah and like I said I'll be doing like some tutorials and you can sort of of follow my progress. I have a long way to go, but maybe we can learn together. But we're going to do that as normal human behavior to be a little bit squeamish looking at ourselves in this way. So be kind to yourself because you're going to feel tired even recording just a five minute video, but give yourself that permission to feel tired and exhausted because you're bringing your 125% into it, doing all of that preparation and not getting that feedback or cues that you might get in a real conversation. I cannot underscore that enough because of the accessibility, because of the ability to re-watch to at any point at any time you are with them whenever they want to pull up that resource. On the discussion board, if you have had questions that have not yet been addressed, you can continue the conversation. So those of you who are familiar with us at AQ know that our mission is student success through effective instruction, which we've talked a lot about today. We know that many of you might still be looking for online content that serves the really varied needs of your students and one way to serve that need is through open educational resources. Those are the ones that are free and don't require passwords and they're available in a variety of locations and digital formats like videos, for instance, worksheets, assessments, etc. If you're not familiar with them, OpenStax is an initiative housed at Rice University and it's committed to improving access to quality learning materials. They've developed a variety of resources that include more than 20 educational technology products as well as subject specific lists of teaching and learning resources and they're all available for free. Our last thing about additional resources, we just want to remind you that everything we've referenced today is available at the AQ website and we are going to invite you to join us on Monday for our final webinar in this series and it will focus on engaging students in reading and micro lectures and will feature flower darby ludy goodson and catherine harris so thank you so much for spending your time with us today please stay safe and have a terrific online class good luck"
    },
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        "gt": "THEN PRESS OKFOR THIS EXAMPLE WE'RE GOING TO SELECT LETTER SIZE BUT YOU CAN USE THE UP AND DOWN ARROWS ON THE CONTROL PANEL TO SELECT A DIFFERENT SIZE PAPER  PRESS OK TO ACCEPT THE PAPER SIZE  FOR THIS EXAMPLE WE'RE GOING TO SET IT TO LEGAL SIZE  PRESS OKPRESS THE CANCEL BUTTON TO EXIT OUT OF THE MENUTHE DRIVER WILL RECOGNIZE HOW MANY TRAYS YOU HAVE AND THE TYPES OF PAPER BEING USED IN THE TRAY  BE SURE TO APPLY THE SETTINGS BEFORE CLOSING THE WINDOW  FOR MAC USERS YOU WILL NEED TO MAKE SURE THE DRIVER SET UP PROPERLYOPEN PRINTERS AND SCANNERSSELECT YOUR PRINTER AND THEN CLICK THE USE DROP DOWNYOU'LL HAVE TO SELECT CHOOSE PAPER SOURCE BY PDF PAGE SIZE FOR IT TO PRINT CORRECTLY  IF YOUR APPLICATION DOES NOT RECOGNIZE MIXED PAPER TYPES YOU MAY NEED TO SEEK ADDITIONAL INFORMATION FROM THE APPLICATION PROVIDER\n",
        "transcription_base": " Then press OK. For this example, we're going to select letter size, but you can use the up and down arrows on the control panel to select a different size paper. Press OK to accept the paper size. For this example, we're going to set it to legal size. Press OK. Press the cancel button to exit out of the menu. The driver will recognize how many trays you have and the types of paper being used in the tray. Be sure to apply the settings before closing the window. For Mac users, you'll need to make sure the driver is set up properly. Open printers and scanners, select your printer and then click the use drop down. You will have to select choose paper source by PDF page size for it to print correctly. If your application does not recognize mixed paper types, you may need to seek additional information from the application provider.",
        "transcription_medium": " Then press OK. For this example, we're going to select letter size, but you can use the up and down arrows on the control panel to select a different size paper. Press OK to accept the paper size. For this example, we're going to set it to legal size. Press OK. Press the cancel button to exit out of the menu. The driver will recognize how many trays you have and the types of paper being used in the tray. Be sure to apply the settings before closing the window. For Mac users, you'll need to make sure the driver is set up properly. Open printers and scanners, select your printer, and then click the Use dropdown. You will have to select Choose Paper Source by PDF page size for it to print correctly. If your application does not recognize mixed paper types, you may need to seek additional information from the application provider.",
        "transcription_large_v3": " Then press OK. For this example, we're going to select Letter Size, but you can use the up and down arrows on the control panel to select a different size paper. Press OK to accept the paper size. For this example, we're going to set it to Legal Size. Press OK. Press the Cancel button to exit out of the menu. The driver will recognize how many trays you have and the types of paper being used in the tray. Be sure to apply the settings before closing the window. For Mac users, you'll need to make sure the driver is set up properly. Open Printers and Scanners, Select your printer and then click the Use drop-down. You will have to select Choose Paper Source by PDF Page Size for it to print correctly. If your application does not recognize mixed paper types, you may need to seek additional information from the application provider."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000145.mp3": {
        "gt": "MASKS  SO THIS IS ONE OF THE MASKS THAT WE FOUND  LOOKS LIKE A REGULAR MASK   LOOKS LIKE IT WORKS  HELLO  SO CLOSE TO MY MOUTH  SPECIAL WAYAND DO I NEED TO EXPLAIN THAT THIS DOESN'T WORK OKAY   GUYS  SO HERE WE HAVE TWO TYPES OF HATS WITH FACE SHIELDS ATTACHED ALRIGHT   SO HERE WE HAVE A BUCKET HAT CUTELIKE I DON'T MINDESPECIALLY IF THERE ARE PEOPLE WHO DON'T OWN SELF SOCIAL DISTANCEWHEREAS YOU MIGHT TOUCH YOUR FACE WITH YOUR HANDS  ALTHOUGH YOU REALLY SHOULDN'T  DOWNLOAD THE CLICKNETWORK APP AND YOU'LL BE ABLE TO WATCH THE VIDEOS BEFORE THEY COME OUT ONTO YOUTUBE   IT'S ALSO NEWLY REVAMPED   ALRIGHT TILL NEXT TIME WASH YOUR HANDS STAY SAFE ANDGO BE BEAUTIFUL\n",
        "transcription_base": " masks. So this is one of the masks that we found. Looks like a regular mask. Looks like it was. So close to my mouth. Special way. And do I need to explain that this doesn't work? Okay guys. So here we have two types of hats with face shields attached. All right, so here we have a bucket hat. Cute! Like I don't mind. Especially if they're people who don't own social distance. Whereas you might touch your face with your hands. Although you really shouldn't, download the click network app and you'll be able to watch the videos before they come out onto YouTube. It's also nearly revenge. Alright, till next time, watch your hands, stay safe and go be beautiful.",
        "transcription_medium": " Masks. So this is one of the masks that we found. Looks like a regular mask, looks like it works. Hello! So close to my mouth. Special way. Do I need to explain that this doesn't work? Okay guys, so here we have two types of hats with face shields attached. Alright, so here we have a bucket hat. Cute! Like, I don't mind. Especially if they're people who don't own self social distance. Whereas you might touch your face with your hands. Although you really shouldn't. Download the Clicknetwork app and you'll be able to watch the videos before they come out onto YouTube. It's also newly revamped. Alright, till next time, wash your hands, stay safe and go be beautiful!",
        "transcription_large_v3": " Masks! So this is one of the masks that we found. Looks like a regular mask, looks like it works. Hello! So close to my mouth. Special way. And do I need to explain that this doesn't work? Okay guys, so here we have two types of hats with face shields attached. Alright so here we have a bucket hat. Cute! Like I don't mind. Especially if they're people who don't own self social distance, whereas you might touch your face with your hands. Although you really shouldn't, download the Clicknetwork app and you'll be able to watch the videos before they come out onto YouTube. It's also newly revamped. Alright till next time, wash your hands, stay safe and go be beautiful!"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000163.mp3": {
        "gt": "NOT SO MUCH   IT KIND OF FEELS LIKE JUST   IT JUST GAVE IT LIKE   A WHITE CAST  OVER MY FACE   SO  I'M NOT QUITE INTO THAT SO I WOULD GIVE THIS   I THINK   A SIX OUT OF TEN  IT'S LIKE A PASTEL   ORANGE  COLOUR  OH   ACTUALLY IT'S REALLY QUITE PRETTY  IT'S LIKE A PASTEL ORANGE  SO THIS IS LIKE VERY NATURAL   IT'S A VERY   VERY YOUTHFUL NATURAL ORANGE   ALL OF THEM ARE SAYING CANNOT SEE ON CAMERA  AND IT'S REALLY VERY  NATURAL  IT'S FOR   IT'S FOR STUDENTS  OKAY I WOULD GIVE THIS   EIGHT OUT OF TEN  LIKE A LOT OF TIMES   FOR THE COLOUR TO COME OUT  THINK THAT'S PRETTY IMPRESSIVE  THIS IS SUPPOSED TO BE LIKE GLOSSY AND ALSO MOISTURIZING TO THE LIPS  OH  OOOH  IS THIS  I'M NOT SURE WHERE THE OIL IS IN THIS BECAUSE IT DOESN'T FEEL LIKE OIL AT ALL   IT'S IN BETWEEN A GLOSS  A TINT AND A TINT IN OIL  OH  TODAY   THE YOUNGEST DAY OF MY LIFE  THE YOUNGEST I WILL EVER BE IN MY LIFE  TODAY  AND THEN   I'M GOING TO TAKE   THIS  WELL I GUESS THIS KIND OF APPLIES BETTER WITH THE SPONGE AND I CAN SEE A BIT MORE  MAYBE I TRY WITH THE BRONZEYWE'VE GIVEN THIS  PALETTE A WHIRL   AND A LOT OF THE COLOUR DOESN'T REALLY COME OFF  BLENDABLE   BUT IT'S LIKE THERE'S SO LITTLE COLOUR  I DON'T KNOW  A FOUR OUT OF TEN  OR A THREE   I MEAN   THERE'S SOME COLOUR BUT IT'S JUST A LOT OF WORK TO MAKE IT HAPPEN  BECAUSE YOU CAN WATCH THE VIDEOS BEFORE THEY GO ONTO YOUTUBE  ALL RIGHT   TILL NEXT TIME  GO BE BEAUTIFUL  \n",
        "transcription_base": " Not so much, it kind of feels like just, it just gave it like a white cast Over my face, so I'm not quite into that So I would give this I think a 6 out of 10 It's like a pastel orange color Oh, actually it's really quite pretty It's like a pastel orange So this is like very natural, it's a very very useful natural orange All of them are same, cannot see on camera And it's really very natural. It's for students. Okay, I would give this 8 out of 10. Like a lot of times for the color to come out. I think that's pretty impressive. This is supposed to be like glossy and also moisturizing to the lips. Oh! Ooh! What is this? I'm not sure where the oil is in this because it doesn't feel like oil at all. It's in between a gloss, a tint, and a tint in oil. Oh! Today, the youngest day of my life. The youngest I will ever be in my life today. And then, I'm going to take this... Well, I guess this kind of like better with a sponge. And you can see a bit more. Maybe I try with the bronzy. You've given this palette a whirl, and a lot of the color doesn't really come off. Blendable, but it's like a so little color. I don't know. A far out of ten, or a three. I mean the sun color but it's just a lot of work to make it happen because you can watch the videos before they go on to YouTube Alright, till next time Go Be Beautiful!",
        "transcription_medium": " Not so much, it kind of feels like it just gave it a white cast over my face. So I'm not quite into that. So I would give this I think a 6 out of 10. It's like a pastel orange colour. Oh actually it's really quite pretty. It's like a pastel orange. So this is like very natural. It's a very very youthful natural orange. All of them are saying, cannot see on camera. and it's really very natural. It's for students. Okay I would give this 8 out of 10. Like a lot of times for the colour to come out. I think that's pretty impressive. This is supposed to be like glossy and also moisturising to the lips. Oh! Ooh! What is this? I'm not sure where the oil is in this because it doesn't feel like oil at all. It's in between a gloss, a tint and a tint in oil. Oh! Today, the youngest day of my life. The youngest I will ever be in my life today. And then I'm going to take this... Well I guess this kind of applies better with a sponge. You can see a bit more. Maybe I try with the bronzy. You've given this palette a whirl and a lot of the colour doesn't really come off. Blendable but it's like there's so little colour. I don't know. A 4 out of 10? Or a 3? I mean there's some colour but it's just a lot of work to make it happen because you can watch the videos before they go onto YouTube. Alright, till next time, go be beautiful!",
        "transcription_large_v3": " Not so much, it kind of feels like it just gave it like a white cast over my face so I'm not quite into that so I would give this I think a 6 out of 10. It's like a pastel orange colour. Oh actually it's really quite pretty, it's like a pastel orange. So this is like very natural, it's a very very youthful natural orange. All of them are saying cannot see on camera. and it's really very natural. It's for students. Okay I would give this 8 out of 10. Like a lot of times for the color to come out. I think that's pretty impressive. This is supposed to be like glossy and also moisturizing to the lips. Oh! Ooh what is this? I'm not sure where the oil is in this because it doesn't feel like oil at all. It's in between a gloss, a tint and a tint in oil. Oh! Today, the youngest day of my life. The youngest I will ever be in my life, today. And then I'm going to take this. Well I guess this kind of applies better with a sponge. And you can see a bit more. Maybe I try with the bronzy. We've given this palette a whirl, and a lot of the colour doesn't really come off. Blendable, but it's like there's so little colour. I don't know, a 4 out of 10? Or a 3? I mean there's some colour but it's just a lot of work to make it happen. Because you can watch the videos before they go onto YouTube! Alright, till next time, go be beautiful!"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000187.mp3": {
        "gt": "YOU MOTHERFUCKERS INVITE NON-NINTENDO CHARACTERS ONTO MY TRACK  KILLING ALL THE NON-NINTENDO RACERS   WHAT IS SOME KIND OF RACIST  YOU'RE ALLOH GOD   OH FUCK   OH FUCK  MARIO  ALRIGHT   I CAUGHT IT   NOW IT'S MINE AND I CAN FORCE IT TO DO WHATEVER I WANT  MARIO STOP   WE'RE BROTHERS  I HAVE NO BROTHER  MARIO  YOU PLAYSTATION CHARACTERS NEVER LEARN  HEY MARIO  \n",
        "transcription_base": " You motherfuckers invite non-idententocatocatocats just onto my track? You killing all the fun Nintendo racers! What is he? Some kind of racist? You're all... Oh god, who the fuck? Who the fuck? Mario! Alright, I caught it! Now it's mine and I can force it to do whatever I want! Mario, stop! We're brothers! I have no brother. Mario! Your PlayStation characters never learn! Hey, Mario!",
        "transcription_medium": " You motherfuckers invite all the Nintendo characters onto my track? He's killing all the non-Nintendo racers! What is he, some kind of racist? You're all... Oh god, oh fuck, oh fuck! Mario! Alright, I got it! Now it's mine and I can force it to do whatever I want! Mario, stop! We're brothers! I have no brother. MARIO! You PlayStation characters never learn! Hey, Mario!",
        "transcription_large_v3": " You motherfuckers inviting all the Nintendo characters onto my track? He's killing all the non-Nintendo racers! What is he, some kind of racist? You're all- Oh god, oh fuck, oh fuck! Mario! Alright, I caught it! Now it's mine and I can force it to do whatever I want! Mario, stop! We're brothers! I have no brother. Mario! You PlayStation characters never learn! Hey, Mario!"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000203.mp3": {
        "gt": "ONE OF THE GREATEST OF ALL  KIND OF EVIL  YOUR DAUGHTER  WITHOUT LEADERS  MEGATRON HAS RETURNEDSO MUCH FOR THE DARK SIDE OF THE MOON  NOW   THE GREATEST MISSION OF THEM ALL  TO TURN THE TIDE OF HUMAN HISTORY  BUMBLEBEE  WHAT AM I DOING  THE IMMINENT DESTRUCTION OF EVERYTHING WE KNOW AND LOVE  A FEW BRAVE SOULS  CAN SAVE EVERYTHING WE'VE EVER KNOWN  THE OPERATION IS OVER  WON'T GIVE IT UP ON PRIME   OKAY  CADE  YOU ALWAYS SEEM SO OPTIMISTIC  I DON'T KNOW ABOUT YOU  BUT THAT LOOKED PRETTY COOL  WHAT CAN I SAY  I WAS AWESOME  \n",
        "transcription_base": " One of the greatest of all. Kind of evil. Your daughter. Without leaders. Megatron has returned. So much for the dark side of the moon. And now the greatest mission of the moon. To turn the tide of human history. Pop-O-B. What am I doing? The imminent destruction of everything we know and love. A few graves sores can save everything we've ever known. The operation is over. When I keep it up on crime, okay? A cave. You always seem so optimistic. I don't know about you, but that looked pretty cool. What can I say? I was awesome.",
        "transcription_medium": " One of the greatest of all. Kind of evil. Your daughter. Without leaders... Megatron has returned. So much for the dark side of the moon. And now the greatest mission of them all. To turn the tide of human history. What will be? What am I doing? The imminent destruction of everything we know and love. A few brave souls can save everything we've ever known. The operation is over. We're not giving up on crime, okay? Arcade. He always seems so optimistic. I don't know about you, but that looked pretty cool. What can I say? I was awes-",
        "transcription_large_v3": " One of the greatest of all. Kind of evil. Your daughter. Without leaders... Megatron has returned. So much for the dark side of the moon. And now the greatest mission of them all. To turn the tide of human history. Pummel B, what am I doing? The imminent destruction of everything we know and love. A few brave souls can save everything we've ever known. The operation is over. We're not giving up on crime, okay? Arcade. You always seem so optimistic. I don't know about you, but that looked pretty cool. What can I say? I was awesome."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000219.mp3": {
        "gt": "THE LEATHER ON BOTH SIDES FEELS NICE  SO  IF I WAS TO WRITE THIS ONE I WOULD GIVE IT A C MAYBE MAYBE A B IF IT WAS A WARMER VAPE AND MAYBE A B PLUS IF IT WAS A WARMER VAPE AND A CONSTANT OUTPUTSTAY SEXY AND VAPE ON\n",
        "transcription_base": " the letter on both sides feels nice. So if I was to write this one I would give it a C. Maybe, maybe a B if it was a warmer vape and maybe a B+. If it was a warmer vape and a constant output. Stay sexy and vape on.",
        "transcription_medium": " the leather on both sides feels nice. So if I was to write this one I would give it a C maybe maybe a B if it was a warmer vape and maybe a B plus if it was a warmer vape and a constant output stay sexy and vape on.",
        "transcription_large_v3": " The leather on both sides feels nice. So if I was to rate this one I would give it a C. Maybe maybe a B if it was a warmer vape and maybe a B plus if it was a warmer vape and a constant output. Stay sexy and vape on."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000235.mp3": {
        "gt": "AND THE TITLE   HOWEVER IF IT HASN'T HEARD OF THE BOOK YOU HAVE TO INPUT A COVER   AND THEN REGARDLESS IF THE APP HAS HEARD OF THE BOOK OR NOT  YOU HAVE TO INPUT THE AMOUNT OF PAGES THAT THE BOOK IS   I SUPPOSE IT'S A WAY TO ENSURE THE ACCURACY OF YOUR STATISTICS BUT I JUST FOUND IT TO BE ANNOYING  THEN IT'S NOT GOING TO WORK BECAUSE YOU HAVE TO JUGGLE READING AS WELL AS TIMING YOURSELF   YOU HAVE TO BE REALLY DILIGENT WITH YOUR TIMINGS IN ORDER FOR THE APP TO WORK  WITH THE FREE VERSION YOU'RE ABLE TO ESSENTIALLY RECORD EVERYTHING   AND IF YOU WERE TO STORE THAT DATA ELSEWHERE FOR EXAMPLE ON EXCEL  \n",
        "transcription_base": " and the title. However, if it hasn't heard of the book, you have to input a cover. And then regardless if the app has heard of the book or not, you have to input the amount of pages that the book is. I suppose it's a way to ensure the accuracy of your statistics, but I just found it to be annoying. Then it's not going to work because you have to double reading as well as timing yourself. You have to be really vigilant with your timings in in order for the app to work. With the free version, you're able to essentially record everything. And if you were to store that data elsewhere, for example, on Excel,",
        "transcription_medium": " and the title. However if it hasn't heard of the book you have to input a cover and then regardless if the app has heard of the book or not you have to input the amount of pages that the book is. I suppose it's a way to ensure the accuracy of your statistics but I just found it to be annoying. Then it's not going to work because you have to juggle reading as well as timing yourself. You have to be really vigilant with your timings in order for the app to work. With the free version you're able to essentially record everything and if you were to store that data elsewhere for example on excel, you can do that.",
        "transcription_large_v3": " and the title. However, if it hasn't heard of the book, you have to input a cover. And then regardless if the app has heard of the book or not, you have to input the amount of pages that the book is. I suppose it's a way to ensure the accuracy of your statistics, but I just found it to be annoying. Then it's not going to work because you have to juggle reading as well as timing yourself. You have to be really digilent with your timings in order for the app to work. With the free version you're able to essentially record everything and if you were to store that data elsewhere for example on Excel,"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000251.mp3": {
        "gt": "BYE  OH NO   I HOPE THIS WORKS  WELL  I GUESS IT WORKED  FIFTY EIGHT HUNDRED SECONDS LATER  THIS IS FUN  FUN  OW  \n",
        "transcription_base": " Bye. Oh no, I hope this works. Well, I guess it worked. 5800 seconds later. Yes, it was fun. Fuff, fuff, fuff.",
        "transcription_medium": " Bye. Oh no, I hope this works. Well, I guess it'll work. 5800 seconds later. This is fun. Fuh fuh fuh. Oh.",
        "transcription_large_v3": " Bye. Oh no, I hope this works. Well, I guess it worked. 5,800 seconds later. This is fun. Fall, fall, fall. Fall."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000267.mp3": {
        "gt": "NOW   YOU COULD JUST ENTER THE NUMBER OF COPIES YOU WANT   AND THEN CLICK THE PRINT BUTTON RIGHT AWAY  BUT IF YOU WANT MORE CONTROL OVER THE FINISHED PRODUCT   YOU MIGHT WANT TO TAKE A LOOK AT THE OPTIONS BELOW  IF YOUR WORKBOOK CONTAINS MULTIPLE SHEETS   THE FIRST THING YOU'LL NEED TO DO IS DECIDE WHETHER TO PRINT ONLY THE ACTIVE SHEETS WHICH IS THE DEFAULT PRINT METHOD  OR THE ENTIRE WORKBOOK  YOU CAN ALSO NARROW IT DOWN TO JUST YOUR CURRENT SELECTION  LET'S GO BACK TO OUR WORKBOOK   SO WE CAN REVIEW HOW THESE OPTIONS WORK  A WORKSHEET IS CONSIDERED ACTIVE WHEN IT'S SELECTED   LIKE THE CENTRAL SHEET IS SELECTED NOW  TO PRINT MORE THAN ONE WORKSHEET BUT NOT THE ENTIRE WORKBOOK  NOW EXCEL WILL PRINT THE SALES FIGURES FOR THE WEST COAST  EAST COAST  AND CENTRAL OFFICES  HOWEVER   THAT'S NOT QUITE WHAT I WANT  THE DATA I'M AFTER IS MORE SPECIFIC THE SALES RECORDS FOR THE TOP FORTY SALESPEOPLE AT THE CENTRAL OFFICE  WE DON'T WANT TO PRINT THE ENTIRE WORKSHEET   BECAUSE THAT WOULD INCLUDE MORE DATA THAN WE NEED  INSTEAD   WHY DON'T WE PRINT JUST A SELECTION  THEN NAVIGATE BACK TO THE PRINT PANE IN THE BACKSTAGE VIEW  DOWN TO PRINT SELECTION  NOW ONLY MY CURRENT SELECTION APPEARS ON THE PRINTOUT THE TOP FORTY SALESPEOPLE FOR THE CENTRAL OFFICE  AS AN ALTERNATIVE   YOU CAN CREATE A PERMANENT SELECTION USING THE PRINT AREA COMMAND  YOU'LL FIND IT ON THE PAGE LAYOUT TAB  JUST SELECT YOUR DATA   THEN CHOOSE SET PRINT AREA FROM THE MENU  IF YOU CHANGE YOUR MIND OR NO LONGER NEED IT   CHOOSE CLEAR TO REMOVE IT  I DO SEE SOME OTHER THINGS I'D LIKE TO ADDRESS NOW   STARTING WITH THE PAGE ORIENTATION  OUR CURRENT ORIENTATION IS PORTRAIT OR VERTICAL A GOOD CHOICE IF YOUR GOAL IS TO FIT MORE ROWS ON EACH PAGE  I'D LIKE TO SWITCH TO LANDSCAPE OR HORIZONTAL   SO I CAN FIT MORE COLUMNS INSTEAD  ANOTHER OPTION IS TO GO TO SCALING  AND CHOOSE FIT ALL COLUMNS ON ONE PAGE  THIS AUTOMATICALLY SHRINKS YOUR PRINTOUT SO EVERY COLUMN FITS ON A SINGLE SHEET OF PAPER  THIS CAN BE A GREAT WAY TO CONDENSE YOUR CONTENT   BUT IT JUST DEPENDS ON THE WORKSHEET  IF YOU HAVE A LOT OF DATA   IT CAN MAKE IT DIFFICULT TO READ  I THINK I'LL SWITCH BACK TO NO SCALING  THEN TAKE A CLOSER LOOK AT HOW THE DATA IS BEING ARRANGED  THERE'S ENOUGH OF IT HERE THAT THE LAST FEW ROWS HAVE TO BE LISTED ON A SEPARATE PAGE  THE NEXT TWO PAGES ARE ALSO LACKING SOME CONTEXT  LUCKILY   WE CAN REPEAT IMPORTANT DATA LIKE THE HEADER ROW USING A FEATURE CALLED PRINT TITLES  THAT WAY   WE'LL KNOW WHO THESE FIGURES BELONG TO AND WHAT MONTHS THEY'RE FOR  ALL YOU HAVE TO DO IS GO TO THE PAGE LAYOUT TAB  AND THEN CLICK THE PRINT TITLES COMMAND  YOU CAN CHOOSE EITHER ROWS OR COLUMNS  THE DIALOG BOX WILL COLLAPSE   AND YOUR CURSOR WILL TURN INTO A SELECTION ARROW  FROM HERE   SELECT THE DATA YOU WANT TO REPEAT IN THIS EXAMPLE   ROW ONE  THEN CLICK THE BUTTON TO GO BACK  DO THE SAME FOR YOUR COLUMNS IF YOU HAVE ANY THAT YOU WANT TO INCLUDE  I'M GOING TO GO AHEAD AND SELECT THE FIRST COLUMN WITH ALL THE EMPLOYEES' NAMES  WHEN YOU'RE DONE   CLICK OK  AND WE'LL BE ABLE TO CONFIRM THE CHANGE ONCE WE GET BACK TO THE PRINT PANE  THERE'S ONE MORE THING I'D LIKE TO ADJUST WHILE I'M HERE  REMEMBER HOW THE LAST FEW ROWS HAD TO BE PUT ON A SEPARATE PAGE BECAUSE THERE WASN'T ENOUGH ROOM  INSTEAD OF THE LAST FEW ROWS   I WANT THE DATA TO BE DIVIDED EVENLY TWENTY PEOPLE ON EACH PAGE  TO DO THIS   I'M GOING TO SWITCH TO PAGE BREAK PREVIEW MODE USING THE BUTTON IN THE BOTTOM RIGHT CORNER  THIS MAKES IT EASIER TO SEE YOUR PAGE BREAKS SO YOU CAN ADJUST THEM AS NEEDED  ALL YOU HAVE TO DO IS CLICK AND DRAG THE BLUE DOTTED LINE  THEN RELEASE WHERE YOU WANT THE PAGE BREAK TO GO  LET'S GO BACK TO THE PRINT PANE   WHERE WE CAN SEE THE CHANGES HAVE TAKEN EFFECT  THE DATA IS NOW DIVIDED EVENLY ON EACH PAGE   AND THE PRINT TITLES MAKE IT MUCH EASIER TO FOLLOW  AS YOU CAN SEE   THE TOTAL COLUMN IS THE ONLY THING THAT DIDN'T MAKE IT ONTO THE PREVIOUS PAGE  I BET WE COULD FIX THAT BY MAKING THE MARGINS A LITTLE SMALLER  YOU CAN ADJUST YOUR MARGINS MANUALLY USING THE BUTTON IN THE BOTTOM RIGHT CORNER  OR YOU CAN CHOOSE A PRESET FROM THE MARGINS MENU  I THINK THE NARROW OPTION SHOULD GIVE US JUST ENOUGH ROOM  PERFECT  NOW I'M READY TO PRINT  AT THIS POINT   ALL YOU HAVE TO DO IS CLICK THE PRINT BUTTON  AND EXCEL WILL PRINT YOUR DATA EXACTLY AS IT APPEARED IN THE PREVIEW  \n",
        "transcription_base": " Now you could just enter the number of copies you want, and then click the Print button right away. But if you want more control over the finished product, you might want to take a look at the options below. If your workbook contains multiple sheets, the first thing you'll need to do is decide whether to print only the active sheets, which is the default print method, or the entire workbook. You can also narrow it down to just your current selection. Let's go back to our workbook so we can review how these options work. A worksheet is considered active when it's selected, like the central sheet is selected now. To print more than one worksheet, but not the entire workbook, now Excel will print the sales figures for the West Coast, East Coast, and Central Offices. However, that's not quite what I want. The data I'm after is more specific. The sales records for the top 40 salespeople at the central office. We don't want to print the entire worksheet because that would include more data than we need. Instead, why don't we print just a selection? Then navigate back to the print pane in the Backstage view. Down to Print Selection. Now only my current selection appears on the print out. The top 40 sales people for the central office. As an alternative, you can create a permanent selection using the Print Area command. You'll find it on the Page Layout tab. Just select your data, then choose Set Print Area from the menu. If you change your mind or no longer need it, choose Clear to remove it. I do see some other things I'd like to address now, starting with the page orientation. Our current orientation is portrait or vertical. A good choice if your goal is to fit more rows on each page. I'd like to switch to landscape or horizontal so I can fit more columns instead. Another option is to go to scaling and choose fit all columns on one page. This automatically shrinks your printout so every column fits on a single sheet of paper. This can be a great way to condense your content, but it just depends on on the worksheet. If you have a lot of data, it can make it difficult to read. I think I'll switch back to no scaling. Then take a closer look at how the data is being arranged. There's enough of it here that the last few rows have to be listed on a separate page. The next two pages are also lacking some context. Luckily, we can repeat important data like the header row using a feature called print titles. That way, we'll know who these figures belong to and what months therefore. All you have to do is go to the page layout tab, And then click the Print Titles command. You can choose either rows or columns. The dialog box will collapse, and your cursor will turn into a selection arrow. From here, select the data you want to repeat, and this example, row one. Then click the button to go back. Do the same for your columns if you have any that you want to include. I'm going to go ahead and select the first column with all the employee's names. When you're done, click OK. And we'll be able to confirm the change once we get back to the print pane. There's one more thing I'd like to adjust while I'm here. Remember how the last few rows had to be put on a separate page because there wasn't enough room? Instead of the last few rows, I want the data to be divided evenly. 20 people on each page. To do this, I'm going to switch to Page Break Preview Mode using the button in the bottom right corner. This makes it easier to see your page breaks so you can adjust them as needed. All you have to do is click and drag the blue dotted line, then release where you want the page break to go. Let's go back to the print pane where we can see the changes have taken effect. The data is now divided evenly on each page, and the print titles make it much easier to follow. As you can see, the total column is the only thing that didn't make it onto the previous page. I bet we could fix that by making the margins a little smaller. You can adjust your margins manually using the button in the bottom right corner, or you can choose a preset from the margins menu. I think the narrow option should give us just enough room. Perfect! Now I'm ready to print. At this point, all you have to do is click the print button, and Excel will print your data exactly as it appeared in the preview.",
        "transcription_medium": " Now, you could just enter the number of copies you want, and then click the Print button right away. But if you want more control over the finished product, you might want to take a look at the options below. If your workbook contains multiple sheets, the first thing you'll need to do is decide whether to print only the active sheets, which is the default print method, or the entire workbook. You can also narrow it down to just your current selection. Let's go back to our workbook, so we can review how these options work. A worksheet is considered active when it's selected, like the central sheet is selected To print more than one worksheet, but not the entire workbook, now Excel will print the sales figures for the West Coast, East Coast, and Central Offices. However, that's not quite what I want. The data I'm after is more specific. The sales records for the top 40 salespeople at the Central Office. We don't want to print the entire worksheet because that would include more data than we need. Instead, why don't we print just a selection? Then navigate back to the Print pane in the Backstage view, down to Print Selection. Now only my current selection appears on the printout. The top 40 salespeople for the central office. As an alternative, you can create a permanent selection using the Print Area command. You'll find it on the Page Layout tab. Just select your data, then choose Set Print Area from the menu. If you change your mind or no longer need it, choose Clear to remove it. I do see some other things I'd like to address now, starting with the page orientation. Our current orientation is portrait, or vertical. A good choice if your goal is to fit more rows on each page. I'd like to switch to landscape or horizontal, so I can fit more columns instead. Another option is to go to Scaling, and choose Fit All Columns on One Page. This automatically shrinks your printout, so every column fits on a single sheet of paper. This can be a great way to condense your content, but it just depends on the worksheet. If you have a lot of data, it can make it difficult to read. I think I'll switch back to No Scaling, then take a closer look at how the data is being arranged. There's enough of it here that the last few rows have to be listed on a separate page. The next two pages are also lacking some context. Luckily, we can repeat important data, like the header row, using a feature called Print Titles. That way, we'll know who these figures belong to and what month they're for. All you have to do is go to the Page Layout tab, and then click the Print Titles command. You can choose either rows or columns. The dialog box will collapse, and your cursor will turn into a selection arrow. From here, select the data you want to repeat, in this example, Row 1. Then click the button to go back. Do the same for your columns if you have any that you want to include. I'm going to go ahead and select the first column with all the employees' names. When you're done, click OK, and we'll be able to confirm the change once we get back to the Print pane. There's one more thing I'd like to adjust while I'm here. Remember how the last few rows had to be put on a separate page because there wasn't enough room? Instead of the last few rows, I want the data to be divided evenly. 20 people on each page. To do this, I'm going to switch to Page Break Preview mode using the button in the bottom right corner. This makes it easier to see your page breaks, so you can adjust them as needed. All you have to do is click and drag the blue dotted line, then release where you want the page break to go. Let's go back to the Print pane, where we can see the changes have taken effect. The data is now divided evenly on each page, and the print titles make it much easier to follow. As you can see, the total column is the only thing that didn't make it onto the previous page. I bet we could fix that by making the margins a little smaller. You can adjust your margins manually using the button in the bottom right corner, or you can choose a preset from the margins menu. I think the narrow option should give us just enough room. Perfect! Now I'm ready to print. At this point, all you have to do is click the Print button, and Excel will print your data exactly as it appeared in the preview.",
        "transcription_large_v3": " Now, you could just enter the number of copies you want, and then click the Print button right away. But if you want more control over the finished product, you might want to take a look at the options below. If your workbook contains multiple sheets, the first thing you'll need to do is decide whether to print only the active sheets, which is the default print method, or the entire workbook. You can also narrow it down to just your current selection. Let's go back to our workbook so we can review how these options work. A worksheet is considered active when it's selected, like the central sheet is selected now. To print more than one worksheet, but not the entire workbook, now Excel will print the sales figures for the West Coast, East Coast, and Central offices. However, that's not quite what I want. The data I'm after is more specific. The sales records for the top 40 salespeople at the Central office. We don't want to print the entire worksheet because that would include more data than we need. Instead, why don't we print just a selection, then navigate back to the Print pane in the Backstage view, down to Print selection. Now only my current selection appears on the printout. The top 40 salespeople for the central office. As an alternative, you can create a permanent selection using the print area command. You'll find it on the page layout tab. Just select your data, then choose set print area from the menu. If you change your mind or no longer need it, choose clear to remove it. I do see some other things I'd like to address now, starting with the page orientation. Our current orientation is portrait or vertical. A good choice if your goal is to fit more rows on each page. I'd like to switch to landscape or horizontal so I can fit more columns instead. Another option is to go to Scaling and choose Fit All Columns on One Page. This automatically shrinks your printout so every column fits on a single sheet of paper. This can be a great way to condense your content, but it just depends on the worksheet. If you have a lot of data, it can make it difficult to read. I think I'll switch back to No Scaling, Then take a closer look at how the data is being arranged. There's enough of it here that the last few rows have to be listed on a separate page. The next two pages are also lacking some context. Luckily, we can repeat important data like the header row using a feature called Print Titles. That way, we'll know who these figures belong to and what months they're for. All you have to do is go to the Page Layout tab, and then click the Print Titles command. You can choose either Rows or Columns. the dialog box will collapse, and your cursor will turn into a selection arrow. From here, select the data you want to repeat, in this example, row 1. Then click the button to go back. Do the same for your columns if you have any that you want to include. I'm going to go ahead and select the first column with all the employees' names. When you're done, click OK. And we'll be able to confirm the change once we get back to the print pane. There's one more thing I'd like to adjust while I'm here. Remember how the last few rows had to be put on a separate page because there wasn't enough room? the last few rows, I want the data to be divided evenly—20 people on each page. To do this, I'm going to switch to Page Break Preview mode, using the button in the bottom right corner. This makes it easier to see your page breaks, so you can adjust them as needed. All you have to do is click and drag the blue dotted line, then release where you want the page break to go. Let's go back to the Print pane, where we can see the changes have taken effect. The data is now divided evenly on each page, and the print titles make it much easier to follow. As you can see, the Total column is the only thing that didn't make it onto the previous page. I bet we could fix that by making the margins a little smaller. You can adjust your margins manually using the button in the bottom right corner, or you can choose a preset from the Margins menu. I think the Narrow option should give us just enough room. Perfect! Now I'm ready to print. At this point, all you have to do is click the Print button, and Excel will print your data exactly as it appeared in the preview."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000283.mp3": {
        "gt": "I'D RATHER KEEP IT   SORT OF   BOLTED ON SOMEHOW   SO I'VE GOT THIS GARMIN MOUNTAIN BIKE MOUNT WHICH IS NICE BECAUSE IT MAKES YOUR COMPUTER SIT RIGHT ABOVE THE STEM  SO THAT'S REALLY SECURE ON THE BAR AS WELL  THREAD IT ROUND THERE   THROUGH THERE  SO LIGHTWEIGHT  ALTERNATIVELY YOU CAN GO SUPER LIGHTWEIGHT AND USE A FITNESS TRACKING WATCH   I'VE GOT THE GARMIN FENIX WHICH HAS GOT LOADS OF ADVANCED STUFF AS WELL  I'VE GOT COMMUTE ON THERE   SO IT'S A MAPPING AND NAVIGATION APP  SO I CAN SET UP MY ROUTE ON MY COMPUTER IF I WANT  SEND IT OVER   SYNC STRAIGHT TO MY COMPUTER  SWIPE AGAIN I'VE GOT A COMPASS  SWIPE AGAIN AND I'VE GOT A HEART RATE AND ALSO A GRAPH  I'VE ALREADY TALKED ABOUT USING COMMUTE TO PLAN RIDES   FOR NAVIGATION  HAVE THE ABILITY TO MAKE A COURSE ON THEM   NOT ALL DEVICES WILL HAVE THAT SORT OF MAP DATA ON THERE BUT THIS ONE DOES  PLUS YOU'VE ALSO GOT TRAILFORKS WHICH IS GREAT FOR GETTING IN  SO A HEART RATE MONITOR IS GOING TO CONNECT WIRELESSLY AND GIVE YOU THAT DATA ON THE SCREEN  SEE WHO'S GOT THE MOST FLOW AND HOW YOU CAN IMPROVE THAT  \n",
        "transcription_base": " I'd rather keep it sort of bolted on somehow. So I've got this Garmin mounted by mount, which is nice because it makes your future sit right above the stem. So that's really secure in the bar as well. Spread it right in there through there. So lightweight. Alternatively, you can go super lightweight and use a fitness tracking watch. I've got the Garmin Phoenix, which has got loads of advanced up as well. I've got a commute on there, so it's a mapping and navigation app. So I can set up my route on my computer if I want, send it over six straight to my computer. Swipe again, I've got a compass, swipe again, and I've got a heart rate and also a graph. I've already talked about using commute plan rides for navigation, have the ability to make a course on them. All devices will have that sort of map data on there, but this one does. Plus, you've also got trail forks, which is great for getting in. So heart rate monitor is gonna connect while I see and give you that data on the screen. See who's got the most phone and how you can improve that.",
        "transcription_medium": " I'd rather keep it bolted on somehow. I've got this Garmin mounted by mount, which is nice because it makes your computer sit right above the stem. That's really securing the bar as well. Thread it right in there through there, so lightweight. Alternatively, you can go super lightweight and use a fitness tracking watch. I've got the Garmin Phoenix, which has got loads of advanced stuff as well. I've got Komoot on there, so it's a mapping and navigation app, so I can set up my route on my computer if I want, send it over, sync straight to my computer. Swipe again, I've got a compass. Swipe again, and I've got a heart rate and also a graph. I've already talked about using Komoot to plan rides for navigation, have the ability to make a course on them. Not all devices will have that sort of map data on there, but this one does. Plus, you've also got TrailForks, which is great for getting in. Heart rate monitor is going to to connect wireless in and give you that data on the screen to see who's got the most flow and how you can improve that.",
        "transcription_large_v3": " I'd rather keep it sort of bolted on somehow. I've got this Garmin mountain bike mount, which is nice because it makes your computer sit right above the stem. That's really secure on the bar as well. Thread it right in there, through there, so lightweight. Alternatively, you can go super lightweight and use a fitness tracking watch. I've got the Garmin Fenix, which has got loads of advanced stuff as well. I've got Komoot on there, so it's a mapping and navigation app, so I can set up my route on my computer if I want, send it over, sync straight to my computer. Swipe again, I've got a compass. Swipe again and I've got a heart rate and also a graph. I've already talked about using Komoot to plan rides for navigation, have the ability to make a course on them. Not all devices will have that sort of map data on there, but this one does. Plus, you've also got TrailForks, which is great for getting in. Heart rate monitor is going to connect wirelessly and give you that data on the screen, see who's got the most flow and how you can improve that."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000299.mp3": {
        "gt": "YOU JUST HOVER OVER IT WITH YOUR MOUSE AND YOU CAN SEE THE DROP-DOWN MENU OPEN UP UNDERNEATH  YOU CAN INTERACT WITH THIS MENU BY CHECKING CHECKBOXES   YOU CAN CREATE A NEW CIRCLE AT THE BOTTOM  HOVERING OVER IT WITH YOUR MOUSE  AND SO THIS IS AN INTERACTION THAT LOOKS REALLY GOOD   AND IT PERFORMS REALLY WELL FOR YOU  BUT NOW   I WANT YOU TO TRY SOMETHING FOR ME  IMAGINE THAT YOU CAN'T SEE THE SCREEN  AND YOU CAN CLOSE YOUR EYES IF THAT HELPS  SO YOU CAN'T SEE THE SCREEN AND YOU WANT TO ADD SERGEY TO YOUR CIRCLES  BUT IF YOU CAN'T SEE THE SCREEN  THEN YOU CAN'T USE A MOUSE  SO MAYBE YOU'LL BE USING A KEYBOARD INSTEAD  BUT HOW DO YOU HOVER OVER THE ADD TO CIRCLES WIDGET IF YOU'RE JUST USING A KEYBOARD  THE ANSWER IS YOU CAN'T  IT'S IMPOSSIBLE  BUT IT ONLY PERFORMS REALLY WELL FOR A CERTAIN KIND OF USER  AND THAT'S THE KIND OF USER WHO CAN USE A MOUSE  BUT AS WEB DEVELOPERS   IT'S REALLY IMPORTANT FOR US TO TAKE INTO ACCOUNT THAT THERE'S LOTS OF DIFFERENT KINDS OF USERS  AND NOT ALL OF THEM CAN USE A MOUSE  AND WE REALLY NEED TO MAKE SURE THAT WE'RE DOING A GOOD JOB FOR THOSE USERS  AND THAT'S WHAT ACCESSIBILITY IS ALL ABOUT  MAKING YOUR WEB APPS USABLE BY EVERYONE  IT INCLUDES PEOPLE WHO CAN'T USE THE MOUSE  AND IT ALSO INCLUDES PEOPLE WHO USE ASSISTIVE TECHNOLOGY  ASSISTIVE TECHNOLOGY IS BASICALLY SOFTWARE OR HARDWARE THAT MAKES IT EASIER FOR SOMEONE WITH A DISABILITY TO USE THE INTERNET  SO THERE ARE LOTS OF DIFFERENT TYPES OF DISABILITIES AND SPECIAL NEEDS THAT USERS MIGHT HAVE  BUT FOR THE PURPOSES OF THIS TUTORIAL I'M GOING TO FOCUS ON SOLUTIONS FOR THREE GROUPS OF USERS  BLIND USERS  USERS WITH LOW VISION  AND MOTOR-IMPAIRED USERS  AND THE REASON FOR THAT IS THAT WE KNOW SOMETHING VERY POWERFUL ABOUT THESE USERS  WE ACTUALLY HAVE A LOT OF INFORMATION ABOUT HOW THEY'RE GOING TO BE ACCESSING OUR APPS  BLIND USERS WILL GENERALLY USE A SCREEN READER THAT DESCRIBES THE PAGE USING SPEECH OR BRAILLE OUTPUT  AND I ACTUALLY HAVE A PICTURE OF A BRAILLE DISPLAY RIGHT HERE  AND MOST BLIND USERS WHO USE A SCREEN READER  WHETHER OR NOT IT HAS SPEECH OUTPUT OR BRAILLE OUTPUT  WILL USE STANDARD KEYBOARD FOR INPUT  LOW VISION USERS WILL GENERALLY USE LARGE FONTS OR SOMETHING CALLED A SCREEN MAGNIFIER  AND I'LL SHOW YOU WHAT A SCREEN MAGNIFIER LOOKS LIKE ON THIS TAB  AND SO THAT'S THE SECOND TYPE OF USER  MOTOR-IMPAIRED USERS   WHO CAN'T USE A MOUSE  MIGHT USE SOME KIND OF SPECIAL KEYBOARD OR EVEN A VOICE CONTROL INTERFACE TO INTERACT WITH YOUR APP  SO BECAUSE WE KNOW A LOT ABOUT THE ASSISTIVE TECHNOLOGY THESE USERS ARE GOING TO BE USING  WE CAN DO A LOT TO MAKE SURE THAT OUR WEB APPS PERFORM WELL FOR THEM  I ALSO WANT TO NOTE THAT THESE THREE GROUPS OF USERS HAVE SOMETHING BIG IN COMMON  AND I'VE ACTUALLY ALREADY TALKED ABOUT IT  THESE THREE GROUPS OF USERS CAN'T USE THE MOUSE  SO WHEN YOU'RE TESTING YOUR APPS   IT'S REALLY IMPORTANT TO MAKE SURE THAT YOU TEST IT WITH THE KEYWORD AND THAT YOU CAN USE IT WITHOUT USING A MOUSE  SO NOW THAT WE KNOW A LITTLE BIT ABOUT THE DIFFERENT KINDS OF USERS WHO MIGHT BE ACCESSING OUR APP I WANT TO TALK A LITTLE BIT MORE ABOUT TESTING  I ALREADY MENTIONED THAT WE SHOULD BE TESTING OUR APPS USING JUST THE KEYBOARD  BUT I WANT TO INTRODUCE A TOOL THAT I'M GOING TO BE USING DURING THIS TALK  THIS IS CHROMEVOX  CHROMEVOX IS A SCREEN READER FOR CHROME THAT MY TEAM AT GOOGLE BUILT  CHROMEVOX WILL HELP ME DEMONSTRATE BETTER HOW AN ASSISTIVE TECHNOLOGY USER MIGHT EXPERIENCE A WEB APP  IT'S REALLY EASY TO USE   BECAUSE IT'S A CHROME EXTENSION  AND IT WAS DESIGNED COMPLETELY FOR THE WEB  YOU CONTROL IT USING KEYBOARD SHORTCUTS  IT INTERPRETS PAGES PRETTY MUCH THE SAME WAY THAT OTHER SCREEN READERS DO  BUT BECAUSE IT'S A CHROME EXTENSION IT'S REALLY EASY FOR DEVELOPERS TO SET UP AND USE  SO HOW DOES CHROMEVOX WORK  WELL   IT WORKS THE SAME WAY AS ANY OTHER SCREEN READER  LET ME DEMONSTRATE  AND IT ACTUALLY ALREADY STARTED SPEAKING THIS SLIDE ALREADY  HEADING   GROUP   SCREEN READER INTRODUCTION   HEADING TWO  ENTER YOUR NAME   EDIT TEXT  CHOOSE YOUR FAVORITE COLOR   RED   LIST BOX ONE OF TEN  SUBMIT BUTTON  HAVING TROUBLE  SO SOMEONE WHO CAN'T SEE THE SCREEN IS GOING TO GET THE FULL EXPERIENCE OF WHAT'S ON THE SCREEN   SO NOW THAT WE KNOW MORE ABOUT THE DIFFERENT KINDS OF ASSISTIVE TECHNOLOGY AND HOW WE CAN TEST OUR APPS USING ONLY THE KEYBOARD AND SCREEN READER LIKE CHROMEVOX  LET'S TALK ABOUT HOW WE GET THERE  HOW WE GET TO BUILDING A MORE ACCESSIBLE APP  FIRST   I'M GOING TO TALK ABOUT THE BUILDING BLOCKS  THE ESSENTIAL THINGS THAT YOU NEED TO KNOW WHEN YOU'RE JUST STARTING OUT  AND THEN I'M GOING TO INTRODUCE AN APPROACH THAT WE'VE BEEN TRYING OUT HERE AT GOOGLE  A SYSTEMATIC STEP-BY-STEP APPROACH TO TESTING AND BUILDING FOR ACCESSIBILITY  AFTER THAT   I'M GOING TO GO A LITTLE DEEPER AND TALK A LITTLE BIT MORE ABOUT CUSTOM INTERACTIVE CONTROLS  SOME OF THE MORE COMPLEX INTERACTIONS THAT YOU SEE   LIKE THE ADD TO CIRCLES WIDGET  AND THEN   AT THE END   I'M GOING TO LIST SOME TOOLS AND RESOURCES THAT YOU CAN USE TO HELP YOU   SO LET'S START FROM SCRATCH   AT THE DOM  WE CAN LOOK AT THE DOM OF A PAGE BY OPENING IT UP IN THE DEVELOPER TOOLS  WHICH I'M GOING TO DO RIGHT NOW  SO THIS RIGHT HERE IN THE LEFT-HAND PANE IS THE DOM  AND THIS IS THE DOM STRUCTURE  ARTICLE TAGS   HEADINGS   AND THE HIERARCHY  SO THE INTERESTING THING ABOUT THE DOM IS VISUALLY IMPAIRED USERS USING ASSISTIVE TECHNOLOGY LIKE A SCREEN READER SEE ONLY THE DOM  IT DOESN'T MATTER WHAT YOUR PAGE LOOKS LIKE   THEY SEE ONLY THE BUILDING BLOCKS OF THE PAGE  AND KEYBOARD-ONLY USERS NAVIGATE THE PAGE IN DOM ORDER   SO THEY GO BASICALLY TOP TO BOTTOM IN THE DOM  MOVING FOCUS AROUND TO NAVIGATE THE PAGE  SO YOU REALLY HAVE TO ADJUST YOUR THINKING HERE  THE DOM IS THE USERS' MENTAL IMAGE OF THE PAGE  THEY CAN'T SEE WHAT THE PAGE LOOKS LIKE   AND THEY'RE ONLY SEEING THE DOM  THAT'S THE WAY THESE USERS ARE GOING TO INTERACT WITH IT   SO KNOWING THIS   WE CAN THINK OF SOME BEST PRACTICES THAT WILL HELP THESE USERS  THE FIRST IS THAT WE WANT TO CREATE LOGICAL SECTIONS OF THE DOCUMENT  TO GROUP INTERFACE ELEMENTS THAT ARE RELATED TOGETHER  AND YOU CAN USE H T M L FIVE SEMANTIC ELEMENTS LIKE NAV AND HEADER TO MAKE THIS EASIER  NAV TO GROUP ALL YOUR NAVIGATION ELEMENTS TOGETHER  AND HEADER TO GROUP ALL YOUR HEADER CONTENT  AND THERE'S OTHER H T M L FIVE SEMANTIC ELEMENTS TOO  EVEN SOME OLD SCHOOL ONES   LIKE H ONE   H TWO   AND H THREE WILL HELP USERS BETTER UNDERSTAND THE STRUCTURE OF YOUR APP  YOU ALSO WANT TO MAKE SURE THAT PARTS OF CONTROLS ARE GROUPED TOGETHER IN THE DOM  SO I SEE THIS A LOT   WHERE YOU'LL HAVE A DROP-DOWN MENU BUTTON SOMEWHERE IN THE DOM  AND YOU CAN USE CSS TO MAKE THIS MAKE SENSE VISUALLY  BUT IF SOMEONE SEES ONLY THE DOM  THEY'RE NOT GOING TO KNOW WHERE THAT MENU IS   BECAUSE IT'S ALL THE WAY AT THE END OF THE DOM  SO YOU CAN MAKE THINGS EASIER BY GROUPING THINGS THAT ARE SUPPOSED TO BE TOGETHER TOGETHER IN THE DOM  AND THEN THIS LAST POINT IS PRETTY BASIC   BUT I'M GOING TO SAY IT AGAIN  YOU REALLY WANT TO MAKE SURE THAT YOU'RE USING CSS FOR LAYOUT INSTEAD OF USING TABLES  FOR THESE USERS   TABLES MEAN STRUCTURED DATA  THEY CAN'T SEE WHAT THE PAGE LOOKS LIKE   SO USING TABLES TO LAY OUT YOUR PAGE IS GOING TO BE VERY CONFUSING FOR THESE USERS  THIS IS A QUOTE THAT LOOKS LIKE IT MAKES A CERTAIN AMOUNT OF SENSE VISUALLY  THE RAIN IN SPAIN STAYS MAINLY IN THE PLAIN  SO LET'S SEE HOW CHROMEVOX READS IT  CHROMEVOX WAS JUMPING ALL OVER THE PLACE  AND THAT'S BECAUSE IF I OPEN UP THE DEVELOPER INSPECTOR AND INSPECT THESE ELEMENTS  YOU'LL SEE THAT THE DOM FOR THE PAGE ACTUALLY LOOKS LIKE THIS  THE DOM UNDERNEATH THE PAGE HAS THESE WORDS ALL OVER THE PLACE  PLAIN IN RAIN STAYS MAINLY IN THE SPAIN  AND WE'VE USED CSS TO POSITION IT IN A WAY THAT LOOKS LIKE IT MAKES SENSE  IT DOESN'T KNOW WHAT THE PAGE LOOKS LIKE VISUALLY  IT'S ONLY READING THE DOM  SO IT'S REALLY IMPORTANT TO MAKE SURE THAT YOUR DOM MAKE SENSE WHEN YOU'RE BUILDING A WEB APP  THE NEXT THING I WANT TO TALK ABOUT IS INTERACTIVE CONTROLS  AND THIS   I SWEAR   IS ONE OF THE EASIEST THINGS YOU CAN DO TO IMPROVE THE ACCESSIBILITY OF YOUR SITE  INSTEAD OF USING GENERIC DIVS AND SPANS FOR BUTTONS AND LINKS AND STUFF LIKE THAT  USE THE NATIVE HTML TAG THAT'S MOST APPROPRIATE  I USE THE TERMS DIV SOUP AND SPAN SALAD TO DESCRIBE APPS THAT ARE BUILT LIKE THIS  DON'T USE DIV SOUP  DON'T USE SPAN SALAD  IT JUST CREATES A REALLY CONFUSING DOM   AND IT CONFUSES THESE USERS  AND THERE'S TWO REASONS WHY  FIRST  SCREEN READERS CAN'T IDENTIFY GENERIC DIVS OR SPANS AS CONTROLS  THEY JUST SEE A DIV OR A SPAN IN THE DOM   AND THEY DON'T KNOW WHAT THAT'S SUPPOSED TO BE  THEY DON'T KNOW THAT YOUR SPAN WITH AN ONCLICK HANDLER IS SUPPOSED TO BE A LINK  THEY CAN'T CRAWL THROUGH THE JAVASCRIPT TO TRY AND FIGURE OUT EXACTLY WHAT THE DEVELOPER MEANT  SO THEY'RE JUST NOT GOING TO SPEAK IT AS INTERACTIVE AT ALL  ALSO   SPANS AND DIVS AREN'T FOCUSABLE BY DEFAULT  THEY WON'T RECEIVE KEYBOARD EVENTS  AND THIS IS EVEN WORSE  A USER WHO CAN SEE THE SCREEN AND WHO IS TRYING TO INTERACT WITH SOMETHING THAT YOU STYLED AS A BUTTON  IF THAT'S NOT FOCUSABLE   THEY'RE NEVER GOING TO BE ABLE TO SEND THE KEYBOARD EVENTS DO IT  SO NO DIV SOUP AND NO SPAN SALAD  I ALSO WANT TO NOTE THAT THERE'S NO REASON NOT TO USE THEM FOR MODERN BROWSERS  YOU CAN STYLE THEM HOWEVER YOU WANT   AND YOU CAN MAKE THEM LOOK LIKE ANYTHING  AND THEY GIVE YOU FOCUS MANAGEMENT AND KEYWORD SUPPORT FOR FREE  SCREEN READERS KNOW EXACTLY HOW TO IDENTIFY THEM  AND USERS KNOW HOW TO USE THEM  AND THAT'S REALLY ONE OF THE MOST IMPORTANT PARTS  SO THIS SLIDE IS A QUICK EXAMPLE OF HOW THIS WORKS  SO LET'S SEE WHAT CHROMEVOX SAYS  CLICK ON THIS BUTTON   ARTICLE  BUT THERE'S NO INDICATION THAT IT'S A BUTTON  THAT KEYBOARD EVENT ISN'T GETTING SENT TO THAT BUTTON   AND NOTHING IS HAPPENING ON THE PAGE  BUT THE GOOD THING IS  THE FIX FOR THIS IS REALLY EASY  YOU WANT TO CHANGE THIS DIV INTO A BUTTON  IT'S JUST ONE SIMPLE CHANGE   AND I'LL MAKE IT RIGHT NOW  AND YOU'LL SEE THAT NOTHING VISUALLY ON THE PAGE CHANGED   THE CSS IS DOING EVERYTHING RIGHT  REFRESH BUTTON  OK   LET'S MOVE ON TO THE SEND BUTTON AND SEE WHAT HAPPENS  RIGHT   THIS IS GREAT   CHROMEVOX SAID   SEND BUTTON  AND IF I PRESS ENTER  AND THIS IS SOMETHING THAT IS REALLY SIMPLE TO DO  BUT IT CAN REALLY SAVE YOU A LOT OF TIME LATER ON   SO YOU DON'T HAVE TO REIMPLEMENT ALL OF THIS STUFF LATER ON YOUR DIV SOUP AND SPAN SALAD  THE NEXT THING I WANT TO TALK ABOUT IS LABELING  LABELING IS ALSO SOMETHING THAT IS REALLY IMPORTANT   NOW THAT WE'RE TALKING ABOUT CONTROLS  YOU WANT TO MAKE SURE THAT YOU'RE LABELING YOUR FORM ELEMENTS  AND THE LABEL ELEMENT IS REALLY PERFECT FOR THIS TASK  ANOTHER THING THAT YOU WANT TO MAKE SURE YOU'RE DOING IS LABELLING YOUR IMAGES WITH THE ALT ATTRIBUTE  AND THIS IS REALLY IMPORTANT TOO  NOT JUST SOME OF THEM   ALL OF YOUR IMAGES  AND THE REASON WHY IS THAT IF THERE IS NO ALT ATTRIBUTE ON AN IMAGE  A SCREEN READER IS JUST GOING TO TRY AND SPEAK THAT IMAGE ANYWAY   IT'S GOING TO TRY AND IDENTIFY THAT IMAGE TO THE USER  BUT IT'S JUST GOING TO SPEAK THE FILE NAME OF THE IMAGE  AND FOR REALLY COMPLEX WEB APPS   THAT CAN GET HORRIBLE  THE FINAL NAMES FOR SOME OF THE IMAGES THAT I SEE EVERY DAY ARE REALLY   REALLY LONG STRINGS OF CHARACTERS  AND THAT GIVES USERS A REALLY TERRIBLE EXPERIENCE  AND I JUST WANT TO SAY  IF THE EXPERIENCE IS THAT BAD   THESE USERS WILL JUST LEAVE  A PAGE FULL OF UNLABELED FORM FIELDS AND UNLABELED IMAGES IS A TERRIBLE EXPERIENCE FOR USERS  AND SO THERE'S TWO KINDS OF ALT TEXTS THAT YOU NEED TO HAVE  EVERY IMAGE NEEDS TO HAVE IT  BUT IMPORTANT IMAGES NEED TO HAVE DESCRIPTIVE ALT TEXTS  THIS IS ALT TEXT THAT ACTUALLY DESCRIBES WHAT THE IMAGE IS  FOR IMAGES THAT ARE DECORATIVE   YOU CAN GIVE THEM BLANK ALT TEXT   SO THIS IS ALT TEXT THAT TELLS THE SCREEN READER THAT IT CAN SKIP THIS IMAGE ENTIRELY  BLANK ALT TEXT TELLS THE SCREEN READER NOT TO TRY TO READ THE FILE NAME   JUST SKIP THE IMAGE ENTIRELY   IT'S NOT NECESSARY  THIS IS A FORM THAT LOOKS LIKE A LOT OF FORMS THAT I SEE EVERY DAY  YOU'VE GOT THESE LABELS UNDERNEATH THESE TEXT FIELDS  USERNAME AND PIN  AND THEY'RE POSITIONED VISUALLY UNDERNEATH THE FORM  AND WE ALSO HAVE AN IMAGE   JUST FOR FUN  THAT'S UNLABELLED  BUT FOR BOTH OF THESE FIELDS   THERE'S ACTUALLY NO INDICATION WHAT THE USER IS SUPPOSED TO PUT IN THERE  IT CAN'T FIGURE OUT THAT IMAGE IS SUPPOSED TO BE   SO IT JUST READS THE FILE NAME  AND IT'S TOTALLY INEXPLICABLE WHAT THIS IMAGE IS SUPPOSED TO BE IF YOU CAN'T SEE THE SCREEN  SO   YOU CAN CLEARLY SEE THAT NAVIGATING AROUND A PAGE THAT IS FULL OF UNLABELED FIELD AND IMAGES WILL GET REALLY TEDIOUS FOR A USER  AND AGAIN   THIS IS ANOTHER REALLY EASY FIX  CHROMEVOX IS NOW INACTIVE  I'M CHANGING THIS SPAN TO BE A LABEL TAG  THIS SECOND ONE IS GOING TO EXPLICITLY BE ASSOCIATED WITH THE PASSWORD FIELD  AND YOU'LL SEE   AGAIN   VISUALLY THAT NOTHING CHANGED   CSS IS STILL STYLING THINGS CORRECTLY  AND THEN I'M ALSO GOING TO GIVE THIS POOR IMAGE AN ALT TAG  ALL RIGHT   SO I'VE MADE THESE CHANGES   LET'S TRY IT AGAIN WITH CHROMEVOX AND SEE WHAT HAPPENS  THE USER GETS BETTER INFORMATION ABOUT WHAT THESE FORM FIELDS ARE SUPPOSED TO BE  AND WE'RE GOING TO GET A LITTLE BIT MORE ADVANCED HERE  BASICALLY   YOU WANT TO MAKE SURE THAT YOU'RE MANAGING FOCUS  AND THE REASON FOR THIS THE SIMPLE  USERS WHO ARE NOT USING THE MOUSE  KEYBOARD-ONLY USERS  YOU CAN THINK OF FOCUS AS LIKE THEIR CURSOR  SO YOU CAN REALLY HELP THESE USERS OUT BY MAKING SURE THAT YOU KNOW WHERE FOCUS IS AND BY MANAGING IT APPROPRIATELY  I'M GOING TO GIVE YOU A QUICK DEMO OF WHAT SOMEONE NAVIGATING THROUGH PAGE USING FOCUS LOOKS LIKE  I'M JUST GOING TO PRESS TAB  AND YOU CAN SEE THAT THIS LITTLE BLUE BOX IS MOVING AROUND THE PAGE AS I PRESS TAB  PRESSING TAB IN A BROWSER MOVES FOCUS THROUGHOUT THE PAGE   IT'S JUST MOVING IT LINEARLY DOWN THE DOM   AND YOU CAN SEE IT MOVE THROUGHOUT THIS PAGE  CAN PRESS TAB TO MOVE LINEARLY UP AND DOWN THE DOM  OR SHIFT-TAB TO MOVE BACK UP  SO WHY IS THIS IMPORTANT  WELL  AND IF YOU PAY ATTENTION TO WHAT THE USER IS DOING  YOU CAN REALLY MAKE THINGS EASIER FOR THEM BY PUTTING FOCUS INTO APPROPRIATE PLACES AS THE USER IS PERFORMING A TASK   AND WHEN THE USER IS DONE WITH A CERTAIN TASK  YOU CAN RETURN FOCUS TO WHERE IT WAS BEFORE  AND IF YOU DO THESE THINGS   YOU'RE REALLY GOING TO HELP THEM OUT  A LOT OF TIMES   I SEE APPS WHERE FOCUS MIGHT JUST BE DROPPED ON THE FLOOR  AND THAT CAN BE REALLY FRUSTRATING  IF YOU'RE IN THE MIDDLE OF EDITING SOMETHING   AND THE FOCUS IS DROPPED ON THE FLOOR  AND YOU'RE SENT ALL THE WAY BACK TO THE TOP OF THE DOM  THAT'S FRUSTRATING  AND IT'S SOMETHING THAT IS REALLY COMMON FOR USERS TO EXPERIENCE  IT'S A POP-UP DIALOG BUTTON  AND YOU CAN SEE THAT IF YOU CLICK ON IT  IT OPENS THE DIALOG  AND IF YOU LOOK AT THE CODE BELOW  THIS THING  SO THE FACT THAT THIS DIALOG IS BEFORE THE BUTTON  BUT LET'S SEE WHAT CHROMEVOX DOES  TURNING CHROMEVOX ON  ADDING GROUP POP-UP DIALOG  GREAT   THE DIALOG OPENED  AND FOCUS DIDN'T MOVE  FOCUS IS STILL ON THE BUTTON  THIS DIALOG IS OPEN  BUT CHROMEVOX DIDN'T SPEAK ANYTHING   AND FOCUS IS STILL ON THE BUTTON  AND THAT'S A REALLY BAD EXPERIENCE  AND IF THE USER DID SOMEHOW TRY AND GET INTO THE DIALOG  LIKE MAYBE THEY'RE A KEYBOARD-ONLY USER WHO CAN SEE THE SCREEN  THEY'LL HAVE TO TAB ALL THE WAY AROUND THE PAGE BEFORE THEY CAN GET BACK TO THAT DIALOG  THAT'S SOMETHING THAT USERS MIGHT NOT BE ABLE TO FIGURE OUT  YOU'LL NOTICE THAT IF I OPEN THE DIALOG  AND I CLOSE THE DIALOG  FOCUS JUST GETS DROPPED ON THE FLOOR  AND NOTHING HAPPENED  SO THAT'S A POOR EXPERIENCE AS WELL  AND THE GOOD THING IS THERE'S A NUMBER OF DIFFERENT WAYS YOU CAN IMPROVE THIS EXPERIENCE   ONE OF THE WAYS IS ACTUALLY PUTTING FOCUS ON THE BUTTON AS SOON AS THE DIALOG OPENS  AND THIS IS WHEN THE DIALOG OPENS   SO I'M JUST GOING TO SET FOCUSTHEN I'M ALSO GOING TO BE A NICE PERSON   AND I'M GOING TO SET FOCUS BACK ON THE BUTTON WHEN THE DIALOG CLOSES  I'M GOING TO SET FOCUS BACK ON THAT BUTTON THERE  JUST DOUBLE CHECKING  LET'S SEE IF WE'VE IMPROVED THIS EXPERIENCE AT ALL FOR OUR USERS  CHROMEVOX ANNOUNCED THAT WE ENTERED THE DIALOG   AND FOCUS IS THROWN RIGHT BACK ONTO THE OK BUTTON  AND EVEN BETTER   A USER WHO CAN SEE THE SCREEN AND IS MAY BE ONLY USING THE KEYBOARDA CHROMEVOX USER OR ANY SCREEN READER USER WOULD BE ABLE TO NAVIGATE AROUND THE DIALOG AND FIGURE OUT WHAT THEY'RE SUPPOSED TO BE DOING  SO LET'S TRY CLOSING THE DIALOG   I'M GOING TO HIT ENTER ON THE OK BUTTON  SO THE USER IS RIGHT BACK WHERE THEY STARTED  AND YOU'VE HELPED THEM OUT A LOT WHEN THEY'RE GOING THROUGH THIS DIALOG WORKFLOW  IS KEYBOARD SHORTCUTS  AND KEYBOARD SHORTCUTS CAN BE REALLY HELPFUL TO HELP USERS NAVIGATE THROUGH YOUR APP EFFICIENTLY  AND THEY'RE ALSO REALLY GOOD FOR POWER USERS   WHO MAYBE AREN'T USING ASSISTIVE TECHNOLOGY AND WHO MAYBE CAN SEE THE SCREEN  BUT FOR POWER USERS   WHO USE YOUR APP A LOT   KEYBOARD SHORTCUTS CAN BE REALLY GREAT  THERE'S TWO DIFFERENT KINDS  NAVIGATION SHORTCUTS JUMP BETWEEN MAJOR INTERACTIVE AREAS  AND I'LL SHOW THOSE OFF TO YOU RIGHT NOW  YOU CAN SEE THAT I CAN USE J AND K KEYBOARD SHORTCUTS TO MOVE BETWEEN POSTS  THESE ARE NAVIGATION SHORTCUTS  THE SECOND TYPE OF KEYBOARD SHORTCUT IS AN ACTION SHORTCUT  ACTION SHORTCUTS BASICALLY JUST SIMPLIFY A USER'S WORKFLOW  SO YOU'LL SEE   YOU JUST PRESS THAT ONE KEYBOARD SHORTCUT I JUST PRESSED R AND IT OPENS UP A NEW REPLY FIELD   AND YOU CAN START COMPOSING RIGHT AWAY  INSTEAD OF HAVING TO FIND THE REPLY BUTTON   AND PRESS IT   AND OPEN IT BACK UP  IT'S REALLY SIMPLE   AND IT ENABLES A COMPLEX ACTION  THE IMPORTANT THING TO REMEMBER ABOUT SHORTCUTS   THOUGH   IS THAT THEY REALLY NEED TO BE DOCUMENTED SOMEWHERE  AND EVEN IF THEY ARE DOCUMENTED   NOT ALL USERS ARE GOING TO KNOW ABOUT THEM  SO KEYBOARD SHORTCUTS ARE GREAT   BUT THEY'RE NOT A BAND-AID FOR AN INACCESSIBLE PAGE  YOU MIGHT HAVE ALL THE KEYBOARD SHORTCUTS IN THE WORLD  BUT IF YOU DON'T LABEL YOUR FORM FIELDS   AND YOU DON'T HAVE ALT ATTRIBUTES  A USER IS STILL GOING TO HAVE A BAD EXPERIENCE  SO KEYBOARD SHORTCUTS ARE GREAT   BUT THEY DON'T SOLVE ALL PROBLEMS  SO NOW THAT I'VE GIVEN YOU THE BUILDING BLOCKS   LET'S MOVE ON AND TALK ABOUT A SYSTEMATIC APPROACH TO BUILDING ACCESSIBLE WEB APPS  YOU WANT TO CLEAN UP THE LOW-HANGING FRUIT   LOOK AT YOUR DOM ORDER AND MAKE SURE THAT RELATED CONTROLS ARE GROUPED TOGETHER  YOU CAN CREATE LOGICAL GROUPS WITH SEMANTIC TAGS LIKE NAV   HEADER   H ONE  AND THE LANDMARK ARIA ROLES  AND TRY TO AVOID DIV SOUP AND SPAN SALAD  FINALLY  YOU WANT TO LABEL YOUR CONTROLS AND IMAGES  AND THE GREAT THING ABOUT THESE BASIC ERRORS IS THAT THEY'RE EASIER TO CATCH AND FIX EARLY IN THE PROCESS  BUT ONCE YOU CATCH THEM   THE FIXES ARE REALLY EASY  NEXT   YOU WANT TO THINK ABOUT KEYBOARD NAVIGATION  TRY YOUR APP OUT WITH JUST THE KEYBOARD  AND MAKE SURE THAT YOU CAN REACH ALL INTERACTIVE CONTROLS BY TABBING  AND MANAGE FOCUS TO MAKE SURE THAT USERS CAN PERFORM TASKS WITH THE KEYBOARD EFFICIENTLY  KEYBOARD NAVIGATION IS SO   SO IMPORTANT TO TAKE CARE OF EARLY IN THE DEVELOPMENT PROCESS  WHEN YOU GET KEYBOARD NAVIGATION WORKING  BY TAKING CARE OF DOM STRUCTURE AND KEYBOARD NAVIGATION   YOU'LL HAVE DONE NINETY PERCENT OF THE WORK THAT YOU HAVE TO DO  SO NATIVE TAGS ARE REALLY GREAT  NATIVE LINKS AND BUTTONS ARE AWESOME  BUT IF YOU WANT TO ENABLE COMPLEX INTERACTIONS LIKE THE ADD TO CIRCLES WIDGET  IN MANY CASES   YOU'RE GOING TO END UP WITH DIV SOUP  BUT IT'S NOT THE END OF THE WORLD  WHAT YOU NEED TO DO IS REIMPLEMENT THE SEMANTICS OF A NATIVE CONTROL ON THE CUSTOM CONTROL  AND I ACTUALLY ALREADY TALKED TO YOU ABOUT HOW TO DO THIS  YOU WANT TO THINK ABOUT FOCUS MANAGEMENT FOR YOUR CUSTOM CONTROL  AND IT'S ALSO IMPORTANT TO THINK ABOUT KEYBOARD SUPPORT  REIMPLEMENTING BOTH OF THOSE THINGS IS GOING TO GIVE YOUR USERS A REALLY GOOD EXPERIENCE  YOU ALSO NEED TO DO ADDITIONAL WORK FOR SCREEN READERS  AND THAT'S ADDING SOMETHING CALLED ARIA ATTRIBUTES  I SAID BEFORE THAT IT'S IMPOSSIBLE FOR SCREEN READERS TO IDENTIFY WHAT A BUNCH OF DIVS IN THE DOM ARE SUPPOSED TO BE  SO ADDING ARIA ATTRIBUTES GIVES SCREEN READERS A HINT AS TO WHAT YOUR CUSTOM CONTROLS ARE SUPPOSED TO BE   SO THEY CAN DO A BETTER JOB INTERPRETING THEM TO THE USER  SO IT HELPS YOU WORK AROUND THE DOWNSIDES OF DIV SOUP FOR SCREEN READERS  SO COMING BACK TO THE ADD TO CIRCLES WIDGET  IT'S PRETTY MUCH THE DEFINITION OF DIV SOUP  AND THIS IS THE SIMPLIFIED VERSION OF THE ADD TO CIRCLES WIDGET  THE ACTUAL CODE FOR IT WOULD NOT EVEN FIT ON THIS PAGE  AND IT'S MOSTLY DIVS AND SPANS  THE ADD TO CIRCLES WIDGET   IMPLEMENTED JUST LIKE YOU SEE HERE  IS IMPOSSIBLE FOR A SCREEN READER TO UNDERSTAND  AND IT WOULD BE REALLY DIFFICULT FOR A KEYBOARD-ONLY USER TO USE IT  SO I'M ACTUALLY GOING TO WALK YOU THROUGH HOW WE IMPROVED IT  IT'S STILL DIV SOUP  BUT WE'VE GOT EXTRA INFORMATION IN THERE TO MAKE IT A LOT EASIER FOR KEYBOARD-ONLY USERS AND SCREEN READER USERS TO USE  I'LL WALK YOU THROUGH THE CODE   BECAUSE I'LL BE TALKING ABOUT THIS LATER  THE FIRST DIV THAT YOU SEE HERE IS THE ADD TO CIRCLES WIDGET ITSELF  AND THE SECOND DIV IS THE DROP-DOWN  YOU CAN SEE IT'S GOT A BUNCH OF DIVS FOR CHECKBOXES  AND IT'S ACTUALLY APPENDED AT THE END OF THE DOM FOR CSS REASONS  SO THAT'S ONE OF THE THINGS THAT WE NEEDED TO FIX  SO THE FIRST THING WE HAVE TO DO IS MANAGE FOCUS  REMEMBER WHEN I SAID THAT DIVS AND SPANS AREN'T KEYBOARD FOCUSABLE  WELL   YOU CAN MAKE THEM KEYBOARD FOCUSABLE BY ADDING AN ATTRIBUTE CALLED TABINDEX  THERE'S A BUNCH OF DIFFERENT WAYS TO ADD TABINDEX  AND THEY'RE LISTED ON THIS SLIDE  BUT ESSENTIALLY   IF YOU ADD TABINDEX EQUALS ZERO TO A DIV  IT ADDS THAT DIV INTO THE TAB ORDER  SO IF YOU HAVE A USER WHO IS NAVIGATING AROUND THE PAGE BY PRESSING TAB  THAT USER WILL BE ABLE TO FOCUS ON THAT DIV AND SEND IT KEYBOARD EVENTS  YOU CAN ADD KEYBOARD HANDLING   AND YOU CAN ADD LABELS   AND ALL THAT STUFF I TALKED ABOUT EARLIER  BUT IF YOUR DIVS AREN'T FOCUSABLE  A USER WON'T BE ABLE TO INTERACT WITH THEM  AND SO THAT'S WHY IT'S SO IMPORTANT  REMEMBER   WE CAN PROACTIVELY PLACE FOCUS THAT WAY TO CREATE AN EFFICIENT WORKFLOW FOR USERS  YOU WANT TO ADD KEY HANDLERS SO THAT A USER CAN USE ENTER AND SPACE AND ARROWS AND ESCAPE TO INTERACT WITH YOUR CONTROL  AND ONE OF THE BEST WAYS I'VE FOUND TO DO THIS IS TO PICK A NATIVE CONTROL AND THEN TRY AND MIMIC IT  THIS CAN BE A NATIVE CONTROL AS SIMPLE AS A BUTTON OR A SELECT BOX  OR IT CAN BE SOMETHING AS COMPLICATED AS SOMETHING THAT YOU'D FIND ON A NATIVE OPERATING SYSTEM  LIKE A TAB PANEL OR SOMETHING LIKE THAT  BUT THESE KINDS OF NATIVE CONTROLS USUALLY HANDLE KEYS LIKE ENTER OR THE ARROW KEYS REALLY WELL  AND USERS KNOW HOW TO INTERACT WITH THESE KINDS OF WIDGET  THEY KNOW TO PRESS THE ARROW KEYS TO MOVE UP AND DOWN IN A SELECT BOX  SO IF YOU MIMIC THAT NATIVE CONTROL  A USER IS AUTOMATICALLY GOING TO KNOW A LOT ABOUT WHAT THEY HAVE TO DO IN ORDER TO INTERACT WITH YOUR CONTROL  SO   IF YOU LOOK AT THIS GUIDE   YOU CAN ACTUALLY GET A GOOD IDEA FOR WHAT USERS MIGHT EXPECT WHEN THEY ENCOUNTER YOUR CONTROL  SO THIS CODE IS JUST AN EXAMPLE OF WHAT A KEYBOARD HANDLER MIGHT LOOK LIKE UNDERNEATH HERE  WITH RETURN ON REPLY KEY DOWN AND CHECKING FOR KEY CODES AND STUFF LIKE THAT  SO BACK TO THE ADD TO CIRCLES WIDGET  WHAT YOU'RE GOING TO BE DOING IS PICKING NATIVE ELEMENTS AND THEN TRYING TO MIMIC THEM   JUST LIKE I SAID BEFORE  THE ADD TO CIRCLES WIDGET  TO A KEYBOARD-ONLY USER OR A SCREEN READER USER  TO A SIGHTED USER   YOU HOVER OVER IT  BUT THEN AGAIN   A KEYBOARD-ONLY USER CAN'T HOVER  SO LET'S MAKE IT LIKE A BUTTON  AND THEN   AFTER WE DO THAT   WE'RE GOING TO ADD KEYBOARD EVENTS LIKE ENTER AND SPACE  REMEMBER   A KEYBOARD-ONLY USER CAN'T DO HOVER  SO ENTER AND SPACE MIMIC THE BEHAVIOR OF A REGULAR BUTTON  AS FOR THE MENU ITSELF  IT'S A DROP-DOWN MENU  AND IT'S ACTUALLY KIND OF LIKE A MODAL DIALOG  IF YOU THINK ABOUT IT  WHEN YOU HOVER OVER THE BUTTON AND I'LL SHOW YOU WHAT THAT LOOKS LIKE AGAIN  YOU HOVER OVER IT   YOU HAVE THIS MODAL DIALOG THAT APPEARS  AND THAT'S PRETTY MUCH THE SAME WAY A MODAL DIALOG WORKS  YOU CAN'T INTERACT WITH THE REST OF THE PAGE UNTIL A MODAL DIALOG DISAPPEARS  AS WE SAW IN THAT EARLIER EXAMPLE  LIKE WE DID ON THE OK BUTTON IN THE DIALOG EXAMPLE  SO THAT'S WHAT WE WANT TO DO FOR THE DROP-DOWN MENU  WE ASK FOR THE FIRST FOCUSABLE ELEMENT AND WE PUT FOCUS ON IT  THE NEXT THING THAT YOU WANT TO DO IS TRAP FOCUS INSIDE THE DIALOG  YOU DON'T WANT THE PERSON TO ACCIDENTALLY FALL OUT AND NOT KNOW WHERE THEY ARE ON THE PAGE  WE ALSO ADDED ESCAPE AS A KEYBOARD SHORTCUT  BECAUSE THAT'S SOMETHING THAT'S COMMONLY FOUND IN NATIVE DIALOGS  THEN ANOTHER IMPORTANT THING TO REMEMBER  WHEN THE DIALOG CLOSES WE WANT IT TO SET FOCUS BACK ONTO THE ADD TO CIRCLES WIDGET  INSTEAD OF DROPPING IT ON THE FLOOR  SO I'LL SHOW YOU AN EXAMPLE OF HOW THIS WORKS  I'M JUST GOING TO USE THE KEYBOARD INSTEAD OF CHROMEVOX  SO LET'S GO BACK TO SUNDAR'S PROFILE  AND I'M GOING TO GET KEYBOARD FOCUS ONAND I'M GOING TO PRESS ENTER  AND YOU CAN SEE   RIGHT AWAY   THE DIALOG OPENED  AND I CAN USE TAB TO KIND OF MOVE THROUGH THE REST OF THIS DIALOG  SO NEXT   I WANT TO TALK ABOUT SCREEN READER ACCESSIBILITY AND THE ADD TO CIRCLES WIDGET  AND I MENTIONED ARIA BEFORE  SO OUR ADD TO CIRCLES WIDGET IS A PILE OF DIVS  AND AS I POINTED OUT EARLIER   SCREEN READERS HAVE REAL DIFFICULTY IDENTIFYING WHAT A PILE OF DIVS IS SUPPOSED TO BE  SO ARIA IS ESSENTIALLY A SET OF H T M L FIVE ATTRIBUTES THAT ACTUALLY PROVIDE THAT INFORMATION TO SCREEN READERS  THE INFORMATION THAT A SIGHTED USER GETS VISUALLY YOU CAN PROVIDE TO A SCREEN READER USER BY NOTING WITH ARIA  THIS DIV IS A BUTTON   OR THIS DIV IS A MENU  JUST ADDING AN ARIA ATTRIBUTE DOESN'T ACTUALLY GIVE A WIDGET KEYBOARD HANDLING   OR FOCUS MANAGEMENT   OR ANYTHING LIKE THAT  YOU STILL NEED TO ADD THAT STUFF  ARIA IS JUST A LAYER ON TOP THAT SPECIFICALLY HELPS SCREEN READERS IDENTIFY WHAT THINGS ARE  SO LET'S TALK ABOUT ARIA ROLES  THERE ARE TWO CATEGORIES OF ARIA ATTRIBUTES  ARIA ROLES AND ARIA STATES AND PROPERTIES  THE ROLE ATTRIBUTE IS STATIC  IT INDICATES THAT THIS GENERIC TAG IS BEHAVING A CERTAIN WAY  SO IN THIS EXAMPLE   THIS DIV HERE IS GOING TO BE BEHAVING LIKE A BUTTON  IT'S TAKING ON THE ROLE OF A BUTTON  YOU CAN ALSO USE ARIA ATTRIBUTES TO INDICATE COMPOSITE CONTROLS  YOU CAN USE ARIA THERE TOO  WE CAN EXPLICITLY STATE THAT THIS NEXT DIV IS PLAYING THE ROLE OF MENU ITEM USING THE ROLE EQUALS MENU ITEM ATTRIBUTE  AND THERE'S A LOT OF DIFFERENT ROLES THAT YOU CAN PICK AND CHOOSE FROM TO ADD TO YOUR GENERIC CONTROLS  ANOTHER TYPE OF ROLE THAT I MENTIONED EARLIER IS A LANDMARK ROLE  YOU CAN USE A LANDMARK ROLE TO ACTUALLY IDENTIFY SEPARATE AREAS OF YOUR APP TO SCREEN READER  YOU CAN USE THEM TOGETHER WITH THE NEW H T M L FIVE SEMANTIC TAGS TO CREATE A REALLY RICH USER EXPERIENCE  SO IN THIS EXAMPLE   I USED TO THE SECTION SEMANTIC TAG  BUT ALSO GAVE IT THE ROLE OF SEARCH  THIS INDICATES TO A SCREEN READER THAT THIS SECTION OF THE SITE IS THE SEARCH SECTION  A SECOND CATEGORY OF ARIA ATTRIBUTE CONTAINS ARIA STATES AND PROPERTIES  THESE ARE BOTH DYNAMIC  ARIA STATES ADD DYNAMIC INFORMATION ABOUT THE CURRENT STATE OF AN ELEMENT  AND YOU CAN USE THEM IN ADDITION TO ROLES TO IDENTIFY WHAT AN ELEMENT IS CURRENTLY DOING  FOR EXAMPLE  IT ALSO HAS THE ARIA ATTRIBUTE ARIA CHECKED EQUALS TRUE  AND AS THIS CHECKBOX GETS CHECKED AND UNCHECKED  WE CAN ACTUALLY UPDATE THIS ARIA STATE IN OUR JAVASCRIPT  THERE'S A BUNCH OF DIFFERENT STATES ASSOCIATED WITH THE DIFFERENT ROLES THAT YOU CAN USE TO ADD RICHER INFORMATION ABOUT THE CURRENT STATE OF A DYNAMIC CONTROL  BUT ESSENTIALLY   YOU CAN USE IT TO IDENTIFY DYNAMIC CONTENT ON A PAGE  YOU'RE ADDING IT TO ELEMENTS THAT ARE GOING TO GET UPDATED  AND IF YOU WANT MORE INFORMATION  WHICH I'LL OPEN UP  AND THIS DOCUMENT CAN BE REALLY VALUABLE IF YOU'RE TRYING TO LEARN ABOUT HOW TO DO THIS  IF YOU REMEMBER THAT KEYBOARD FOCUS IS LIKE A CURSOR  AND IF YOU HAVE A LOT OF STUFF THAT IS HAPPENING OUTSIDE OF WHERE THAT CURSOR IS  THINGS GET CONFUSING REALLY FAST  SO LET'S GO BACK TO THE ADD TO CIRCLES WIDGET  NOW WE KNOW ABOUT ARIA  AND WE HAVE THIS PILE OF DIVS  SO WE WANT TO MAKE SURE THAT WE ADD SOME ARIA TO ENSURE THAT A SCREEN READER USER CAN UNDERSTAND WHAT THE ADD TO CIRCLES WIDGET IS SUPPOSED TO BE DOING  SO THE FIRST THING THAT WE'RE GOING TO SPECIFY IS THAT THIS ELEMENT IS A BUTTON  AND YOU'LL NOTICE THAT WE HAVE TABINDEX EQUALS ZERO IN THERE  WHICH IS REALLY   REALLY IMPORTANT FOR ARIA  AGAIN  WE ALSO WANT TO SPECIFY THAT THE ADD TO CIRCLES DROP-DOWN DIALOG IS   IN FACT   A DIALOG   LIKE WE DECIDED EARLIER  SO WE'RE GOING TO ADD ROLE EQUALS DIALOG  AND WE DID   UNFORTUNATELY   ALSO USE DIVS FOR CHECKBOXES HERE  SO WE ALSO WANT TO SPECIFY THAT THOSE DIVS ARE INDEED CHECKBOXES  SO WE GIVE THEM ROLE EQUALS CHECKBOX AND UPDATE ARIA CHECKED IN THE JAVASCRIPT AS THE PERSON CHECKS OR UNCHECKS THE CHECKBOX  SO NOW THAT WE'VE ADDED ALL OF THIS ARIA FOR SCREEN READER USERS  LET'S TRY OUT THE ADD TO CIRCLES WIDGET WITH CHROMEVOX  SO HERE WE ARE ON SUNDAR'S PROFILE   AND YOU CAN SEE THE ADD TO CIRCLES WIDGET RIGHT AT THE TOP  ADD TO CIRCLES BUTTON  A USER WHO CAN'T SEE THE SCREEN DOESN'T CARE ABOUT ANY OF THAT  WE SAY THAT IT'S A BUTTON   AND THEY KNOW HOW TO INTERACT WITH THE BUTTON  BECAUSE PEOPLE HAVE INTERACTED WITH THIS STUFF BEFORE   THEY KNOW HOW TO DO IT  SO IT MAKES THINGS A LOT EASIER FOR THESE USERS  KEEPING TRACK OF KEYBOARD   AND ADDING ARIA   WE CAN TURN IT INTO SOMETHING THAT MAKES A LOT OF SENSE FOR DIFFERENT KINDS OF USERS  LET'S GO OVER HOW WE GOT HERE  FIRST  YOU WANT TO MAKE SURE THAT YOU'RE STRUCTURING YOUR DOM IN A SENSIBLE WAY  IT'S TRUE FOR ALL WEB APPS   AND IT'S ALSO TRUE FOR CUSTOM CONTROLS THEMSELVES  YOU ALSO WANT TO MAKE SURE YOUR CONTROLS AND IMAGES ARE LABELED  YOU WANT TO MAKE SURE YOU HAVE INTUITIVE FOCUS MANAGEMENT  THAT YOU'RE GUIDING THE USER AROUND THE PAGE BY MOVING FOCUS PROACTIVELY  YOU ALSO WANT TO MAKE SURE THAT YOUR APP CAN BE USED ENTIRELY WITH THE KEYBOARD  BECAUSE   REMEMBER   NOT ALL USERS ARE ABLE TO USE THE MOUSE  YOU HAVE TO HAVE KEYBOARD HANDLING AND FOCUS MANAGEMENT SO YOU CAN UNPLUG YOUR MOUSE   USE YOUR APP   AND HAVE EVERYTHING WORK JUST LIKE YOU EXPECT IT TO  AND ADDITIONALLY   INCLUDE ARIA FOR SCREEN READER USERS  TO HELP SCREEN READER USERS IN THE MIDST OF DIV SOUP AND SPAN SALAD  SO NOW I'M GOING TO LIST SOME TOOLS AND RESOURCES THAT CAN HELP YOU GET YOUR APP TO BEING A MORE ACCESSIBLE EXPERIENCE  THE FIRST ONE IS CHROMEVOX   WHICH I WAS USING TO DEMONSTRATE  IT'S SOMETHING THAT ANY DEVELOPER CAN INSTALL ON CHROME AND USE RIGHT AWAY  AND THE GREAT THING ABOUT CHROMEVOX IS THAT IT'S ALSO OPEN SOURCE  THERE'S OTHER NO-COST SCREEN READERS OUT THERE  AS A DEVELOPER   IT'S SUPER IMPORTANT TO TEST YOUR APP USING JUST THE KEYBOARD  BUT IT'S ALSO GOOD TO TAKE A TEST DRIVE WITH A SCREEN READER  SOME OTHER LIBRARIES WITH ACCESSIBILITY SUPPORT INCLUDE DOJO TOOLKIT  SO WHETHER YOU'RE BUILDING A WEB APP FROM SCRATCH  OR YOU'RE WORKING ON REFINING A COMPLEX UI CONTROL LIKE THE ADD TO CIRCLES WIDGET  IT'S DEFINITELY POSSIBLE TO DELIVER A DYNAMIC   ACCESSIBLE EXPERIENCE THAT LOOKS REALLY GOOD TO SIGHTED USERS  BUT PERFORMS REALLY WELL FOR ALL KINDS OF USERS  THE FIRST STEP IN THIS PROCESS IS REALLY EASY  JUST CLOSE YOUR EYES OR UNPLUG YOUR MOUSE AND TRY TO USE YOUR APP  ONCE YOU TRY THAT  YOU CAN PROBABLY FIGURE OUT SOME THINGS TO FIX THAT CAN MAKE THE EXPERIENCE A LOT BETTER  AND FINALLY  FOLLOWING H T M L FIVE STANDARDS  ESPECIALLY ARIA  ARE GOING TO GET YOU THE REST OF THE WAY THERE  TO AN APP THAT WORKS WELL FOR EVERYBODY  SO THANK YOU VERY MUCH FOR TUNING INTO THIS DEVELOPER TUTORIAL  I HOPE YOU HAD A LOT OF FUN WATCHING IT   OR AT LEAST LEARNED SOMETHING  \n",
        "transcription_base": " You just hover over it with your mouse, and you can see the drop-down menu open up underneath. You can interact with this menu by checking check boxes, you can create a new circle at the bottom, hovering over it with your mouse. And so this is an interaction that looks really good, and it performs really well for you. But now I want you to try something for me. Imagine that you can't see the screen, and you can close your eyes if that helps. So you can't see the screen, and you want to add surrogate to your circles. But if you can't see the screen, then you can't use use a mouse. So maybe you'll be using a keyboard instead. But how do you hover over the Add to Circles widget if you're just using a keyboard? The answer is, you can. It's impossible. But it only performs really well for a certain kind of user. And that's the kind of user who can use a mouse. But as web developers, it's really important for us to take a new account that there's lots of different kinds of users. And not all of them can use a mouse. And we really need to make sure that we're doing a good job for those users. And that's what accessibility is all about. Making your web apps usable by everyone. It includes people who can't use the mouse. And it also includes people who use assistive technology. Assistive technology is basically software or hardware that makes it easier for someone with a disability to use the internet. So there are lots of different types of disabilities and special needs that users might have. But for the purposes of this tutorial, I'm going to focus on solutions for three groups of users. Blind users, users with low vision, and motor impaired users. And the reason for that is that we know something very powerful about these users. We actually have a lot of information about how they're going to be accessing our apps. Blind users will generally use a screen reader that describes the page using speech or braille output. And I actually have a picture of a braille display right here. And most blind users have used a screen reader, whether or not it has speech output or braille output, we'll use standard keyboard for input. Low vision users will generally use large fonts or something called a screen magnifier. And I'll show you what a screen magnifier looks like on this tab. So that's the second type of user. Motor-impaired users, who can't use a mouse, might use some kind of special keyboard or even a voice control interface to interact with your app. So because we know a lot about the assistive technology, these users are going to be using, we can do a lot to make sure that our web apps perform well for them. I also want to note that these three groups of users have something big and common. And I've actually already talked about it. These three groups of users can't use the mouse. So when you're testing your apps, it's really important to make sure that you test it with the keyboard and that you can use it without using a mouse. So now that we know a little bit about the different kinds of users who might be accessing our app, I want to talk a little bit more about testing. I already mentioned that we should be testing our apps using just the keyboard, but I want to introduce the tool that I'm going to be using during this talk. This is Chromebox. Chromebox is a screen reader for Chrome that my team at Google built. Chromebox will help me demonstrate better how an assistive technology user might experience a web app. It's really easy to use because it's a Chrome extension. And it was designed completely for the web. You control it using keyboard shortcuts. It interprets pages pretty much the same way that other screen readers do. But because it's a Chrome extension, it's really easy for developers to set up and use. So how does Chromebox work? Well, it works the same way as any other screen reader. Let me demonstrate. And it actually already started speaking this slide already. Having group, screen reader introduction, having to enter your name at a text, choose our favorite color, red, list, box, one of 10, submit, button, having trouble. So someone who can't see the screen is going to get the full experience of what's on the screen. So now that we know more about the different kinds of assistive technology and how we can test our apps using only the keyboard and a screen reader like Chromebox, let's talk about how we get there, how we get to building a more accessible app. First, I'm going to talk about the building blocks, the essential things that you need to know when you're just starting out. And then I'm going to introduce an approach that we've been trying out here at Google, a systematic step-by-step approach to testing and building for accessibility. After that, I'm going to go a little deeper and talk a little bit more about custom interactive controls, some of the more complex interactions that you see, like the Add to Circles widget. And then at the end, I'm going to list some tools and resources that you can use to help you. So let's start from scratch at the DOM. We can look at the DOM of a page by opening it up in the developer tools, which I'm going to do right now. So this right here in the left-hand pane is the DOM. And this is the DOM structure, article tags, headings, and the hierarchy. So the interesting thing about the DOM is visually impaired users using assistive technology like a screen reader see only the DOM. It doesn't matter what your page looks like. They see only the building blocks of the page. And keyboard only users navigate the page in DOM order. So they go basically top to bottom in the DOM, moving focus around to navigate the page. So you really have to adjust your thinking here. The DOM is the user's mental image of the page. They can't see what the page looks like, and they're only seeing the DOM. That's the way these users are going to interact with it. So knowing this, we can think of some best practices that will help these users. The first is that we want to create logical sections of the document to group interface elements that are related together. And you can use HTML5 semantic elements like nav and header to make this easier. Nav to group all your navigation elements together and header to group all your header content. And there's other HTML5 semantic elements too. Even some old school ones, like H1, H2, and H3, will help users better understand the structure of your app. You also want to make sure that parts of controls are grouped together in the DOM. So I see this a lot where you'll have a drop-down menu button somewhere in the DOM. And you can use CSS to make this make sense visually. But if someone sees only the DOM, they're not going to know where that menu is, because it's all the way at the end of the DOM. So you can make things easier by grouping things that are supposed to be together, together in the DOM. And then this last point is pretty basic, but I'm going to say it again. You really want to make sure that you're using CSS for layout instead of using tables. For these users, tables means structured data. They can't see what the page looks like. So using tables to layout your page is going to be very confusing for these users. This is a quote that looks like it makes a certain amount of sense visually. The rain in Spain stays mainly in the plain. So let's see how Chromebox reads it. Chromebox was jumping all over the place. And that's because if I open up the developer inspector and inspect these elements, you'll see that the DOM for the page actually looks like this. The DOM underneath the page has these words all over the place, plain in rain stays mainly in the Spain. And we view CSS to position it in a way that looks like it makes sense. It doesn't know what the page looks like visually. It's only reading the DOM. So it's really important to make sure that your DOM makes sense when you're building a web app. The next thing I want to talk about is interactive controls. And this, I swear, is one of the easiest things you can do to improve the accessibility of your site. Instead of using generic divs and spans for buttons and links and stuff like that, use the native HTML tag that's most appropriate. I use the terms div soup and span salad to describe apps that are built like this. Don't use div soup, don't use span salad. It just creates a really confusing DOM and it confuses these users. And there's two reasons why. First, screen readers can't identify generatives or spans as controls. They just see a div or a span in the DOM, and they don't know what that's supposed to be. They don't know that your span with an on-click handler is supposed to be a link. They can't crawl through the JavaScript to try and figure out exactly what the developer meant. So they're just not going to speak it as interactive, at all. Also, spans and divs aren't focusable by default. They won't receive keyboard events. And this is even worse. A user who can see the screen and who is trying to interact with something that you styled as a button. If that's not focusable, they're never going to be able to send keyboard events to it. So no div soup and no spam salad. I also want to note that there's no reason not to use them for modern browsers. You can style them however you want, and you can make them look like anything. And they give you focus management and keyboard support for free. Screen readers know exactly how to identify them, and users know how to use them. And that's really one of the most important parts. So this slide is a quick example of how this works. So let's see what ChromeVox says. Click on this button, article. But there's no indication that it's a button. That keyboard event isn't getting sent to that button and nothing is happening on the page. But the good thing is, the fix for this is really easy. You want to change this div into a button. It's just one simple change and I'll make it right now. And you'll see that nothing visually on the page changed. The CSS is doing everything right. Refresh button. OK, let's move on to the send button and see what happens. Right, this is great. Chromebox said send button. And if I press enter, and this is something that is really simple to do, but it can really save you a lot of time later on, so you don't have to re-implement all of this stuff later on your div soup and span salad. The next thing I want to talk about is labeling. Labeling is also something that is really important, now that we're talking about controls. You want to make sure that you're labeling your form elements. And the label element is really perfect for this task. Another thing that you want to make sure you're doing is labeling your images with the alt attribute. And this is really important too, not just some of them, all of your images. And the reason why is that if there is no alt attribute on an image, a screen reader is just going to try and speak that image anyway. It's going to try and identify that image to the user. But it's just going to speak the file name of the image. And for really complex web apps, that can get horrible. The file names for some of the images that I see every day are really, really long strings of characters. And that gives users a really terrible experience. And I just want to say, if the experience is that bad, these users will just weave. A page full of unlabeled form fields and unlabeled images is a terrible experience for users. And so there's two kinds of alt text that you need to have. Every image needs to have it, but important images need to have descriptive alt text. This is alt text that actually describes what the image is. For images that are decorative, you can give them blank alt text. So this is alt text that tells the screen reader that it can skip this image entirely. Blank alt text tells the screen reader not to try to read the file name, just skip the image entirely. It's not necessary. This is a form that looks like a lot of forms that I see every day. You've got these labels underneath these text fields, username and pin, and they're positioned visually underneath the form. And we also have an image just for fun that's unlabeled. But for both of these fields, there's actually no indication what the user is supposed to put in there. It can't figure out what that image is supposed to be, so it just reads the file name. And it's totally inexplicable what this image is supposed to be if you can't see the screen. So you can clearly see that navigating around a page that is full of unlabeled fields and images will get really tedious for a user. And again, this is another really easy fix. Chromevox is now inactive. I'm changing this span to be a labeled tag. And the second one is going to explicitly be associated with the password field. And you'll see, again, visually, that nothing changed. CSS is still styling things correctly. And then I'm also going to give this poor image and alt tag. All right, so I've made these changes. Let's try it again with Chromevox and see what happens. The user gets better information about what these form fields as opposed to be. And we're gonna get a little bit more advanced here. Basically, you wanna make sure that you're managing focus. And the reason for this is simple. Users who are not using the mouse, keyboard only users. You can think of focus as like their cursor. So you can really help these users out by making sure that you know where focus is and by managing it appropriately. I'm gonna give you a quick demo of what someone navigating through a page using focus looks like. I'm just gonna press tab, and you can see that this little blue box is moving around the page as I press tab. Pressing tab in a browser moves focus throughout the page. It's just moving it linearly down the DOM, and you can see it moved throughout this page. Can press tab to move linearly up and down the DOM, or a shift tab to move back up. So why is this important? Well, and if you pay attention to what the user is doing, you can really make things easier for them by putting focus into appropriate places as the user is performing a task. And when the user is done with a certain task, you can return focus to where it was before. And if you do these things, you're really going to help them out. A lot of times, I see apps where focus might just be dropped on the floor. And that can be really frustrating. If you're in the middle of editing something, and the focus is dropped on the floor, and you're sent all the way back to the top of the DOM, that's frustrating. And it's something that is really common for users to experience. It's a pop-up dialog button. And you can see that if you click on it, it opens the dialog. And if you look at the code below, this thing. So the fact that this dialog is before the button, but let's see what Chromebox does. Turning Chromebox on. The dialogue opened and focus didn't move. Focus is still on the button. The dialogue is open, but Chromebox didn't speak anything, and focus is still on the button. And that's a really bad experience. And if the user did somehow try and get into the dialogue, like maybe they're a keyboard-only user who can see the screen, they'll have to tab all the way around the page before they can get back to that dialogue. And that's something that users might not be able to figure out. You'll notice that if I open the dialog and I close the dialog, focus just gets dropped on the floor. And nothing happened. So that's a poor experience as well. And the good thing is there's a number of different ways you can improve this experience. One of the ways is actually putting focus on the button as soon as the dialog opens. This is when the dialog opens. So I'm just going to set focus. Then I'm also going to be a nice person and I'm going to set focus back on the button in the dialog closes. I'm going to set focus back on that button there. Just double checking. Let's see if we've improved this experience that all for our users. Chromevox announced that we entered the dialog and focus is thrown right back onto the OK button. And even better, a user who can see the screen and is maybe only using the keyboard, a Chromevox user or any screen reader user would be able to navigate around the dialog and figure out what they're supposed to be doing. So let's try closing the dialog. I'm going to hit Enter on the OK button. So the user is right back where they started. and you've helped them out a lot when they're going through this dialogue workflow. It's keyboard shortcuts. And keyboard shortcuts can be really helpful to help users navigate through your app efficiently. And they're also really good for power users who maybe aren't using assistive technology and who maybe can see the screen. But for power users who use your app a lot, keyboard shortcuts can be really great. There's two different kinds. Navigation shortcuts jump between major interactive areas. And I'll show those off to you right now. You can see that I can use J and K keyboard shortcuts to move between posts. These are navigation shortcuts. The second type of keyboard shortcut is an action shortcut. Action shortcuts basically just simplify a user's workflow. So you'll see you just press that one keyboard shortcut and just press R. And it opens up a new reply field and you can start composing right away instead of having to find the reply button and press it and open it back up. It's really simple and it enables a complex action. The important thing to remember about shortcuts, though, is that they really need to be documented somewhere. And even if they are documented, not all users are going to know about them. So keyboard shortcuts are great, but they're not a band-aid for an inaccessible page. You might have all the keyboard shortcuts in the world, but if you don't label your form fields and you don't have alt attributes, a user is still going to have a bad experience. So keyboard shortcuts are great, but they don't solve all problems. So now that I've given you the building blocks, let's move on and talk about a systematic approach to building accessible web apps. You want to clean up the low hanging fruit. Look at your DOM order and make sure that related controls are grouped together. You can create logical groups with semantic tags like nav, header, H1, and the landmark aria roles. And try to avoid div soup and span salad. Finally, you want to label your controls and images. And the great thing about these basic errors is that they're easier to catch and fix early in the process. But once you catch them, the fixes are really easy. Next, you want to think about keyboard navigation. Try your app out with just the keyboard and make sure that you can reach all interactive controls by tabbing and manage focus to make sure that users can perform tasks with the keyboard efficiently. Keyboard navigation is so, so important to take care of early in the development process. When you get keyboard navigation working, by taking care of DOM structure and keyboard navigation, you'll have done 90% of the work that you have to do. So, native tags are really great. Native links and buttons are awesome, but if you want to enable complex interactions like the Add to Circles widget, in many cases you're going to end up with div soup. But it's not the end of the world. What you need to do is re-implement the semantics of a native control on the custom control. And I actually already talked to you about how to do this. You want to think about focus management for your custom control, and it's also important to think about keyboard support. Re-implementing both of those things is going to give your users a really good experience. You also need to do additional work for screen readers, and that's adding something called ARIA attributes. I said before that it's impossible for screen readers to identify what a bunch of divs in the DOM are supposed to be. So adding ARIA attributes gives screen readers a hint as to what your custom control is supposed to be, so they can do a better job interpreting them to the user. So it helps you work around the downsides of divsuit for screen readers. So coming back to the Add to Circles widget, it's pretty much the definition of divsuit. And this is the simplified version of the Add to Circles widget. The actual code for it would not even fit on this page. And it's mostly divs and spans. The Add to Circles widget implemented just like you see here is impossible for a screen reader to understand. And it would be really difficult for a keyboard only user to use it. So I'm actually going to walk you through how we improved it. It's still div soup, but we've got extra information in there to make it a lot easier for keyboard only users and screen reader users to use. I'll walk you through the code, because I'll be talking about this later. The first div that you see here is the Add to Circles Widget itself. And the second div is the drop down. You can see it's got a bunch of divs for check boxes. And it's actually appended at the end of the DOM for CSS reasons. So that's one of the things that we needed to fix. So the first thing we have to do is manage focus. Remember when I said that divs and spans aren't keyboard-focussable? Well, you can make them keyboard-focussable by adding an attribute called tabindex. There's a bunch of different ways to add Tabindex, and they're listed on this slide. But essentially, if you add Tabindex equals 0 to a div, it adds that div into the tab order. So if you have a user who is navigating around the page by pressing Tab, that user will be able to focus on that div and send it keyboard events. You can add keyboard handling, and you can add labels, and all that stuff I talked about earlier. But if your divs aren't focusable, a user won't be able to interact with them. And so that's why it's so important. Remember, we can proactively place focus way to create an efficient workflow for users. You want to add key handlers so that a user can use Enter, and Space, and Arrows, and Escape to interact with your control. And one of the best ways I found to do this is to pick a native control and then try and mimic it. This can be a native control as simple as a button or a select box, or it can be something as complicated as something that you find on a native operating system, like a tab panel or something like that. But these These kinds of native controls usually handle keys like Enter or the Arrow keys really well. And users know how to interact with these kinds of widgets. They know to press the arrow keys to move up and down in a select box. So if you mimic that native control, a user is automatically going to know a lot about what they have to do in order to interact with your control. So if you look at this guide, you can actually get a good idea for what users might expect when they encounter your control. So this code is just an example of what a keyboard handler might look like underneath here, with return on reply key down and checking for key codes and stuff like that. So back to the Add to Circles widget. What you're going to be doing is picking native elements and then trying to mimic them, just like I said before. The Add to Circles widget, to a keyboard-only user or a screen-meter user, to a sighted user, you hover over it, but then again a keyboard-only user can't hover. So let's make it like a button. And then after we do that, we're going to add keyboard events like Enter and Space. Remember, a keyboard only user can't do hover. So Enter and Space mimic the behavior of a regular button. As for the menu itself, it's a drop down menu, and it's actually kind of like a modal dialogue. If you think about it, when you hover over the button, and I'll show you what that looks like again, you hover over it, you have this modal dialogue that appears, and that's pretty much the same way a modal dialogue works. You can't interact with the rest of the page until a modal dialogue disappears. As we saw in that earlier example, like we did on the OK button in the dialog example. So that's what we want to do for the dropdown menu. We ask for the first focusable element, and we put focus on it. The next thing that you want to do is trap focus inside the dialogue. You don't want the person to accidentally fall out and not know where they are on the page. We also added escape as a keyboard shortcut, because that's something that's commonly found in native dialogues. Then another important thing to remember. When the dialog closes, we want it to set focus back onto the Add to Circles widget, instead of dropping it on the floor. So I'll show you an example of how this works. I'm just going to use the keyboard instead of Chromebox. So let's go back to Sundar's profile, and I'm going to get keyboard focus on, and I'm going to press Enter. And you can see right away the dialog opened, and I can use Tab to kind of move through the rest of this dialog. So next, I want to talk about screen reader accessibility and the Add to Circles widget. And I mentioned ARIA before. So our Add to Circles widget is a pile of divs. And as I pointed out earlier, screen readers have real difficulty identifying what a pile of divs is supposed to be. So ARIA is essentially a set of HTML5 attributes that actually provide that information to screen readers. The information that a sighted user gets visually, you can provide to a screen reader user by noting with ARIA, this div is a button, for this div is a menu. Just adding an ARIA attribute doesn't actually give a widget, keyboard handling, or focus management, or anything like that. You still need to add that stuff. ARIA is just the layer on top that specifically helps screen readers identify what things are. So let's talk about ARIA roles. There are two categories of ARIA attributes. ARIA roles and ARIA states in properties. The role attribute is static. It indicates that this generic tag is behaving a certain way. So in this example, this div here is going to be behaving like a button. It's taking on the role of a button. You can also use RIA attributes to indicate composite controls. You can use RIA there too. And you can explicitly state that this next div is playing the role of menu item, using the role equals menu item attribute. And there's a lot of different roles that you can pick and choose from to add to your generic controls. Another type of role that I mentioned earlier is the landmark role. You can use a landmark role to actually identify separate areas of your app to a screen reader. You can use them together with the new HTML5 semantic tags to create a really rich user experience. So in this example, I used the section semantic tag, but also gave it the role of search. This indicates to a screen reader that this section of the site is the search section. A second category of ARIA attribute contains ARIA states and properties. These are both dynamic. ARIA states add dynamic information about the current state of an element. and you can use them in addition to roles to identify what an element is currently doing. For example, it also has the ARIA attribute, ARIA checked equals true. And as this checkbox gets checked and unchecked, we can actually update this ARIA state in our JavaScript. There's a bunch of different states associated with the different roles that you can use to add richer information about the current state of a dynamic control. But essentially, you can use it to identify dynamic content on a page. You're adding it to elements that are going to get updated. And if you want more information, which I'll open up. And this document can be really valuable if you're trying to learn about how to do this. If you remember that keyboard focus is like a cursor, and if you have a lot of stuff that is happening outside of where that cursor is, things get confusing really fast. So let's go back to the Add to Circles widget. Now we know about RIA, and we have this pile of divs. So we want to make sure that we add some RIA to ensure that a screen reader user can understand what the Add to Circles widget is supposed to be doing. So the first thing that we're going to specify is that this element is a button. And you'll notice that we have tabindex equals 0 in there, which is really, really important for ARIA. Again, we also want to specify that the add-to-circles dropdown dialogue is, in fact, a dialogue, like we decided earlier. So we're going to add roll equals a dialogue. And we did, unfortunately, also use dives for checkboxes here. So we also want to specify that those dives are indeed checkboxes. So we give them roll equals checkbox and update ARIA checked in the JavaScript as the person checks or uncheck the checkbox. So now that we've added all of this RIF or screen reader users, let's try out the Add to Circles Widget with Chromebox. So here we are on Sundar's profile. And you can see the Add to Circles Widget right at the top. Add to Circles button. User who can't see the screen doesn't care about any of that. We say that it's a button, and they know how to interact with the button. Because people have interacted with this stuff before, they know how to do it. So it makes things a lot easier for these users. Keeping track of keyboard and adding ARIA, we can turn it into something that makes a lot of sense for different kinds of users. Let's go over how we got here. First, you want to make sure that your structure in your domain is sensible way. It's true for all web apps, and it's also true for custom controls themselves. You also want to make sure your controls and images are labeled. You want to make sure you have intuitive focus management, that you're guiding the user around the page by moving focus proactively. You also want to make sure that your app can be used entirely with the keyboard. Because remember, not all users are able to use the mouse. You have to have keyboard handling and focus management. So you can unplug your mouse, use your app, and have everything work just like you expect it to. And additionally, include RIF for screen reader users to help screen reader users in the midst of VIVSoup and SpAN salad. So now I'm going to list some tools and resources that can help you get your app to being a more accessible experience. The first one is Chromebox, which I was using to demonstrate. It's something that any developer can install on Chrome and use right away. And the great thing about Chromebox is that it's also open source. There's other no-cost screen readers out there. As a developer, it's super important to test your app using just the keyboard, but it's also good to take a test drive with a screen reader. Some other libraries with accessibility support include Dojo Toolkit. So whether you're building a web app from scratch or you're working on refining a complex UI control like the Add to Circles widget, it's definitely possible to deliver a dynamic, accessible experience that looks really good to sighted users. performs really well for all kinds of users. The first step in this process is really easy. Just close your eyes or unplug your mouse and try to use your app. Once you try that, you can probably figure out some things to fix that can make the experience a lot better. And finally, following HTML5 standards, especially Aria, are going to get you the rest of the way there to an app that works well for everybody. So thank you very much for tuning in to this developer tutorial. I hope you had a lot of fun watching it or at least learn something.",
        "transcription_medium": " You just hover over it with your mouse, and you can see the drop-down menu open up underneath. You can interact with this menu by checking checkboxes, you can create a new circle at the bottom, hovering over it with your mouse. So this is an interaction that looks really good, and it performs really well for you. But now I want you to try something for me. Imagine that you can't see the screen, and you can close your eyes if that helps. So you can't see the screen, and you want to add Sergey to your circles. But if you can't see the screen, then you can't use a mouse. So maybe you'll be using a keyboard instead. But how do you hover over the add to circles widget if you're just using a keyboard? The answer is you can't. It's impossible. But it only performs really well for a certain kind of user. And that's the kind of user who can use a mouse. But as web developers, it's really important for us to take a new account that there's lots of different kinds of users, and not all of them can use a mouse. And we really need to make sure that we're doing a good job for those users. And that's what accessibility is all about, making your web apps usable by everyone. It includes people who can't use the mouse, and it also includes people who use assistive technology. Assistive technology is basically software or hardware that makes it easier for someone with a disability to use the Internet. So there are lots of different types of disabilities and special needs that users might have. But for the purposes of this tutorial, I'm going to focus on solutions for three groups of users, blind users, users with low vision, and motor impaired users. The reason for that is that we know something very powerful about these users. We actually have a lot of information about how they're going to be accessing our apps. Blind users will generally use a screen reader that describes the page using speech or braille output. I actually have a picture of a braille display right here. Most blind users who use a screen reader, whether or not it has speech output or braille output, will use standard keyboard for input. Low vision users will generally use large fonts or something called a screen magnifier. I'll show you what a screen magnifier looks like on this tab. And so that's the second type of user. Motor impaired users who can't use a mouse might use some kind of special keyboard or even a voice control interface to interact with your app. So because we know a lot about the assistive technology these users are going to be using, we can do a lot to make sure that our web apps perform well for them. I also want to note that these three groups of users have something big in common, and I've actually already talked about it. These three groups of users can't use the mouse. So when you're testing your apps, it's really important to make sure that you test it with the keyboard and that you can use it without using a mouse. So now that we know a little bit about the different kinds of users who might be accessing our app, I want to talk a little bit more about testing. I already mentioned that we should be testing our apps using just the keyboard, but I want to introduce a tool that I'm going to be using during this talk. This is ChromeVox. ChromeVox is a screen reader for Chrome that my team at Google built. ChromeVox will help me demonstrate better how an assistive technology user might experience a web app. It's really easy to use because it's a Chrome extension, and it was designed completely for the web. You control it using keyboard shortcuts. It interprets pages pretty much the same way that other screen readers do. But because it's a Chrome extension, it's really easy for developers to set up and use. So how does ChromeVox work? Well, it works the same way as any other screen reader. Let me demonstrate. It actually already started speaking this slide already. Adding group, screen reader introduction, adding to, enter your name, edit text, Choose your favorite color, red, list box one of 10. Submit button. Having trouble? So someone who can't see the screen is going to get the full experience of what's on the screen. So now that we know more about the different kinds of assistive technology and how we can test our apps using only the keyboard and a screen reader like ChromeVox, let's talk about how we get there, how we get to building a more accessible app. First, I'm going to talk about the building blocks, the essential things you need to know when you're just starting out. And then I'm going to introduce an approach that we've been trying out here at Google, a systematic step-by-step approach to testing and building for accessibility. After that, I'm going to go a little deeper and talk a little bit more about custom interactive controls, some of the more complex interactions that you see, like the Add to Circles widget. And then at the end, I'm going to list some tools and resources that you can use to help you. So let's start from scratch at the DOM. We can look at the DOM of a page by opening it up in the Developer Tools, which I'm going to do right now. So this right here in the left-hand pane is the DOM. And this is the DOM structure, article tags, headings, and the hierarchy. So the interesting thing about the DOM is visually impaired users using assistive technology like a screen reader see only the DOM. It doesn't matter what your page looks like. They see only the building blocks of the page. And keyboard-only users navigate the page in DOM order. So they go basically top to bottom in the DOM, moving focus around to navigate the page. So you really have to adjust your thinking here. The DOM is the user's mental image of the page. They can't see what the page looks like, and they're only seeing the DOM. That's the way these users are going to interact with it. So knowing this, we can think of some best practices that will help these users. The first is that we want to create logical sections of the document to group interface elements that are related together. And you can use HTML5 semantic elements like nav and header to make this easier, nav to group all your navigation elements together, and header to group all your header content. And there's other HTML5 semantic elements too. Even some old school ones like h1, h2, and h3 will help users better understand the structure of your app. You also want to make sure that parts of controls are grouped together in the DOM. So I see this a lot where you'll have a drop down menu button somewhere in the DOM. And you can use CSS to make this make sense visually. But if someone sees only the DOM, they're not going to know where that menu is, because it's all the way at the end of the DOM. So you can make things easier by grouping things that are supposed to be together, together in the DOM. And then this last point is pretty basic, but I'm going to say it again. You really want to make sure that you're using CSS for layout instead of using tables. For these users, tables means structured data. They can't see what the page looks like. So using tables to layout your page is going to be very confusing for these users. This is a quote that looks like it makes a certain amount of sense visually. The rain in Spain stays mainly in the plain. So let's see how ChromeVox reads it. ChromeVox was jumping all over the place. And that's because if I open up the Developer Inspector and inspect these elements, you'll see that the DOM for the page actually looks like this. The DOM underneath the page has these words all over the place, plain and rain stays mainly in the Spain. And we've used CSS to position it in a way that looks like it makes sense. It doesn't know what the page looks like visually. It's only reading the DOM. So it's really important to make sure that your DOM makes sense when you're building a web app. The next thing I want to talk about is interactive controls. And this, I swear, is one of the easiest things you can do to improve the accessibility of your site. Instead of using generic divs and spans for buttons and links and stuff like that, use the native HTML tag that's most appropriate. I use the terms divsoup and span salad to describe apps that are built like this. Don't use divsoup. Don't use span salad. It just creates a really confusing DOM, and it confuses these users. And there's two reasons why. First, screen readers can't identify generic divs or spans as controls. They just see a div or a span in the DOM, and they don't know what that's supposed to be. They don't know that your span with an onclick handler is supposed to be a link. They can't crawl through the JavaScript to try and figure out exactly what the developer meant. So they're just not going to speak it as interactive at all. Also, spans and divs aren't focusable by default. They won't receive keyboard events. And this is even worse. A user who can see the screen and who is trying to interact with something that you styled as a button, if that's not focusable, they're never going to be able to send keyboard events to it. So no div soup and no span salad. I also want to note that there's no reason not to use them for modern browsers. You can style them however you want, and you can make them look like anything. And they give you focus management and keyboard support for free. Screen readers know exactly how to identify them, and users know how to use them. And that's really one of the most important parts. So this slide is a quick example of how this works. So let's see what ChromeVox says. Click on this button, article. But there's no indication that it's a button. That keyboard event isn't getting sent to that button, and nothing is happening on the page. But the good thing is, the fix for this is really easy. You want to change this div into a button. It's just one simple change, and I'll make it right now. And you'll see that nothing visually on the page changed. The CSS is doing everything right. Refresh button. OK, let's move on to the Send button and see what happens. Right, this is great. ChromeVox said send button. And if I press Enter, and this is something that is really simple to do, but it can really save you a lot of time later on, so you don't have to re-implement all of this stuff later on your div soup and span salad. The next thing I want to talk about is labeling. Labeling is also something that is really important now that we're talking about controls. You want to make sure that you're labeling your form elements, and the label element is really perfect for this task. Another thing that you want to make sure you're doing is labeling your images with the alt attribute, and this is really important too. Not just some of them, all of your images. And the The reason why is that if there is no alt attribute on an image, a screen reader is just going to try and speak that image anyway. It's going to try and identify that image to the user. But it's just going to speak the file name of the image. And for really complex web apps, that can get horrible. The file names for some of the images that I see every day are really, really long strings of characters. And that gives users a really terrible experience. And I just want to say, if the experience is that bad, these users will just leave. A page full of unlabeled form fields and unlabeled images is a terrible experience for users. And so there's two kinds of alt text that you need to have. Every image needs to have it, but important images need to have descriptive alt text. This is alt text that actually describes what the image is. For images that are decorative, you can give them blank alt text. So this is alt text that tells the screen reader that it can skip this image entirely. Blank alt text tells the screen reader not to try to read the file name, just skip the image entirely. it's not necessary. This is a form that looks like a lot of forms that I see every day. You've got these labels underneath these text fields, username and pin, and they're positioned visually underneath the form. And we also have an image, just for fun, that's unlabeled. But for both of these fields, there's actually no indication what the user is supposed to put in there. It can't figure out what that image is supposed to be, so it just reads the file name. And it's totally inexplicable what this image is supposed to be if you can't see the screen. So you can clearly see that navigating around a page that is full of unlabeled fields and images will get really tedious for a user. And again, this is another really easy fix. Chrome box is now inactive. I'm changing this span to be a label tag. And the second one is gonna explicitly be associated with the password field. And you'll see again, visually that nothing changed. CSS is still styling things correctly. And then I'm also gonna give this poor image an alt tag. All right, so I've made these changes. Let's try it again with Chrome box and see what happens. The user gets better information what these form fields are supposed to be. And we're going to get a little bit more advanced here. Basically, you want to make sure that you're managing focus. And the reason for this is simple. Users who are not using the mouse, keyboard-only users, you can think of focus as like their cursor. So you can really help these users out by making sure that you know where focus is and by managing it appropriately. I'm going to give you a quick demo of what someone navigating through a page using focus looks like. I'm just going to press Tab. And you can see that this little blue box is moving around the page as I press Tab. Pressing tab in a browser moves focus throughout the page. It's just moving it linearly down the DOM, and you can see it move throughout this page. You can press tab to move linearly up and down the DOM, or shift tab to move back up. So why is this important? Well, and if you pay attention to what the user is doing, you can really make things easier for them by putting focus into appropriate places as the user is performing a task. And when the user is done with a certain task, you can return focus to where it was before. And if you do these things, you're really going to help them out. A lot of times I see apps where focus might just be dropped on the floor. And that can be really frustrating. If you're in the middle of editing something and the focus is dropped on the floor and you're sent all the way back to the top of the DOM, that's frustrating. And it's something that is really common for users to experience. It's a pop-up dialog button. And you can see that if you click on it, it opens the dialog. And if you look at the code below, this thing, so the fact that this dialog is before the button, but let's see what ChromeVox does. Turning ChromeVox on. adding group pop-up dialogue. Great. The dialogue opened, and focus didn't move. Focus is still on the button. This dialogue is open, but ChromeVox didn't speak anything, and focus is still on the button. And that's a really bad experience. And if the user did somehow try and get into the dialogue, like maybe they're a keyboard-only user who can see the screen, they'll have to tab all the way around the page before they can get back to that dialogue. And that's something that users might not be able to figure out. You'll notice that if I open the dialog and I close the dialog, focus just gets dropped on the floor and nothing happened. So that's a poor experience as well. And the good thing is there's a number of different ways you can improve this experience. One of the ways is actually putting focus on the button as soon as the dialog opens. And this is when the dialog opens. So I'm just going to set focus. Then I'm also gonna be a nice person and I'm going to set focus back on the button when the dialog closes. I'm going to set focus back on that button there. Just double checking. Let's see if we've improved this experience at all for our users. ChromeVox announced that we entered the dialog, and focus is thrown right back onto the OK button. And even better, a user who can see the screen and is maybe only using the keyboard, a ChromeVox user or any screen reader user would be able to navigate around the dialog and figure out what they're supposed to be doing. So let's try closing the dialog. I'm going to hit Enter on the OK button. So the user is right back where they started, and you've helped them out a lot when they're going through this dialogue workflow, is keyboard shortcuts. And keyboard shortcuts can be really helpful to help users navigate through your app efficiently. And they're also really good for power users who maybe aren't using assistive technology and who maybe can see the screen. But for power users who use your app a lot, keyboard shortcuts can be really great. There's two different kinds. Navigation shortcuts jump between major interactive areas, and I'll show those off to you right now. you can see that I can use J and K keyboard shortcuts to move between posts. These are navigation shortcuts. The second type of keyboard shortcut is an action shortcut. Action shortcuts basically just simplify a user's workflow. So you'll see you just press that one keyboard shortcut, I just pressed R, and it opens up a new reply field, and you can start composing right away, instead of having to find the reply button and press it and open it back up. It's really simple and it enables a complex action. The important thing to remember about shortcuts, though, is that they really need to be documented somewhere. And even if they are documented, not all users are going to know about them. So keyboard shortcuts are great, but they're not a bandaid for an inaccessible page. You might have all the keyboard shortcuts in the world, but if you don't label your form fields and you don't have alt attributes, a user is still going to have a bad experience. So keyboard shortcuts are great, but they don't solve all problems. So now that I've given you the building blocks, let's move on and talk about a systematic approach to building accessible web apps. You want to clean up the low-hanging fruit. Look at your DOM order and make sure that related controls are grouped together. You can create logical groups with semantic tags like nav, header, h1, and the landmark aria roles. And try to avoid div soup and span salad. Finally, you want to label your controls and images. And the great thing about these basic errors is that they're easier to catch and fix early in the process. But once you catch them, the fixes are really easy. Next, you want to think about keyboard navigation. Try your app out with just the keyboard, and make sure that you can reach all interactive controls by tabbing, and manage focus to make sure that users can perform tasks with the keyboard efficiently. Keyboard navigation is so, so important to take care of early in the development process. When you get keyboard navigation working, by taking care of DOM structure and keyboard navigation, you'll have done 90% of the work that you have to do. So, native tags are really great. Native links and buttons are awesome. But if you want to enable complex interactions, like the Add to Circles widget, in many cases, you're going to end up with div soup. But it's not the end of the world. What you need to do is re-implement the semantics of a native control on the custom control. And I actually already talked to you about how to do this. You want to think about focus management for your custom control. And it's also important to think about keyboard support. Re-implementing both of those things is going to give your users a really good experience. You also need to do additional work for screen readers, and that's adding something called ARIA attributes. I said before that it's impossible for screen readers to identify what a bunch of divs in the DOM are supposed to be. So adding ARIA attributes gives screen readers a hint as to what your custom controls are supposed to be, so they can do a better job interpreting them to the user. So it helps you work around the downsides of divsoup for screen readers. So coming back to the Add to Circles widget, it's pretty much the definition of divsoup. And this is the simplified version of the Add to Circles widget. The actual code for it would not even fit on this page, and it's mostly divs and spans. The Add to Circles widget, implemented just like you see here, is impossible for a screen reader to understand, and it would be really difficult for a keyboard-only user to use it. So I'm actually going to walk you through how we improved it. It's still div soup, but we've got extra information in there to make it a lot easier for keyboard-only users and screen reader users to use. I'll walk you through the code because I'll be talking about this later. The first div that you see here is the add to circles widget itself. And the second div is the dropdown. You can see it's got a bunch of divs for check boxes. And it's actually appended at the end of the DOM for CSS reasons. So that's one of the things that we needed to fix. So the first thing we have to do is manage focus. Remember when I said that divs and spans aren't keyboard focusable? Well, you can make them keyboard focusable by adding an attribute called tabindex. There's a bunch of different ways to add tabindex, and they're listed on this slide. But essentially, if you add tabindex equals 0 to a div, it adds that div into the tab order. So if you have a user who is navigating around the page by pressing tab, that user will be able to focus on that div and send it keyboard events. You can add keyboard handling, and you can add labels, and all that stuff I talked about earlier. But if your divs aren't focusable, a user won't be able to interact with them. And so that's why it's so important. Remember, we can proactively place focus that way to create an efficient workflow for users. You want to add key handlers so that a user can use Enter and Space and Arrows and Escape to interact with your control. And one of the best ways I found to do this is to pick a native control and then try and mimic it. This can be a native control as simple as a button or a select box, or it can be something as complicated as something that you'd find on a native operating system, like a tab panel or something like that. But these kinds of native controls usually handle keys like enter or the arrow keys really well. And users know how to interact with these kinds of widgets. They know to press the arrow keys to move up and down in a select box. So if you mimic that native control, a user is automatically going to know a lot about what they have to do in order to interact with your control. So if you look at this guide, you can actually get a good idea for what users might expect when they encounter your control. So this code is just an example of what a keyboard handler might look like underneath here with return on reply key down and checking for key codes and stuff like that. So back to the Add to Circles widget. What you're going to be doing is picking native elements and then trying to mimic them, just like I said before. The Add to Circles widget to a keyboard-only user or a screen reader user to a sighted user, you hover over it. But then again, a keyboard-only user can't hover. So let's make it like a button. And then after we do that, we're going to add keyboard events like Enter and Space. Remember, a keyboard-only user can't do hover. So enter and space mimic the behavior of a regular button. As for the menu itself, it's a drop-down menu, and it's actually kind of like a modal dialog. If you think about it, when you hover over the button, and I'll show you what that looks like again, you hover over it, you have this modal dialog that appears. And that's pretty much the same way a modal dialog works. You can't interact with the rest of the page until a modal dialog disappears. As we saw in that earlier example, like we did on the OK button in the dialogue example. So that's what we want to do for the drop down menu. We ask for the first focusable element, and we put focus on it. The next thing that you want to do is trap focus inside the dialogue. You don't want the person to accidentally fall out and not know where they are on the page. We also added escape as a keyboard shortcut, because that's something that's commonly found in native dialogues. Then another important thing to remember, when the dialogue closes, we wanted to set focus back onto the Add to Circles widget, instead of dropping it on the floor. So I'll show you an example of how this works. I'm just going to use the keyboard instead of Chromebox. So let's go back to Sundar's profile, and I'm going to get keyboard focus on, and I'm going to press Enter. And you can see right away the dialog opened, and I can use Tab to kind of move through the rest of this dialog. So next, I want to talk about screen reader accessibility and the Add to Circles widget. And I mentioned Aria before. So our Add to Circles widget is a pile of divs. And as I pointed out earlier, screen readers have real difficulty identifying what a pile of divs is supposed to be. So ARIA is essentially a set of HTML5 attributes that actually provide that information to screen readers. The information that a sighted user gets visually, you can provide to a screen reader user by noting with ARIA, this div is a button, or this div is a menu. Just adding an ARIA attribute doesn't actually give a widget, keyboard handling, or focus management, or anything like that. You still need to add that stuff. ARIA is just a layer on top that specifically helps screen readers identify what things are. So let's talk about ARIA roles. There are two categories of ARIA attributes, ARIA roles and ARIA states and properties. The role attribute is static. It indicates that this generic tag is behaving a certain way. So in this example, this div here is going to be behaving like a button. It's taking on the role of a button. You can also use ARIA attributes to indicate composite controls. You can use ARIA there too. We can explicitly state that this next div is playing the role of menu item, using the role equals menu item attribute. And there's a lot of different roles that you can pick and choose from to add to your generic controls. Another type of role that I mentioned earlier is a landmark role. You can use a landmark role to actually identify separate areas of your app to a screen reader. You can use them together with the new HTML5 semantic tags to create a really rich user experience. So in this example, I used the section semantic tag, but also gave it the role of search. This indicates to a screen reader that this section of the site is the search section. A second category of ARIA attribute contains ARIA states and properties. These are both dynamic. ARIA states add dynamic information about the current state of an element, and you can use them in addition to roles to identify what an element is currently doing. For example, it also has the ARIA attribute ARIA checked equals true. And as this checkbox gets checked and unchecked, we can actually update this ARIA state in our JavaScript. There's a bunch of different states associated with the different roles that you can use to add richer information about the current state of a dynamic control. But essentially, you can use it to identify dynamic content on a page. You're adding it to elements that are going to get updated. And if you want more information, which I'll open up. And this document can be really valuable if you're trying to learn about how to do this. If you remember that keyboard focus is like a cursor, And if you have a lot of stuff that is happening outside of where that cursor is, things get confusing really fast. So let's go back to the Add to Circles widget. Now we know about ARIA, and we have this pile of divs. So we want to make sure that we add some ARIA to ensure that a screen reader user can understand what the Add to Circles widget is supposed to be doing. So the first thing that we're going to specify is that this element is a button. And you'll notice that we have tabindex equals zero in there, which is really, really important for ARIA. Again, we also want to specify that the Add to Circles dropdown dialog is, in fact, a dialog, like we decided earlier. So we're going to add role equals dialog. And we did, unfortunately, also use divs for checkboxes here. So we also want to specify that those divs are, indeed, checkboxes. So we give them role equals checkbox and update aria checked in the JavaScript as the person checks or unchecks the checkbox. So now that we've added all of this aria for screen reader users, let's try out the Add to Circles widget with Chromebox. So here we are in Sundar's profile, and we can see the Add to Circles widget right at the top. Add to Circles button. User who can't see the screen doesn't care about any of that. We say that it's a button, and they know how to interact with the button. Because people have interacted with this stuff before, they know how to do it. So it makes things a lot easier for these users. Keeping track of keyboard and adding ARIA, we can turn it into something that makes a lot of sense for different kinds of users. Let's go over how we got here. First, you want to make sure that your structure your DOM in a sensible way. It's true for all web apps, and it's also true for custom controls themselves. You also want to make sure your controls and images are labeled. You want to make sure you have intuitive focus management, that you're guiding the user around the page by moving focus proactively. You also want to make sure that your app can be used entirely with the keyboard. Because remember, not all users are able to use the mouse. You have to have keyboard handling and focus management so you can unplug your mouse, use your app, and have everything work just like you expect it to. And additionally, include ARIA for screen reader users to help screen reader users in the midst of DivSoup and Span Salad. So now I'm going to list some tools and resources that can help you get your app to being a more accessible experience. The first one is ChromeVox, which I was using to demonstrate. It's something that any developer can install on Chrome and use right away. And the great thing about ChromeVox is that it's also open source. There's other no-cost screen readers out there. As a developer, it's super important to test your app using just the keyboard, but it's also good to take a test drive with a screen reader. Some other libraries with accessibility support include Dojo Toolkit. So whether you're building a web app from scratch or you're working on refining a complex UI control like the Add to Circles widget, it's definitely possible to deliver a dynamic, accessible experience that looks really good to sighted users but performs really well for all kinds of users. The first step in this process is really easy. Just close your eyes or unplug your mouse and try to use your app. Once you try that, you can probably figure out some things to fix that can make the experience a lot better. And finally, following HTML5 standards, especially ARIA, are going to get you the rest of the way there to an app that works well for everybody. So thank you very much for tuning in to this developer tutorial. I hope you had a lot of fun watching it, or at least learned something.",
        "transcription_large_v3": " You just hover over it with your mouse and you can see the drop down menu open up underneath. You can interact with this menu by checking check boxes, you can create a new circle at the bottom, hovering over it with your mouse. And so this is an interaction that looks really good and it performs really well for you. But now I want you to try something for me. Imagine that you can't see the screen and you can close your eyes if that helps. So you can't see the screen and you want to add Sergey to your circles. But if you can't see the screen then you can't use a mouse. So maybe Maybe you'll be using a keyboard instead. But how do you hover over the Add to Circles widget if you're just using a keyboard? The answer is you can. It's impossible. But it only performs really well for a certain kind of user. And that's the kind of user who can use a mouse. But as web developers, it's really important for us to take into account that there's lots of different kinds of users. And not all of them can use a mouse. And we really need to make sure that we're doing a good job for those users. And that's what accessibility is all about, making your web apps usable by everyone. It includes people who can't use the mouse, and it also includes people who use assistive technology. Assistive technology is basically software or hardware that makes it easier for someone with a disability to use the internet. So there are lots of different types of disabilities and special needs that users might have. But for the purposes of this tutorial, I'm gonna focus on solutions for three groups of users. Blind users, users with low vision, and motor impaired users. And the reason for that is that we know something very powerful about these users. We actually have a lot of information about how they're going to be accessing our apps. Blind users will generally use a screen reader that describes the page using speech or Braille output. And I actually have a picture of a Braille display right here. And most blind users who use a screen reader, whether or not it has speech output or Braille output, will use standard keyboard for input. Low vision users will generally use large fonts or something called a screen magnifier. And I'll show you what a screen magnifier looks like on this tab. And so that's the second type of user. Motor impaired users who can't use a mouse might use some kind of special keyboard or even a voice control interface to interact with your app. So because we know a lot about the assistive technology these users are going to be using, we can do a lot to make sure that our web apps perform well for them. I also want to note that these three groups of users have something big in common, and I've actually already talked about it. These three groups of users can't use the mouse. So when you're testing your apps, it's really important to make sure that you test it with the keyboard and that you can use it without using a mouse. So now that we know a little bit about the different kinds of users who might be accessing our app, I want to talk a little bit more about testing. I already mentioned that we should be testing our apps using just the keyboard. But I want to introduce a tool that I'm going to be using during this talk. This is ChromeVox. ChromeVox is a screen reader for Chrome that my team at Google built. ChromeVox will help me demonstrate better how an assistive technology user might experience a web app. It's really easy to use because it's a Chrome extension, and it was designed completely for the web. You control it using keyboard shortcuts. It interprets pages pretty much the same way that other screen readers do. But because it's a Chrome extension, it's really easy for developers to set up and use. So how does ChromeVox work? Well, it works the same way as any other screen reader. Let me demonstrate. It actually already started speaking this slide already. Adding group, screen reader introduction, adding two, enter your name, edit text, Choose our favorite color, red. List box one of 10. Submit button. Having trouble? So someone who can't see the screen is going to get the full experience of what's on the screen. So now that we know more about the different kinds of assistive technology and how we can test our apps using only the keyboard and a screen reader like ChromeVox, let's talk about how we get there, how we get to building a more accessible app. First, I'm going to talk about the building blocks, the essential things that you need to know when you're just starting out. And then I'm going to introduce an approach that we've been trying out here at Google, a systematic step-by-step approach to testing and building for accessibility. After that, I'm going to go a little deeper and talk a little bit more about custom interactive controls, some of the more complex interactions that you see, like the Add to Circles widget. And then at the end, I'm going to list some tools and resources that you can use to help you. So let's start from scratch at the DOM. We can look at the DOM of a page by opening it up in the Developer Tools, which I'm going to do right now. So this right here in the left-hand pane is the DOM. And this is the DOM structure, article tags, headings, and the hierarchy. So the interesting thing about the DOM is visually impaired users using assistive technology like a screen reader see only the DOM. It doesn't matter what your page looks like. They see only the building blocks of the page. And keyboard-only users navigate the page in DOM order. So they go basically top to bottom in the DOM, moving focus around to navigate the page. So you really have to adjust your thinking here. The DOM is the user's mental image of the page. They can't see what the page looks like and they're only seeing the DOM. That's the way these users are going to interact with it. So knowing this we can think of some best practices that will help these users. The first is that we want to create logical sections of the document to group interface elements that are related together. And you can use HTML5 semantic elements like nav and header to make this easier. Nav to group all your navigation elements together and header to group all your header content. And there's other HTML5 semantic elements too. Even some old school ones like H1, H2, and H3 will help users better understand the structure of your app. You also want to make sure that parts of controls are grouped together in the DOM. So I see this a lot where you'll have a drop down menu button somewhere in the DOM and you can use CSS to make this make sense visually, but if someone sees only the DOM, they're not going to know where that menu is because it's all the way at the end of the DOM. So you can make things easier by grouping things that are supposed to be together, together in the DOM. And then this last point is pretty basic, but I'm going to say it again. You really want to make sure that you're using CSS for layout instead of using tables. For these users, tables mean structured data. They can't see what the page looks like, so using tables to layout your page is going to be very confusing for these users. This is a quote that looks like it makes a certain amount of sense visually. The rain in Spain stays mainly in the plain. So let's see how ChromeVox reads it. ChromeVox was jumping all over the place. And that's because if I open up the developer inspector and inspect these elements, you'll see that the DOM for the page actually looks like this. The DOM underneath the page has these words all over the place. Plain in rain stays mainly in the Spain. And we've used CSS to position it in a way that looks like it makes sense. It doesn't know what the page looks like visually. It's only reading the DOM. So it's really important to make sure that your DOM makes sense when you're building a web app. The next thing I want to talk about is interactive controls. And this, I swear, is one of the easiest things you can do to improve the accessibility of your site. Instead of using generic divs and spans for buttons and links and stuff like that, use the native HTML tag that's most appropriate. I use the terms divsoup and spansalad to describe apps that are built like this. Don't use divsoup, don't use spansalad. It just creates a really confusing DOM and it confuses these users. And there's two reasons why. First, screen readers can't identify generic divs or spans as controls. They just see a div or a span in the DOM, and they don't know what that's supposed to be. They don't know that your span with an onClick handler is supposed to be a link. They can't crawl through the JavaScript to try and figure out exactly what the developer meant. So they're just not going to speak it as interactive at all. Also spans and divs aren't focusable by default. They won't receive keyboard events. And this is even worse. A user who can see the screen and who is trying to interact with something that you styled as a button, if that's not focusable, they're never going to be able to send keyboard events to it. So, no div soup and no span salad. I also want to note that there's no reason not to use them for modern browsers. You can style them however you want, and you can make them look like anything. And they give you focus management and keyboard support for free. Screen readers know exactly how to identify them, and users know how to use them. And that's really one of the most important parts. So this slide is a quick example of how this works. So let's see what ChromeVox says. Click on this button, article. But there's no indication that it's a button. That keyboard event isn't getting sent to that button and nothing is happening on the page. But the good thing is, the fix for this is really easy. You want to change this div into a button. It's just one simple change and I'll make it right now. And you'll see that nothing visually on the page changed. The CSS is doing everything right. Refresh button. Okay, let's move on to the send button and see what happens. Right, this is great. ChromeVox said send button. And if I press enter, and this is something that is really simple to do, but it can really save you a lot of time later on, so you don't have to re-implement all of this stuff later on your div soup and span salad. The next thing I want to talk about is labeling. Labeling is also something that is really important, now that we're talking about controls. You want to make sure that you're labeling your form elements, and the label element is really perfect for this task. Another thing that you want to make sure you're doing is labeling your images with the alt attribute, and this is really important too. Not just some of them, all of your images. And the reason why is that if there is no alt attribute on an image, a screen reader is just going to try and speak that image anyway. It's going to try and identify that image to the user. But it's just going to speak the file name of the image. And for really complex web apps, that can get horrible. The file names for some of the images that I see every day are really, really long strings of characters. And that gives users a really terrible experience. And I just want to say, if the experience is that bad, these users will just leave. A page full of unlabeled form fields and unlabeled images is a terrible experience for users. And so there's two kinds of alt text that you need to have. Every image needs to have it, but important images need to have descriptive alt text. This is alt text that actually describes what the image is. For images that are decorative, you can give them blank alt text. So this is alt text that tells the screen reader that it can skip this image entirely. Blank alt text tells the screen reader not to try to read the file name, just skip the image entirely. not necessary. This is a form that looks like a lot of forms that I see every day. You've got these labels underneath these text fields, username and pin, and they're positioned visually underneath the form. And we also have an image, just for fun, that's unlabeled. But for both of these fields, there's actually no indication what the user is supposed to put in there. It can't figure out what that image is supposed to be, so it just reads the file name. And it's totally inexplicable what this image is supposed to be if you can't see the screen. So you can clearly see that navigating around a page that is full of unlabeled fields and images will get really tedious for a user. And again, this is another really easy fix. I'm changing this span to be a label tag, and this second one is going to explicitly be associated with the password field. And you'll see again visually that nothing changed. CSS is still styling things correctly. And then I'm also going to give this poor image an alt tag. All right, so I've made these changes. Let's try it again with ChromeVox and see what happens. The user gets better information about what these form fields are supposed to be. And we're going to get a little bit more advanced here. Basically, you want to make sure that you're managing focus. And the reason for this is simple. Users who are not using the mouse, keyboard only users, you can think of focus as like their cursor. So you can really help these users out by making sure that you know where focus is and by managing it appropriately. I'm going to give you a quick demo of what someone navigating through a page using focus looks like. going to press tab and you can see that this little blue box is moving around the page as I press tab. Pressing tab in a browser moves focus throughout the page. It's just moving it linearly down the DOM and you can see it move throughout this page. You can press tab to move linearly up and down the DOM or shift tab to move back up. So why is this important? Well, and if you pay attention to what the user is doing, you can really make things easier for them by putting focus into appropriate places as the user is performing a task. And when the user is done with a certain task, you can can return focus to where it was before. And if you do these things, you're really going to help them out. A lot of times I see apps where focus might just be dropped on the floor. And that can be really frustrating. If you're in the middle of editing something and the focus is dropped on the floor and you're sent all the way back to the top of the DOM, that's frustrating. And it's something that is really common for users to experience. It's a pop-up dialog button. And you can see that if you click on it, it opens the dialog. And if you look at the code below, this thing, so So the fact that this dialogue is before the button, but let's see what ChromeVox does. Turning ChromeVox on. Adding group pop-up dialogue. Great, the dialogue opened, and focus didn't move. Focus is still on the button. This dialogue is open, but ChromeVox didn't speak anything, and focus is still on the button. And that's a really bad experience. And if the user did somehow try and get into the dialogue, like maybe they're a keyboard-only user who can see the screen, they'll have to tab all the way around the page before they can get back to that dialogue. And that's something that users might not be able to figure out. You'll notice that if I open the dialogue and I close the dialogue, focus just gets dropped on the floor. And nothing happened. So that's a poor experience as well. And the good thing is there's a number of different ways you can improve this experience. One of the ways is actually putting focus on the button as soon as the dialogue opens. And this is when the dialogue opens. So I'm just going to set focus. Then I'm also going to be a nice person, and I'm going to set focus back on the button when the dialog closes. I'm going to set focus back on that button there. Just double checking. Let's see if we've improved this experience at all for our users. ChromeVox announced that we entered the dialog, and focus is thrown right back onto the OK button. And even better, a user who can see the screen and is maybe only using the keyboard, a ChromeVox user or any screen reader user would be able to navigate around the dialog and figure out what they're supposed to be doing. So let's try closing the dialog. I'm going to hit Enter on the OK button. So the user is right back where they started, and you've helped them out a lot when they're going through this dialog workflow, is keyboard shortcuts. And keyboard shortcuts can be really helpful to help users navigate through your app efficiently. And they're also really good for power users who maybe aren't using assistive technology and who maybe can see the screen. But for power users who use your app a lot, keyboard shortcuts can be really great. There's two different kinds. Navigation shortcuts jump between major interactive And I'll show those off to you right now. You can see that I can use J and K keyboard shortcuts to move between posts. These are navigation shortcuts. The second type of keyboard shortcut is an action shortcut. Action shortcuts basically just simplify a user's workflow. So you'll see you just press that one keyboard shortcut, I just pressed R, and it opens up a new reply field and you can start composing right away, instead of having to find the reply button and press it and open it back up. It's really simple and it enables a complex action. The important thing to remember about shortcuts, though, is that they really need to be documented somewhere. And even if they are documented, not all users are going to know about them. So keyboard shortcuts are great, but they're not a band-aid for an inaccessible page. You might have all the keyboard shortcuts in the world, but if you don't label your form fields and you don't have alt attributes, a user is still going to have a bad experience. So keyboard shortcuts are great, but they don't solve all problems. So now that I've given you the building blocks, let's move on and talk about a systematic approach to building accessible web apps. You want to clean up the low-hanging fruit. Look at your DOM order and make sure that related controls are grouped together. You can create logical groups with semantic tags like nav, header, h1, and the landmark aria roles. And try to avoid div soup and span salad. Finally, you want to label your controls and images. And the great thing about these basic errors is that they're easier to catch and fix early in the process. But once you catch them, the fixes are really easy. Next, you want to think about keyboard navigation. Try your app out with just the keyboard. And make sure that you can reach all interactive controls by tabbing. And manage focus to make sure that users can perform tasks with the keyboard efficiently. Keyboard navigation is so, so important to take care of early in the development process. When you get keyboard navigation working, by taking care of DOM structure and keyboard navigation, you'll have done 90% of the work that you have to do. So native tags are really great. Native links and buttons are awesome. But if you want to enable complex interactions, like the Add to Circles widget, in many cases, you're going to end up with div soup. But it's not the end of the world. What you need to do is re-implement the semantics of a native control on the custom control. And I actually already talked to you about how to do this. You want to think about focus management for your custom control, and it's also important to think about keyboard support. Re-implementing both of those things is going to give your users a really good experience. You also need to do additional work for screen readers, and that's adding something called ARIA attributes. I said before that it's impossible for screen readers to identify what a bunch of divs in the DOM are supposed to be, so adding ARIA attributes gives screen readers a hint as to what your custom controls are supposed to be so they can do a better job interpreting them to the user. So it helps you work around the downsides of div soup for screen readers. So coming back to the Add to Circles widget, It's pretty much the definition of div soup. And this is the simplified version of the Add to Circles widget. The actual code for it would not even fit on this page. And it's mostly divs and spans. The Add to Circles widget, implemented just like you see here, is impossible for a screen reader to understand. And it would be really difficult for a keyboard-only user to use it. So I'm actually going to walk you through how we improved it. It's still div soup, but we've got extra information in there to make it a lot easier for keyboard-only users and screen reader users to use. I'll walk you through the code because I'll be talking about this later. The first div that you see here is the Add to Circles widget itself. And the second div is the dropdown. You can see it's got a bunch of divs for checkboxes. And it's actually appended at the end of the DOM for CSS reasons. So that's one of the things that we needed to fix. So the first thing we have to do is manage focus. Remember when I said that divs and spans aren't keyboard focusable? Well, you can make them keyboard focusable by adding an attribute called tabindex. There's a bunch of different ways to add tabindex, and they're listed on this slide. But essentially, if you add tabindex equals zero to a div, it adds that div into the tab order. So if you have a user who is navigating around the page by pressing tab, that user will be able to focus on that div and send it keyboard events. You can add keyboard handling, and you can add labels, and all that stuff I talked about earlier, but if your divs aren't focusable, a user won't be able to interact with them. So that's why it's so important. Remember, we can proactively place focus that way to create an efficient workflow for users. You want to add key handlers so that a user can use enter and space and arrows and escape to interact with your control. And one of the best ways I've found to do this is to pick a native control and then try and mimic it. This can be a native control as simple as a button or a select box, or it can be something as complicated as something that you'd find on a native operating system, like a tab panel or something like that. But these kinds of native controls usually handle keys like Enter or the arrow keys really well. And users know how to interact with these kinds of widgets. They know to press the arrow keys to move up and down in a select box. So if you mimic that native control, a user is automatically going to know a lot about what they have to do in order to interact with your control. So if you look at this guide, you can actually to get a good idea for what users might expect when they encounter your control. So this code is just an example of what a keyboard handler might look like underneath here, with return on, reply key down, and checking for key codes and stuff like that. So back to the Add to Circles widget. What you're going to be doing is picking native elements and then trying to mimic them, just like I said before. The Add to Circles widget, to a keyboard-only user or a screen reader user, to a sighted user, you hover over it. But then again, a keyboard-only user can't hover. So let's make it like a button. And then after we do that, we're going to add keyboard events like Enter and Space. Remember, a keyboard-only user can't do hover. So Enter and Space mimic the behavior of a regular button. As for the menu itself, it's a drop-down menu. And it's actually kind of like a modal dialog. If you think about it, when you hover over the button, and I'll show you what that looks like again, you hover over it, you have this modal dialog that appears. And that's pretty much the same way a modal dialog works. You can't interact with the rest of the page until a modal dialog disappears, as we saw in that earlier example, like we did on the OK button in the dialog example. So that's what we want to do for the drop-down menu. We ask for the first focusable element, and we put focus on it. The next thing that you want to do is trap focus inside the dialog. You don't want the person to accidentally fall out and not know where they are on the page. We also added escape as a keyboard shortcut, because that's something that's commonly found in native dialogs. Then, another important thing to remember, when the dialog closes, we want it to set focus back onto the Add to Circles widget instead of dropping it on the floor. So I'll show you an example of how this works. I'm just going to use the keyboard instead of Chromebox. So let's go back to Sundar's profile. And I'm going to get keyboard focus on. And I'm going to press Enter. And you can see right away the dialog opened. And I can use Tab to kind of move through the rest of this dialog. So next, I want to talk about screen reader accessibility and the Add to Circles widget. And I mentioned ARIA before. So our Add to Circles widget is a pile of divs. And as I pointed out earlier, screen readers have real difficulty identifying what a pile of divs is supposed to be. So ARIA is essentially a set of HTML5 attributes that actually provide that information to screen readers. The information that a sighted user gets visually, you can provide to a screen reader user by noting with ARIA, this div is a button, or this div is a menu. Just adding an aria attribute doesn't actually give a widget, keyboard handling, or focus management, or anything like that. You still need to add that stuff. Aria is just a layer on top that specifically helps screen readers identify what things are. So let's talk about aria roles. There are two categories of aria attributes, aria roles and aria states and properties. The role attribute is static. It indicates that this generic tag is behaving a certain way. So in this example, this div here is going to be behaving like a button. It's taking on the role of a button. You can also use aria-attributes to indicate composite controls. You can use aria-there too. We can explicitly state that this next div is playing the role of menu item using the role equals menu item attribute. And there's a lot of different roles that you can pick and choose from to add to your generic controls. Another type of role that I mentioned earlier is a landmark role. You can use a landmark role to actually identify separate areas of your app to a screen reader. You can use them together with the new HTML5 semantic tags to create a really rich user experience. So in this example, I used the section semantic tag, but also gave it the role of search. This indicates to a screen reader that this section of the site is the search section. A second category of aria attribute contains aria states and properties. These are both dynamic. Aria states add dynamic information about the current state of an element. And you can use them in addition to roles to identify what an element is currently doing. For example, it also has the aria attribute aria-checked equals true. And as this checkbox gets checked and unchecked, we can actually update this aria state in our JavaScript. There's a bunch of different states associated with the different roles that you can use to add richer information about the current state of a dynamic control. But essentially, you can use it to identify dynamic content on a page. You're adding it to elements that are going to get updated. And if you want more information, which I'll open up. And this document can be really valuable if you're trying to learn about how to do this. If you remember that keyboard focus is like a cursor, and if you have a lot of stuff that is happening outside of where that cursor is, things get confusing really fast. So let's go back to the Add to Circles widget. Now we know about ARIA. And we have this pile of divs. So we want to make sure that we add some ARIA to ensure that a screen reader user can understand what the Add to Circles widget is supposed to be doing. So the first thing that we're going to specify is that this element is a button. And you'll notice that we have tabIndex equals 0 in there, which is really, really important for ARIA. Again, we also want to specify that the addToCircles dropdown dialog is, in fact, a dialog, like we decided earlier. So we're going to add role equals dialog. And we did, unfortunately, also use divs for checkboxes here. So we also want to specify that those divs are, indeed, checkboxes. So we give them role equals checkbox and update ARIA checked in the JavaScript as the person checks or un-checks the checkbox. So now that we've added all of this ARIA for screen reader users, let's try out the Add to Circles widget with Chromebox. So here we are in Sundar's profile, and you can see the Add to Circles widget right at the top. Add to Circles button. A user who can't see the screen doesn't care about any of that. We say that it's a button, and they know how to interact with the button. Because people have interacted with this stuff before, they know how to do it. So it makes things a lot easier for these users. Keeping track of keyboard and adding ARIA, we can turn it into something that makes a lot of sense for different kinds of users. Let's go over how we got here. First, you want to make sure that you're structuring your DOM in a sensible way. It's true for all web apps, and it's also true for custom controls themselves. You also want to make sure your controls and images are labeled. You want to make sure you have intuitive focus management, that you're guiding the user around the page by moving focus proactively. You also want to make sure that your app can be used entirely with the keyboard. Because remember, not all users are able to use the mouse. You have to have keyboard handling and focus management so you can unplug your mouse, use your app, and have everything work just like you expect it to. And additionally, include ARIA for screen reader users to help screen reader users in the midst of div soup and Span salad. So now I'm going to list some tools and resources that can help you get your app to being a more accessible experience. The first one is ChromeVox, which I was using to demonstrate. It's something that any developer can install on Chrome and use right away. And the great thing about ChromeVox is that it's also open source. There's other no-cost screen readers out there. As a developer, it's super important to test your app using just the keyboard, but it's also good to take a test drive with a screen reader. Some other libraries with accessibility support include Dojo Toolkit. So whether you're building a web app from scratch or you're working on refining a complex UI control like the Add to Circles widget, it's definitely possible to deliver a dynamic, accessible experience that looks really good to sighted users, but performs really well for all kinds of users. The first step in this process is really easy. Just close your eyes or unplug your mouse and try to use your app. Once you try that, you can probably figure out some things to fix that can make the experience a lot better. And finally, following HTML5 standards, especially ARIA, are going to get you the rest of the way there to an app that works well for everybody. So thank you very much for tuning in to this developer tutorial. I hope you had a lot of fun watching it or at least learn something."
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        "gt": "SAM'S HERE   ON THE STORE TONIGHT   SAM'S HERE  EVERYTHING'S THROUGH THE FILTER NOWADAYS   IT'S REALLY BAD   I HAVE A SERIOUS PROBLEM  IT'S VERY   VERY LIMITED  SAM   YOU LOOK DIFFERENT TONIGHT  SO   IN THAT REGARD  COOL   WE'RE GOOD  SO   LAST WE LEFT OFF  HAVING RECENTLY SUFFERED THEIR MAIN CITY OF EMON AND ONE OF THEIR INITIALA COLLECTION OF ALLIEDCHROMATIC DRAGONS   EXTREMELY POWERFUL  ANCIENT ACROSS THE BOARD   IT SEEMS  IS WREAKING HAVOC ACROSS ALL OF TAL'DOREI  THEY MANAGED TO SAVE A FEW ALLIES  MAKE A FEW CURRENT   TENUOUS RELATIONSHIPS WITH THE CLASP  ANDAFTER THAT   THE PARTY MADE THEIR WAY TO VASSELHEIM  THE ACTUALOKAY  YOU RAN BRIEFLY INTO MERTIN CYNDRIAL   THE HUSBAND OF VANESSA   WHO'S THE HUNTMASTER OF THE ENTIRE GUILD  NOT VERY GOOD WITH DICE  SO   THAT BEING THE CASE   WHAT WOULD YOU GUYS LIKE TO DO AT THIS POINT IN TIME  RIGHT   YEAH   YEAH  WHAT IS THE PLAN  IS THERE ONE  NO ONE CAN BE EXPECTED TO MOVE AT THE SPEEDS WE'VE BEEN MOVING AT FOR THE PAST WEEK  PERHAPSFOR NO OTHER REASONS THAN TO BE HELPFUL TO YOU IN THE GAME AND NO OTHER REASON  OH  AM I RIGHT  I DIDN'T MEET ZAHRA  I DON'T SEE THE RESEMBLANCE  COURSE OF ACTION  ALL RIGHT   AS YOU GUYS HEADS TOWARDS THE FRONT DOOR OF THE SLAYER'S TAKE GUILD HALL  YOU'RE BUT FEET FROM IT BEFORE THE DOORDARK BROWNISH-BLACK LEATHERS  PIERCING PUPIL-LESS EYES   AND THERE STANDS HUNTMASTER VANESSA   CLUTCHING A BAG THAT'S SEEMINGLY DAMPENED AT ITS BASE IN HER RIGHT HAND AS SHE STEPS INTO THE MAIN FOYER  AH   HOLD ON  THE REST OF YOU   INSIDE   WHERE IT'S WARMER  AND AS SHE STEPS INSIDE   YOU SEE TWO INDIVIDUALS STEP OUT OF THE SHADOWS BEHIND HER  ONE OF WHICH IS ANOTHER TIEFLING FEMALE   WHITE HAIR  RED IN SKIN  JUST   YOU KNOW   ROLLING THROUGH   PASSING BY  I WON SEVENTY FIVE GOLD PIECES AT THE CRUCIBLE WHEN I BET ON KERN THE HAMMER  MONEY WELL SPENT  DOESN'T REALIZE AGAINSTUNAWARE OF WHAT'S GOING ON   BUT A LOT OFBLACK  IF WHAT YOU SAY IS TRUE   THIS IS VERYUNFORTUNATE  AND WE PLAN ON IT  BUT WE KNOW THAT THE SLAYER'S TAKE IS FULL OF VERY STRONG  LET ME PUT IT THIS WAY  IF WHAT YOU SAY IS TRUE  YOU HAVE TO FIND A WEAKNESS   YOU HAVE TO FIND THE WAY TO BE ON THEIR LEVEL  ASK AROUND  SEE WHAT OTHER ALLIES YOU CAN FIND  A METALLIC DRAGON  THESE ARE THE FIRST MOMENTS AFTER US FINDING OUT   THIS IS A FIRST STEP  CAN DOI KNOW THIS IS JUST A FIRST STEP  AND WE'RE ABOUT TO ENTER VASSELHEIM PROPER   BUTIT SHOULD SPEAK PRETTY LOUDLY THAT WE CAME TO YOU FIRST  I DEAL IN CONTRACTS   I DEAL IN BUSINESS   I DEAL IN THE HUNTING OF RELATIVELY UNORGANIZED CREATURES  THIS IS BEYOND ME   THAT IS NOT TO SAY I WOULD NOT BE WILLING TO HELP   BUTOKAY  MY APOLOGIES  PUSHING UP THE STEPS AGAIN  OSYSA  I APOLOGIZE TO BOTHER YOU   BUTWE HAVE A PREDICAMENT THAT I BELIEVE REQUIRES YOUR ATTENTION  AND AT THE VERY TOP OF THIS STAIRCASE THAT LEADS TO THE TOP OF WHERE THIS PLATFORM ENDS  YOU CAN SEE STANDING ABOVE IT A VERY LARGE FEMALE SPHINX WITH A LION BODY   A FEMALE HEAD ADORNED WITH GOLDEN JEWELS AROUND THE NECK  YES  I RECALL  SO WHAT DO YOU NEED OF ME  GO FOR IT   VEX  YOUR HELP   POTENTIALLY  THE WORLD IS UNDER ATTACK  I HAVE BEEN WATCHINGBY THE HEARTSTONE  NAUGHT BUT THIS PAST DAY I HAVE BEENKEEPING TABS IN HOPES THAT SUCH A CATACLYSM WOULD NOT FIND ITS WAYTO MY MATE  IT HAS NOT  BEING AWARE OF THIS   WHAT DO YOU ASK  IS THERE ANYTHING THAT YOU KNOW OF THAT COULD HELP US DEFEAT THESE ANCIENT BEINGS  STEPS UP AND CLOSES HER EYES  AS HER MUSCLES TENSE   HER EYES OPEN AGAIN   THAT COLOR FLASHING WITH THISLUMINESCENT BLUE COLOR  AND HER VOICE FALLS EVEN DEEPER INTO HER REGISTER   AND ALMOST HAS THIS MONOTONE INFORMATIVE PROJECTION THAT SAYSTHE VESTIGES OF DIVERGENCE  RELICS WIELDED WHEN THE GODS WALKED AND FOUGHT ALONGSIDE THEIR CREATIONS  STEPS BACK  I ASK   WHAT ARE THE VESTIGES OF DIVERGENCE  I AM A CHANNEL FOR THIS KNOWLEDGE   BUTBEST I CAN UNDERSTAND   THEY AREOLD RELICS OF THE WAR OF THE DIVERGENCE  LEADING INTO THE PENANCE  THE SECOND SPARK  THESE WEREARMAMENTS  OBJECTS OF GREAT POWER THAT WERE USED IN THESE WARS AGAINST THE GODS   GOOD AND DARK  MANY HAVE BEEN BURIED  ENTOMBED  LOST   FORGOTTEN   THE FEW THAT ARE RECOVERED ARE PASSED ON THROUGH BLOOD LINES   THROUGHSYMBOLS OF POWER AND OF SEATS OF GREAT POLITICAL IMPORTANCE  BUT THE ACTUAL INFORMATION IS LOST TO ME  DO YOU KNOW OF ANY ONE IN PARTICULAR  SHE CONCENTRATES FOR A SECOND  NOT WITHIN MY FIELD OF VISION  PRONE TO WANT TO KEEP THEMSELVES HIDDEN  THAT'S CONVENIENT  YOU ARE AWARE OF THIS KNOWLEDGE  THEN YOU KNOW THAT VASSELHEIM IS ONE OF THE ONLY REMAINING CITIES STILL LEFT STANDING  ARE THERE ANY OTHER SERVICES YOU CAN OFFERTO HELP US FIGHT THIS  THE DANGER THAT YOU RUN HERE IS THAT VASSELHEIM HAS STOOD THE TEST OF TIME AND SURVIVEDTWO POSSIBLE ENDS OF CIVILIZATION AS WE KNOW IT  BECAUSE THOSE WHO GUARD IT STAYED TO GUARD IT  MAY BE HARD-PRESSED TO CONVINCE OTHERS TO STEP BEYOND THE WALLS KNOWING THAT SUCH A DANGER COULD USE THAT TO THEIR ADVANTAGEAND DESTROY THE GREATEST CITY THAT WE KNOW OF  WELCOME TO ASK   BUT IT WILL BE A DIFFICULT JOURNEY  WHAT I CAN OFFER   THOUGHMY MATE IS A KEEPER OFMUCH HIDDEN KNOWLEDGE  OVER ON HIS SIDE OF TAL'DOREI  I MAY BE ABLE TO SEND YOU TO HIMTO SEEK THIS INFORMATION  MUCH HIDDEN KNOWLEDGE  HE DOES NOT SERVE HER DIRECTLY  INFORMATION IS WELCOME AND WE ARE THANKFUL  AND WE HAVE BEEN IMPRESSED BY YOUR WISDOM  VERY MUCH SO  IN ADDITION TO INFORMATION  YOU PROVIDE A SERVICE WITH THE SLAYER'S TAKE TO VASSELHEIM  DO YOU HAVE ANY INTEREST IN SPREADING THAT INFLUENCETO EMON   IF WE CAN SAVE IT  THERE IS GREAT DANGER AND DARKNESS IN THIS WORLD  IF WE WERE TO LEND OUR POWER TO YOU   I WOULD ASK THAT YOU PROVE YOURSELVES THE ONES THAT COULD CARRY THIS TORCH  PERHAPS FINDTHESE RELICS  GATHER OTHER ALLIES  PROVE TO ME THAT I WOULD NOT BE SENDING MY PEOPLE TO THEIR DOOM  PERHAPS THEN   WHEN YOU THINK YOU ARE READY  WE COULD LEND OUR GUILD TO YOUR SERVICE  AND WHERE DOES YOUR PARTNER RESIDE  SHE CLOSES HER EYES AND CONCENTRATES FOR A MOMENT  SOUTH OF THE FROSTWEALD  THE MOUNTAIN RANGE THAT GUARDS IT  UNDERSTAND THAT IT IS OUR NATURE TO PRESENTCHALLENGES  PART OF HISTO SEEK HIMIS TO FIND HIM YOURSELF  THAT IS THE FIRST STEP  DOES HE HAVE A NAME  IS HIS NAME TO GIVE  YOU SERVE THE GODDESS OF KNOWLEDGE  VECNA  AS YOU SAY THAT NAME  SHE SNARLS  YES   I KNOW OFHIS TOUCH HAS BEEN FELT IN THE NORTH  VERY CLOSE TO HERE   ACTUALLY  WOULD YOU KNOW OF A WAY TORID OURSELVESOF HIS WEAPON  OF HIS TOOL  IF I DID   WE WOULD HAVE DONE SO LONG AGO  THIS CREATURE IS ONE OF THE FEW ENTITIES THAT SHROUDS MY VISION  THE LIMITS OF OUR SIGHT  OF THE THINGS WE SEEK TO DISCOVER AND UNVEIL  HE MAY HAVE BEEN HELD AT BAY  MANY THOUGHT DESTROYED HUNDREDS OF YEARS AGO   BUT NO   HE STAYS  ON EVERYTHING WE SEEK TO ACCOMPLISH  WELL THEN   ALLOW US TO DO YOU A SERVICE  WE HAVE HAD DEALINGS WITH HIS UNDERLINGS  WE HAVE KNOWLEDGE  WHICH WE FREELY GIVE  FREELY   IF IT DOES ANYTHING TO HELP OUR CASE  WINNING YOUR AID  WE'RE NOT TRYING TO SCORE POINTS   WE ARE TRYING TO DO RIGHT  PERCIVAL  WHAT DO YOU KNOW  DARK CREATURES ATTEMPTED TO  AS BEST THAT WE CAN SURMISE  OPEN A GATEBENEATHSHE STEPS BACK FOR A SECOND  I CAN SEETHE SNOWY NORTH OF TAL'DOREI  THE CASTLE  BENEATH  YOUR TEMPLES  THE ZIGGURATS WERE NOT OF HIS CONSTRUCTION  BUT HE TOOK THEM  I LOOK OUT TO FOLLOW THE ANGER  THE SWATH OF DEATH AND HATRED  THOSE WHO TOOK EMON  THEY DRAW MY GAZE  SOMETHING IS HAPPENING  RIGHT NOW  EASTWARD  EASTWARD BEYOND THE SHORES OF WILDEMOUNT  HER HEAD LOOKS UP   STILL STARING OFF INTO THE DISTANCE  INTO THE DRIMAULTH RAVINE  I SEE THE FLOATING ISLANDS OF DRACONIA FALLING  CRUMBLING  AN ARMY SUNDERED  PEOPLE RUINED  THE CONCLAVE   SATED   RETURNS TOWARDS YOUR LAND ONCE MORE  YOU CAN SEE BLOOD POURING OUT OF ONE OF HER NOSTRILS NOW  YOU CAN HEAR THE IMPACT OF GIANT FOOTFALLS AGAINST SANDAND THEN SILENCE  HAVE WE CONVINCED YOU  OUT THERE  AND AFTER OUR DEALINGS WITH RIMEFANG  I CANNOT LET THIS GO  KNOW I CANNOT   KASH  Z   THIS IS FUCKING HAPPY FUN BUNCH OVER HERE  AND TO THINK  BRIEFLY MISSED YOU  HE WHO IS NOT NAMED  SPEAK FREELY  SO  THESE VESTIGESANCIENT   RIGHT   SPREAD ACROSS THE LAND  WASN'T TIBERIUS LOOKING FOR A BUNCH OFPERHAPS THAT'S THE REASON DRACONIA WAS HIT  ANCIENT VESTIGE OFTHIS IS GOOD  VASSELHEIM  EVEN THOUGH IT'S HIDDEN  HAVE ANY OF YOUBEEN WHERE THE FIRE ASHARI RESIDE  GOING TO HAVE TO MAKE OUR WAY THERE   EVENTUALLY  A LOT TO DO  YOU NEVER LEAVE  WE HAVE THINGS WE CAN PROVIDE   AS YOU ARE MEMBERS  GO TO THE QUADROADS  VANESSA   WE'VE DONE MANY JOBS TOGETHER  AND I THINK WE'VE BEEN VERY LOYAL TOWE'VE BROUGHT IN A LOT OF MONEY FOR YOU  MY ONLY REQUEST IS  IS THERE ANYTHING EXTRA  ARE THERE ANY SPARE POTIONS  ANY AMULETS OF PROTECTION  ANYTHING  YOU CAN AFFORD IT  WE'RE GOING TO GET YOU INTO EMON  IN ALL SINCERITY  THE GNOME SPEAKS BECAUSE I DO NOT HAVE TO  AS THEY'RE LEAVING   CAN KASH PULL ZAHRA ASIDE REALLY QUICKLY  ALL OF IT   GONE  FOR A WHILE  IF WE FIND SOMETHING BETTER  LEAVE HALF THE GOLD HERE   THEY DON'T NEED TO KNOW EVERYTHING THAT WE HAVE  FUCK THAT  ALL RIGHT   SO YOU GUYS HEAD OUT OF THE SLAYER'S TAKE GUILDHALL INTOTHE SUN IS STILL NOT VISIBLE   THERE'S ENOUGH CLOUD COVER WHERE YOU CAN SEE WHERE IT WOULD BE IN THE SKY   BUT IT'S STILL PRETTY GREY  AS YOU TWO ARE BOTH VERY AWARE  SO YOU MAKE YOUR WAY TO THE QUADROADS  AM I WRONG  I MEAN  YOU'RE INTERESTED IN KEYLETH  BECAUSE I CAN  AND I DON'T HOLD ANYTHING AGAINST HIM   AND SHE'SBUT CONDENSED  AND IT IS JUSTSO AS YOU GUYS ARE WALKING AROUND  YOU   I REMEMBER YOU  HE'S A CART HE'S A STUPID CART SALESMAN  DO YOU HAVE ANYTHINGTHIS HERE I HAVE  VEX'AHLIA ISTRINKET STUMBLES INSIDE  VEX  WELL   THEN  FRIENDSHIP DISCOUNT  I WALK OUTSIDE  HOW ABOUT  INSTEAD OF THAT  IT'S KNICKKNACKS  BUT THEY'RE MAGIC  PLEASE DON'T TAKE ADVANTAGE OF US BY TAKING THESE THINGS FROM US  THEY'RE TOO VALUABLE   PLEASE   I BEG OF YOU  I WOULD LIKE TO HAVE A LOOK  JUST IN CASIES  I'M GOOD  SEEM FAIR ENOUGH  UM  THEY'RE FINE  AH   QUITE FINE  FIFTEEN HUNDRED OFF THE ASKING PRICE  IT WOULD BE WONDROUS AFTER WE COMPLETE THIS TRANSACTION THAT WE NEVER MEET AGAIN  I'M AFRAID I'VE ALREADY HUNTER'S MARKED YOU  OH  GOOD DAY  HER NOW  NO  BUT THAT'S UP TO YOU  WE'RE JUST GUESTS HERE  FINE  ISSYLRA  WHO'S GOT THE POTIONS  I'M SO FAST   BUT I'M REALLY WEAK   CANEIGHT OF US  I'LL GIVE YOU TWO NORMIES  SOAS YOU APPROACH THE SAME AREA   YOU CAN SEE THAT THE BUILDINGWITH THE SNOW AND THE RAIN  AS YOU ENTER   INDEED  I'M GOING TO STAND OVER HERE AND FAIL TO STAY IN CHARACTER   OKAY  YOU'RE LOOKING WELL  YOU CAN SEE NOW  CAREFULLY  HE PULLS OUTI TRUST YOU IMPLICITLY  THINK YOU'VE HAD ENOUGH  SIDE  SO  REAL BLACK POWDER  NOT MANY   HAVE THERE BEENHE POURS A COUPLE OF CUPS FOR YOU   PULLS IT OVER TO YOU  OH   ONE  GOOD OUTFIT  VERY GOOD TO KNOW  MONEY CAN HELP  EXPLAINS THE COLD  I ALREADY SOLD A LOT RECENTLY TO THE LADY  I HAVE MY OWN TINKERING TO DO  TELL YOU WHAT   VICTOR  MAKE A PERSUASION ROLL  FOR YOU  I SAW NOTHING  I LOVE YOU   DARLING  KEEP SAFE   ANDKEEP SAFE  THE HAMMER  SO I WENT AWAY AND I MADE YOU   A HAMMER  IT'S A MOON  I GO AND I SIT NEXT TO KASHAW  GUYS  I'VE NEVER MET YOU   BUT I MISSED YOU GUYS  I'VE MISSED  HAVE BEEN GIVEN A DIRECTION MOVE TO ACTUALLY DEFEAT OUR FOES   WE HAVE BEEN GIVEN A SIGN  WE HAVE BEEN GIVEN SOMETHING TO MOVE FOR  THERE IS AN INEVITABILITY TO THE GOODNESS OF THE UNIVERSEDO I PUT IT  SLEEPING WHILE STANDING UP  MEETING OF THE MINDS  HE'S SEEN YOU ONCE   MAYBE HE'LL SAY HELLO AGAIN  WHAT SHOULD I   LIKE   BRING HIM A GIFT  IT'S PROBABLY ABOUT ONE THIRTY   TWO O'CLOCK IN THE AFTERNOON  THERE ARE DRAGONS IN THE WORLD   RIGHT NOW   AND WE'RE FIGHTING  BUT SOME OF US ARE A LITTLE DRUNK  OKAY  A FAMILIAR  BURLY LOOKING HALF-ORC GENTLEMAN  KERN  THINGS BEEN GOOD  WHEN I CHEW   MY JAW GOES TO ONE SIDE   IT'S FUCKING WEIRD  EVERYTHING'S FINE  HAVEN'T REALLY  I'LL LEVEL WITH YOU  FAMILY ISSUES  WANDERING BARBARIANS IN THE NORTHERN WASTES  WELL   OBVIOUSLY NOT  AND HE'D TRAIN ME  MORE OF HIM   LIKE A BUNCH OF BIG  JACKED-OUT GUYS IN THERE  BUT THERE'S PLENTY OF OTHERS THAT TRAIN UNDER HIM  ALL SORTS OF WARRIORS   WEAPONS OF ALL KINDS   IT'S KORD  AND YOU CAN SEE THAT THIS MAN  HE'S A GREAT MAN  IT SEEMS  BUT THAT'S FINE  IF YOU HAD TO FIND MEN AT ARMS   MEN TO ATTACK A VERY LARGE FOE   POSSIBLY QUITE DANGEROUS  BETWEEN THEM AND THE TRIAL FORGE   THAT'S MOST OF THE ACTUAL ARMY  THEY TRAIN THE ARMIES HERE  WHERE THEY BREED WARRIORS  YOU TOO  THE MEDAL WAS A JOKE  KERN  WOW  GROG  NOT ANOTHERONLY ONE MAN FOR ME  ONE LAST THING  HE'S A COMPLICATED MAN  I LITERALLY NEVER EVEN HAD THIS EXPERIENCE IN HIGH SCHOOL  SCHOOL  YOU KNOW  OKAY  MAKE SURE THEY KNOW  THEN STOP FUCKING DRAGGING THEM ALONG  BECAUSE IT'S NOT FAIR  OH NO NO NOSURE  IT WAS JUST A DAY  I JUST WANT TO SAY   I DON'T THINK THE DRAGONS STAND ASERIOUSLY THOUGHI'M REALLY CONFUSED  DON'T HURT HIM  KASH  OKAY  WELCOME BACK EVERYONE   SO  YOU GUYS WOULD ENJOY IT   SO MAKE IT HAPPEN   PLEASE   I WANT TO SEE IT  ALSO   A REMINDER THAT IF YOU WANT TO HELP SUPPORT THE CHANNEL  USELESS  YOU MAKE YOUR WAY PAST THE SCATTERED TEMPLES  SO A LOT OF PEOPLE HERE ARE JUST STERN FOLK THAT LIVE AMONGST TERRIBLE WEATHER AND MONEY AND WEALTH ISN'T REALLYIS PIOUS TO SOME DEGREE TO ONE OF THE DEITIES THAT ARE WORSHIPPED HERE  QUITE A WAYS UP  ALMOST TWENTY MINUTES OF STAIR CLIMBING   YOUR LEGS START TO CRAMP A BIT   BUT YOU MANAGE TO MAKE YOUR WAY TOWARDS THE TOP  THEY CHANGE THEIR STANCE TO BE A LITTLE MORE PREPARED  IS HARD TO DO WITH ALCOHOL IN YOUR SYSTEM  LOT OF HORSES AND CHICKENS AROUND HERE   TOO  TURNS  AND THE DOOR OPENS SLIGHTLY AND ONE OF THE GUYS DISAPPEARS BETWEEN THE TWO DOORS  ABOUT THIRTY SECONDS PASS TO A MINUTE  BEFORE HE STEPS BACK OUT  YOUR PRESENCE HAS BEEN ACCEPTED BY THE HIGHBEARER VORD   THE SILVERTOUCHED  HE WILL GREET YOU IN THE CENTRAL CHAMBER   PLEASE  THANK YOU  VIGIL  YOU GUYSCONTINUE INWARD   TOWARDS THE CENTRAL CHAMBER  THE HIGH STONE CEILING BEFORE YOU  BEFORE COMING TOGETHER IN A LINE TOWARDS THE BACK  NEVER GOT THAT STUFF BACK  ISSTEPS FORWARD AND EXTENDS HIS HANDS  IT IS GOOD TO SEE SUCH FRIENDS  SO I ASK YOU ONCE AGAIN TO JOIN ME IN THIS CHAMBER  CAN I HELP YOU  AS IT CONCERNSDRAGON MATTERS  WE KNOW THAT YOU SERVE BAHAMUT  THE GREAT  THE WONDERFUL  THE VERY METALLIC  HOW MUCH DO YOU KNOW ABOUT THE DRAGON ATTACKS THAT HAVE BEEN RAGING ACROSS THESWATHED IN ICE AND FLAME  OF COLORS BONDED AND UNLEASHED  AND I FEARED IT WAS THE WORK OF OUR LORD'S NEMESIS  STRAIGHT-UP NEMESIS  HOWEVER  WITH MUCH PRAYER OF MINE AND MY ACOLYTES  WE FIND NO TREMOR OF THE DRAGON QUEEN  ALL OF US OR JUST  ALL OF YOU   SURE  NONE OF THESE RING A BELL   EXCEPT FOR YOU  NINE HELLS  HOWEVER   IT SEEMS THATTHROUGH MUCH DISTURBED INTEREST AND PRAYER INTO THIS MATTER  THERE DOESN'T SEEM TO BE THE SCENTOF TIAMAT'S DOING IN THIS MATTER  AND STRANGELY   YOU SEE A BIT OFTHE TENSION IN HIS FACE RELAX AS HE TELLS YOU THIS  SO  IF IT'S NOT THE NEMESIS  THE BIG NEMESIS  WHILE THESE ENTITIES DO CONCERN US  THE DRAGON QUEEN WILL BE WAITING FOR TO ATTACK OUR CITADEL  THERE ARE MANY MORE FORCES BEYOND THESE DRAGONS THAT YOU SPEAK OF IN THIS WORLD   BENT AGAINST THE DESTRUCTION OF THIS CITY  I CAN GUARANTEE YOU  SHOULD THEY MOUNT AN ATTACK ON US   FOUR OR NOT  THEY WILL FALL  HOW  WELL  WE HAD THE AIDOF BAHAMUT WITH US AT THAT TIME  FROM YOUR CURRENT POSITION   YOU CAN SEE ACTUALLY FORM A MATCHING SYMBOL   NOT OF A SHIELD   BUT OF A GIANT WINGED DRAGON OUTSTRETCHED ACROSS THE CURVED ROOF OF THIS TEMPLE  WATER  UNDERSTAND  I HEAR YOUR PLIGHT  AND I UNDERSTAND THAT WE MUST AID YOU IN THIS ENDEAVOR   BEST THAT WE CAN  WHAT SORT OF AID CAN YOU OFFER   THEN  WELL   NOW  WHILE YOU SEEK OUTWHATEVER YOUR PLOT IS TO TEAR THESE CREATURES FROM THEIR SUMMIT  WE WILL GRANT TO YOU  FROM OUR PLACE IN THE DAWN CITY  CHAMPION SHALL COME TO YOUR AIDTO HELP IN ANY WAY THAT THEY CAN  AND ONCE THEY CAN REPORT THEIR CERTAINTYTHAT VICTORY CAN BE HAD  AND ONE OF THE ARMORED KNIGHTS STEPS FORWARD  FULL ARMOR   THISYOUR CHARGE  PLATINUM KNIGHT UDIRE  YOU SEE STEPPING UP BEHIND  MORE THAN MOST WHO WALK THE WARRIOR'S PATH  YOUR FOOLISH IMPULSES WILL GET YOU KILLED  CHURCH  CHIVALROUS-TYPE KNIGHT GENTLEMAN  REALLY   HER  VERY WELL  YOUR NEW CHARGE IS LADY KIMA  UDIRE   IT WOULD HAVE BEEN A SWELL ADVENTURE WITH YOU   MAYBE NEXT TIME  TO STEP AGAINST SUCH POWERFUL DRAGONS IS INDEED A DEATH SENTENCE  IT'S TRUE THAT YOU NEED TO PREPARE  ARM YOURSELVES AGAINST THIS DOOM  THESE RELICS YOU SPEAK OF FROM BEFORE THE SECOND SPARKSTILL LIE FORGOTTEN  THESE ELEMENTS EVEN BALKED THE PRIMORDIALS OF OLD  THESE RELICS LIE   ONLY STORY AND TOME CAN TELL   UNFORTUNATELY  KNOW THAT AT ANY GIVEN TIME  YOU ARE NOT THE ONLY ONES SEEKING THIS POWER  CONSIDER THINGS OF SUCH GREAT STRENGTH ARE PERPETUALLY IN THE MINDS OF THOSE WHO WOULD MAKEOR INTEND TO TAKE THEIR OWN TOWNSHIPS AND PEASANTRY UNDER THEIR OWN BOOT AND GAUNTLET  VARIOUSTHE DRAGONS TOOK IT OUT  WE HAD ONE SUCH ENTRUSTED TO US LONG AGO   BUT THAT WASDESTROYED AS PART OF THE LAST ASSAULT ON VASSELHEIM THAT WE WITHSTOOD  OR HOW MANY THERE WERE  CERTAIN  I WISH I COULD BE OF MORE AID IN THIS   BUT THIS IS NOT APATH THAT I CHOSE TO LEARN MUCH ON  THOUGH THE WARRIORS THAT ONCE WIELDED THESE IN THE BATTLES OF OLDONLY SEEMED TOHOW DID YOU DEFEATTHE SECOND SPARK  TAKES A MOMENTIT'S A LONG TALE   AND I RECOMMEND YOURESEARCH THE HISTORY YOURSELF  CHAOTIC ENERGIES  ELEMENTS CLASHING   THE VERY LANDSCAPE ITSELF WAS IN ETERNAL TURMOIL  WRESTLING FOR NO PURPOSE OTHER THAN THE DESTRUCTION OF THE OTHERS  THERE WERE NO BOUNDARIES  YET THE GODS STILL CAME  AND THEY CREATEDVARIOUS BEINGS AND ENTITIES  THEY HOPED THAT THROUGH THEIR CREATIONS   THEY COULD LEARN MORE ABOUT THEMSELVES  THEY BEGAN TO WATCH THE FIRST BURGEONING ELVES  DWARVES  WITHIN A SHORT TIME   A VERY SHORT TIME  THE VERY CHAOTIC NATURE OF THIS LANDSCAPE CONSUMED AND DESTROYED MOST OF WHAT REMAINED  THE ONLY CITY THAT STOOD  THE FIRST CITYVASSELHEIM  BEINGS OF NO NOBLE MIND  SOUGHT TO DESTROY ANY LIGHT OR BEAUTY  THUS THE FIRST WAR BEGAN  THE PEOPLES ROSE UP  THE GODS' FEET TOUCHED THE GROUND  WITH THE FIRST OF THESE VESTIGES  LAYING THEM TO REST WITHIN THE DIRT  WITHIN THE SKY  CASTINGTHE ELEMENTS AWAY FROM THIS PLANE  AND SEPARATE TO THEIR OWN  WHERE NOW THEY REMAIN  WATER  AND THEIR MUDDY BOUNDARIES BETWEEN  THUS CAME A TIME OF GREAT PRIVILEGE AND PROSPERITY  AND IT ALSO CAME TO BE DISCOVERED THAT SOME OF THE GODS   AS PART OF CREATION DURING THIS BOUT WITH THE TITANS  BEGAN TO QUESTION THE PURPOSE OF CREATION  TO EMBRACE THE CHAOS THAT THEY FOUGHT IN THIS BATTLE  AND THEY DISTANCED THEMSELVESFROM THE ONES THAT GUIDE US TO THIS DAY  THEY BEGAN TO TAKE THE CHILDREN OF THE GODS  TEACH THEM THE WONDERS OF ARCANA  MAGICS BEYOND THE DIVINE   THE GIFTS OF THE GODS  AND FOR THE FIRST TIME   THE CREATIONS BEGAN TO FIND POWERSEPARATE FROM THE CREATORS  THE ARROGANCE TO THINK THAT PERHAPS   NOW  THEY WERE GODS THEMSELVES  NOW   THEY WERE THE GODS' CREATIONS AND THEY LOVED THEM VERY MUCH  SO THEY DID NOT SEE THIS AS A THREAT   BUT AS THE SECOND EXPANSION OF CIVILIZATION SPREAD ACROSS THE WORLD  AS WELL AS A NEW WAVE OF INSOLENCE AND SELFISHNESS  AND THESE NEW DARK GODS BEGAN TO PREY UPON THIS  THIS TERRIBLE WAR  THIS IS WHAT WE KNEW AS THE DIVERGENCE  THIS IS WHEN THE PEOPLE WERE SPLIT IN TWO  THE GODS WERE DIVIDED AS WELL  BLOODY BATTLES ENSUED  AND IT LOOKED AS THOUGH  EVEN VASSELHEIM WOULD FALL  BUT IN THIS TIME  THESE VESTIGESAND THE CHAMPIONSFOUGHT ALONGSIDE THE GODS ONCE MORE  AND VICTORY WAS HAD  THE DARK GODS BANISHED TO VARIOUS PLANES  FAR FROM THIS PLANE  BUT IT WAS THEN THE GODS ALSO DECIDED THAT PERHAPS THEIR DELVINGHAD CAUSED THIS  AND THEY RECEDED  LEAVING THE MORTALS TO FIND THEIR OWN WAY  TO REBUILD A SECOND TIME  WITH THE WARNING OF THE DANGERS OF ARCANE  BUT SOME WERE KEPT   SOME WERE LOST   SOME WERE ENTOMBED  SOME WERE RE-FOUND AND REDISCOVERED AND USED AS SYMBOLS OF POWER  BUT SINCE THIS SECOND SPARK OF CIVILIZATION  GODS FELT THAT THEAND THE GODS LEAVING US TO OUR OWN  THE INFRACTIONS AND SINS OF OUR ARROGANT BROTHERS AND SISTERS OF THAT DAY  SINCE THEN  WE'VE HAD OTHER NEW CIVILIZATIONS SPRING UP WILDEMOUNT  TAL'DOREI  MAY I ASKVESTIGES  THE WORD IN THESE LEGENDS  IT SEEMS VAGUE  DOES NO ONE KNOW ANYTHING ABOUT WHAT THEY WERE   IS THAT A STAND-IN FORARTIFACTS AND RELICS OF THIS POWERARE VERY DANGEROUS  AND WHAT BETTER WAYTO HIDE THINGS OF SUCH POWERWE ARE HERE TO PROTECT THOSE BOUNDARIES THAT WE SET SEVERAL THOUSAND YEARS AGO  I AM NOT APRACTITIONER OF THE HISTORY OF THEASHARI PEOPLE  OBJECTS WITH THAT MUCH POWER HAVE TO LEAVE SOME TRACE SOMEWHERE  ANYTHING YOU CAN THINK OF   A PLACE TO START  COBALT RESERVE  THE WARS OF OLD   THE HISTORY OF OUR DEITIES  OF OUR TEMPLES  MONKS ARE MORE ECLECTIC IN THEIR COLLECTIONS  MAYBE NOT ALL OF THE RESERVE WAS DESTROYED   MAYBE THEY HAVE SECRET ROOMS UNDERGROUND   WHERE THEY KEEP THE MOST ANCIENT TEXTS  WE SHOULD AT LEAST CHECK  IF THEY HAVE   IT'S A VERYGOLD  DOMINANCE  AND STRENGTH  THIS RED DRAGON IS AS ANCIENT AND AS POWERFUL AS YOU SAY  PERHAPS HE  EVEN HE   COULD BULLY LESSER DRAGONS  DOES THAT MEAN THE FOURTH IS UPON US  I HOPE NOT  WE WILL DO EVERYTHING WE CAN TO SEE THAT THIS CITY STANDS  IT IS THE ONLY LINK WE HAVE TO THE PAST  SHOULD VASSELHEIM FALL  I DARE SAY ALL IS LOST  THAT'S MY ONLY QUESTION  THAT IS YOUR QUESTION  DEFEND THEMSELVES AND THRIVE THEREAFTER  PETTY SQUABBLES  SELFISH PERSONAL ENDEAVORS THAT LEAD TO FOOLISHNESS AND TREACHERY  SHOULD THIS CITY FALL   AND ONE OF THOSE REMAIN  THAT IS A BREEDING GROUND FOR THE DARK POWERS THAT LIE BEYOND THE VEIL  IT IS ONLY HERE THAT THOSE WHO ARE THE MOST DEVOUTCOULD TRULY HAVE THE HEARTS AND MINDSTO GUIDE US  BAHAMUT FORBID   INTO A FOURTH AGE  ON OUR JOURNEY   WE MAY HAVE TO TRAVEL LONG DISTANCES QUITE OFTEN  HOWEVER   THERE IS STILL THE SKYPORT  IT'S FINE  I'M NOT GOING TO ASK HIM HOW HIS FAMILY IS  WITH PLEASURE  SHOVE OFF   PLEASE  HAVE TO HAVE A CONVERSATION  ASKS TO BE INTRODUCED ANDDON'T MEAN TO BE   IT'S BEEN A ROUGH YES   THANK YOU  WHAT ARE WE AFTER HERE  WE NEED TO MEET UP WITH ALLURA   THOUGH   SHE WASOH DEAR  AND SHE CONTINUES RUSHING AHEAD  SO  DO YOUMET KIMA IN MY LIFE   SHE DIDN'T SEEM TO LIKE ME VERY MUCH   WHICH IS ODD   BECAUSE EVERYONE ELSE SEEMS TO THINK I'M AN AMAZING GUY  I'M VERY HAPPY THAT IT HAPPENED  BUT I SHOULDN'T HAVE STOLEN IT  AND FOR THAT   I APOLOGIZE  I ALSO DON'T EVER WANT TOI'M GLAD WE GOT THAT CLEARED UP  STEP OUT OF THE WAY  YES  CLEARLY MY PRESENCE IS RECOGNIZED IN THIS GREAT HALL  GOOD DAY  LET'S DOAND AS YOU GUYS WALK UP TO THAT EDGE  GROON  AND   YOU KNOW  HEIGHT-WISE  TURNS AROUND TOWARDS YOU AND SAYS  YOU STRAY FROM THE DARKNESS THAT I WARNED YOU  BUT THIS CURRENT DISTRACTION IS TOO GREAT  EVEN YOUR BLOOD IS DRAWN TO THE FLAMES OF PROMISE AND POWER  THIS SHALL BE A TEST TO SEE IF YOU WILL BREAK AGAINST THE SHADOW  GROG STRONGJAW  HE SAID MY FULL NAME  KNOWLEDGE IS EARNED  NOT GIVEN  LIKE A DAGGER IN YOUR STOMACH   HIS ELBOW ISUNABLE TO REALLY CATCH YOURSELF   AND JUST LAND FLAT ON YOUR BACK IN THE SAND  WE'RE ALL HANGING BACK  JUST WATCHING  WHERE DO YOU FIND YOUR STRENGTH  YOU WALK BETWEEN WORLDS  WEAKNESS IN MIND OR WEAKNESS IN CONVICTION  WHAT DO YOU STAND FOR  WHERE DO YOU FIND YOUR STRENGTH  AT WHICH POINT   AS YOU'RE GETTING UP  THERE'S ANOTHER BLINDING FLASH FOR A SECOND AND YOUR FEET ARE LEFT OUT FROM UNDER YOU  CHOOSE  CHOOSE THE TWO HERE WHO WOULD SAVE YOU  CHOOSE YOUR BLOODY MUSES  HE LOOKS OVER TO THE REST OF YOU ON THE SIDE OF THE PIT  CHOOSE  I CHOOSEVAXAND I CHOOSE SCANLAN  WE GIVE HIM HIS STRENGTH  MAKE ACROBATICS CHECKS   BOTH OF YOU GUYS  NATURAL TWENTY  GUYS   DON'T DIE  SO  I'M HIDDEN BEHIND GROG SO IT SHOULD BE SNEAK ATTACK   AND I'M THE FIRST TO GO SO IT'S A CRIT  SOME BRUCE LEE SHIT  HE REDUCES THE DAMAGE ENTIRELY   SPENDS ONE OF HIS KI POINTS  HE CATCHES THE DAGGERNOT BACK AT YOU   THOUGH   BECAUSE YOU'RE CURRENTLY BEHIND GROG  ARE YOU STILL FACE-DOWN IN THE SAND  MY BUDDY SCANLAN  NOW IT IS GROON'S TURN  RUSH UP TO THE FRONT OF GROG ACTUALLY NO   TO THE SIDE HERE SO YOU'RE BOTH IN COMBAT   TECHNICALLY  ALL AGAINST YOU   GROG  TWENTY SEVEN   HITS   I'M PRETTY SURE  COCKED  HE'S DOING A LOT OF MATH  THIRTY ONE POINTS OF BLUDGEONING DAMAGE  AND HIS KICK JUST WHACK RIGHT ACROSS THE JAW   YOU HAVEN'T EVEN RAGED YET   AND THE PAIN IS INTENSE   YOUR VISION GOES WHITE FOR A SECOND  ANDHE GETS FOUR ACTIONS  WANT TO GET INVOLVED  TO RAGE  JUST STAY RIGHT NEXT TO HIM   BUT MOVE AROUND BEHIND HIM  AND I WILL  I WILL LOOK EXTREMELY WEAK AND I WILL SING A SONG TO HIM  WITH THE HORN  EYEBITE ON HIM   AND I'LL SING  WOW  NO   GO AHEAD  HE'S ASLEEP  SO I GOT TWO DAGGERS IN MY HANDS   AND THEY SPIN AROUND IN MY HAND  SIXTEEN  HE SWINGS HIS LEG OUT TO TRY AND CATCH YOU AS YOU'RE RUNNING PAST  ANKLE  IT'S NOW HIS TURN  ALL RIGHT   SO  HE'S GOING TO  AND HE'S GONNA GOELBOWS YOU TO THE SIDE OF THE FACE  AND THEN HE BRINGS HIS LOWER HAND AND HITS YOU RIGHT IN THE CENTER OF THE ABDOMEN  BUT IT'S NOT AS IMPACTFUL AS YOU THOUGHT IT WOULD BE FOR THE FORCE  THAT IS GOING TO END HIS TURN  GROG   YOU'RE UP  OKAY   GO FOR IT  WHICH MEANS HE GETS ADVANTAGE ON EVERYTHING AGAINST ME   BUT FUCK IT   HE'S HITTING ANYWAY  THOSE WERE HIGH  R G THREE COULD'VE HELPED  YOU'RE JUST SEEING THE WOUNDS BEING HAD AND HE'S JUST STILL INTENT ON MOVING AND HIS EXPRESSION FOCUSED ON YOU  YOU CARRY SUCH A DARK WEAPON WITH YOU  RIGHT  INSTEAD OF SLEEPING THIS TIME   I WOULD LIKE HIM TO JUSTGET SICK  HIS FORM SHIFTS A LITTLE BIT  I'LL MOVE A LITTLE FURTHER AWAY  SO SNEAK ATTACK IS NOT DOUBLED  YOU SAID QUADRUPLE   IT'S NOT QUADRUPLE  WELL   AS IT COMES BACK TO GROON'S TURN  DOES THAT WORK ON SAVES  THAT IS A SUCCESS  NO EFFECT  AS HE GOES INTO A DEFENSIVE STANCE   A FAMILIAR ONE THAT YOU'VE SEEN BEFORE  AND IS GOING TO STAY RIGHT THERE  THAT BRINGS US TO GROG  SIXTEEN  USE MY OTHER DNOPE  BECAUSE I KEPT FORGETTING TO DO IT BEFORE   BUT THAT'S FINE  HE SPENT LAST ROUND NOT DOING ANY ACTUAL PHYSICAL ATTACKS FOR THAT REASON  AND I WILL  YOU'RE A PSYCHO KILLER  USE ONE ACTION POINT TO USE LIKE THE WIND  HE TURNS AND RUSHES UP TO SCANLAN  SCANLAN  AND THE FOURTH ONE IS A THIRTY ONE  ANDGO AHEAD AND MAKE A DEX SAVING THROW   IF YOU COULD  YEAH   I JUST KEEP SWINGING AWAY  YES   PLEASE  OKAY   SO   RECKLESS ATTACK  TWENTY EIGHT  NO   MINUS FIVE  NINE   SEVENTEEN  TWENTY SEVEN  BOTH OF THE STRIKES  MAKES HIS SAVE  AND SCANLAN  TWENTY FOUR POINTS OF BLUDGEONING DAMAGE  SO AS YOU'RE THERE IN FRONT  GOES INTO THE SPLITS AS THE BOLT STREAKS OVERWELL   ACTUALLY NO   YOU WOULD GET ONE ATTACK FROM THE HASTE  THROW A DAGGER PAST GROG AT HIM  AND I JUST JUKE TO THE RIGHT AND GET BEHIND GROG  YOU TAKE TEN POINTS OF BLUDGEONING DAMAGE  YOU FEEL A CRACK IN THE STERNUM AND YOUR WHOLE BODY   ALL YOUR MUSCLES JUST SEIZE UP AND YOU ARE CURRENTLY STUNNED FROM A STUNNING STRIKE UNTIL THE END OF HIS NEXT TURN  JUMP BETWEEN THE TWO OF THEM   AND HE'S GONNA DO A FLURRY OF BLOWS   TWO PUNCHES AGAINST EACH OF YOU  THAT'S A SEVENTEEN  VEX   YOU TAKE  IT'S GONNA BE GREAT  OKAY  SO YOU DROP THE WEAPON FOR FREE  AS YOU DROP CRAVEN EDGE  YOU HEAR THIS VOICE SCREAM IN THE BACK OF YOUR HEAD  YOU FOOL  THIS FIGHT IS OURS  AS THE HAMMER LIGHTS UP  A WISDOM SAVING THROW  YOU CAN'T POSSIBLY LET THAT BLADE GO AWAY   AND YOU DROP THE HAMMER AND PICK UP CRAVEN EDGE ONCE MORE  SIX  THIS TIME AS THE HAMMER FALLS TO THE GROUND THE FLAMES GO OUT AND CRAVEN EDGE STREAKS AGAIN  AS IT HITS HIM  HE STOPS FOR A SECOND  PUTS HIS HANDS TOGETHER  I NEED YOU TO MAKE ANOTHER WISDOM SAVING THROW  THE EARTHBREAKER BEFORE YOU  ONE STEP  GROG  WHERE DO YOU FIND YOUR STRENGTH  IN MY FRIENDS  AND HE JUST BOWS BEFORE YOU  AT THIS POINT   HE TAKES A MOMENT AND CLOSES HIS EYES   AND YOU CAN SEE THERE'S THIS INNER GLOW IN HIS CHEST  AND A BUNCH OF HIS WOUNDSHEAL UP IN BUT AN INSTANT  I WILL WEAR THESE WITH PRIDE  SO WILL I  AT THIS POINT   HE  YOU NEED NOT THE STRENGTH OF VASSELHEIM TO AID YOU  NOR IS THAT STRENGTH ANY WE HAVE TO GIVE  WHAT YOU NEED CAN BE FOUND  REBORN  I CAN SEE IN YOUR FACE THE PATH IS ALREADY LYING BEFORE YOU  I KNOW OF TWO  THE REST YOU MUST FIND YOURSELF  A GIFT FROM KORD HIMSELFTO THIS MORTAL PLANE  CARVED FROM THE CORPSE OF THE EARTH PRIMORDIAL TITAN THAT FELL ON THIS CONTINENT IN THE FIRST WAR  THESE TITANSTONE KNUCKLES WERE A SYMBOL OF POWER AND LEADERSHIP FOR GENERATIONS HERE IN VASSELHEIM UNTIL THE LAST KNOWN KEEPER WAS SLAIN TWO HUNDRED YEARS AGO  THE GAUNTLETS TAKEN  I KNOW NOT OF THEIR WHEREABOUTS  THE OTHER  LEATHERS ADORNED BY THE CHAMPION OF THE RAVEN QUEEN  THIS CHAMPION'S TOMB HAS SINCE COME TO RUIN  SUNKEN BENEATH A LAKE TO THE WEST OF HERE KNOWN AS THE MARROWGLADE LOCH  WITHIN THAT TOMBLIES THE DEATHWALKER'S WARD  NOW GO  YOU'VE FOUND YOUR STRENGTH  YOU KNOW YOUR PATH  I CAN HELP YOU NO FURTHER  HE TURNS AROUND  SCANLAN  VAX  I LOOK OVER AT ZAHRA  THAT WAS PRETTY GOOD  DOES IT ALSO MAKE YOU SOBER  ALL RIGHT   AS YOU GUYS MAKE YOUR WAY OUTSIDE OF THE TRIAL FORGE  WE'LL GO AHEAD AND LEAVE TODAY'SNEXT WEEK TO PICK UP THIS NEXT VENTURE AND SEE WHERE YOU GUYS GO FROM THERE   SO  IT LOOKS LIKE THE POSTERS ARE GONE   BUT THERE'S STILL SOME SIGNED ONES LEFT IF\n",
        "transcription_base": " Sam's here on the sword tonight. Sam's here. Everything's through the filter nowadays. It's really bad. I have a serious problem. It's very very limited. Sam, you look different tonight. So in that regard, cool. We're good. So last we left off. Having recently suffered their main city of Iman and one of their initial collection of allied chromatic dragons, extremely powerful, ancient across the board. It seems just wreaking have across all of Tal'Dorei. They managed to save a few allies, make a few current tenuous relationships with the class, and after that the party made their way to Vassalheim. The actual... okay, you ran briefly into Merton, Sindriol, the husband of Vanessa who's the huntmaster of the entire guild. Not very good with dice. So that being the case, what would you guys like to do at this point in time? Right, yeah, yeah, yeah. What is the plan? Is that one? No one can can be expected to move at the speeds we've been moving at for the past week. Perhaps for no other reason than to be helpful to you in the game and no other reason. Oh! Am I right? I didn't meet Zorro. I don't see the results. No, she's the final. The schools are back, actually. All right, as you guys head towards the front door of this latest guild hall, you're but feet from up before the door, dark brownish black leathers piercing people with eyes and their stans hunt master Vanessa, clutching a bag, seemingly dampened at its base in her right hand as she steps into the main foyer. Ah, hold on. The rest of you inside where it's warmer. And as she steps inside, you see two individuals step out of the shadows behind her, one of which is another tiefling female white hair, reddened skin. Chishino, rolling through, passing by. I won 75 gold pieces at the cruise pool when I bet on current hammer. His money will spend... He doesn't realize the bet against him. Unaware of what's going on, but a lot of black. Ah, if what he says through this is very unfortunate. And we plan on it, but we know that this latest take is full of very strong. Let me put it this way. If what you say is true, you have to find weakness. You have to find a way to be on their level. Ask around. See what other allies you can find. I'm a talent dragon. These are the first moments after us finding out. This is a first step. Can do. I know this is just a first step, and we're about to enter Vasylheim proper, but... It should speak pretty loudly that we can do first. I deal in contracts. I deal in business. I deal in the hunting of... relatively unorganized creatures. This is beyond me. That is not to say I would not be willing to help, but okay, my apologies. Pushing up the steps again. Ossisa, I apologize to bother you, but we have a predicament that I believe requires your attention. And at the very top of this staircase that leads to the top of where this platform ends, you can see standing above it a very large female sphinx with a lion body a female had adorned with golden jewels around the neck. Yes, I recall, so what do you need of me? Echo for a match? Your help potentially. The world is under attack. I've been watching by the hard stone. Not but this past day. I've been keeping tabs and hopes that such a cataclysm would not find its way to my mate and has not. Being aware of this, what do you ask? Is there anything that you know of that could help us defeat these ancient beings? Steps up, closes our eyes, as our muscles tense our eyes open again, that color flashing with this luminescent blue color, and our voice falls even deeper into a register and almost has this monotone informative projection that says, the vestiges of divergence, relics wielded when the gods walked and fought alongside their creations. Steps back. I ask, what are the vestiges of tri-virgants? I am a channel for this knowledge, but vest I can understand they are old relics of the war of the divergence leading into the penance. The second spark, these were armaments, objects of great power that were used in these wars against the gods, good and dark, and they have been buried and tuned, lost, forgotten. The Futhedora coverer passed on through bloodlines through symbols of power, and of seats of great political importance, but the actual information is lost to me. Do you know of anyone in particular? She concentrates for a second, not within my field of vision, from to want to keep themselves hidden. That's convenient. If you are aware of this knowledge, then you know that Vassalheim is one of the only remaining city still left standing. Oh, there are any other services you can offer to help us fight this. The danger that you run here is that Vasselheim has stood the test of time and survived two possible ends of civilizations, we know it, because those who guarded stayed to guard it. Maybe hard press to convince others to step beyond the walls knowing that such a danger could use that to their advantage and destroy the greatest city that we know of. You are welcome to ask, but it will be a difficult journey. But I can offer though, my mate is a keeper of much hidden knowledge over on his side of Talore. I may be able to send you to him to seek this information. Much hidden knowledge. He does not serve her directly. Information is welcome and we we are thankful and we have been impressed by your wisdom very much so. In addition to information, you provide a service with the slayers take to Vassalheim. Do you have any interest in spreading that influence to Eman if we can save it? There is great danger and darkness in this world. If we were to lend our power to you I would ask that you prove yourselves the ones that could carry the torch. Perhaps find his relics. Gather other allies. Prove to me that I would not be sending my people to their doom. Perhaps then, when you think you already, we could lend our guilt to your service. And where does your partner reside? She causes her eyes and concentrates for a moment. South of the frostswealth, for the mountain range that guards it. Understand that it is our nature to present challenges. Part of His to seek him is to find them yourself. That is the first step. Does he have a name? His name to give. You served the goddess of knowledge, Vekna. As you say that name, she snarls. Yes, I know of him. His touch has been felt in the north. Very close to here, actually. Would you know of a way to rid ourselves of his weapon, of his tool? If I did, people would have done so long ago. This creature is one of the few entities that shrouds my vision. The limits of our sight, the things we seek to discover and unveil. He may have been held at bay. When he thought destroyed hundreds of years ago, but now he stays, and everything we seek to accomplish. Well, then allow us to do your service. We have had dealings with his underlings. We have knowledge, which we freely give, freely if it does anything to help our case winning on raid. We're not trying to score points. We are trying to do right, Perthable. What do you know? Dark creatures attempted to, as best we can, Somai's open a gate beneath. And she steps back for a second. I can see the snowy north of Tal'Dorei. She cast the beneath. And of your tempests, the cigarettes were not of his construction. But he took them. I look out to follow the anger, the swath of death and hatred. Those who took him on, they'd run my gaze. Something is happening. Right now? Eastward. Eastward beyond the shores of Wild Mount. Her head looks up, still staring off into the distance. Into the dream-arth ravine, I see the floating islands of Rakhonia falling. Crumbling and army-centered. People roamed. The concrete-sated returns towards your land once more. You can see blood pouring out of one of Rha'Nas' rules now. You can hear the impact of giant footfalls against sand and in silence. Have we... Convinced you? Out there, and after our dealings with Rhymefine, I cannot let this go. No, I cannot, Cash. See, this is fucking happy fun bunch over here. And to think briefly missed you. He who is not named. Speak freely. So, these vestiges are ancient, right? Spread across the land. Was it Tyberius looking for a bunch of... Perhaps that's the reason Draconia was hit? ancient message of this is good bassahim even though it's hidden have any of you been where the fire sharia residing going to have to make our way there eventually what to do you never leave we have things we can provide as your members go to the quadroads and as we've done many jobs together and I think we've been very loyal to you we've brought in a lot of money for you my only request is is there anything extra Are there any spare potions, any amulets of protection, anything? You can afford it. We're gonna get you into a moment. In all sincerity. And no one speaks because I don't have to. As you're leaving, can cash poles are aside really quickly? All of it! Gone! For a while, if we find something better. We've had to go here. They don't need to know everything that we have. Fuck that. Alright, so you guys head out of the... The players take Guildhall into... The sun is still not visible. There's enough cloud cover where you can see where it would be in the sky. where it would be in the sky but it's still pretty gray as you two are both very aware. So you make your way to the quad-roads? And my wrong. I mean, you're an interesting king. Because I can. And I don't have anything against him and she's... But condensed and it is just... So as you guys are walking around, you I remember you! He's a cart! He's a stupid cart salesman! Do you have anything luck there? This here I have... Vexhalia is a... Trigate Stumpel's an interesting stuff. Vex. Well then, friendship discount. I walk outside. How about instead of that, it's Nicknacks. But they're magic. Please, don't take advantage of us by taking these things from us. They're too valuable. Please, I beg of you. I would like to have a look. Just in case he's. I'm good. You seem fair enough. Um, they're fine. Uh, quite fine. 1500 off the asking price. It would be wondrous after we complete this transaction that we'd never meet again. I'm afraid I've already hunt his monk to you. Oh! Good day! Her name? No? But that's up to you. We're just guests here. Fine! Is Silra. Who's got the potion, please? I'm so fast but I'm really weak now. Eight of us. I'll give you two normies. So, as you approach the same area, you can see the building with the snow in the rain. As you enter, indeed. I'm gonna stand over here and fail to stay in character, okay? You're looking well, then you can see how we... Carefully. He pulls out... I just trusted you implicitly. Thank you for that enough, you decide. So, really, the back powder. Not many have there been enough? He pours a couple of cups for you, pulls it over to you. Oh, one good outfit. Very good to know. Money can help. It's what he's called. I already sold a lot recently to the lady. And I have my own, a hankering to do. Tell you what, Victor. Make a persuasion roll. For you? I saw nothing. I love you darling. Ah, keep safe and keep safe. The hammer? So I went away and I made you a hammer. It's a moon. I go and I sit next to Kasha. You guys. I've never met you, but I've missed you guys. I have missed. I've been given a direction to move to actually defeat our foes. We have been given a sign. We've been given something to move for. There is an inevitable to see to the goodness of the universe. I thought I put it sleep and we'll stand it up eating of the mind. He's soon you once maybe you'll say hello again Well, what shall I like bring him a gift? It's five o'clock one thirty two o'clock in the afternoon Oh, there are dragons in the world right now and we're fighting but some of us are in a drunk. Okay a Familiar burly looking half-work gentleman. Come on. Things been good. Oh, I chew my jaw goes to one side It's fucking weird. Everything's fine. I haven't really. I'll love it with you Family issues? Wanderin, barbarians in the northern wastes. Well, obviously not, where- When he trained me. More of him, like a bunch of big jacked-out guys in there. But there's plenty of others to train under him. All sorts of warriors. Weapons of all kinds. It's court! And you can see that this man is a great man. It seems. But that's fine. If you had to find men at arms, men to attack a very large foe, possibly quite dangerous. Between them and the trial for war that's most of the actual army. They train the armies here for they breathe warriors. You too. The metal was a joke. Kern! Wow! A frog! Not another drink. It's only one that for me. There's one last thing. He is a complicated man. I literally never even had this experience in high school. It's cool. You know? Okay. Make sure they know. Then stop fucking dragging them along Because it's not fair. Oh no no no no. Sure. It was just a day. I just want to say I don't think the trash stands shank. Seriously though, I'm really confused. Don't hurt him. Cash? Okay. Welcome back everyone. So you guys would enjoy it. So make it happen please. I want to see it. Also a reminder that if you want to help support the channel, useless. He make your way past the scattered temples. So a lot of people here are just stern folk that live amongst terrible weather and money and wealth isn't really Is pious to some degree to one of the DADs that are worshipped here quite a ways up almost 20 minutes of stair climbing Your legs are to cramp a bit but you managed to make your way towards the top They change their stance to be a little more prepared A lot of horses and chickens around here too turns and the door opens slightly in one of the guys disappears between the two doors about 30 seconds past to a minute. Boris steps back out. Your presence has been accepted by the High Barra Void, the Silver Touched. He will greet you in the Central Chamber, please. Thank you. Vigil, you guys continue inward towards the Central Chamber, the High Stone ceiling before you, before coming together and align towards the back. We never got that stuff back. is steps forward and extends his hands. It is good to see Sir Fray now, so I ask you once again to join me in this chamber. Can I help you? As it concerns Dragon matters. We know that you serve Muhammad, the great, the wonderful, the very metallic. How much do you know about the Dragon attacks that have been raging across the world? swaffed in ice and flame of colors bonded and unleashed and I feared it was the work of our Lord's Nemesis. The Lord's straight up Nemesis? However, with much prayer of magnum myoculites, we find no tremor of the dragon queen. All of us are just... All of you, sure! None of these ring of bell except for you, nine hells. However, it seems that through much disturbed interest and prayer into this matter, there doesn't seem to be the scent of Tiamat's doing in this matter. And strangely, you see a bit of the tension in his face relax as he tells you this. So if it's not the nemesis, the big nemesis... While these entities do concern us, the dragon queen will be waiting for to attack our citadel. There are many more forces beyond these dragons that you speak of in this world bent against the destruction of this city. I can guarantee you, should they mount an attack on us, for or not, they will fall. How? Well, we have the aid of the Hammers, we'll have to set that time. From your current position, you can see actually form a matching symbol, not of a shield, but of a giant winged dragon, outstretched across the curved roof of this temple. Water! Understand. I hear your plight, and I understand that we must aid you in this endeavor, best that we can. What sort of aid can you offer then? Well now, while you seek out whatever your plot is to tear these creatures from their summit, you will grant to you from our place in the Don City, its champion shall come to your aid, to help in any way that they can, and once they can report their certainty that victory can be had. And one of the armored knight steps forward, full armored this, uh, your charge, Platinum Knight Udhaya. You see stepping up behind, more than most who walk the warriors path! Your foolish impulses will get you killed! A church? A chivalrous type knight, gentlemen. Really, huh? Very well. Your new charge is Lady King. Food-Irick would have been a swell adventure with you, maybe next time. To step against such powerful dragons is indeed a death sentence. Just so that you need to prepare to arm yourselves against this doom, these vellix you speak of from before the second spark. Still, I forgot. These elements even bought the primordials of old. Where these relics lie, only story and tone can tell, unfortunately. Know that at any given time, you are not the only one seeking this power. Consider things of such great strength, up perpetually in the minds of those who would make. Or, intend to take their own townships and peasantry under their own boot and conflict, Dennis. The dragons took it out. We had one such entrusted to us long ago, but that was destroyed as part of the last assault on Vassalheim that we would stutter. Or how many there were. Certainly. I should be of more aid in this, but this is not a path that I chose to learn much on. Though the warriors that once wielded these, in the battles of old, only seem to. How did you defeat them? The second spark. Take some moments. It's a long tale, and I would recommend you research the history of self, chaotic energies, elements clashing. The very landscape itself was an eternal turmoil, wrestling, for no purpose other than the destruction of the others. There were no boundaries, yet the gods still came, and they created the various beings and entities. They hoped that through their creations they could learn more about themselves, and they began to watch the first of burgeoning. dwarves. Or within a short time, a very short time, the very chaotic nature of this landscape consumed and destroyed most of what remained. The only city that stood, the first city, Baselheim. Beings of no noble mind, sought to destroy any light or beauty, and thus the first war began. The peoples rose up, the gods, feet touched the ground, with the first of these vestiges, laying them to rest, within the dirt, within the sky. Casting the elements away from this plane, in separate to the road, where now they remain. Water and their muddy boundaries between. This came a time of great privilege and prosperity, and also came to be discovered that some of the gods, as part of creation, during this battle with the Titans, began to question the purpose of creation. to embrace the chaos that they fought on this battle, and they distancing themselves. From the ones that guidanceed the state, they began to take the children of the gods, teach them the wonders of our canna, magics beyond the divine and the gifts of the gods, and for the first time the creations began to find power separate from the creators, the arrogance to think that perhaps now, they were gods themselves. Now they were the gods' creations, and they loved them very much, So they did not see this as a threat, but as the second expansion of civilizations spread across the world, as well as a new wave of insolence and selfishness, and these new dark gods began to prey upon this. This... Terrible war. This is what we knew as the divergence. This was when the people were slut into, in the gods, were divided as well. Bloody battles ensued, and it looked as though even Vastelheim would fall. But in this time, these vestiges, And the champions fought alongside the gods once more, and victory was had. The dark gods banished to various planes far from this plane. But it was then the gods also decided that perhaps their delving had caused this and they receded. Leaving the mortals to find their own wife, to rebuild a second time with the warning of the dangers of Arcane. But somewhere, kept, somewhere lost, somewhere entombed, somewhere re-found and we discovered and are used to symbols of power. But since this second spark of civilization, the gods felt that the and the gods leading us to our own. The infrashings and sins of our arrogant brothers and sisters of that day. Since then, we've had other new civilizations bring up. Well, Mount Talori. May I ask, vestiges, the word in these legends, it seems vague. Does no one know anything about what they were, is that a stand-in for... Artifacts and relics of this power are very dangerous. And what better way to hide things in such power? We are here to protect those boundaries that we set several thousand years ago. I am not a practitioner of the history of the shari people. Objects with that much power have to leave some trace, somewhere, anything you can think of a place to start. The war was Earth, the wars of all. The history of our deities, our temples, amongst the more eclectic in the collections. Maybe not all of the reserve was destroyed. Maybe they have secret rooms underground where they keep the most ancient contexts. You should at least check. If they have, it's a very gold dominance and strength. This red dragon is as ancient and as powerful as you say, perhaps he, even he could bully lesser dragons. So I mean the fourth is upon us. I hope not. He will do everything we can to see that this city stands, which is the only thing we have to the past. And should Vassalhaim Paul, Madir Seyol, as lost? That's my only question. That is your question. He can defend themselves and thrive thereafter. Petty Squabos, selfish, personal endeavors that lead to foolishness and treachery. Should this city fall, and one of those remain, that is a breeding ground for the dark powers that lie beyond the belt. It is only here that those who are the most about could truly have the hearts and minds to guide us a hundred forbid into a four-page. On our journey we may have to travel long distances quite often. However, there is still the sky port. It's fine. I'm not going to ask him how his family is. With pleasure. Shub off, please. If you have a conversation. He asks to be introduced to you. And don't mean to be. It's been a rough day. Yes. Thank you. What are we after here? We need to meet up with Laura though, she was... Oh dear. And she continues rushing ahead. So? Do you? Never met Kim in my life, she didn't seem to like me very much, which is odd because everyone else seems to think I'm an amazing guy. I'm very happy that it happened, but I shouldn't have stolen it. And for that I apologize. I also don't ever want to... I'm glad we got that cleared up. Step out of the way. Yes! Clearly my presence is recognized as great hall, good day. Let's do this. And as you guys walk up to that edge, and you know, the height wise, it turns around towards you and says, You stray from the darkness that I warned you. For this current distractions too great, even your blood is drawn to the flames of promise and power. This shall be a test to see if you will break against the shadow. Grog strong, a germaphole. Knowledge is earned, not given. Like a dagger in your stomach his elbow is unable to really catch yourself and just land flat on your back in the sand We're all hanging back Just watchin' Where do you find your strength? You walk between worlds Weakness in mind or weakness in conviction. What do you stand for? Where do you find your strength? At which point as you're getting up there's another blending flash for a second and your feet are left out from on you Choose choose the two here Who would save you choose your bloody muses? It looks upward to the rest of you on the side of the pit choose our choose Vax and our choose Skeleton we give him his strength make Acrobatic checks both of you guys So I'm hidden behind rock so it should be sneak attack and I'm the first to go so it's a crit It's a Bruce Lee shit. He reduces the damage entirely, spends one of his key points, he catches the dagger, not back at you though, because you're currently behind Grog. Are you still face down in the sand? My buddy's Scanlon. Now it is Grog's turn. Rush up to the front of Grog. Actually, no to the side here, so you're both in combat technically. All against you, Grog. 27 hits, I'm pretty sure that's a cost. Just doing a lot of math. 31 points of bludging damage. His kick was whack right across the draw you haven't even raged yet and the pain is intense your vision goes white for a second and He gets four actions Want to get involved to rage just stay right next to him but remember him behind him and I will I will look extremely weak and I will sing a song to him with the horn I Bite on him now. I'll sing wow now. Go ahead. He's asleep. So I got two diapers in my hands and they spin around in my hand. 16. He swings his leg out to try and catch you as you're running past. I can't ankle. It's now his turn. All right, so it's going to, and he's going to go, elbows you to the side of the face, and then he brings his lower hand and hits you right in the center of the abdomen. But it's not as impactful as you thought it would be for the force. That is going to end this turn. Grog, you're up. OK, go for it. Which means you can see the two-fadden shot everything against me, but fuck it, he's hitting anyway. That's right. RG3 can help. You're just seeing the wounds being had and he's just still intent on moving in his expression focused on you. You carry such a dark weapon with you. Right, instead of sleeping this time, I would like him to just get stick. His form shifts a little bit. I'll move a little further away. So sneak attack is not double that- He said quadruple, it's not quadruple. Well, as it comes back to Groen's turn, that is a success. No effects as he goes into a defensive stance a familiar one that you've seen before and Is going to stay right there that brings us to grog Nope, so I kept forgetting to do it before but that's fine. You spent last round not doing any actual physical attacks for that reason Use one action point to use like the wind he turns and and rushes up to Scanlan. Scanlan, and the fourth one is a 31. And go ahead and make a Dex saving throw if you could. Yeah, I'll just keep swinging away. Yes, please. Okay, so, reckless attack. 28, 11, minus 5, 9, 17, 27. Both of the strikes makes a save. And Scanlan, 24 points of So as you're there in front, goes into the splits as the bolt streaks over his head. Actually, no, you'll get one attack from the haste. Throw a dagger past Stronghold. Adam, and I just jute to the right and get behind Stronghold. You take ten points of budgeting damage. You feel a crack in the sternum and your whole body, all your muscles just seize up. And you are currently stunned. You're just stunning strike until the end of his next turn. Jump between the two of them and he's going to do flurry of blows, two punches against each of you. It's a 17. Next you take... It's gonna be great. Okay, so you drop the weapon for free. As you drop Craven Edge, you hear this voice screaming it back if you're head. You for this fight is ours! As the hammer lights up, I was just saving throw. You can't possibly let that blade go away, and you drop the hammer and pick up Craven Edge once more. more. This is the hammer falls to the ground, the flames go out and Craven head streets again. As it hits him, he stops for a second, puts his hands together, and he can make another wisdom saving throw. The earth breaker before you. One step. Grog, where do you find your strength? In my friends. And he just bows before you. At this point, he takes a moment and closes his eyes, and you can see see there's this inner glow in his chest and a bunch of his wounds heal up in but an instant. I will wear these with pride. So will I. At this point he uh... You need not the strength of Basilheim to aid you nor is that strength any we have to give. What you need can be found reborn. I can see in your face the path is already long before you. I know of two the rest you must find yourself. A gift from Cored himself to this mortal plane, carved from the corpse of the earth-pomoriel Titan that fell on this cockpit in the first war. These Titan stone knuckles, for a symbol of power and leadership for generations here in Vassalheim. Until the last known keeper was slain 200 years ago, the God that's taken. I do not know whereabouts. The other, Leathers adorned by the champion of the Raven Queen. This champion's tomb has since come to ruin. Sunkin beneath a lake to the west of here known as the Meroglade lock with him that tomb lies the Deathwalker's ward Now go you found your strength you know your path I can help you no further. He turns around Scanlan Vex I look over at Zara. There's pretty good them. Does it also make you sober? All right as you guys make your way outside of the trial forage We'll go ahead and leave today's next turn next week to pick up this next venture and see where you guys go from there It looks like the posters are gone, but there's still some side ones left if you want.",
        "transcription_medium": " Sam's here. On the store tonight, Sam's here. Everything's through the filter nowadays. It's really bad. I have a serious problem. It's very, very limited. Sam, you look different tonight. So, in that regard, cool. We're good? So, last we left off, having recently suffered their main city of Emon and one of their initial collection of allied chromatic dragons, extremely powerful, ancient across the board, it seems, just wreaking havoc across all of Tal'Dorei, they managed to save a few allies, make a few current tenuous relationships with the class, and after that the party made their way to Vasselheim. You ran briefly into Merton Sindriol, the husband of Vanessa, who's the huntmaster of the entire guild. Not very good with dice. So, that being the case, what would you guys like to do at this point in time? So what is the plan? is there one? No one can be expected to move at the speeds we've been moving at for the past week. Perhaps for no other reason than to be helpful to you in the game, and no other reason. Oh! Am I right? I didn't meet Zahra. I don't see the results. No, she's just a risk-course of action. All right, as you guys head towards the front door of the Slayer's Take guild hall, your feet from up before the door are dark brownish-black leathers, piercing pupil-less eyes, and there stands, Huntmaster Vanessa clutching a bag that's seemingly dampened at its base in her right hand as she steps into the main foyer. Hold on. The rest of you, inside where it's warmer. And as she steps inside, you see two individuals step out of the shadows behind her, one of which is another tiefling female, white hair, reddened skin. Just rolling through, passing by. I won 75 gold pieces at the Crucible when I bet on curtain and hammer! His money well spent. He doesn't realize you bet against him. Unaware of what's going on, but a lot of black. If what he says is true, this is very unfortunate. And we plan on it, but we know that the Slayer's Take is full of very strong... Let me put it this way. If what you say is true, you have to find a weakness. You have to find a way to be on their level. Ask around. See what other allies you can find. A metallic dragon. These are the first moments after us finding out this is a first step. Can do. I know this is just a first step, and we're about to enter Vasselheim proper, but... It should speak pretty loudly that we came to you first. I deal in contracts, I deal in business, I deal in the hunting of relatively unorganized creatures. This is beyond me. That is not to say I would not be willing to help, but... my apologies. Pushing up the steps again, Osyssa! I apologize to bother you, but we have a predicament that I believe requires your attention. And at the very top of this staircase that leads to the top of where this platform ends, you can see standing above it a very large female sphinx with a lion body, a female head adorned with golden jewels around the neck. Yes, I recall. So what do you need of me? go for it, Vex. Your help, potentially. The world is under attack. I have been watching by the heartstone. Not but this past day. I've been keeping tabs in hopes that such a cataclysm would not find its way to my mate. And has not. Being aware of this, what do you ask? Is there anything that you know of that could help us defeat these ancient beings? steps up and closes her eyes. As her muscles tense, her eyes open again, that color flashing with this luminescent blue color. Her voice falls even deeper into her register and almost has this monotone, informative projection that says, The Vestiges of Divergence. Relics wielded when the gods walked and fought alongside their creations. Steps back. May I ask, what are The Vestiges of Divergence? channel for this knowledge, but best I can understand, they are old relics of the War of the Divergence, leading into the Penance, the Second Spark. These were armaments, objects of great power that were used in these wars against the gods, good and dark. Many have been buried, entombed, lost, forgotten. The few that are recovered are passed on through bloodlines, through symbols of power and of seats of great political importance, but the actual information is lost to me. Do you know of anyone in particular? She concentrates for a second, not within my field of vision, prone to want to keep themselves hidden. That's convenient. If you are aware of this knowledge, then you know that Vasselheim is one of the only remaining cities still left standing. Are there any other services you can offer to help us fight this? MATT. The danger that you run here is that Vasselheim has stood the test of time and survived two possible ends of civilization as we know it, because those who guard it stayed to guard it. You may be hard-pressed to convince others to step beyond the walls, knowing that such a danger could use that to their advantage and destroy the greatest city that we know of. You are welcome to to ask, but it will be a difficult journey. What I can offer, though, my mate is a keeper of much hidden knowledge. Over on his side, Tal'Dorei, I may be able to send you to him to seek this information. Much hidden knowledge? He does not serve her directly. Information is welcome, and we are thankful. And we have been impressed by your wisdom, very much so. In addition to information, you provide a service with the Slayer's Take to Vasselheim. Do you have any interest in spreading that influence to Emon, if we can save it? MATT. There is great danger and darkness in this world. If we were to lend our power to you, I would ask that you prove yourselves the ones that could carry this torch. Perhaps find these relics, gather other allies, prove to me that I would not be sending my people to their doom. Perhaps then, when you think you are ready, we could lend our guild to your service. And where does your partner reside? She closes her eyes and concentrates for a moment south of the Frostweald, to the mountain range that guards it. Understand that it is our nature to present challenges. Part of his to seek him is to find them yourself. That is the first step. Does he have a name? It is his name to give. You served the goddess of knowledge, Vecna. as you say that name, she snarls. Yes, I know of him. His touch has been felt in the north. Very close to here, actually. Would you know of a way to rid ourselves of his weapon, of his tool? If I did, we would have done so long ago. This creature is one of the few entities that shrouds my vision. The limits of our sight are the things we seek to discover and unveil. He may have been held at bay, many thought destroyed hundreds of years ago, but now he stays on everything we seek to accomplish. Well, then allow us to do you a service. We have had dealings with his underlings. We have knowledge, which we freely give, freely, if it does anything to help our case. Winning your aid, we're not trying to score points, we are trying to do right, Percival. What do you know? creatures attempted to, as best that we can surmise, open a gate beneath. She steps back for a second. I can see the snowy north of Tal'Dorei's castle beneath. One of your temples. The ziggurats were not of his construction, but he took them. I look out to follow the anger, the swath of death and hatred. Those who took him on, they draw my gaze. Something is happening. Right now? eastward, eastward beyond the shores of Wildemount. Her head looks up, still staring off into the distance. Into the Drimoth ravine, I see the floating islands of Draconia falling, crumbling, an army sundered, people ruined. The conclave sated returns towards your land once more. You can see blood pouring out of one of her nostrils now. You can hear the impact of giant footfalls against sand and in silence. have we convinced you? Out there, and after our dealings with Rimefang, I cannot let this go. No, I cannot, Kash. Z, this is fucking happy fun bunch over here. And to think, briefly missed you. He who is not named, speak freely. So these vestiges are ancient, right? Spread across the land. Wasn't Tiberius looking for a bunch of, perhaps that's the reason Draconia was hit? an ancient vestige of Vasselheim, even though it's hidden. Have any of you been where the Fyroshari reside? We're going to have to make our way there eventually. You never leave? We have things we can provide, as you are members. Go to the Quadroads. Vanessa, we've done many jobs together, and I think we've been very loyal to you, and we've brought in a lot of money for you. My only request is, is there anything extra? Are there any spare potions, any amulets of protection, anything. You can afford it. We're going to get you into a mum. In all sincerity. The nun speaks because I don't have to. As you're leaving, can Kash pull Zahra aside really quickly? All of it, gone. For a while. If we find something better. Leave half the gold here. They don't need to know everything that we have. Fuck that. All right, so you guys head out of the Slayer's Take guild hall into... The sun is still not visible. There's enough cloud cover where you can see where it would be in the sky, but it's still still pretty gray, as you two are both very aware. So you make your way to the Quadroads. LAURA and SAM and LAURA. Am I wrong? I mean, you're interested in Keyleth. Because I can. LIAM and SAM. And I don't hold anything against him, and she's... MATT. But condensed. And it is just... So as you guys are walking around, you! I remember you! LAURA and MARISHA. He's a cart! He's a stupid cart salesman! TRAVIS. Do you have anything like that? MATT. This here I have. Vex'ahlia is Vex. Well then, friendship discount. I walk outside. How about, instead of that, it's knickknacks. But they're magic. Please, don't take advantage of us by taking these things from us. They're too valuable. Please, I beg of you. I would like to have a look, just in case. I'm good. You seem fair enough. They're fine. Quite fine. $1,500 off the asking price. it would be wondrous, after we complete this transaction, that we never meet again. I'm afraid I've already Hunter's Marked you. Oh! Good day! No! But that's up to you. We're just guests here. Fine! Issylra. Who's got the potions? I'm so fast, but I'm really weak. Eight of us. I'll give you two normies. So, as you approach the same area, you can see that the building, with the snow and the rain, as you enter, indeed... I'm gonna stand over here and fail to stay in character, okay? You're looking well. You can see now... Carefully. He pulls out... I trust you implicitly. I think you've had enough. ...on the side. So, real black powder. Not many. Have there been... He pours a couple of cups for you, pulls it over to you. One good outfit. Very good snow. Money can help. Springs are cold. I already sold a lot recently to that lady. And I have my own tinkering to do. Tell you what, Victor. Make a persuasion roll. For you? I saw nothing. I love you, darling. Ah, keep safe. And keep safe. Is it a hammer? So I went away and I made you a hammer. It's a moon. I go and I sit next to Kashaw. You guys. I've never met you, but I've missed you guys. I've missed you. We have been given a direction to move to actually defeat our foes. We have been given a sign. We have been given something to move for. There is an inevitability to the goodness of the universe. How do I put it? Sleeping while standing up. Feeding of the mind. He's seen you once. Maybe he'll say hello again. What shall I bring him a gift? It's probably about 1.32 o'clock in the afternoon. There are dragons in the world right now, and we're fighting? But some of us are a little drunk. Okay. familiar, burly-looking half-orc gentleman. Cairn! Things been good? When I chew my jaw goes to one side, it's fucking weird. Everything's fine? Haven't really. I'll level with you. Family issues? Wandering barbarians in the northern wastes. Well, obviously not really. When he trained me. More of him, like a bunch of big jacked-out guys in there. But there's plenty of others to train under him. All sorts of warriors. Weapons of all kinds. It's called! and you can see that this man is a great man, it seems. But that's fine. If you had to find men at arms, men to attack a very large foe, possibly quite dangerous. Between them and the Triumph Ward, that's most of the actual army. They train the armies here, for they breed warriors. You too. The medal was a joke. Kern. Wow. Grog! Not another drink. There's only one man for me. One last thing. He's a complicated man. I literally never even had this experience in high school. It's cool. You know? Okay. Make sure they know. Then stop fucking dragging them along, because it's not fair. Oh, no, no, no. Sure. It was just a day. I just want to say I don't think the dragon's stand a chance. Seriously, though. I'm really confused. Don't hurt him. Cash? Okay. Welcome back, everyone. So, you guys would enjoy it, so make it happen, please. I want to see it. Also, a reminder that if you want to help support the channel, useless. You make your way past the scattered temples, so a lot of people here are just stern folk that live amongst terrible weather, and money and wealth isn't really as pious to some degree to one of the deities that are worshiped here. Quite a ways up. Almost 20 minutes of stair climbing, your legs start to cramp a bit, but you manage to make your way towards the top. They change their stance to be a little more prepared. God, it's hard to do without all your system. Lot of horses and chickens around here, too. Turns, and the door opens slightly, and one of the guys disappears between the two doors. About 30 seconds pass to a minute. Bore steps back out. Your presence has been accepted by the Highbearer Vord the Silver-Touched. He will greet you in the central chamber, please. Thank you. Vigil, you guys continue inward towards the central chamber. The high stone ceiling before you, before coming together in a line towards the back. We never got that stuff back. Steps forward and extends his hands. It is good to see such friends. So I ask you once again to join me in this chamber. Can I help you? As it concerns dragon matters. We know that you serve Bahamut, the great, the wonderful, the very metallic. SAM and LAURA and MARISHA and SAM are in the back. How much do you know about the dragon attacks that have been raging across the world? Swathed in ice and flame of colors bonded and unleashed, and I feared it was the work of our lord's nemesis. Straight-up nemesis? However, with much prayer of minding my alcolytes, we find no tremor of the dragon queen. All of us? All of you, sure. None of these ring a bell except for you, nine hells. However, it seems that through much disturbed interest and prayer into this matter, there doesn't seem to be the scent of Tiamat's doing in this matter. And strangely, you see a bit of the tension in his face relax as he tells you this. So if it's not the nemesis, the big nemesis. While these entities do concern us, the dragon queen will be waiting for to attack our citadel. There are many more forces beyond these dragons that you speak of. In this world bent against the destruction of this city. I can guarantee you, should they mount an attack on us, fall or not, they will fall. How? Well, we had the aid of Bahamut and us at that time. From your current position, you can see actually form a matching symbol, not of a shield, but of a giant winged dragon outstretched across the curved roof of this temple. Water! understand. I hear your plight, and I understand that we must aid you in this endeavor best that we can. What sort of aid can you offer, then? For now, while you seek out whatever your plot is to tear these creatures from their summit, we will grant to you, from our place in the Dawn City, this champion shall come to your aid to help in any way that they can. And once, they can report their certainty that victory can be had. And one the armored knight steps forward. Full armor, this charge. Platinum Knight Udyr. You see, stepping up behind, more than most who walk the warrior's path, your foolish impulses will get you killed. Charge? Chivalrous-type knight, gentlemen. Really, huh? Very well. Your new charge is, Lady Kima. Udyr, it would have been a swell adventure with you, maybe next time. To step against such powerful dragons is indeed a death sentence. It is true that you need to prepare. Arm yourselves against this doom. These relics you speak of from before the Second Spark still lie forgotten. These armaments even balk the primordials of old. Where these relics lie, only story and tome can tell, unfortunately. Know that at any given time, you are not the only one seeking this power. Consider things of such great strength are perpetually in the minds of those who would would make, or intend to take their own townships and peasantry under their own boot and gauntlet, there is. The dragons took it out. We had one such entrusted to us long ago, but that was destroyed as part of the last assault on Vasselheim that we withstood. Or how many there were. Certain. I wish there'd be more aid in this, but this is not a path that I chose to learn much on. The warriors that once wielded these in the Battles of Old only seemed to. How did you defeat them? The Second Spark. Takes a moment. It's a long tale, and I would recommend you research the history of self. Chaotic energies, elements clashing. The very landscape itself was an eternal turmoil, wrestling for no purpose other than the destruction of the others. There were no boundaries, yet the gods still came, and they created the various beings and entities. They hoped that through their creations, they could learn more about themselves, and began to watch the first burgeoning elves, dwarves. But within a short time, a very short time, the very chaotic nature of this landscape consumed and destroyed most of what remained. The only city that stood, the first city, Vasselheim, beings of no noble mind, sought to destroy any light or beauty. And thus the First War began. The peoples rose up, the the gods' feet touch the ground with the first of these vestiges, laying them to rest within the dirt, within the sky, casting the elements away from this plane and separate to their own, where now they remain, water and their muddy boundaries between. This came a time of great privilege and prosperity, and it also came to be discovered that some of the gods, as part of creation, during this about with the Titans, began to question the purpose of creation, to embrace the chaos that they fought in this battle, and they distanced themselves from the ones that guide us to this day. They began to take the children of the gods, teach them the wonders of arcana, magics beyond the divine and the gifts of the gods, and for the first time, the creations began to find power separate from the creators. The arrogance to think that perhaps now they were gods themselves. Now were the gods' creations, and they loved them very much, so they did not see this as a threat. But as the second expansion of civilization spread across the world, as well as a new wave of insolence and selfishness, these new dark gods began to prey upon this. This terrible war. This is what we knew was the Divergence. This was when the people were split into, and the gods were divided as well. bloody battles ensued, and it looked as though even Vasselheim would fall. But in this time, these vestiges and the champions fought alongside the gods once more, and victory was had. The dark gods banished to various planes, far from this plane, but it was then the gods also decided that perhaps their delving had caused this, and they receded, leaving the mortals to find their own way, to revealed a second time, with the warning of the dangers of arcane. But some were kept, some were lost, some were entombed, some were refound and were discovered and are used as symbols of power. But since this second spark of civilization, the gods felt that the gods were leaving us to our own, to the infrasions and sids of our arrogant brothers and sisters of that day. Since then, we've had other new civilizations spring up. Wildemount, Tal'Dorei. May I ask, Vestiges, the wording of these legends, it seems vague. Does no one know anything about what they were? Is that a stand-in for... Artifacts and relics of this power are very dangerous, and what better way to hide things of such power? We are here to protect those boundaries that we set several thousand years ago. I am not a practitioner of the history of the Bashari people. Objects with that much power have to leave some trace, somewhere, anything you can think of, a place to start. The War Reserve, the wars of old, the history of our deities, our temples, amongst them are eclectic in their collections. Maybe not all of the Reserve was destroyed. Maybe they have secret rooms underground where they keep the most ancient of texts. We should at least check. have. It's very gold, dominance, and strength. This red dragon is as ancient and as powerful as you say. Perhaps even he could bully lesser dragons. Does that mean the fourth is upon us? I hope not. He will do everything we can to see that this city stands. It is the only link we have to the past. And should Vasselheim fall, I dare say all is lost. That's my only question. that is your question, can defend themselves and thrive thereafter. Petty squabbles, selfish, personal endeavors that lead to foolishness and treachery. Should this city fall and one of those remain, that is a breeding ground for the dark powers that lie beyond the Veils. It is only here that those who are the most devout could truly have the hearts and minds to guide us, Bahamut Forbid, into a Fourth Age. journey, we may have to travel long distances quite often. However, there is still the Skyport. It's fine. I'm not going to ask him how his family is. With pleasure. Shove off, please. We'll have a conversation. Asks to be introduced. He's like, and off. Don't mean to be. It's been a rough day. Yes, thank you. What are we after here? We need to meet up with Allura, though. She was... Oh dear. And she continues rushing ahead. So? Do you? met Kima in my life. She didn't seem to like me very much, which is odd, because everyone else seems to think I'm an amazing guy. I'm very happy that it happened, but I shouldn't have stolen it, and for that I apologize. I also don't ever want to. I'm glad we got that cleared up. Step out of the way. Yes. Clearly my presence is recognized in this great hall. Good day. Let's do this. And as you guys walk up to that edge, Grood, height-wise, turns around towards you and says, says, \"'You stray from the darkness that I warned you, for this current distraction is too great. Even your blood is drawn to the flames of promise and power. This shall be a test to see if you will break against the shadow. Grog Strongjaw.' He said my full name. \"'Knowledge is earned, not given.'\" Like a dagger in your stomach, his elbow is unable to really catch yourself and just land flat on your back in the sand. We're all hanging back, just watching. Where do you find your strength? You walk between worlds. Weakness in mind or weakness in conviction. What do you stand for? Where do you find your strength? At which point, as you're getting up, there's another blinding flash for a second, and your feet are left out from under you. Choose. Choose the two here who would save you. Choose your bloody muses. looks over to the rest of you on the side of the pit. Choose. I choose Vax, and I choose Scanlan. We give him his strength. Make acrobatics checks, both of you guys. Natural 20! You guys don't die! So. I'm hidden behind Grog, so it should be sneak attack, and I'm the first to go, so it's a crit. It's a Bruce Lee shit. He reduces the damage entirely, spends one of his key points, the dagger. Not back at you, though, because you're currently behind Grog. SAM and MARISHA and SAM and MARISHA laugh. SAM and LIAM and SAM and MARISHA laugh. Now it is Grog's turn. Rush up to the front of Grog. Actually, no, to the side here, so you're both in combat, technically. All against you, Grog. 27 hits, I'm pretty sure, cocked. 31 points of bludgeoning damage. And his kick is whack right across the jaw. You haven't even raged yet, and the pain is intense. Your vision goes white for a second. And... He gets four actions. I want to get involved. To rage! Just stay right next to him, but move around behind him. And I will look extremely weak, and I will sing a song to him with a horn. I bite on him. I'll sing, wow. Now go ahead. He's asleep! So I got two daggers in my hands, and they spin around in my hand. 16. He swings his leg out to try and catch you as you're running past. I crack an ankle. It's now his turn. All right, so he's going to, and he's going to go, elbows you to the side of the face, and then he brings his lower hand and hits you right in the center of the abdomen. But it's not as impactful as you thought it would be for the force. That is going to end his turn. Grog, you're up. Okay, go for it. Which means it's advantage on everything against me, but fuck it, he's hitting anyway. Those are high. RG3 can help. You're just seeing the wounds being had and he's just still intent, unmoving in his expression, focused on you. You carry such a dark weapon with you. All right. Instead of sleeping this time, I would like him to just get sick. His form shifts a little bit. I'll move a little further away. So sneak attack is not double-denim? You said quadruple. It's not quadruple. Well, as it comes back to Groon's turn. Does that work on faith? That is a success. No effect. As he goes into a defensive stance, a familiar one that you've seen before and is going to stay right there. That brings us to Grog. TRAVIS and SAM and TRAVIS together. 16? Use my other d10. Nope, because I kept forgetting to do it before, but that's fine. He spent last round not doing any actual physical attacks for that reason. And I will, you're a psycho killer! Use one action point to use Like the Wind. He turns and rushes up to Scanlan. Scanlan. Okay. fourth one is a 31. And go ahead and make a dex saving throw, if you could. Yeah, just keep swinging away! Yes, please. Okay, so reckless attack. 28. Oh, minus five. Nine. 17. 27. Both of those strikes makes a save. And Scanlan, 24 points of legendary damage. So as you're there in front, goes into the splits as the bolt streaks over his head. Actually, no, you get one attack from the haste. pass Grog. Adam and I juke to the right and get behind Grog. You take ten points of bludgeoning damage. You feel a crack in the sternum in your whole body, all your muscles seize up, and you are currently stunned from a stunning strike until the end of his next turn. Jump between the two of them, and he's going to do a flurry of blows, two punches against each of you. That's a 17. Vex, you take... It's going to be great. Okay. So you drop the weapon for free. As you drop Craven Edge, you hear this voice screaming in the back of your head, You fool! This fight is ours! As the hammer lights up, a wisdom saving throw, you can't possibly let that blade go away. And you drop the hammer and pick up Craven Edge once more. Six. This time, as the hammer falls to the ground, the flames go out and Craven Edge streaks again. As it him. He stops for a second, puts his hands together. I need you to make another wisdom saving throw. The earthbreaker before you, one step. Grog, where do you find your strength? In my friends. And he bows before you. At this point, he takes a moment and closes his eyes, and you can see there's this inner glow in his chest, and a bunch of his wounds heal up in but an instant. I will wear these with pride. So will I. at this point, he... You need not the strength of Vasselheim to aid you, nor is that strength any we have to give. What you need can be found, reborn. I can see in your face the path has already lied before you. I know of two. The rest you must find yourself. A gift from Kord himself to this mortal plane, carved from the corpse of the Earth-Pamorial Titan that fell on this continent in the First War. These Titanstone Knuckles are a symbol of power and leadership generations here in Vasselheim, until the last known keeper was slain 200 years ago. The goblet's taken. I don't know of the whereabouts. The other, leathers adorned by the champion of the Raven Queen. This champion's tomb has since come to ruin, sunken beneath a lake to the west of here, known as the Merrowglade Lock. Within that tomb lies the Deathwalker's Ward. Now go. You've found strength. You know your path. I can help you no further.\" He turns around. Scanlan, Vax. I look over at Zahra. That was pretty good, though. Does that also make you sober? All right, as you guys make your way outside of the Trial Forge, we'll go ahead and leave today's venture. We'll turn next week to pick up this next venture and see where you guys go from there. It looks like the posters are gone, but there's still some signed ones left, if you want.",
        "transcription_large_v3": " Sam's here. On the store tonight, Sam's here. Everything's through the filter nowadays. It's really bad. I have a serious problem. It's very, very limited. Sam, you look different tonight. So, in that regard, cool. We're good. So, last we left off, having recently suffered their main city of Emon and one of their initial collection of allied chromatic dragons, extremely powerful, ancient across the board, it seems, wreaking havoc across all of Tal'Dorei. They manage to save a few allies, make a few current tenuous relationships with the class, and after that the party made their way to Vasselheim. You ran briefly into Merton, Sindriol, the husband of Vanessa, who's the huntmaster of the entire guild. Not very good with dice. So, that being the case, what would you guys like to do at this point in time? Right, yeah. So what is the plan? No one can be expected to move at the speeds we've been moving at for the past week. Perhaps for no other reason than to be helpful to you in the game, and no other reason. Oh! Am I right? I didn't meet Zorah. I don't see the resolution. No, she's just a course of action. All right, as you guys head towards the front door of the Slayer's Take Guild Hall, you're feet from it before the door, dark brownish black leathers, piercing pupil-less eyes, and there stands Huntmaster Vanessa clutching a bag seemingly dampened at its base in her right hand as she steps into the main foyer. Ah, hold on. The rest of you, inside where it's warmer. And as she steps inside, you see two individuals step out of the shadows behind her, one of which is another tiefling female, white hair, red skin. Just, you know, rolling through, passing by. I won 75 gold pieces at the Crucible when I bet on Kurt and the hammer. His money well spent, my- He doesn't realize you bet against him. Unaware of what's going on, but a lot of black. Ah, if what he says is true, this is very unfortunate. And we plan on it, but we know that the slayer's take is full of very strong- Let me put it this way. If what you say is true, you have to find weakness. You have to find a way to be on their level. Ask around. See what other allies you can find. A metallic dragon. These are the first moments after us finding out. This is a first step. Can do. I know this is just a first step, and we're about to enter Vasselheim proper, but... It should speak pretty loudly that we came to you first. I deal in contracts. I deal in business. I deal in the hunting of relatively unorganized creatures. This is beyond me. That is not to say I would not be willing to help, but... Okay. My apologies. Pushing up the steps again. Ossisa, I apologize to bother you, but we have a predicament that I believe requires your attention. At the very top of this staircase that leads to the top of where this platform ends, you can see, standing above it, a very large female sphinx with a lion body, a female head adorned with golden jewels around the neck. Yes, I recall. So what do you need of me? Yeah, go for it, Bax. Your help, potentially. The world is under attack. I have been watching by the Hearthstone, not but this past day. I've been keeping tabs in hopes that such a cataclysm would not find its way to my mate. It has not. Being aware of this, what do you ask? Is there anything that you know of that could help us defeat these ancient beings? Steps up and closes her eyes. As her muscles tense, her eyes open again, that color flashing with this luminescent blue color. Her voice falls even deeper into her register and almost has this monotone, informative projection that says, The Vestiges of Divergence. Relics wielded when the gods walked and fought alongside their creations. Steps back. May I ask, what are the Vestiges of Divergence? I am a channel for this knowledge, but best I can understand, they are old relics of the War of the Divergents, leading into the Penance, the Second Spark. These were armaments, objects of great power that were used in these wars against the gods, good and dark. Many have been buried, entombed, lost, forgotten. The few that are recovered are passed on through bloodlines, through symbols of power, and of seats of great political importance. But the actual information is lost to me. Do you know of any one in particular? She concentrates for a second. Not within my field of vision, prone to want to keep themselves hidden. That's convenient. If you are aware of this knowledge, then you know that Vasselheim is one of the only remaining cities still left standing. Are there any other services you can offer to help us fight this? The danger that you run here is that Vasselheim has stood the test of time and survived two possible ends of civilization as we know it. Because those who guard it stayed to guard it. You may be hard-pressed to convince others to step beyond the walls, knowing that such a danger could use that to their advantage and destroy the greatest city that we know of. You are welcome to ask, but it will be a difficult journey. What I can offer, though, my mate is a keeper of much hidden knowledge. Over on his side, the Tal'Dorei, I may be able to send you to him to seek this information. Much hidden knowledge? He does not serve her directly. Information is welcome and we are thankful. And we have been impressed by your wisdom. Very much so. In addition to information, you provide a service with the Slayer's take to Vasselheim. Do you have any interest in spreading that influence to Emon, if we can save it? There is great danger and darkness in this world. If we were to lend our power to you, I would ask that you prove yourselves the ones that could carry this torch. Perhaps find these relics Gather other allies Prove to me that I would not be sending my people to their doom Perhaps then, when you think you are ready We could lend our guild to your service And where does your partner reside? She closes her eyes and concentrates for a moment South of the Frostweild To the mountain range that guards it Understand that it is our nature To present challenges Part of his To seek him Is to find him yourself That is the first step Does he have a name? It is his name to give. You served the goddess of knowledge, Vecna. As you say that name, she snarls. Yes, I know of him. His touch has been felt in the north. Very close to here, actually. Would you know of a way to rid ourselves of his weapon, of his tool? If I did, we would have done so long ago. This creature is one of the few entities that shrouds my vision. The limits of our sight are the things we seek to discover and unveil. He may have been held at bay, many thought destroyed hundreds of years ago, but now he stays on everything we seek to accomplish. Well, then allow us to do you a service. We have had dealings with his underlings. We have knowledge, which we freely give, freely, if it does anything to help our case winning your raid. We're not trying to score points. We are trying to do right, Percival. What do you know? Dark creatures attempted to, as best that we can surmise, open a gate beneath. She steps back for a second. I can see the snowy north of Tal'Dorei. The castle beneath. Your temples. The ziggurats were not of his construction, but he took them. I look out to follow the anger, the swath of death and hatred. Those who took him on, they draw my gaze. Something is happening. Right now? Eastward. Eastward beyond the shores of Wildemount. Her head looks up, still staring off into the distance. Into the Dreemoth Ravine. I see the floating islands of Draconia falling, crumbling, an army sundered, people ruined. The conclave sated returns towards your land once more. You can see blood pouring out of one of her nostrils now. You can hear the impact of giant footfalls against sand, and in silence. Have we...convinced you? Out there, and after our dealings with Reimfang, I cannot let this go. You know I cannot, Cash. See, this is fucking happy fun bunch over here. And to think, briefly missed you. He who is not named. Speak freely. So, these vestiges are ancient, right? Spread across the land. Wasn't Tiberius looking for a bunch of... Perhaps that's the reason Draconia was hit. Ancient vestige of... This is good. Vasselheim, even though it's hidden. Have any of you been where the Fireshari reside? We're going to have to make our way there eventually. We've got a lot to do. You'd never leave? We have things we can provide as your members. Go to the quadroads. Vanessa, we've done many jobs together, and I think we've been very loyal to you. We've brought in a lot of money for you. My only request is, is there anything extra? Are there any spare potions? Any amulets of protection? Anything. You can afford it. We're going to get you into a mom. In all sincerity. The gnome speaks because I don't have to. As they're leaving, can Cash pull Zara aside really quickly? All of it. Gone. For a while. If we find something better. Leave half the gold here. They don't need to know everything that we have. Fuck that. All right, so you guys head out of the Slayer's Tate guild hall into the sun is still not visible. There's enough cloud cover where you can see where it would be in the sky, but it's still pretty gray, as you two are both very aware. So you make your way to the quad roads. Am I wrong? I mean, you're interested in Keanu. No. Because I can. And I don't hold anything against him, and she's... But condensed, and it is just... So as you guys are walking around, you! I remember you! He's a cart! He's a stupid cart salesman! Do you have anything locked there? This here I have a... Vex'Hollier is... Trigget, Stumbles and Peeves. Good one. Vex. Well then. Friendship discount. I walk outside. How about instead of that it's knickknacks? But they're magic. Please, don't take advantage of us by taking these things from us. They're too valuable. Please. I beg of you. I would like to have a look. Just in cases. I'm good. You seem fair enough. Um, they're fine. Uh, quite fine. Fifteen hundred off the asking price. It would be wondrous, after we complete this transaction, that we never meet again. I'm afraid I've already hunted more, dear. Oh! Good day! No! But that's up to you. We're just guests here. Fine. Is Silra. Who's got the potions? I'm so fast, but I'm really weak, lad. Eight of us. I'll give you two normies. So, as you approach the same area, you can see the building with the snow and the rain. As you enter, indeed... I'm gonna stand over here and fail to stay in character, okay? You're looking well. You can see now... Carefully... He pulls out... I trust you implicitly. I think you've had enough. ...the side. So, real black powder. Not many have there been... He pours a couple of cups for you, pulls it over to you. Oh, one. Good. Outfit. Very good to know. Money can help. Springs of cold. I already sold a lot recently to that lady. And I have my own tinkering to do. Tell you what, Victor. Make a persuasion roll. For you, I saw nothing. I love you, darling. Keep safe and keep safe. The hammer? So I went away and I made you a hammer. It's a moon. I go and I sit next to Kashan. You guys. I've never met you, but I've missed you guys. I've missed... We have been given a direction to move to actually defeat our foes. We have been given a sign, we have been given something to move for. There is an inevitability to the goodness of the universe. How do I put it? Sleeping while standing up. Feeding of the mind. He's seen you once, maybe he'll say hello again. Well what shall I like, bring him a gift? It's probably about 1.30, 2 o'clock in the afternoon. There are dragons in the world right now and we're fighting? But some of us are a little drunk. Okay. A familiar, burly-looking half-orc gentleman. Kern! Things been good. When I chew, my jaw goes to one side. It's fucking weird. Everything's fine? Haven't really. I'll love it with you. Family issues? Wandering barbarians in the northern wastes. Well, obviously not when he trained me. More of him, like a bunch of big, jacked-out guys in there. But there's plenty of others that train under him. All sorts of warriors. Weapons of all kinds. It's cold! And you can see that this man is a great man, it seems. But that's fine. If you had to find men-at-arms, men to attack a very large foe, possibly quite dangerous, between them and the trial for which that's most of the actual army, they train the armies here, for they breed warriors. You too. The medal was a joke. Kern. Wow! What? Not another drink. There's only one knife, I mean. One last thing. He is a complicated man. I literally never even had this experience in high school. It's cool. You know, okay, make sure they know. Then stop fucking dragging them along, because it's not fair. Oh, no, no, no, no. Sure. It was just a day. I just want to say I don't think the dragon stands a chance. Seriously, though, I'm really confused. Don't hurt him. Cash? Okay. Welcome back, everyone. You guys would enjoy it, so make it happen, please. I want to see it. Also, a reminder that if you want to help support the channel, useless. You make your way past the scattered temples. A lot of people here are just stern folk that live amongst terrible weather, and money and wealth isn't really as pious to some degree to one of the DAVs that are worshiped here. Quite a ways up. Almost 20 minutes of stair climbing, your legs start to cramp a bit, but you you've managed to make your way towards the top. They change their stance to be a little more prepared. God, that's hard to do with alcohol in your system. A lot of horses and chickens around here, too. He turns, and the door opens slightly, and one of the guys disappears between the two doors. About 30 seconds pass to a minute. Borey steps back out. Your presence has been accepted by the High Bearer of Vord the Silvertouched. He will greet you in the central chamber, please. Thank you. Vigil. You guys continue inward towards the central chamber. The high stone ceiling before you, before coming together in a line towards the back, steps forward and extends his hands. It is good to see such friends here, so I ask you once again to join me in this chamber. Can I help you? As it concerns dragon matters, we know that you serve Bahamut, the great, the wonderful, the very metallic. How much do you know about the dragon attacks that have been raging across the world? Swathed in ice and flame, of colors bonded and unleashed, and I feared it was the work of our lord's nemesis. The lord's nemesis? Straight up nemesis? However, with much prayer of mine my acolytes, we find no tremor of the dragon queen. All of us, or just? All of you, sure. None of these ring a bell except for you, nine hells. However, it seems that through much disturbed interest and prayer into this matter, there doesn't seem to be the scent of Tiamat's doing in this matter. Strangely, you see a bit of the tension in his face relax as he tells you So if it's not the nemesis, the big nemesis... While these entities do concern us, the Dragon Queen will be waiting for to attack our citadel. There are many more forces beyond these dragons that you speak of in this world bent against the destruction of this city. I can guarantee you, should they mount an attack on us, fall or not, they will fall. How? Well, we had the aid of Bahamut with us at that time. From your current position, you can you can see actually form a matching symbol, not of a shield, but of a giant winged dragon outstretched across the curved roof of this temple. Water. Water. Understand. I hear your plight, and I understand that we must aid you in this endeavor best that we can. What sort of aid can you offer, then? For now, while you seek out whatever your plot is to tear these creatures from their summit. He will grant to you from our place in the Dawn City. This champion shall come to your aid to help in any way that they can. And once they can report their certainty that victory can be had. And one of the armored knights steps forward, full armored. This, uh... Your charge, Platinum Knight Udayr. You see, stepping up behind, more than most who walk the warrior's path. Your foolish impulses will get you killed. Church? chivalrous type knight gentleman. Really, huh? Very well. Your new charge is Lady Keen. Udyr, it would have been a swell adventure with you. Maybe next time. To step against such powerful dragons is indeed a death sentence. It is true that you need to prepare to arm yourselves against this doom. These relics you speak of from before the second spark. Still I've forgotten. These armaments even balked the primordials of old. Where these relics lie, only story and tome can tell, unfortunately. Know that at any given time, You are not the only one seeking this power. Consider things of such great strength are perpetually in the minds of those who would make or intend to take their own townships and peasantry under their own boot and gauntlet. There is. The dragons took it out. We had one such entrusted to us long ago, but that was destroyed as part of the last assault on Vasselheim that we withstood. Or how many there were. I wish I could be of more aid in this, but this is not a path that I chose to learn much on. Though the warriors that once wielded these in the Battles of Old only seem to. How did you defeat them? The second spark takes a moment. It's a long tale, and I would recommend you research the history of self. Chaotic energies, elements clashing. The very landscape itself was in eternal turmoil, wrestling for no purpose other than to destroy destruction of the others. There were no boundaries. Yet the gods still came, and they created the various beings and entities. They hoped that through their creations they could learn more about themselves, and they began to watch the first burgeoning elves, dwarves. But within a short time, a very short time, the very chaotic nature of this landscape consumed and destroyed most of what remained. The only city that stood, the first city, Beings of no knowable mind sought to destroy any light or beauty. And thus the First War began. The peoples rose up. The gods' feet touched the ground with the first of these vestiges, laying them to rest within the dirt, within the sky, casting the elements away from this plain and separate to the road, where now they remain, water and their muddy boundaries between. This came a time of great privilege and prosperity, and it also came to be discovered that some of the gods, as part of creation, during this bout with the titans, began to question the purpose of creation, to embrace the chaos that they fought in this battle, and they distanced themselves from the ones that guide us to this day. They began to take the children of the gods, teach them the wonders of Arcana, magics beyond the divine and the gifts of the gods. And for the first time, the creations began to find power separate from the creators. The arrogance to think that perhaps now they were gods themselves. Now they were the gods' creations, and they loved them very much. So they did not see this as a threat. But as the second expansion of civilization spread across the world, as well as a new wave of insolence and selfishness, and these new dark gods began to prey upon this, this terrible war, this is what we knew as the Divergence. This was when the people were split in two, and the gods were divided as well. Bloody battles ensued, and it looked as though even Vasselheim would fall. but in this time, these vestiges and the champions fought alongside the gods once more, and victory was had. The dark gods vanished to various planes, far from this plane, but it was then the gods also decided that perhaps their delving had caused this, and they receded, leaving the mortals to find their own way, to rebuild a second time with the warning of the dangers of Arcane. But some were kept, some were lost, some were entombed, Some were re-found and rediscovered and are used as symbols of power. But since this second spark of civilization, the gods felt that the gods leaving us to our own, to the infractions and sids of our arrogant brothers and sisters of that day. Since then, we've had other new civilizations spring up. Wildemount, Tal'Dorei. May I ask, Vestiges, the wording of these legends, it seems vague. Does no one know anything about what they were? Is that a stand-in for... Artifacts and relics of this power are very dangerous. And what better way to hide things of such power? We are here to protect those boundaries that we set several thousand years ago. I am not a practitioner of the history of the Ashari people. Objects with that much power have to leave some trace. Somewhere. Anything you can think of. A place to start. The war reserve. The wars of old. The history of our deities. Our temples. Amongst the more eclectic in the collections. Maybe not all of the reserve was destroyed. Maybe they have secret rooms underground where they keep the most ancient of texts. We should at least check. If they have, it's a very gold dominance and strength. This red dragon is as ancient and as powerful as you say. Perhaps he, even he, could bully lesser dragons. Does that mean the fourth is upon us? I hope not. We will do everything we can to see that this city stands. It is the only link we have to the past. And should Vasselheim fall, I dare say all is lost. That's my only question. That is your question. They can defend themselves and thrive thereafter. Petty squabbles, selfish, personal endeavors that lead to foolishness and treachery. Should this city fall, and one of those remain, that is a breeding ground for the dark powers that lie beyond the veils. It is only here that those who are the most devout could truly have the hearts and minds to guide us, Muhammad forbid, into a fourth age. On our journey, we may have to travel long distances quite often. However, there is still the sky port. It's fine. I'm not going to ask him how his family is. With pleasure. Shabaf, please. We have to have a conversation. Asks to be introduced. He's like, and, uh... Don't mean to be. It's been a rough... Yes, thank you. What are we after here? We need to meet up with Allura, though. She was... Oh, dear. And she continues rushing ahead. So, do you? I've never met Kima in my life. She didn't seem to like me very much, which is odd, because everyone else seems to think I'm an amazing guy. I'm very happy that it happened, but I shouldn't have stolen it. And for that, I apologize. I also don't ever want to... I'm glad we got that cleared up. Step out of the way. Yes. Clearly, my presence is recognized in this great hall. G'day. Let's do this. And as you guys walk up to that edge, Vrood. And, you know, heightwise, turns around towards you and says, You stray from the darkness that I warned you, for this current distraction is too great. Even your blood is drawn to the flames of promise and power. This shall be a test to see if you will break against the shadow. Grog Strongjaw. He's heard my full name. Knowledge is earned, not given. Like a dagger in your stomach, his elbow is unable to really catch yourself and just land flat on your back in the sand. We're all hanging back, just watching. Where do you find your strength? You walk between worlds. Weakness in mind or weakness in conviction. What do you stand for? Where do you find your strength? At which point, as you're getting up, there's another blinding flash for a second and your feet are left out from under you. Choose. Choose the two here. who would save you. Choose your bloody muses. He looks over to the rest of you on the side of the pit. Choose. I choose Vax, and I choose Scanlan. We give him his strength. Make acrobatics checks, both of you guys. Natural 20! You guys don't die! So. I'm hidden behind Grog, so it should be sneak attack, and I'm the first to go, so it's a crit. It's a Bruce Lee shit. He reduces the damage entirely, spends one of his ki points, he catches the dagger. Not back at you, though, because you're currently behind Grog. Are you still face down in the sand? My buddy's Scanlan. Now it is Goon's turn. Rush up to the front of Grog. Actually, no, to the side here, so you're both in combat, technically. All against you, Grog. 27 hits, I'm pretty sure. I'm just doing a lot of math. 31 points of bludgeoning damage. His kick just whack right across the jaw. You haven't even raged yet and the pain is intense your vision goes white for a second and he gets four actions i want to get involved to rage just stay right next to him but move around behind him and i will i will look extremely weak and i will sing a song to him with the horn uh i bite on him i'll sing wow no go ahead he's asleep so uh i got two daggers in my hands and they spin around in my 16. He swings his leg out to try and catch you as you're running past. I've got an ankle. It's now his turn. All right, so he's going to, and he's going to go elbows you to the side of the face, and then he brings his lower hand and hits you right in the center of the abdomen. But it's not as impactful as you thought it would be for the Force. That is going to end his turn. Grog, you're up. Okay, go for it. Which means he gets advantage on everything against me, but fuck it, he's hitting anyway. Those were high. RG3 can help. just seeing the wounds being had and he's just still intent, unmoving in his expression, focused on you. You carry such a dark weapon with you. All right, instead of sleeping this time, I would like him to just get sick. His form shifts a little bit. I'll move a little further away. So sneak attack is not double-beno... You said quadruple, it's not quadruple. Well, as it comes back to Gruun's turn... Does that work on Kate? That is a success. No effect. as he goes into a defensive stance, a familiar one that you've seen before, and is going to stay right there. That brings us to Grog. 16. Use my other d10. Nope, because I kept forgetting to do it before, but that's fine. He spent the last round not doing any actual physical attacks for that reason. You're a psycho killer! Use one action point to use Like the Wind. He turns and rushes up to Scanlan. Scanlan. And the fourth one is a 31. And go ahead and make a dex saving throw, if you could. Yeah, just keep swinging away! Yes, please. Okay, so reckless attack. 28. Oh, minus 5. 9, 17, 27. Both of the strikes. Makes a save. And Scanlan, 24 points of bludgeoning damage. So as you're there in front, goes into the splits as the bolt streaks over his head. Actually, no, you get one attack from the haste. I throw a dagger past Grog, and I just juke to the right and get behind Grog. You take ten points of bludgeoning damage. You feel a crack in the sternum, and your whole body, all your muscles just seize up, and you are currently stunned from the stunning strike until the end of his next turn. Jump between the two of them, and he's going to do Flurry of Blows, two punches against each of you. That's a 17. Vex, you take... It's going to be great. Okay, so you drop the weapon for free. As you drop Craven Edge, you hear this voice screaming in the back of your head, you fool! This fight is ours! As the hammer lights up, you can't possibly let that blade go away, and you drop the hammer and pick up Craven Edge once more. Six. This time, as the hammer falls to the ground, the flames go out, and Craven Edge streaks again. As it He stops for a second, puts his hands together. I need you to make another wisdom saving throw. The Earthbreaker before you, one step. Grock, where do you find your strength? In my friends. And he just bows before you. At this point, he takes a moment and closes his eyes, and you can see there's this inner glow in his chest, and a bunch of his wounds heal up in but an instant. I will wear these with pride. So will I. At this point he, uh... until the last known keeper was slain 200 years ago. The god that's taken. I do not know whereabouts. The other, leathers adorned by the champion of the Raven Queen. This champion's tomb has since come to ruin, sunken beneath a lake to the west of here known as the Merroglade Lock. Within that tomb lies the Deathwalker's ward. Now go. You've found your strength. You know your path. I can I can help you no further. He turns around. Scanlan, Vax. I look over at Zahra. That was pretty good, though. Does it also make you sober? All right, as you guys make your way outside of the trial forge, we'll go ahead and leave today's venture. We'll turn next week to pick up this next venture and see where you guys go from there. It looks like the posters are gone, but there's still some signed ones left if you want."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000331.mp3": {
        "gt": "SOUNDS PRETTY COOL KIDS THISAND I BELIEVE THAT I CAN CALL MIGHT DESKTOPSAND I CAN RIGHT CLICKCAN TAKETHERE WAS A WAY THAT I COULD ACTUALLY BUILD PRESETSJUST LIKE THATSO HERE ALL THE CHANNELS PASO WHAT YOU WOULD DO IS YOU WOULD ACTUALLY GO HEREAND GO TO ROMANIAPRESONUSAND I'S STUDIO ONEYOU DEFINE THE SETTINGS FILED AND THAT ISSTUDIO ONE AFFECT STUDIO ONE SETTINGS IF I WAS TO DELETE THIS STUDIO ONE SETTINGS FILEWHETHER IT'SAND TWO GREAT QUESTION  WATCH THIS RIGHT HEREYOU GET MISSING SOMETHING  ALL MY FADERS OR I CAN JUST GO AHEAD AND SELECTOR FEW DIFFERENT FADERS AND THEN RESET THEMHOPEFULLY THAT IS WHAT YOU MEANTI CAN SEE THAT THERE'S A COUPLE QUESTIONS FOR JOHNNY WITCHERHOW YOU CUT THAT OUT OF HIS QUESTIONBY JUST TURN SOMETHING OFAND THEN HAVEN'T BEEN NOOTHER THANIT MIGHTAND GOING TO LEAVE IT WHERE IT IS\n",
        "transcription_base": " sounds pretty cool. Kid is this. And I believe that I can go to my desktop and I can right-click, I can take. There was a way that I could actually build presets just like that. So here are all the channels. Yeah. So what you would do is you would actually go here and go to roaming, Persona and Studio 1 need to find the settings file. And that is Studio 1 Facts Studio 1 Settings. If I was to delete this Studio 1 Settings file, whether it's, that's a great question. Watch this right here. Maybe I'm missing something. All of my faders, or I can just go ahead and select a few different faders and then reset them. Hopefully that is what you meant. I can see that there is a couple of questions for Johnny Lipschum. How you got that out of his question. Well, I just turned something off and then have it be null. Other than it might, I'm going to leave it where it is.",
        "transcription_medium": " That sounds pretty cool. What kit is this? And I believe that I can go to my desktop and I can right click. I can take, there was a way that I could actually build presets, just like that. So here are all the channels. Yeah, so what you would do is you would actually go here. I'm going to go to roaming, personas, and studio one. You need to find the settings file. And that is Studio One effects, Studio One settings. If I was to delete this Studio One settings file, whether it's, that's a great question. Watch this right here. Maybe I'm missing something, all of my faders, or I can just go ahead and select a few different faders and then reset them. Hopefully that is what you meant. Cause I can see that there's a couple of questions for Johnny Lipschum. How you got that out of his question? I just turned something off. and then have it be null. Other than, it might. I'm going to leave it where it is.",
        "transcription_large_v3": " That sounds pretty cool. Kit is this. And I believe that I can go to my desktop. And I can right click. I can take. There was a way that I could actually build presets. Just like that. So here are all the channels. Yeah. So what you would do is you would actually go here. I'm going to go to roaming. Presonus. And Studio One. You need to find the settings file. and that is studio one effects studio one settings if i was to delete this studio one settings file whether it's that's a great question watch this right here maybe i'm missing something all of my faders or i can just go ahead and select a few different faders and then reset them hopefully that is what you meant because i can see that there's a couple of questions for johnny lipshom How you got that out of his question? I just turned something off. And then have it be null. Other than it might. I'm going to leave it where it is."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000347.mp3": {
        "gt": "FROM HERE   YOU WOULD GO THROUGH AND START COLOR GRADING  A LOT OF TIMES   I'LL JUST DO THIS BUT YOU CAN DEFINITELY USE THE FOOTAGE FROM HERE  ALRIGHT GUYS   THAT IS IT   IF YOU'RE NEW TO THIS CHANNEL   MAKE SURE YOU HIT THAT SUBSCRIBE BUTTON   THERE'S A LOT OF AWESOME FILM MAKING TUTORIALS  I'VE GOT SOME CAMERA REVIEWS   SOME VLOGS   ALSO IF YOU'RE NEW HERE   I DO HAVE AN ONLINE CREATOR FILM SCHOOL THAT GOES THROUGH BEGINNING TO END   EVERYTHING THAT YOU NEED TO KNOW TO HAVE A CAREER AS A FILMMAKER OR CREATOR   SO GUYS I SUGGEST YOU GO CHECK THAT OUT DOWN IN THE DESCRIPTION  AND THAT IS IT  \n",
        "transcription_base": " From here you would go through and start color grading a lot of times I'll just do this but you could definitely use the footage from here All right guys that is it if you're new to this channel make sure you hit that subscribe button There's a lot of awesome filmmaking tutorials. I've got some camera reviews some vlogs Also if you're new here I do have an online creator film school that goes through beginning to end everything that you need to know to have a career as a filmmaker or a creator So guys I suggest you go check that out down in the description and that is it",
        "transcription_medium": " From here you would go through and start color grading. A lot of times I'll just do this, but you could definitely use the footage from here. All right guys, that is it. If you're new to this channel, make sure you hit that subscribe button. There's a lot of awesome filmmaking tutorials. I've got some camera reviews, some vlogs. Also, if you're new here, I do have an online creator film school that goes through beginning to end everything that you need to know to have a career as a filmmaker or a creator. So guys, I suggest you go check that out down in the description. And that is it.",
        "transcription_large_v3": " from here you would go through and start color grading. A lot of times I'll just do this, but you could definitely use the footage from here. All right guys, that is it. If you're new to this channel, make sure you hit that subscribe button. There's a lot of awesome filmmaking tutorials. I've got some camera reviews, some vlogs. Also, if you're new here, I do have an online creator film school that goes through beginning to end everything that you need to know to have a career as a filmmaker or a creator. So guys, I suggest you go check that out down in the description. And that is it."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000363.mp3": {
        "gt": "YOU SHOULDN'T HAVE THE TV ON  YOU SHOULD JUST HAVE YOUR DESK   SOME SCRAP PAPER  AND SOME YOU KNOW PENS AND HIGHLIGHTERS OR WHATEVER YOU NEED  BUT   THAT'S ABOUT IT  MEMORIZATION IS A LOT OF WORK AND SO YOU REALLY NEED TO GIVE THAT YOUR SOLE FOCUS DURING THE TIME THAT YOU'RE MEMORIZING  SO PICK AN OUTLINE TO START WITH  LIKE LET'S SAY THAT YOU'RE STARTING WITH TORTS  THEN TAKE THAT OUTLINE AND DIVIDE IT INTO MANAGEABLE SECTIONS  SO FOR EXAMPLE   IF YOUR OUTLINE IS FIFTY PAGES  I WOULD TRY TO DIVIDE IT INTO SECTIONS OF ABOUT FIVE PAGES EACH  BUT   RATHER THAN JUST PICKING RANDOM PAGES LIKE   ONE TO FIVE AND SIX TO TEN  LIKE FOR EXAMPLE   YOUR FIRST SECTION MIGHT BE INTENTIONAL TORTS  AND THEN DEFENSES TO INTENTIONAL TORTS  AND THEN MAYBE OTHER TORTS   OR PRIVACY TORTS  NEGLIGENCE COULD HAVE ITS OWN SECTIONS   LIKE   DUTY   BREACH   CAUSE   AND HARM   COULD EACH BE ITS OWN SECTION  ONCE YOU HAVE YOUR OUTLINE DIVIDED INTO SECTIONS   THEN IT'S TIME TO START BY MEMORIZING JUST ONE OF THOSE SECTIONS  IF YOU KNOW YOU HAVE A FIFTY PAGE OUTLINE TO MEMORIZE   THAT'S OVERWHELMING  AND YOU'LL START TO REALLY BUILD YOUR CONFIDENCE AND YOUR SKILLS AS YOU MEMORIZE  SO   LET'S JUST SAY THAT WE'RE STARTING WITH TORTS AND WE'RE STARTING WITH INTENTIONAL TORTS  SO THE INTENTIONAL TORTS ARE ASSAULT   BATTERY   CONVERSION   TRESPASS TO CHATTELS   TRESPASS   FALSE IMPRISONMENT  AND   WHAT I RECOMMEND YOU DO  IS READ THROUGH THAT SECTION ONCE   OKAY   SO ACTUALLY GO THROUGH YOUR OUTLINE   MAKE SURE YOU UNDERSTAND IT  AND THEN  PUT YOUR OUTLINE ASIDE AND SEE HOW MUCH OF IT YOU KNOW  NOW EVERYBODY USES A DIFFERENT TECHNIQUE TO DO THIS   OR I SHOULD SAY THERE ARE A LOT OF DIFFERENT TECHNIQUES TO DO THIS  ONE TECHNIQUE THAT I REALLY LIKE AND A LOT OF MY STUDENTS REALLY LIKE  IS TO PUT THE OUTLINE ASIDE AND THEN TAKE OUT SOME SCRAP PAPER AND SEE   CAN I LIST ALL THE INTENTIONAL TORTS AND ALL OF THEIR ELEMENTS  OKAY   SO BATTERY   ASSAULT   TRESPASS   AND THEN ALL THE ELEMENTS  THE FIRST TIME YOU DO THIS YOU WON'T BE ABLE TO  OKAY   BECAUSE YOU'VE ONLY LOOKED AT YOUR OUTLINE ONCE   SO   YOU'RE NOT GONNA BE ABLE TO MEMORIZE EVERYTHING  YOU'RE NOT GONNA HAVE EVERYTHING COMPLETELY MEMORIZED   YOU WON'T BE ABLE TO RECITE EVERYTHING  BUT THEN   IF YOU GO THROUGH IT AGAIN  YOU'LL BE ABLE TO DO IT   SO  YOU KNOW  YOU MIGHT HAVE TO GO BACK A THIRD TIME OR A FOURTH TIME OR FIFTH TIME  BUT   ONE OF THE TIMES YOU'RE GONNA GET THEM RIGHT  YOU'RE GONNA HAVE ALL THE INTENTIONAL TORTS AND ALL THEIR ELEMENTS MEMORIZED  GREAT  OKAY THEN   IT'S TIME TO MOVE ON TO THE NEXT SECTION  VISUAL LEARNERS REALLY BENEFIT FROM RE-WRITING THINGS  YOU MIGHT BENEFIT FROM HIGHLIGHTING YOUR OUTLINE IN DIFFERENT COLORS OR COLOR CODING THINGS  MOST LAW STUDENTS TEND TO BE VISUAL LEARNERS  IF YOU'RE AN AUDITORY LEARNER   SO IF YOU LEARN BETTER FROM LECTURE AND HEARING  RATHER THAN SEEING AND WRITING  THEN YOU'RE GONNA BENEFIT MORE FROM  THINGS LIKE LISTENING TO LECTURE WILL REALLY HELP YOU  OR EXPLAINING THE LAW   WHETHER IT'S TO YOURSELF OR SOMEONE ELSE   THAT'LL HELP YOU MEMORIZE IT  IF YOU'RE AN AUDITORY LEARNER MNEMONICS AND RHYMES WILL BE VERY HELPFUL TO YOU BECAUSE THEY'RE GONNA STICK IN YOUR HEAD  SO   YOU CAN FIND WHAT WORKS BEST FOR YOU  YOU MIGHT ALREADY HAVE AN IDEA OF WHAT IT IS   FOR EXAMPLE   IF YOU USE CERTAIN TECHNIQUES TO MEMORIZE IN LAW SCHOOL  SO   JUST KEEP THAT IN MIND THAT YOU CAN ACTUALLY USE TECHNIQUES THAT ARE MORE GEARED TOWARD YOUR LEARNING STYLE AND THAT WILL HELP YOU MEMORIZE MORE EFFICIENTLY  IF YOU'RE STILL REALLY NOT SURE WHAT YOUR LEARNING STYLE IS   JUST TRY A COUPLE TECHNIQUES AND SEE WHAT WORKS BEST FOR YOU  OR YOU MIGHT JUST USE THE SAME TECHNIQUE ALL THE TIME   I'VE MEMORIZED EVERYTHING IN MY LIFE BY JUST YOU KNOW HAVING MY OUTLINE   COVERING IT UP   AND SEEING WHAT I CAN REWRITE  AND THEN DOING THE SAME THING AGAIN AND AGAIN UNTIL I KNOW IT  SO ONCE YOU'RE DONE WITH ONE SECTION OF YOUR OUTLINE  THEN TAKE A BREAK  BECAUSE IT'S A LOT OF WORK  GET UP   WALK AROUND   EAT A SNACK   CALL A FRIEND   WHATEVER  AND THEN COME BACK AND GO TO THE NEXT SECTION OF YOUR OUTLINE  I'D DO THE SAME THING AGAIN  OKAY   REVIEW THE OUTLINE   SEE IF YOU HAVE IT MEMORIZED  TRY TO TRY TO MEMORIZE IT THE BEST THAT YOU CAN USING WHATEVER TECHNIQUE THAT YOU CAN  THEN WHEN YOU'RE DONE WITH IT  YOU KNOW TAKE A BREAK  AT THE VERY END OF YOUR MEMORIZATION PERIOD   WHATEVER TIME YOU SET ASIDE TO MEMORIZE YOUR OUTLINES  GO BACK AND REVIEW EVERYTHING ONE LAST TIME   SO YOU SHOULD REVIEW ALL THE INTENTIONAL TORTS AND ALL THE DEFENSES TO INTENTIONAL TORTS  JUST GO BACK AND REVIEW EVERYTHING THAT YOU DID THAT DAY  AND YOU'RE STILL GOING TO STRUGGLE AT THIS POINT  IT'S NOT GONNA COME SUPER EASY  YOU'RE GONNA HAVE TO STILL THINK ABOUT THE ELEMENTS  OKAY   YOU'RE NOT GONNA KNOW THEM OFF THE TOP OF YOUR HEAD  AND THAT'S OKAY  THEN   AT NIGHT   MAKE SURE YOU GET A FULL NIGHT OF SLEEP   WHATEVER YOU NEED  BECAUSE   DURING THAT TIME YOUR BRAIN IS GONNA FILE THINGS AWAY AND CEMENT WHAT YOU KNOW AND WHAT YOU'VE LEARNED  SO WHEN YOU WAKE UP IN THE MORNING  OKAY   SEE IF YOU KNOW IT   START WITH INTENTIONAL TORTS   DO THE SAME THING  SEE IF YOU CAN LIST ALL THE ELEMENTS OF ALL THE INTENTIONAL TORTS  YOU WILL FIND THAT IT COMES MUCH EASIER AFTER A FULL NIGHT OF SLEEP  THAT YOU'LL BE ABLE TO RECITE THOSE ELEMENTS  YOU'LL DO YOU KNOW A MUCH BETTER JOB THINGS WILL COME TO YOU QUICKER  YOU'RE NOT GONNA KNOW EVERYTHING PERFECTLY BUT YOU'RE GONNA KNOW A LOT OF IT  OKAY   SO THIS WILL START BUILDING YOUR CONFIDENCE YOU'RE GONNA FEEL BETTER ABOUT IT  ANOTHER KEY THING TO REMEMBER IS   YOU'RE NOT DONE AT THAT POINT  THE PROBLEM IS THAT'S TOO LONG  SO YOU'RE GONNA FORGET WHAT YOU'VE LEARNED IF YOU DON'T LOOK AT IT FOR EIGHT WEEKS  SO THE BETTER THING TO DO IS  SET UP A RETENTION SCHEDULE  SO FOR EXAMPLE   IF I WOULD LEARN TORTS IN WEEK ONE  I'D REVIEW AN EVERYDAY WEEK ONE   YOU KNOW YOUR YOUR MEMORIZING IT   YOU'RE JUST YOU'RE IN THE WEEDS  YOU'RE REALLY LOOKING AT THE OUTLINE EVERY SINGLE DAY  AND THEN WEEK TWO   I WOULD STILL LOOK AT IT TWICE AT LEAST  SO I'D GO THROUGH THE WHOLE OUTLINE AGAIN AND DO THE SAME THING   MAKE SURE I MEMORIZE IT   MAKE SURE I KNEW THE ELEMENTS AND I WOULD DO THAT TWICE  WEEK THREE I'D PROBABLY GO THROUGH IT ABOUT TWO TIMES AGAIN  MULTIPLE TIMES  YOU'RE JUST FLIPPING THROUGH IT   AND YOU'RE JUST  YOU KNOW   MAKING SURE THAT YOU KNOW   WHAT YOU ALREADY KNOW YOU KNOW  EVERY SINGLE TIME YOU GO THROUGH YOUR OUTLINE  IT'S GONNA TAKE YOU SIGNIFICANTLY LESS TIME  SO THE FIRST TIME YOU GO THROUGH IT'S GOING TO TAKE A LONG TIME  THE SECOND TIME IT'LL TAKE A LONG TIME  IT REALLY WON'T TAKE THAT LONG BECAUSE YOU'RE GONNA KNOW MOST OF IT   AND YOU'RE GONNA FEEL REALLY COMFORTABLE WITH IT  SO THAT'S KEY TO MEMORIZING YOUR OUTLINES  THE BAR EXAM CAN BE COMPLETELY OVERWHELMING   THERE ARE SO MUCH TO LEARN  SO IF YOU CANNOT MEMORIZE EVERYTHING  FOR WHATEVER REASON  FOCUS ON THE HIGHLY TESTED AREAS OF LAW THERE ARE AREAS OF LAW ON THE MULTI-STATE BAR EXAM AND THE ESSAY PORTION OF THE EXAM  THAT ARE TESTED MORE THAN OTHERS  THE BAR EXAM DOES NOT TEST EVERYTHING EQUALLY  SO YOU CAN FOCUS ON THESE HIGHLY TESTED AREAS OF LAW AND REALLY STUDY SMART FOR THE BAR EXAM  BECAUSE   YOU'RE GOING TO GET MORE FOR YOUR KNOWLEDGE   LIKE FOR EXAMPLE  TORTS   NEGLIGENCE IS SUPER HEAVILY TESTED  SO   YOU'RE GONNA REALLY DO YOURSELF A FAVOR IF YOU KNOW NEGLIGENCE REALLY WELL  VERSUS SOMETHING LIKE DEFAMATION  IT'S PROBABLY NOT AS COMMON ON MOST STATE ESSAYS AND IT'S NOT WORTH NEARLY AS MANY POINTS ON THE MULTI-STATE BAR EXAM  SO   YOU CAN FOCUS YOUR TIME ON THE MOST HIGHLY TESTED AREAS OF LAW IF YOU'RE REALLY LOOKING FOR AN EFFICIENT APPROACH TO BAR PREP  SO HOPEFULLY YOU FOUND THIS HELPFUL AND GOOD LUCK  \n",
        "transcription_base": " You shouldn't have the TV on. You should just have your desk, some scrap paper, and some, you know, pens and highlighters or whatever you need. But that's about it. Memorization is a lot of work, and so you really need to give that your soul focus during the time that you're memorizing. So, picking outline to start with, like let's say that you're starting with torts. Then take that outline and divide it into manageable sections. So, for example, if your outline is 50 pages, I would try to divide into sections of about five pages each, but rather than just picking random pages like 1 to 5 and 6 to 10, like for example your first section might be intentional torts, and then defenses to intentional torts. And then maybe other torts or privacy torts. That gojins could have its own sections like duty breach cause and harm could each be his own section. Once you have your outline divided into sections, then it's time to start by memorizing just one of those sections. If you know you have a 50 page online to memorize that's overwhelming and you'll start to really build your confidence and your skills as you memorize. So let's just say that we're starting with torts and we're starting with intentional torts. So the intentional torts are salt, battery conversion, trespass to chattels, trespass, false imprisonment. And what I recommend you do is read through that section once. Okay, so actually go through your outline, and make sure you understand it. And then put your outline aside and see how much of it you know. Now everybody uses a different technique to do this, or I should say there are a lot of different techniques to do this. One technique that I really like, and a lot of my students really like, is to put the outline aside, and then take out some scrap paper, and see, can I list all the intentional torts and all of their elements? Okay, so battery assault, trespass, and then all of their elements. The first time you do this, you will be able to, okay? Because you've only looked at your online once, so you're not gonna be able to memorize everything. You're not gonna have everything completely memorized, you won't be able to recite everything. But then, if you go through it again, you'll be able to do it. So, you know, you might have to go back a third timer, a fourth timer, a fifth time. But one of the times you're gonna get them right. You're gonna have all of the intentional torts and all of their elements memorized. Great, okay, then it's time to move on to the next section. Visual learners really benefit from free writing things. you might benefit from highlighting your outline in different colors or color coding things. Most law students tend to be visual learners. If you're an auditory learner, so if you learn better from lecture and hearing, rather than seeing and writing, then you're gonna benefit more from things like listening to lecture will really help you or explaining the law, whether it's yourself or someone else that'll help you memorize it. If you're an auditory learner, namanics and rhymes will be very helpful to you because they're gonna stick in your head. So you can find what works best for you. You might already have an idea of what it is. For example, if you use certain techniques to memorize and law school. So just keep that in mind that you can actually use techniques that are more geared toward your learning style and that will help you memorize more efficiently. If you're still really not sure what your learning style is, just try a couple techniques and see what works best for you. Or you might just use the same technique all the time. I've memorized everything in my life by just having my outline covering it up and seeing what I can rewrite. And then doing the same thing again and again until I know it. So once you're done with one section of your outline, then take a break because it's a lot of work, get up, walk around, eat a snack, call a friend, whatever. And then come back and go to the next section of your outline. Then do the same thing again, okay? Review the outline, see if you haven't memorized. Try to memorize it the best that you can using whatever technique that you can. Then when you're done with it, you don't take a break. at the very end of your memorization period, whatever time you set aside to memorize your outlines, go back and review everything one last time. So you should review all the intentional torts, all the defenses to intentional torts. Just go back and review everything that you did that day. And you're still gonna struggle at this point. It's not gonna come super easy. You're gonna have to still think about the elements. Okay, you're not gonna know them off the top of your head. And that's okay. Then at night, make sure you get a full night of sleep, whatever you need, because during that time your brain is going to file things away and cement what you know and what you've learned. So when you wake up in the morning, see if you know it. Start with intentional torts. Do the same thing. See if you can list all the elements of all the intentional torts. You will find that it comes much easier after a full way to sleep. That you'll be able to recite those elements. You'll do a much better job. Things will come to you quicker. You're not going to know everything perfectly, but you're going to know a lot of it. Okay, so this will start building your confidence. You're gonna feel better about it. Another key thing to remember is you're not done at that point. The problem is that's too long. So you're gonna forget what you've learned if you don't look at it for eight weeks. So the better thing to do is set up a retention schedule. So for example, if I would learn torts in week one, I'd review it every day in week one. You know, you're memorizing it. You're just, you're in the weeds. You're really looking at that outline every single day. And then week two, I would still look at it twice at least. So I'd go through the whole outline again and do the same thing, make sure I've memorized it, make sure I knew the elements, and I would do that twice. Week three, I'd probably go through it about two times again. Multiple times, you're just flipping through it and you're just making sure that you know what you already know you know. Every single time you go through your outline, it's gonna take you significantly less time. So the first time you go through it, it's gonna take a long time. The second time it'll take a long time. It really won't take that long, because you're gonna know most of it and you're gonna feel really comfortable with it. So that's key to memorizing your outlines. The bar exam can be completely overwhelming. There is so much to learn. So if you cannot memorize everything, for whatever reason, focus on the highly tested areas of law. There are areas of law on the multi-state bar exam, on the essay portion of the exam that are tested more than others. The bar exam does not test everything equally. So you can focus on these highly tested areas of law and really study smart for the bar exam because you're going to get more for your knowledge. Like for example, torts negligence is super heavily tested. So you're going to really do yourself a favor if you know negligence really well versus something like defamation. It's probably not as common on most state essays and it's not worth nearly as many points on the multistake bar exam. So you can focus your time on the most highly tested areas of law if you're really looking for an efficient approach to buyer prep. So hopefully you found this helpful and good luck.",
        "transcription_medium": " you shouldn't have the TV on, you should just have your desk, some scrap paper, and some pens and highlighters or whatever you need. But that's about it. Memorization is a lot of work and so you really need to give that your sole focus during the time that you're memorizing. So pick an outline to start with, like let's say that you're starting with torts. Then take that outline and divide it into manageable sections. So for example, if your outline is 50 pages, I would try to divide it into sections of about five pages each, but rather than just picking random pages like one to five and six to ten, like for example your first section might be intentional torts and then defenses to intentional torts and then maybe other torts or privacy torts. Negligence could have its own sections like duty breach cause and harm could each be its own section. Once you have your outline divided into sections then it's time to start by memorizing just one of those sections. If you know you have a 50 page outline to memorize that's overwhelming and you'll start to really build your confidence and your skills as you memorize. So let's just say that we're starting with torts and we're starting with intentional torts. So the intentional torts are assault, battery, conversion, trespass to chattels, trespass, false imprisonment. And what I recommend you do is read through that section once. Okay so actually go through your outline and make sure you understand it. And then put your outline aside and see how much of it you know. Now everybody uses a different technique to do this, or I should say there are a lot of different techniques to do this. One technique that I really like and a lot of my students really like is to put the outline aside and then take out some scrap paper and see can I list all the intentional torts and all of their elements. Okay, so battery, assault, trespass, and then all their elements. The first time you do this, won't be able to. Okay, because you've only looked at your element once, so you're not going to be able to memorize everything. You're not going to have everything completely memorized. You won't be able to recite everything. But then, if you go through it again, you'll be able to do it. So, you know, you might have to go back a third time, or a fourth time, or a fifth time. But one of the times you're going to get them right. You're going to have all the intentional torts and all their elements memorized. Great. Okay, then it's time to move on to the next section. Visual learners really benefit from rewriting things. You might benefit from highlighting your outline in different colors or color coding things. Most law students tend to be visual learners. If you're an auditory learner, so if you learn better from lecture and hearing rather than seeing and writing, then you're gonna benefit more from things like listening to lecture will really help you or explaining the law whether it's to yourself or someone else that help you memorize it. If you're an auditory learner, mnemonics and rhymes will be very helpful to you because they're gonna stick in your head. So you can find what works best for you. You might already have an idea of what it is. For example, if you use certain techniques to memorize in law school. So just keep that in mind that you can actually use techniques that are more geared toward your learning style and that will help you memorize more efficiently. If you're still really not sure what your learning style is, just try a couple techniques and see what works best for you. Or you might just use the same technique all the time. I've memorized everything in my life by just having my outline, covering it up, and seeing what I can rewrite. And then doing the same thing again and again until I know it. So once you're done with one section of your outline, then take a break because it's a lot of work. Get up, walk around, eat a snack, call a friend, whatever. And then come back and go to the next section of your outline. Then do the same thing again. Okay, review the outline, see if you have it memorized, try to try to memorize it the best that you can using whatever technique that you can. Then when you're done with it, you know, take a break. At the very end of your memorization period, whatever time you set aside to memorize your outlines, go back and review everything one last time. So you should review all the intentional torts and all the defenses to intentional torts. Just go back and review everything that you did that day. And you're still gonna struggle at this point. It's not gonna come super easy. you're gonna have to still think about the elements. Okay, you're not gonna know them off the top of your head and that's okay. Then at night make sure you get a full night of sleep, whatever you need, because during that time your brain is gonna file things away and cement what you know and what you've learned. So when you wake up in the morning, okay, see if you know it. Start with intentional torts. Do the same thing. See if you can list all the elements of all the intentional torts. You will find that it comes much easier after a full night sleep. You'll be able to recite those elements. You'll do a much better job. Things will come to you quicker. You're not going to know everything perfectly, but you're going to know a lot of it. Okay, so this will start building your confidence. You're going to feel better about it. Another key thing to remember is you're not done at that point. The problem is that's too long, so you're going to forget what you've learned if you don't look at it for eight weeks. So the better thing to do is set up a retention schedule. So for example, if I would learn torts in week one. I'd review it every day in week one. You know, you're memorizing it, you're just, you're in the weeds, you're really looking at that outline every single day. And then week two, I would still look at it twice at least. So I'd go through the whole outline again and do the same thing, make sure I memorized it, make sure I knew the elements, and I would do that twice. Week three, I'd probably go through it about two times again. Multiple times. You're just flipping through it and you're just, you know, making sure that you know what you already know you know. Every single time you go through your outline it's going to take you significantly less time. So the first time you go through it it's going to take a long time. The second time it'll take a long time. It really won't take that long because you're going to know most of it and you're going to feel really comfortable with it. So that's key to memorizing your outlines. The bar exam can be completely overwhelming. There are so much to learn. So if you cannot memorize everything for whatever reason, focus on the highly tested areas of law. There are areas of law on the multi-state bar exam, on the essay portion of the exam, that are tested more than others. The bar exam does not test everything equally. So you can focus on these highly tested areas of law and really study smart for the bar exam because you're gonna get more for your knowledge. Like for example, torts, negligence is super heavily tested. So you're gonna really do yourself a favor favor if you know negligence really well versus something like defamation. It's probably not as common on most state essays and it's not worth nearly as many points on the multi-state bar exam. So you can focus your time on the most highly tested areas of law if you're really looking for an efficient approach to bar prep. So hopefully you found this helpful and good luck.",
        "transcription_large_v3": " you shouldn't have the TV on, you should just have your desk, some scrap paper, and some, you know, pens and highlighters or whatever you need. But that's about it. Memorization is a lot of work, and so you really need to give that your sole focus during the time that you're memorizing. So pick an outline to start with, like let's say that you're starting with torts. Then take that outline and divide it into manageable sections. So for example, if your outline is 50 pages, I would try to divide it into sections of about five pages each, but rather than just picking random pages like one to five and six to ten, like for example your first section might be intentional torts and then defenses to intentional torts and then maybe other torts or privacy torts. Negligence could have its own sections like duty, breach, cause, and harm could each be its own section. Once you have your outline divided into sections, then it's time to start by memorizing just one of those sections. If you know you have a 50-page outline to memorize, that's overwhelming, and you'll start to really build your confidence and your skills as you memorize. So let's just say that we're starting with torts, and we're starting with intentional torts. So the intentional torts are assault, battery, conversion, trespass to chattels, trespass, false imprisonment. And what I recommend you do is read through that section once. Okay, so actually go through your outline, make sure you understand it. and then put your outline aside and see how much of it you know. Now everybody uses a different technique to do this or I should say there are a lot of different techniques to do this. One technique that I really like and a lot of my students really like is to put the outline aside and then take out some scrap paper and see can I list all the intentional torts and all of their elements. Okay so battery, assault, trespass, and then all their elements. The first time you do this you won't be able to, okay, because you've only looked at your element once, so you're not going to be able to memorize everything. You're not going to have everything completely memorized. You won't be able to recite everything, but then if you go through it again, you'll be able to do it. So, you know, you might have to go back a third time or a fourth time or a fifth time, but one of the times you're going to get them right. You're going to have all the intentional torts and all their elements memorized. Great. Okay, then it's time to move on to the next section. visual learners really benefit from rewriting things you might benefit from highlighting your outline in different colors or color coding things most law students tend to be visual learners if you're an auditory learner so if you learn better from lecture and hearing rather than seeing and writing then you're gonna benefit more from things like listening to lecture will really help you or explaining the law whether it's to yourself or someone else that'll help you memorize it. If you're an auditory learner, mnemonics and rhymes will be very helpful to you because they're going to stick in your head. So you can find what works best for you. You might already have an idea of what it is. For example, if you use certain techniques to memorize in law school. So just keep that in mind that you can actually use techniques that are more geared toward your learning style and that will help you memorize more efficiently. If you're still really not sure what your learning style is, just try a couple techniques and see what works best for you. or you might just use the same technique all the time. I've memorized everything in my life by just you know having my outline covering it up and seeing what I can rewrite and then doing the same thing again and again until I know it. So once you're done with one section of your outline then take a break because it's a lot of work. Get up, walk around, eat a snack, call a friend, whatever and then come back and go to the next section of your outline and do the same thing again. Okay review the outline, see if you have it memorized, try to try to memorize it the best that you can using whatever technique that you can. Then when you're done with it, you know, take a break. At the very end of your memorization period, whatever time you set aside to memorize your outlines, go back and review everything one last time. So you should review all the intentional torts, not all the defenses to intentional torts. Just go back and review everything that you did that day. And you're still going to struggle at this point. It's not going to come super easy. You're going to have to still think about the elements. Okay, you're not going to know them off the top of your head and that's okay. Then at night make sure you get a full night of sleep, whatever you need, because during that time your brain is going to file things away and cement what you know and what you've learned. So when you wake up in the morning, okay, see if you know it. Start with intentional torts. Do the same thing. See if you can list all the elements of all the intentional torts. You will find that it comes much easier after a full night of sleep, that you'll be able to recite those elements, you'll do a much better job, things will come to you quicker. You're not going to know everything perfectly, but you're going to know a lot of it. Okay, so this will start building your confidence. You're going to feel better about it. Another key thing to remember is you're not done at that point. The problem is that's too long. So you're going to forget what you've learned if you don't look at it for eight weeks. So the better thing to do is set up a retention schedule. So for example, if I would learn torts in week one, I'd review it every day in week one. You know, you're memorizing it, you're just, you're in the weeds, you're really looking at that outline every single day. And then week two, I would still look at it twice at least. So I'd go through the whole outline again and do the same thing, make sure I've memorized it, make sure I knew the elements, and I would do that twice. Week three, I'd probably go through it about two times again. Multiple times, you're just flipping through it and you're just, you know, making sure that you know what you already know you know. Every single time you go through your outline, it's going to take you significantly less time. So the first time you go through it, it's going to take a long time. The second time, it'll take a long time. It really won't take that long because you're going to know most of it and you're going to feel really comfortable with it. So that's key to memorizing your outlines. The bar exam can be completely overwhelming. There is so much to learn. So if you cannot memorize everything for whatever reason, focus on the highly tested areas of law. There are areas of law on the multi-state bar exam, on the essay portion of the exam, that are tested more than others. The bar exam does not test everything equally. So you can focus on these highly tested areas of law and really study smart for the bar exam. Because you're going to get more for your knowledge. Like, for example, torts, negligence is super heavily tested. So you're going to really do yourself a favor if you know negligence really well. Versus something like defamation. It's probably not as common on most state essays, and it's not worth nearly as many points on the multi-state bar exam. So you can focus your time on the most highly tested areas of law if you're really looking for an efficient approach to bar prep. So hopefully you found this helpful and good luck."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000379.mp3": {
        "gt": "DEFINITELY   DEFINITELY   WELL  WHY DON'T YOU GUYS TELL THE AUDIENCE ABOUT YOURSELVES   LIKE HOW YOU GUYS GOT STARTED  HOW YOU GUYS MET EVEN  WHAT YOU GUYS DO NOW AND YOU KNOW WHAT YOU'RE EXCITED ABOUT TODAY  YEAH   THAT SOUNDS GOOD   WE'LL START WITH  SO IT WAS TOTALLY EMPTY  AND SO WHAT NEEDED TO HAPPEN IS WE HAD TO HIRE AN ENTIRE DATA DIVISION  AND SO ONCE WE ROLLED IT OUT TO THEM   IT WAS LIKE THE RECORD STOPS  IT WAS LIKE   EVERYBODY'S LIKE   WELL  NOW   WHAT CAN YOU DO WITH THIS   HOW CAN YOU TAKE ACTION FROM IT SO THAT YOU CAN REALLY SCALE AND GET IT TO THE POINT OF AUTOMATICITY IN YOUR BUSINESS WHERE YOU DON'T HAVE TO BE INVOLVED IN EVERY SINGLE MINOR DECISION  YEAH   THAT'S AWESOME   THAT'S REALLY COOL  AND YOU GUYS REALLY MADE A VERY SHREWD   SMART MOVE AND PIVOT BY THE WAY  SO THAT WAS ONE BIG PIVOT   WE ALSO WANTED TO HAVE A BETTER  NOT SO MUCH  ANDYEAH   THAT'S CRAZY   COME A LONG WAY  AND IT WAS LIKE ON THAT SAME DAY WAS LIKE   YOU KNOW   OVER A MILLION IN REVENUE WITHIN A WEEK   IT WAS LIKE ONE POINT FIVE  AND YOU JUST REACHED HALF A MILLION PEOPLE WITH A CLICK OF A BUTTON   AND I WAS LIKE   ALL RIGHT   SO I LEFT EVERYTHING  YEAH   THAT'S AWESOME  ANYBODY CAN DO IT   SO THAT'S REALLY AWESOME  MEAGHAN'S THE OPPOSITE   SHE CAN BE IN THE NUMBERS AND MAKE MAGIC HAPPEN IN THERE BUT THERE'S ALSO A RELATIONSHIP TO NUMBERS THAT CAN BEBUT THE THING IS   IT'S NOT GONNA GO AWAY  IT'S INFORMATION   THAT'S THE BOTTOM LINE   DATA IS JUST INFORMATION  AND IF YOU THINK ABOUT TWO PEOPLE AND ONE OF THEM IS MORE INFORMED THAN THE OTHER   WHO'S GONNA WIN  IT'S NOT GONNA BE THAT WAY   AND SO THE PEOPLE WHO UNDERSTAND  THEY DON'T NECESSARILY THINK I NEED A DATA BUDGET   RIGHT  SO WE WORK WITH COMPANIES THAT COME OUT OF THE GATE SAYING   I DON'T EVEN KNOW WHY THIS IS IMPORTANT TO ME   AND I DON'T KNOW WHY THIS COULD HELP ME  AND IT'S THE PEOPLE WHO COME IN AND SAY   I KNOW EXACTLY THAT THIS WILL HELP ME   THEY'RE THE ONES WHO WILL  YEAH   ABSOLUTELY  YEAH   WE'VE GOT A BUNCH  THE FUNNEL ONE   WHICH ONE SPECIFICALLY  WHO WAS LOOKING FOR THEIR TRUE LIFETIME VALUE  BUT THEY COULDN'T GET IT TO CONVERT UPFRONT   IT JUST WASN'T   THE NUMBERS ARE NOT WORKING OUT  SO THEY WERE LIKE   LOOK   WE SPENT A LOT OF MONEY ON THIS   WE NEED TO GET THIS TO WORK  WAS  YEAH   LIKE FIFTY DOLLARS   LET'S SAY  WE DISCOVERED THAT THEY WERE ACTUALLY ABLE TO SPEND A LOT MORE THAN THAT   I THINK IT WAS WORTH LIKE SIXTY TWO DOLLARS   LET'S SAY  AND WITHIN TWO WEEKS  BECAUSE OF KNOWING THAT THEY COULD ACTUALLY AFFORD TO ACQUIRE MORE OF A CUSTOMER   NOW   RYAN DEISS   DIGITAL MARKETER   THEY ALL STAY  WHAT IS OUR TRUE   TRUE LTV   WHAT ARE THE NUMBERS REALLY MEAN  RIGHT  AND THEY'RE LOOKING AT VCS AND THEY'RE SENDING OUT THESE INVESTOR REPORTS  NON FREAKING STOP  AND THEY SAID THEY'RE LOOKING AT CAPITAL   AND WHEN THEY INVESTORS ASKED FOR THESE REPORTS   THEY JUST SEND THEM ACCESS TO THE DATABASE   THEY'RE LIKE   YOU GUYS FIGURED OUT   WE DON'T KNOW OUR NUMBERS  RIGHT   WE DON'T KNOW WHAT WE'RE WORTH   WE DON'T KNOW WHAT OUR CUSTOMERS ARE WORTH  YOU GUYS CAN HELP US FIGURE THIS OUT  AND GUESS WHAT   THAT'S NOT GONNA WORK   RIGHT  RIGHT  WHAT ARE WE WORTH  THEY CAN LOOK AT THIS AND SEE THESE NUMBERS INCREASING   OR THESE NUMBERS DECREASING  AND THEY CAN HAVE THAT IN REAL TIME  SO THERE'S A LOT OF DIFFERENT SPECIFIC USE CASES  WHEN ARE THEY PURCHASING  SO A LOT OF PEOPLE CAN BURN THROUGH MONEY VERY QUICKLY  SO TRACK DATA COLLECTION TRACKING   THAT MEANS THAT ON EVERY SINGLE MARKETING PIECE YOU DO   BLOG CONTENT  ADVERTISE ADS  LIKE WE NEED SPECIFICITY ALL ABOUT DETAILS HERE  SO THAT'S FIRST AND FOREMOST OF WHERE ARE THEY COMING FROM  EVERY SINGLE ONE YEP   FOR SURE   IT'S NOT AN OPTION AT THIS POINT   LIKE THE MORE AND MORE PEOPLE ARE STARTING TO REALIZE THE POWER OF THIS   AND EVEN IF YOU SCREW IT UP FIFTY PERCENT OF THE TIME  IT'S BETTER THAN NOT USING THEM AT ALL  DIRECT YEAH   RIGHT  IT LEADS YOU TO THE NEXT STEP   WHICH IS WE NEED TO FIX OUR TRACKING  YOU KNOW   A LOT OF TIMES PEOPLE COME IN AND THEY'RE LIKE   WELL   I DON'T HAVE ENOUGH DATA   AND THAT'S FINE   WE CAN WORK WITH THE DATA THAT YOU DO HAVE   AND THEN AS YOU START SEEING THIS IN A VISUAL FORMAT   WHAT IT DOES IS IT CREATES MOTIVATION FOR THE TEAM TO BE CLEANER WITH THE DATA   TO IMPLEMENT BETTER TRACKING   RIGHT  AND SO YOU MIGHT START OUT WITH INACCURATE DATA OR DATA THAT IS JUST LIKE A HUGE CHUNK THAT DOESN'T SEEM ACCURATE   AND THAT'S OKAY BECAUSE THEN YOU CAN KNOW   WE NEED TO GO TAKE ACTION FROM THIS  BECAUSE EVERYTHING THAT WE DO WITH DATA  IF IT'S NOT TIED DIRECTLY TO ACTION   IT'S WORTHLESS   IF IT'S A NICE TO KNOW   SCREW IT  ANOTHER PIECE OF ACTION WE CAN TAKE IS ONCE WE SEE THE DATA AND LET'S SAY IT IS TRACKING ACCURATELY   RIGHT  AND YOU'RE ABLE TO SAY WITHOUT A SHADOW OF A DOUBT  THEN THERE'S SIMPLE ACTIONS YOU CAN TAKE FROM THAT AS WELL   SIMPLY REALLOCATING AD SPENT  RIGHT  SO EACH ONE OF THESE METRICS THAT WE CREATE FOR OUR CLIENTS   WE WANNA MAKE SURE THAT I DO AN ACTION AS WELL  AUTOMATION  WHAT AUTOMATION IS TO YOUR TIME  RIGHT  LIKE AUTOMATION IS TO YOUR TIME  THEY SPEND THIRTY HOURS AT THE END OF THE MONTH   PUTTING TOGETHER ALL OF THE REPORTS  IT'S ALSO COMPOUNDING BECAUSE NOW THAT TIME IS BEING SPENT WITH THOSE SAME INTELLIGENT PEOPLE ANALYZING THE DATA  WHAT CAN WE DO TO MAKE THAT HAPPEN IN THE FUTURE  YEAH  DEFINITELY  YOU DON'T EAT  MAKING SURE THAT AS YOU'RE COLLECTING DATA   IT'S ACCURATE AND IT'S USABLE   EVEN IF YOU'RE NOT GONNA DO ANYTHING WITH IT NOW  YOU MIGHT NOT HAVE THE TEAM   THE BUDGET OR THE BANDWIDTH TO ANALYZE OR TAKE ACTION FROM IT  BUT GUESS WHAT   IN TWO YEARS   OR IN TWO MONTHS   WHEN YOU DO HIRE SOMEBODY TO GO THROUGH IT  WE CAN'T ANALYZE ANYTHING IF YOU DON'T HAVE THE DATA  LIKE THAT'S JUST LOW HANGING FRUIT THAT YOU NEED TO BE TAKING ADVANTAGE OF   THAT DOESN'T MEAN JUST PUT IT IN THE CODE ON THE PAGE  THAT MEANS YOU LITERALLY HAVE TO SET UP THIS AMAZING TOOL THAT IS FREE IN THE RIGHT WAY SO THEY CAN SERVE YOU LATER ON  IF YOU CANNOT ATTRIBUTE A CUSTOMER BACK TO WHERE THEY CAME FROM AND NOT JUST ONE PIECE OF THEIR TOUCHPOINT   RIGHT  THEY COULD HAVE BEEN TOUCHED TWELVE SEPARATE SEPARATE TIMES BY FOUR DIFFERENT EFFORTS AND FOUR DIFFERENT TEAMS   RIGHT   THEY COULD HAVE COME IN THROUGH AN AD THEN BE RE-TARGETED THEN JOIN YOUR EMAIL LIST   HAD TWELVE SEPARATE EMAILS   AND THEN THEY FOLLOWED YOU ON INSTAGRAM   AND THEN THEY CLICKED ON A SPONSORED POST   RIGHT  IF YOU DON'T UNDERSTAND THAT ENTIRE JOURNEY  THEN YOU DON'T KNOW WHAT'S WORKING  AND WITHOUT BEING ABLE TO UNDERSTAND THAT YOU'RE GOING TO MAKE PIVOTAL MISTAKES  YOU'RE GOING TO CUT AN AREA OF SPENDING BECAUSE YOU DIDN'T KNOW THAT IT'S ACTUALLY YIELDING CLIENTS THREE MONTHS DOWN THE LINE THAT WE'RE RESPONSIBLE FOR A MILLION DOLLARS IN SALES  BECAUSE YOU DIDN'T HAVE CLEAN TRACKING THAT ASSOCIATED THAT CUSTOMER TO THEIR OTHER TOUCH POINTS PRE SALES  IT JUST MEANS THAT YOU DON'T HAVE MONEY OR TIME TO WASTE   AND THIS IS GONNA PREVENT YOU FROM DOING SO  THEY KEEP SPENDING ACROSS EVERYTHING BECAUSE THEY DON'T KNOW HOW TO ANALYZE THE DATA AND THEY DON'T KNOW WHAT TO DO WITH IT  YOU WOULD JUST DO THAT   RIGHT   INSTEAD OF TRIALING AND ERRORING ALL ACROSS THE BOARD   SO LIKE   TO YOUR POINT  HAVE Q AND A AND ACTUALLY HAVE VISUALS TO BE ABLE TO SHARE  OKAY   FOCUS ON DRIVING  YOU CAN ALSO   IF YOU'RE ON INSTAGRAM  AND IF YOU'RE ON FACEBOOK AND YOU'RE WATCHING THIS   YOU CAN ACTUALLY JUST COMMENT BELOW IN THE COMMENTS  EVERYBODY ALWAYS DOES THAT   I'M GONNAWOW  THERE YOU GO   IT'S GONE   SMART MAN  \n",
        "transcription_base": " Definitely, definitely. Well, watch you guys tell the audience about yourselves. Like how you guys got started, how you guys met even, what you guys do now, and what you're excited about today. Yeah, sounds good. We'll start with. So it was totally empty. And so what needed to happen is we had to hire an entire dated division. And so once we rolled it out to them, it was like the record stocks. It was like everybody was like, well, now what can you do with this? How can you take action from it so that you can really scale and get it to the point of automaticity in your business where you don't have to be involved in every single minor decision. Yeah, that's awesome. That's really cool. And you guys really made a very shrewd smart move and pivot by the way. So that was one big pivot. We also wanted to have a better not so much. And yeah, it's crazy. Come a long way. And it was like on that same day was like, you know, over a million in revenue within a week. It was like 1.5. and you just reach half a million people with a click of a button and I was like, all right, so I left everything. Yeah, that's awesome. Anybody can do it. So that's really awesome. Megan's the opposite. She can be in the numbers and make magic happen in there, but there's also a relationship to numbers that can be, but the thing is it's not going to go away. It's information. That's the bottom line. Data's just information. And if you think about two people and one of them is more informed than the other, who's going to win? It's not going to be that way. And so the people who understand, they don't necessarily think I need a data budget, right? So we work with companies that come out of the gate saying, I don't even know why this is important to me, and I don't know why this could help me. And it's the people who come in and say, I know exactly that this will help me. They're the ones who will. Yeah, absolutely. Yeah, we've got a bunch. I've got a little bit more specifically who was looking for their true lifetime value, but they couldn't get it to convert up front. It just wasn't the numbers not working out. So they were like, look, we spent a lot of money on this. We need to get to this work was, yeah, like $50, let's say. We discovered that they were actually able to spend a lot more than that. I think it was worth like $62, let's say. And within two weeks, because of knowing that they could actually afford to acquire more of a customer now, Ryan Dice, Digital Market, or they all stay, what is our true, true LTV? What are the numbers really mean? Right. And they're looking at at VCs and they're sending out these investor reports, non-freaking stuff. And they said they're looking at capital, and when the investors ask for these reports, they just send them access to the database. They're like, you guys figured out. We don't know our numbers, right? We don't know what we're worth. We don't know what our customers are worth. You guys can help us figure this out. And guess what? That's not gonna work, right? Right? What are we worth? They can look at this and see these numbers increasing, or these numbers decreasing, and they can have that in real time. So there's a lot of different specific use for it because when are they purchasing? So a lot of people can burn through money very quickly. So data collection, tracking, that means that on every single marketing piece you do, blog content, advertise, as we need specificities, all about details here. So that's first and foremost of where are they coming from every single one, yep, for sure. And it's not an option at this point. The more and more people are starting to realize the power of this and even if you screw it up 50% of the time, it's better than not using them at all. Correct. Yeah. Right. It leads you to the next step, which is we need to fix our tracking. You know, a lot of times people come in and they're like, well, I don't have enough data. That's fine. We can work with the data that you do have. And then as you start seeing this in a visual format, what it does is it creates motivation for the team to be cleaner with the data, to implement better tracking, right? And so you might start out with inaccurate data, or data that is just like a huge chunk that doesn't see macro. And that's okay because then you can know we need to go take action from this. Because everything that we do with data, if it's not tied directly to action, it's worthless. If it's nice to know, screw it. Another piece of action we can take is once we see the data, and let's say it is tracking accurately, right? And you're able to say without a shadow of a doubt, then there are simple actions you can take from that as well, simply reallocating add spend. Right? So each one of these metrics that we create for our clients, we want to make sure that I do an action as well. Automation. What automation is to your time, right? Like, automation is to your time. They spend 30 hours at the end of the month putting together all of the reports. It's also compounding because now that time is being spent with those same intelligent people analyzing the data. What can we do to make that happen in the future? Yeah, definitely. You don't eat making sure that as you're collecting data, it's accurate and it's usable. Even if you're not going to do anything with it now, you might not have the team, the budget or the bandwidth to analyze or take action from it, but guess what? In two years or in two months, when you do hire somebody to go through it, we can't analyze anything if you don't have the data. Yeah. Like that's just low hanging fruit that you need to be taking advantage of. That doesn't mean just putting the code on the page. That means you literally have to set up this amazing tool that is free in the right way so they can serve you later on. If you cannot attribute a customer back to where they came from and not just one piece of their touch point, right, they could have been touched 12 separate times by four different efforts and four different teams, right? They could have come in through an ad and be retargeted, then join your email list, had 12 separate emails, and then they followed you on Instagram, and then they clicked on a sponsored post, right? If you don't understand that entire journey, then you don't know what's working. And without being able to understand that, you're going to make pivotal mistakes. You're going to cut an area of spending because you didn't know that it's actually yielding clients three months down the line that were responsible for a million dollars in sales. because you didn't have clean tracking that associated that customer to their other touch points pre-sales. It just means that you don't have money or time to waste and this is going to prevent you from doing so. They keep spending across everything because they don't know how to analyze the data and they don't know what to do with it. You would just do that, right? Instead of trialing and erroring all across the board to like to your point. Have Q&A and actually have visuals to be able to share. Okay, focus on driving. You can also, if you're on Instagram and if you're on Facebook and you're watching this, you can actually just comment below in the comments. Everybody always does that. I'm gonna win. Wow. There you go. It's gone. Mark, man.",
        "transcription_medium": " Definitely definitely well once you guys tell the audience about yourselves like how you guys got started How you guys met even what you guys do now and you know what you're excited about today. Yeah, sounds good We'll start with so it was totally empty and so what needed to happen is we had to hire an entire data division And so once we rolled it out to them. It was like the record stops It was like everybody's like well now what can you do with this? How can you take action from it so that you can really scale and get it to the point of? of automaticity in your business where you don't have to be involved in every single minor decision. Yeah, that's awesome. That's really cool. And you guys really made a very shrewd smart move and pivot, by the way. So that was one big pivot. We also wanted to have a better not so much. And yeah, it's crazy. Come a long way. And it was like on that same day was like, you know, over a million in revenue within a week, it was like 1.5. And you just reached half a million people with a click of a button. And I was like, all right. I left everything. Yeah, that's awesome. Anybody can do it. So that's really awesome. Megan's the opposite. She can be in the numbers and make magic happen in there, but there's also a relationship to numbers that can be, but the thing is it's not going to go away. It's information. That's the bottom line. Data is just information. And if you think about two people and one of them is more informed than the other, who's going to win? It's not going to be that way. And so the people who understand, they don't necessarily think I need a data budget, right? So we work with companies that come out of the gate saying, I don't even know why this is important to me. And I don't know why this could help me. And it's the people who come in and say, I know exactly that this will help me. They're the ones who will. Yeah, absolutely. Yeah, we've got a bunch of fun. I love this one specifically, who was looking for their true lifetime value, but they couldn't get it to convert up front. It just wasn't the numbers are not working out. So they were like, look, we spent a lot of money on this. We need to get this to work was like $50, let's say. We discovered that they were actually able to spend a lot more than that. I think it was worth like $62, let's say. And within two weeks, because of knowing that they could actually afford to acquire more of a customer. Now Ryan Dice, digital marketer, they all say, what is our true, true LTV? What are the numbers really mean? And they're looking at VCs and they're sending out these investor reports, non-freaking stop. And they said they're looking at capital and when the investors ask for these reports, they just send them access to the database. They're like, you guys figure it out. We don't know our numbers, right? We don't know what we're worth. We don't know what our customers are worth. You guys can help us figure this out. And guess what? That's not going to work, right? What are we worth? They can look at this and see these numbers increasing or these numbers decreasing and they can have that in real time. So there's a lot of different specific uses. When are they purchasing? So a lot of people can burn through money very quickly. So track data collection, tracking. That means that on every single marketing piece you do, blog content, advertise ads, like we need specificities. It's all about details here. So that's first and foremost of where are they coming from. Every single one. for sure. It's not an option at this point. Like the more and more people are starting to realize the power of this. And even if you screw it up 50% of the time, it's better than not using them at all. Correct. Yeah. Right. It leads you to the next step, which is we need to fix our tracking. You know, a lot of times people come in and they're like, well, I don't have enough data. That's fine. We can work with the data that you do have. And then as you start seeing this in a visual format, what it does is it creates motivation for the team to be cleaner with the data to implement better tracking. And so you might start out with inaccurate data or data that is just like a huge chunk that doesn't seem accurate. And that's okay because then you can know we need to go take action from this because everything that we do with data, if it's not tied directly to action, it's worthless. If it's a nice to know, screw it. Another piece of action we can take is once we see the data and let's say it is tracking accurately, right? And you're able to say without a shadow of a doubt, then there's simple actions you can take from that as well. Simply reallocating ad spend, right? So each one of these metrics that we create for our clients, we want to make sure that I do an action as well. Automation. What automation is to your time, right? Like automation is to your time. They spend 30 hours at the end of the month putting together all of the reports. It's also compounding because now that time is being spent with those same intelligent people analyzing the data. What can we do to make that happen in the future? Definitely. Making sure that as you're collecting data, it's accurate and it's usable, even if you're not going to do anything with it now. You might not have the team, the budget or the bandwidth to analyze or take action from it, but guess what? In two years or in two months, when you do hire somebody to go through it. We can't analyze anything if you don't have the data. Like that's just low hanging fruit that you need to be taking advantage of. That doesn't mean just putting the code on the page. That means you literally have to set up this amazing tool that is free in the right way so they can serve you later on. If you cannot attribute a customer back to where they came from and not just one piece of their touch point, right? They could have been touched 12 separate times by four different efforts and four different teams, right? They could have come in through an ad, then be retargeted, then joined your email list, had 12 separate emails, and then they followed you on Instagram, and then they clicked on a sponsored post, right? If you don't understand that entire journey, then you don't know what's working. And without being able to understand that, you're going to make pivotal mistakes. You're going to cut an area of spending because Because you didn't know that it's actually yielding clients three months down the line that were responsible for a million dollars in sales. Because you didn't have clean tracking that associated that customer to their other touch points pre-sales. It just means that you don't have money or time to waste and this is going to prevent you from doing so. They keep spending across everything because they don't know how to analyze the data and they don't know what to do with it. You would just do that, right? of trialing and erroring all across the board. So like to your point. Have Q&A and actually have visuals to be able to share. OK, focus on driving. You can also, if you're on Instagram and if you're on Facebook and you're watching this, you can actually just comment below in the comments. Everybody always does that. I'm going to win. Wow. There you go. It's gone. Smart man.",
        "transcription_large_v3": " Definitely, definitely. Well, why don't you guys tell the audience about yourselves, like how you guys got started, how you guys met even, what you guys do now, and what you're excited about today. Yeah, sounds good. We'll start with... So it was totally empty. And so what needed to happen is we had to hire an entire data division. And so once we rolled it out to them, it was like the record stops. It was like everybody's like, well, now what can you do with this? How can you take action from it so that you can really scale and get it to the point of automaticity in your business where you don't have to be involved in every single minor decision? Yeah, that's awesome. That's really cool. And you guys really made a very shrewd, smart move and pivot, by the way. So that was one big pivot. We also wanted to have a better, not so much. And yeah, it's crazy. Come a long way. And it was like on that same day was like, you know over a million in revenue within a week It was like 1.5 and you just reached half a million people with a click of a button and I was like, all right So I left everything. Yeah, that's awesome. Anybody can do it. So that's really awesome Megan's the opposite she can be in the numbers and make magic happen in there But there's also a relationship to numbers that can be but the thing is it's not gonna go away. It's It's information. That's the bottom line. Data is just information. And if you think about two people and one of them is more informed than the other, who's going to win? It's not going to be that way. And so the people who understand, they don't necessarily think I need a data budget, right? So we work with companies that come out of the gate saying, I don't even know why this is important to me. And I don't know why this could help me. And it's the people who come in and say, I know exactly that this will help me. They're the ones who will. Yeah, absolutely. Yeah, we've got a bunch. Which one specifically? Who was looking for their true lifetime value, but they couldn't get it to convert upfront. The numbers are not working out. They were like, look, we spent a lot of money on this. We need to get this to work. Yeah, like $50, let's say. We discovered that they were actually able to spend a lot more than that. I think it was worth like $62, let's say. Within two weeks, because of knowing that they could actually afford to acquire more of a customer. Dice, Digital Marketer, they all say, what is our true, true LTV? What do the numbers really mean? Right. And they're looking at VCs and they're sending out these investor reports, non-freaking-stop. And they said they're looking at capital. And when the investors ask for these reports, they just send them access to the database. They're like, you guys figure it out. We don't know our numbers, right? We don't know what we're worth. We don't know what our customers are worth. You guys can help us figure this out. And guess what? That's not going to work, right? right what are we worth they can look at this and see these numbers increasing or these numbers decreasing and they can have that in real time so there's a lot of different specific uses when are they purchasing so a lot of people can burn through money very quickly so track data collection tracking that means that on every single marketing piece you do blog content advertise ads like we need specificities all about details here so that's first and foremost of where are they coming from every single one yep for sure it's not an option at this point like the more and more people are starting to realize the power of this and even if you screw it up 50 of the time it's better than not using them at all correct yeah right it leads you to the next step which is we need to fix our tracking you know a lot of times people come in and they're like well i don't have enough data that's fine we can work with the data that you do have and then as you start seeing this in a visual format, what it does is it creates motivation for the team to be cleaner with the data, to implement better tracking, right? And so you might start out with inaccurate data or data that is just like a huge chunk that doesn't seem accurate. And that's okay because then you can know we need to go take action from this because everything that we do with data, if it's not tied directly to action, it's worthless. If it's a nice to know, screw it. Another piece of action we can take is once we see the data and let's say it is tracking accurately, right? And you're able to say without a shadow of a doubt then there are simple actions you can take from that as well simply Reallocating ad spend right so each one of these metrics that we create for our clients We want to make sure that I do an action as well Automation what automation is to your time right like? like automation is to your time. They spend 30 hours at the end of the month putting together all of the reports. It's also compounding because now that time is being spent with those same intelligent people analyzing the data. What can we do to make that happen in the future? Yeah, definitely. You don't, making sure that as you're collecting data, it's accurate and it's usable. Even if you're not going to do anything with it now, you might not have the team, the budget, or the bandwidth to analyze or take action from it. But guess what? In two years or in two months, when you do hire somebody to go through it, we can't analyze anything if you don't have the data. Like that's just low hanging fruit that you need to be taking advantage of. That doesn't mean just putting the code on the page. That means you literally have to set up this amazing tool that is free in the right way so they can serve you later on. If you cannot attribute a customer back to where they came from and not just one piece of their touch point, right? They could have been touched 12 separate times by four different efforts and four different teams, right? They could have come in through an ad, then be retargeted, then join your email list, had 12 separate emails, and then they followed you on Instagram, and then they clicked on a sponsored post, right? If you don't understand that entire journey, then you don't know what's working. And without being able to understand that, you're going to make pivotal mistakes. you're going to cut an area of spending because you didn't know that it's actually yielding clients three months down the line that were responsible for a million dollars in sales because you didn't have clean tracking that associated that customer to their other touch points pre-sales. It just means that you don't have money or time to waste and this is going to prevent you from doing so. They keep spending across everything because they don't know how to analyze the data and they don't know what to do with it. You would just do that, right? Instead of trialing and erroring all across the board. So like, to your point, have Q&A and actually have visuals to be able to share. Okay, focus on driving. You can also if you're on Instagram, and if you're on Facebook, and you're watching this, you can actually just comment below in the comments. Everybody always does that. I'm gonna win. Wow. There you go. It's gone. Smart man."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000395.mp3": {
        "gt": "DURING CORONA  HOW CAN THIS BE  HOW DID THIS HAPPEN  DID YOU GET GERMS  NO PAPA   I JUST WENT FORTHIS SEASON ON QUARANTINE ISLAND  MEET YOUR QUARANTINERS  SAMUEL  MY TYPE OF GIRL IS ONE THAT LOOKS SANITIZED  JESS  PLEASE STEP FORWARD  WHO DO YOU WANT TO QUARANTINE WITH  JUST A KICK IN THE BUM   INNIT  SHE GETS CORNAVIRUS  I'M GUTTED   MATE   WHEN HE SAID HE WANTED A HOT GIRL HE DID NOT MEAN A FEVER  SORRY LOVE  WORKING OUT  WASH MY HANDS  THIS IS QUARANTINE ISLAND  NOT FRIEND ISLAND  AND HE TOLD ME HE DIDN'T HAVE ANY HAND SANITIZER LEFT  A FEVER   LISTEN   I'M NOT AFRAID TO STEP ON PEOPLES TOES   THE BOYTHAT I WANT TO QUARANTINE WITH  IS  ONE GIRL'S JOURNEY TO FIND LOVE WITH HERSELF  STILL TO COME ON THIS SEASON OF THE REAL HOUSEWIVES OF QUARANTINE  IT'S CANCELLED  I ASKED MY HEALTH COACH IF I SHOULD BE LIKE DOING A VITAMIN C DRIP INTO MY VEINS OR SOMETHING   LIKE WHAT DO I DO  OKAY   SO YOU'RE TELLING ME THE POOL GUY IS NOT COMING BECAUSE OF A LOCKDOWN  I'M GONNA TOTALLY FREAK OUT RIGHT NOW  YOU'RE CRAZY   I'M DONE  IF KELLY DOESN'T WANNA INVITE ME TO HER ZOOM DINNER   THEN THAT'S FINE WITH ME  HER WIFI SUCKS ANYWAYS   I DON'T UNDERSTAND HOW A SALON IS NOT AN ESSENTIAL SERVICE  JUST CALL THE ASTROLOGER AND ASK WHEN THIS WILL ALL BE OVER   ITODAY   SATAN  NEED TOKELLY   YOU KEEP FREEZING  HELLO  TOLD YA  \n",
        "transcription_base": " Draring Corona? How can this be? How did this happen? Did you get the germs? No papa, I just went from... This is it on Quarantine Island! Meet your Quarantineers! Samuel, my type of girl is one that looks sanitized. Jess, please step forward. Who do you want to quarantine with? She's a kick in the ball, isn't it? She's Quarantine virus. I've got it mate. When he said he wanted a hot girl, he did not mean a fever. Sorry love. Working out, wash man. This is quarantine island, not friend island. No, are you told me you don't have any hand sanitizer left? I got a fever. Listen, I'm not afraid to step on people's toes. The boy that I want to quarantine with is... Wattangel's journey to find love with herself. Still to come on this season of the Real Housewives of quarantine, it's cancelled. I asked my health coach if I should be like doing a vitamin C driven to my veins or something. Like, what do I do? Okay, so you're telling me the pool guy's not coming because I'm a lockdown. I'm gonna totally break up right now. You're crazy. I'm done. If Kelly doesn't want to invite me to her Zoom dinner, then that's fine with me. Her Wi-Fi sucks anyways. I don't understand how a salon is not an essential service. Did I just hold the astrologer and ask him to swallow me over? Not today, I exceed him. Me too. Kelly, you keep freezing. Hello. Hello, Jeff.",
        "transcription_medium": " During Corona? How can this be? How did this happen? Did you get the germs? No Papa, I just went for- This season on Quarantine Island! Meet your Quarantiners! Samuel, my type of girl is one that looks sanitised. Jess, please step forward. Who do you want to quarantine with? She's the kick in the bum, innit? She has Coronavirus. I'm glad, mate. When he said he wanted a hot girl, he did not mean a fever. Sorry, love. Working out? Wash my hands? This is quarantine island, not friend island. You know, and you tell me he didn't have any hand sanitizer left? God, for you. Listen, I'm not afraid to step on people's toes. The boy that I want to quarantine with is... One girl's journey to find love with herself. Still to come on this season of The Real Housewives of Quarantine, it's cancelled. I asked my health coach if I should be like doing a vitamin C driven to my veins or something. What do I do? Okay, so you're telling me the pool guy's not coming because of a lockdown? I'm gonna totally freak out right now. You're crazy. I'm done. If Kelly doesn't want to invite me to her Zoom dinner, then that's fine with me. Her Wi-Fi sucks anyways. I don't understand how a salon is not an essential service. Should I just call the astrologer and ask when this will all be over? Not today. See you. Me too. Kelly, you keep freezing. Hello? I told ya.",
        "transcription_large_v3": " During Corona? How can this be? How did this happen? Did you get the germs? No, Papa, I just went for... This season on Quarantine Island. Meet your Quarantiners. Samuel, my type of girl is one that looks sanitized. Jess, please step forward. Who do you want to quarantine with? She's a kick in the bum, isn't it? She has coronavirus. I'm glad, mate. When he said he wanted a hot girl, he did not mean a fever. Sorry, love. Working out? Wash my hands? This is quarantine island, not friend island. Now, he told me he didn't have any hand sanitizer left. God, fever. Listen, I'm not afraid to step on people's toes. The boy that I want to quarantine with is... One girl's journey to find love with herself. Still to come on this season of The Real Housewives of Quarantine. It's canceled. I asked my health coach if I should be like doing a vitamin C drip into my veins or something. Like, what do I do? Okay, so you're telling me the pool guy's not coming because of a lockdown. I'm gonna totally freak out right now. You're crazy, I'm done. If Kelly doesn't wanna invite me to her Zoom dinner, then that's fine with me. Her wifi sucks anyways. I don't understand how a salon is not an essential service. Should I just call the astrologer and ask when this will all be over? Not today, Satan. You need to, Kelly, you keep freezing. Hello? I told ya."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000411.mp3": {
        "gt": "ATTITUDE  OH LET ME THINK   OH MY GOD  BEST QUALITY ABOUT ME  OBVIOUSLY  TINA   BEST QUALITY ABOUT ME  HARDWORKING  HARDWORKING   HANDS DOWN   PLEASE STOP   STOP   ALRIGHTYOU WILL DO IT LIKE ME  LILLY   REWIND IT   PLAY THAT BACK  WELL AS FABULOUS ASI'M SURE MOM CAN AS WELL  OKAY  AGAIN   BRAT FROM THE BEGINNING  SHE'S ALWAYS SLEEP IN MY BED   AND I TRY TO   I SAY   YOU KNOW WHAT  SHE HAS TO LEARN HOW TO SLEEP IN OWN CRIB   FINALLY AFTER FOUR HOURS  I HAD TO GIVE UP   I FELT BAD  YOU HAVE NO TIME  OKAY   THANK YOU  STUDIO CITY  SYDNEY  MALAYSIA   DUBAI  HOW OLD AM I  WHAT YEAR WAS I BORN  OKAY   I'LL EXCEPT THAT ANSWER  SNACK IS FOOD  SMIRNOFF ICE  MONDAY  IF YOU LIKEOKAY   ADD IT  THIS IS EDITING   STAY TUNED  \n",
        "transcription_base": " Add it to you. Oh, let me think. Oh my god. Best quality above me. Obviously. Tina, best quality about me. Hardworking. Hardworking. Hands down. Please stop. Stop. I'm gonna lose. You will do it like me. Lily, rewind it. Play that back. Well, it's fabulous. I'm sure mom can as well. Okay. Again. Brad from the beginning. She's always sleeping my bed and I try to I said you know what? She has to learn how to sleep in her own crib finally after four hours. I had to give up. I felt bad You have no time. Okay. Thank you. What are you city Sydney? Malaysia Dubai? How old am I? What year was I born? Okay, I'll accept that answer. It's not his food. It's not mine. I fight Monday. If you like it",
        "transcription_medium": " Attitude? Oh, let me think. Oh my god. Best quality about me. Obviously. Tina, best quality about me. Hardworking. Hardworking. Hands down. Please stop, stop. You will do it like me. Lily, rewind it, play that back. Well, as fabulous as this. I'm sure mom can as well. Okay, again, brash from the beginning. She's always sleeping in my bed, and I try to advise her. You know what? She has to learn how to sleep in her own crib. Finally after four hours, I had to give up. I felt bad. You have no time. Okay. Thank you Studio City Sydney, Malaysia, Dubai. How old am I? What year was I born? Okay, I'll accept that answer. Snack is food. Sumer na faiz. Monday? If you like it, say it. Okay, add it. Stay cute.",
        "transcription_large_v3": " Attitude? Oh, let me think. Oh my god. Best quality about me. Obviously. Tina, best quality about me. Hardworking. Hardworking. Hands down. Please stop, stop everybody. You will do it like me. Lily, rewind it, play that back. Well, as fabulous as this. I'm sure mom can as well. Okay, again, Brad from the beginning. She's always sleeping in my bed and I try to, I say, you know what, she has to learn how to sleep in her own crib. Finally after four hours, I had to give up. I felt bad. You have no time. Okay. Thank you What do you city Sydney Malaysia Dubai? How old am I? What year was I born? Okay. I'll accept that answer. It's not his food Monday if you like, okay, add it. Thank you. Thank you"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000427.mp3": {
        "gt": "SAY HELLO  DAD   THAT IS NOT TRUE  LILLY   I HAVE SERIOUS QUESTION   OKAY  OR UNWED  YOU HEARD ME  AND WHEN I'M IN THESE SITUATIONS   AS PER USUAL   I LOOK AROUND LIKE   HOLY CRAP  TODAY I COMING HOME FROM WORK  SO MUCH TRAFFIC  HIGHWAY  THREE O'CLOCK  TRAFFIC  BUT AT FOUR O'CLOCK  TRAFFIC  WHAT ABOUT FIVE O'CLOCK  TRAFFIC  I COME HOME  MUSHROOM   ONION  I TAKE OUT   I TAKE ONE BITE  NOT ENOUGH SALT  I PUT IN THIS MUCH SALT  THIS MUCH  I TRY AGAIN   NOW BETTER  I EAT SOUP   I FINISH SOUP   AFTER THAT  I WASH SOME GRAPE  I EAT GRAPE  I FINISHED SOUP   I FINISH GRAPE   I THINK   OKAY   NOW I NEED WATER  I FILL UP GLASS WATER THIS BIG   GLASS WATER   I DRINK THIS  TAYLOR DONATED TWO HUNDRED AND FIFTY K   WHAT DID DEMI TWEET  OH MY GOD   THEY GOT IN A FIGHT  WAIT  WHAT IS THE MAIN ISSUE HERE  IS THERE A BIGGER CONCERN THAT I'M MISSING  NAH   NAH   IT'S PROBABLY JUST ABOUT DEMI AND TAYLOR  I'M SO INFORMED  IT IS SCIENTIFIC FACT THAT OUR PARENTS TELL LAME   REPETITIVE JOKES   SCIENTIFIC FACT  JUST LIKE PHYSICS   CHEMISTRY   ASTRONOMY   THE PLANETS ARE NEVER GONNA CHANGE  SAID BY GRADE NINE TEACHER  WHAT DO HANNAH MONTANA AND PLUTO HAVE IN COMMON  THAT'S RIGHTSUPERDAD  LILLY   YOU GET IT  ONE LOVE   SUPERWOMAN   THAT IS A WRAP   AND\n",
        "transcription_base": " Say hello dad that is not true. Lily. I have serious question, okay or unread you heard me I want to end these situations as per usual. I look around like holy crap today I coming home from work so much traffic highway three o'clock traffic very four o'clock Traffic what about five o'clock traffic? I come home mushroom onion. I take out I take one bite not enough salt I put it this much salt this much. I try again now better. I eat soup. I finish soup after that I wash some grape I eat grape I finish soup. I finish grape. I think okay now I need water I fill up glass water this big glass water. I drink this Taylor donated 250k. What did Demi tweet? Oh my god They got a fight wait. What is the main issue here? Is there a bigger concern that I'm missing? Nah, nah It's probably just about Demi and Taylor. I'm so informed. It is scientific fact that our parents tell lame repetitive jokes. Scientific fact. Just like physics, chemistry, astronomy, the planets are never gonna change. Sent by grade 9 teacher. What do Hannah Montana and Pluto have in common? That's right! Super-Lin, you get it? I love Superwoman. That is a wrap and soup.",
        "transcription_medium": " Say hello. Dad, that is not true. Lily, I have serious question, okay? Or unwed. You heard me. And when I'm in these situations, as per usual, I look around like, holy crap. Today I'm coming home from work. So much traffic. Highway? 3 o'clock. Traffic. Bloody 4 o'clock. Traffic. What about 5 o'clock? Traffic. I come home. Mushroom, onion. I take out, I take one bite. Not enough salt. I put this much salt. This much. I try again, no better. I eat soup, I finish soup. After that, I wash some grape, I eat grape. I finish soup, I finish grape. I think, okay, now I need water. I fill up glass water, this big glass water. I drink this. Taylor donated 250k? What did Demi tweet? Oh my god, they got in a fight? Wait, what is the main issue here? Is there a bigger concern that I'm missing? Nah, nah, it's probably just about Demi and Taylor. I'm so informed. It is scientific fact that our parents tell lame, repetitive jokes. Scientific fact! Just like physics, chemistry, astronomy, the planets are never gonna change! Said my grade 9 teacher. What do Hannah Montana and Pluto have in common? That's right! Super Lil, you get it? One love Superwoman! That is a wrap and zoop!",
        "transcription_large_v3": " Say hello. Dad, that is not true. Lily, I have serious question, okay? Or unwed. You heard me. And when I'm in these situations, as per usual, I look around like, holy crap. Today I coming home from work. So much traffic. Highway, 3 o'clock, traffic. 34 o'clock, traffic. What about 5 o'clock? Traffic. I come home, mushroom, onion. I take out, I take one bite. Not enough salt. I put this much salt. This much. I try again. Now better. I eat soup. I finish soup. After that, I wash some grape. I eat grape. I finish soup. I finish grape. I think, okay, now I need water. I fill up glass water. This big glass water. I drink this. Taylor donated 250K? What did Demi tweet? Oh my God, they got in a fight? Wait, what is the main issue here? Is there a bigger concern that I'm missing? Nah, nah, it's probably just about Demi and Taylor. I'm so informed. It is scientific fact that our parents tell lame, repetitive jokes. Scientific fact. Just like physics, chemistry, astronomy, the planets are never gonna change, said my grade nine teacher. What do Hannah Montana and Pluto have in common? That's right, super lil, you get it? One love superwoman, that is a wrap and zoop!"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000443.mp3": {
        "gt": "INSTEAD I'M GOING TO INSERT A SECTION BREAK  IT SEEMS LIKE WELL I JUST HAVE THREE PAGES  BUT THERE IS A BIG DIFFERENCE   DIFFERENCE IS NOTICE WHEN I SELECT ONE OF THESE I GET THIS YELLOW OUTLINE  I CAN REARRANGE THEM   SO I COULD TAKE THIS ONE HERE   THIS ONE THAT HAD THE TEXT PAGE TWO  I ALSO CAN CHANGE THEAND NOW THESE CAN ALL BE REARRANGED  NOW SINCE THESE ARE SECTIONS   SECTIONS CAN HAVE MULTIPLE PAGES IN THEM   SO LET'S GO HERE TO THIS ONE  PAGE THREE   AND I'LL ACTUALLY ADD MORE TEXTAND YOU CAN SEE HOW IT DOES IT HERE ON THE LEFT  I HAVE THIS WHOLE SECTION   I CAN SELECT THE ENTIRE THING AT ONCE AND IT MOVES TOGETHER AS A SECTION   SO I CAN PUT IT HERE AT THE END  SO YOU CAN VERY EASILY HAVE A LOT MORE DETAIL IN ONE OF THESE NOTESTHAN IN THE REST OF THEM  \n",
        "transcription_base": " Instead, I'm going to insert a section break. It seems like I just have three pages, but there's a big difference. The difference is, notice when I select one of these, I get this yellow outline. I could rearrange them. So I could take this one here, this one that has the text page 2. I also can change the, and now these can all be rearranged. Now since these are sections, sections can have multiple pages in them. So let's go here to this one, page 3, and I'll actually add more text. And you can see how it does it here on the left. I have this whole section. I can select the entire thing it wants. And it moves together as a section. So I can put it here at the end. So you can very easily have a lot more detail in one of these notes than in the rest of them.",
        "transcription_medium": " Instead I'm going to insert a section break. It seems like I just have three pages but there is a big difference. The difference is notice when I select one of these I get this yellow outline. I can rearrange them. So I can take this one here, this one that has the text page 2, I also can change the and now these can all be rearranged. Now since these are sections, sections can have multiple pages in them. So let's go here to this one, page 3, and I'll actually add more text. You can see how it does it here on the left. I have this whole section. I can select the entire thing at once and it moves together as a section. So I can put it here at the end. So you can very easily have a lot more detail in one of these notes than in the rest of them.",
        "transcription_large_v3": " Instead I'm going to insert a section break. It seems like I just have three pages but there's a big difference. The difference is notice when I select one of these I get this yellow outline. I can rearrange them. So I can take this one here, this one that has the text Page 2, I also can change the and now these can all be rearranged. Now since these are sections, sections can have multiple pages in them. So let's go here to this one, Page 3, and I'll actually add more text. You can see how it does it here on the left. I have this whole section. I can select the entire thing at once and it moves together as a section. So I can put it here at the end. So you can very easily have a lot more detail in one of these notes than in the rest of"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000459.mp3": {
        "gt": "DOES ANYONE HERE DO THAT  COMEDY IS THE MOST POPULAR PODCAST GENRE FOLLOWED BY EDUCATION AND NEWS  AND PODCAST LISTENERS ARE MUCH MORE ACTIVE ON EVERY SOCIAL MEDIA PLATFORM  I FOUND SEVENTEEN OF THE HOSTS WERE MEN  SIX WERE WOMEN   AND TWO PODCASTS WERE CO-HOSTED BY A MAN AND A WOMAN  SO   I'M NOT SURE   I THOUGHT THAT WAS KIND OF ODD   WELL MAYBE NOT  ACTUALLY I CAN START OUTSO I'LL START WITH THE ONE THAT I RECENTLY DISCOVERED   I WOULD SAY WITHIN THE LAST SIX MONTHS  PUBLIC RELATIONS   POWER  AND B S   WHICH THEY ACTUALLY SAY  IT AIMS TO HELP MEN BECOME BETTER MEN   HOWEVER   I THINK SOME OF THE TOPICS ARE UNIVERSAL   ACTUALLY MOST OF THE TOPICS ARE UNIVERSAL  IS FRED ACTUALLY A SERIAL KILLER  ALRIGHT  HE'S ALSO AN ON-AIR CONSULTANT FOR ABC NEWS  SO THIS GUY  HE IS INTERVIEWING SOME PRETTY HEAVY HITTERS AND THEY DISCUSS WHAT HE CALLSNUCLEAR DEALS  YOU HAVE ANOTHER ONE YOU'D LIKE TO RECOMMEND  SHE CALLS HERSELF LILY  ALRIGHT   AND I'D LIKE TO RECOMMEND  I HIGHLY RECOMMEND STAY TUNED WITH PREET  WE'VE ALL PROBABLY SEEN THE FILM ALL THE PRESIDENT'S MEN AND IT SEEMS LIKE BOY   IT JUST HAPPENS IN A COUPLE OF WEEKS   BUT  REALLY   IT TOOK TWO YEARS FROM THE BREAK-IN TIL WHEN NIXON RESIGNS  AND   BRANDON  AND IT'S A GENERAL BLOG ABOUT TEACHING AND THE EDUCATIONAL SYSTEM IN GENERAL  WELL I HAVE KIND OF A SILLY ONE TO END ON  HOWEVER   DON'T LOOK FOR THE PODCAST TO COME OUT THE NEXT DAY   LIKE GAME OF THRONES WAS ON SUNDAY  TRIVIAL OBSERVATIONS WITH MARK  YOUR FIRST ONE  RUN BY THE LIBRARY STAFF  YES   SHE WAS FINNISH  IN ADDITION TO TEACHING ENGLISH AT MADISON COLLEGE  THE SPECIAL GUEST FOR THAT EPISODE RECOMMENDED WHAT SOFTWARE FROM THE DEMCO COMPANY TO ENHANCE SUMMER READING  EPISODE FOURTEEN INCLUDED THE RECOMMENDATION OF WHAT DOCUMENTARY FILM IN THE MADISON COLLEGE LIBRARIES ABOUT THIS SELF-DESCRIBED WORLD'S LARGEST TRIVIA CONTEST HELD IN STEVENS POINT   WISCONSIN  AND THE FINAL QUESTION  CURRENT OR RETIRED  HAVE BEEN INVOLVED   IN SOME WAY   IN THE OVERDUE PODCAST  FIFTEEN  WELL THANK YOU MARK  SO NEXT UP IS OUR NEW SEGMENT  THE FIRST THING WE DID WAS ACTUALLY WATCH THE EPISODE  SO WHAT DID YOU THINK OF IT  I WAS EXPECTING MORE OF A DOCUMENTARY-STYLE FILM RATHER THAN HOLLYWOOD REENACTMENT  IT WAS ANNOYING   UNFORTUNATELY  HE WAS CONSIDERED BY MANY TO BE THE FIRST AMERICAN SERIAL KILLER AND THE MURDERS HE COMMITTED HAPPENED AROUND THE SAME TIME AS THE JACK THE RIPPER MURDERS  TO GAIN SOME MORE INSIGHT  I FOUND AN ARTICLE THAT POSTULATED H H   HOLMES AND JACK THE RIPPER WERE ONE AND THE SAME  THERE IS EVEN AN EIGHT-PART HISTORY CHANNEL SERIES TITLED AMERICAN RIPPER  ON THIS CORRELATION  JACK THE RIPPER'S MURDERS WERE ALL COMMITTED IN WHITECHAPEL   LONDON  THE AREA AT THE TIME WAS ALREADY OVERCROWDED AND POVERTY-STRICKEN AND RECENTLY INUNDATED WITH POOR AND   MOSTLY   UNSKILLED IMMIGRANTS  AS IS OFTEN THE CASE   HIS VICTIMS WERE MARGINALIZED BY SOCIETY  THEY WERE POOR   MIDDLE-AGED WOMEN WITH NO OTHER WAY TO EARN MONEY TO SUPPORT THEIR FAMILIES OTHER THAN THROUGH PROSTITUTION  THEY SEEMED TO BE PEOPLE THAT HE WANTED OUT OF HIS WAY  PLUS   JACK THE RIPPER LEFT HIS VICTIMS OUT IN THE OPEN FOR PEOPLE TO FIND  WHEREAS H H   HOLMES MADE A STRONG EFFORT TO DEPOSE OF HIS VICTIMS IN  SO IT SEEMS A LITTLE SURPRISING THAT THE HISTORY CHANNEL WOULD MAKE A WHOLE SERIES ON THIS TOPIC  THE LIBRARY HAS SEVERAL COPIES OF ERIK LARSON'S THE DEVIL IN THE WHITE CITY  ALRIGHT   SO NEXT UP IS OUR ANYTHING GOES RECOMMENDATION  THAT'S ALSO FUN TO READ I WOULDOK   THANK YOU  AMONG OTHERS  OR RATHER MISHANDLED   THE TRANSITION FROM THE OBAMA ADMINISTRATION  IT TELLS THE STORY OF WHO IS RUNNING OUR MOST IMPORTANT PROGRAMS SUCH AS THE DEPARTMENT OF ENERGY AND THE DEPARTMENT OF AGRICULTURE   AND I LEARNED THAT THOSE NAMES ARE COMPLETELY MISLEADING BECAUSE THE DEPARTMENT OF AGRICULTURE   LIKE ONLY FIFTEEN PERCENT OF THEIR GOAL IS ACTUALLY WORKING ON AGRICULTURE  MAKING THEM EASILY UNDERSTOOD  ALRIGHT   SO I WOULD LIKE TO RECOMMENDYOU ACTUALLY MIGHT HAVE SEEN HIS PHOTOGRAPHS  BUT   AT LEAST WE HAVE A PHOTOGRAPH TO KNOW WHAT THAT PARTICULAR FROG LOOKED LIKE  BUT  OH MY GOSH   AND THOSE THINGS HAVE TUSKS  THE REASON WHY I WANT TO BRING IT UP IS BECAUSE AT THE VERY END OF EACH EPISODE   OR   SORRY  ALRIGHT   WELL  I'M SURE WE COULD SPEND EVEN MORE TIME TALKING ABOUT PODCASTS BUT IT'S TIME TO GO  AND THIS HAS BEEN A PRODUCTION OF MADISON COLLEGE LIBRARIES AND THE STUDENT ACHIEVEMENT CENTER  SEE YOU NEXT TIME ON THE OVERDUE PODCAST  \n",
        "transcription_base": " Does anyone here do that? Comedy is the most popular podcast on genre followed by education and news. And podcast listeners are much more active on every social media platform. I found 17 of the hosts were men, six were women, and two podcasts were co-hosted by a man and a woman. So I'm not sure, I thought that was kind of odd. Well, maybe not. Actually, I can start now. So I'll start with the one that I recently discovered. I would say within the last six months, public relations, power and BS, which they actually say. It aims to help men become better men. However, I think some of the topics are universal. Actually, most of the topics are universal. It's right actually a serial killer. All right. He's also an on-air consultant for ABC News. So this guy, he is interviewing some pretty heavy hitters and they discuss what he calls nuclear deals. Do you have another one you'd like to recommend? She calls herself Lily. All right, and I'd like to recommend, I highly recommend Stay Tuned with Preat. We've all probably seen the film, all the presidents and then, and it seems like, boy, it just happens in a couple of weeks, but really it took two years from the break in to win Nixon resigns. And Brandon. And it's a general blog about teaching and the educational system in general. Well, I had kind of a silly one to end on, however, don't look for the podcast to come out the next day, like Game of Thrones was on Sunday. Trivial observations with Mark? Your first one run by the Library staff. Yes, she was finished. In addition to teaching English in Madison College, the special guest for that episode recommended what software from the Denko company to enhance summer reading. episode 14 included the recommendation of what documentary film in the Madison College libraries about the self-described world's largest tribute contest held in Steven's Point Wisconsin. And the final question, a current or retired have been involved in some way in a overdue podcast. 15. Well thank you Mark. So next up is our new segment. The first thing we did was actually watch the episode. So what did you think of it? I was expecting more of a documentary style film rather than a Hollywood reenactment. It was annoying, unfortunately. He was considered by many to be the first American serial killer and the murders he committed happened around the same time as the Jack the Ripper murders. To gain some more insight, I found an article that postulated H.A. homes and Jack the Ripper were one in the same. There is even an eight-part history channel series titled American Ripper on this correlation. Jack the Ripper's murders were all committed in White Chapel London. The area at the time was already overcrowded and poverty-stricken and recently inundated with poor and mostly unskilled immigrants. As is often the case, his victims were marginalized by society. They were poor, middle-aged women, with no other way to earn money to support their families other than through prostitution. They seemed to be people that he wanted out of his way. Plus, Jack the river left his victims out in the open for people to find, whereas H. H. Holmes made a strong effort to dispose of his victims in. So it seems a little surprising that the History Channel would make a whole series on this topic. The library has several copies of Eric Larson's The Devil in the White City. All right, so next up is are anything goes recommendation? That's also fun to read. I would like. OK, thank you. Among others, or rather, misshandled the transition from the Obama administration, it tells the story of who's running our most important programs, such as the Department of Energy and the Department of Agriculture. And I learned that those names are completely misleading because the Department of Agriculture, like only 15% of their goal is actually working on agriculture? Making them easily understood. All right, so I would like to recommend you actually might have seen his photographs, but at least we have a photograph to know what that particular frog look like. But oh my gosh, and those things have tusks. The reason why I want to bring it up is because at the very end of each episode, or sorry. All right, well, I'm sure we could spend even more time talking about podcasts, but it's time to go. And this has been a production of Madison College Libraries and the Student Achievement Center. See you next time on the Overdoe podcast.",
        "transcription_medium": " Does anyone here do that? Comedy is the most popular podcast genre, followed by education and news. And podcast listeners are much more active on every social media platform. I found 17 of the hosts were men, six were women, and two podcasts were co-hosted by a man and a woman. So I'm not sure. I thought that was kind of odd. Well, maybe not. Actually, I can start out. So I'll start with the one that I recently discovered. I would say within the last six months, public relations, power, and BS, which they actually say. It aims to help men become better men. However, I think some of the topics are universal. Actually, most of the topics are universal. Is Fred actually a serial killer? All right. He's also an on-air consultant for ABC News. So this guy, he is interviewing some pretty heavy hitters and they discuss what he calls nuclear deals. Do you have another one you'd like to recommend? She calls herself Lily. All right. And I'd like to recommend, I highly recommend Stay Tuned with Preet. We've all probably seen the film, All the President's Men, and it seems like, boy, it just happens in a couple of weeks, but really it took two years from the break-in to when Nixon resigns. And Brandon. And it's a general blog about teaching and the educational system in general. Well, I had kind of a silly one to end on. However, don't look for the podcast to come out the next day, like Game of Thrones is on Sunday. Trivial observations with Mark? Your first one, run by the library staff. Yes, she was finished. In addition to teaching English at Madison College, the special guest for that episode recommended what software from the Denko Company to enhance summer reading. Question 14 included the recommendation of what documentary film in the Madison College Libraries about the self-described world's largest trivia contest held in Stevens Point, Wisconsin. And the final question, current or retired have been involved in some way in an overdue podcast. 15. Well, thank you, Mark. So next up is our new segment. The first thing we did was actually watch the episode. So what did you think of it? I was expecting more of a documentary style film rather than a Hollywood reenactment. It was annoying, unfortunately. He was considered by many to be the first American serial killer, and the murders he committed happened around the same time as the Jack the Ripper murders. To gain some more insight, I found an article that postulated H.H. Holmes and Jack the Ripper were one and the same. There is even an eight-part History Channel series titled American Ripper on this correlation. Jack the Ripper's murders were all committed in Whitechapel, London. The area at the time was already overcrowded and poverty-stricken and recently inundated with poor and mostly unskilled immigrants. As is often the case, his victims were marginalized by society. They were poor, middle-aged women with no other way to earn money to support their families other than through prostitution. They seemed to be people that he wanted out of his way. Plus, Jack the Ripper left his victims out in the open for people to find, whereas H.H. Holmes made a strong effort to depose of his victims in. So, it seems a little surprising that the History Channel would make a whole series on this topic. The library has several copies of Eric Larson's The Devil in the White City. Alright, so next up is our Anything Goes recommendation. That's also fun to read. I would like to read it. Okay. Thank you. Among others, or rather mishandled, the transition from the Obama administration. It tells the story of who's running our most important programs, such as the Department of Energy and the Department of Agriculture. And I learned that those names are completely misleading because the Department of Agriculture, like only 15% of their goal is actually working on agriculture. Making them easily understood. All right. So I would like to recommend, you actually might have seen his photographs, but at least we have a photograph to know what that particular frog looked like. But oh my gosh, and those things have tusks. The reason why I want to bring it up is because at the very end of each episode, or sorry. All right. Well, I'm sure we could spend even more time talking about podcasts, but it's time to go. And this has been a production of Madison College Libraries and the Student Achievement Center. See you next time on the Overdue Podcast.",
        "transcription_large_v3": " Does anyone here do that? Comedy is the most popular podcast genre, followed by education and news. And podcast listeners are much more active on every social media platform. I found 17 of the hosts were men, six were women, and two podcasts were co-hosted by a man and a woman. So I'm not sure. I thought that was kind of odd. Well, maybe not. Actually, I can start out. So I'll start with the one that I recently discovered. I would say within the last six months. Public relations, power, and BS, which they actually say. It aims to help men become better men. However, I think some of the topics are universal. Actually, most of the topics are universal. Is Fred actually a serial killer? All right. He's also an on-air consultant for ABC News. So this guy, he is interviewing some pretty heavy hitters, and they discuss what he calls nuclear deals. Do you have another one you'd like to recommend? She calls herself Lily. All right. And I'd like to recommend, I highly recommend Stay Tuned with Preet. We've all probably seen the film All the President's Men. And it seems like, boy, it just happens in a couple of weeks. But really, it took two years from the break-in to when Nixon resigns. And Brandon. And it's a general blog about teaching and the educational system in general. Well, I had kind of a silly one to end on. However, don't look for the podcast to come out the next day, like Game of Thrones was on Sunday. Trivial observations with Mark? Your first one, run by the library staff. Yes, she was finished. In addition to teaching English at Madison College, the special guest for that episode recommended what software from the Demco company to enhance summer reading. Episode 14 included the recommendation of what documentary film in the Madison College Libraries about the self-described world's largest trivia contest held in Stevens Point, Wisconsin. And the final question, a current or retired have been involved in some way in an overdue podcast. 15. Well, thank you, Mark. So next up is our new segment. The first thing we did was actually watch the episode. So what did you think of it? I was expecting more of a documentary style film rather than a Hollywood reenactment. It was annoying, unfortunately. He was considered by many to be the first American serial killer, and the murders he committed happened around the same time as the Jack the Ripper murders. To gain some more insight, I found an article that postulated H.H. Holmes and Jack the Ripper were one and the same. There is even an eight-part History Channel series titled American Ripper on this correlation. Jack the Ripper's murders were all committed in Whitechapel, London. The area at the time was already overcrowded and poverty-stricken, and recently inundated with poor and mostly unskilled immigrants. As is often the case, his victims were marginalized by society. They were poor, middle-aged women with no other way to earn money to support their families other than through prostitution. They seemed to be people that he wanted out of his way. Plus, Jack the Ripper left his victims out in the open for people to find, whereas H.H. Holmes made a strong effort to depose of his victims in. So it seems a little surprising that the History Channel would make a whole series on this topic. The library has several copies of Eric Larson's The Devil in the White City. All right. So next up is our Anything Goes recommendation. That's also fun to read. Okay, thank you. Among others, or rather mishandled the transition from the Obama administration. It tells the story of who's running our most important programs, such as the Department of Energy and the Department of Agriculture. And I learned that those names are completely misleading because the Department of Agriculture, like only 15% of their goal is actually working on agriculture. Making them easily understood. All right. So I would like to recommend you actually might have seen his photographs, but at least we have a photograph to know what that particular frog look like. But oh, my gosh. And those things have tusks. The reason why I want to bring it up is because at the very end of each episode or sorry. All right. Well, I'm sure we could spend even more time talking about podcasts, but it's time to go. and this has been a production of Madison College Libraries and the Student Achievement Center. See you next time on the Overdue Podcast."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000475.mp3": {
        "gt": "SO   IF YOU ARE NEW HERE HIT THE SUBSCRIBE AND THE BELL NOTIFICATION BUTTONS BELOW SO THAT YOU DON'T MISS A THING  SO LET'S START  I AM GOING TO USE IT IN THIS VIDEO SO I CAN CREATE A SIMPLE STATIC BUT INTERACTIVE SITE FOR DEPLOYING INTO GITHUB PAGES  ONCE THAT'S FINISHED YOU WILL SEE A COUPLE OF FOLDERS  I WILL ADD THE IMMUTABILITY HELPER AND RESTART THE SERVERI WILL ADD THE STATE FOR THE VALUE PAIRS TO HOLD AN ARRAY OF INPUTS AND OUTPUTS SO THAT WE CAN TRAIN OUR NEW MODEL AND THE STATE TO HOLD THE PROPERTIES RELATED TO THE MODEL  THEN I ADD THE HANDLERS FOR MANAGING CHANGES AND ADDING NEW ITEMS ON THE INPUTS AND OUTPUTS  CHANGES INTO THE MODEL PROPERTIES AND TWO EMPTY HANDLERS  ONE FOR TRAINING THE MODEL AND ANOTHER FOR PREDICTING NEW VALUES FIRST I ADD THE CONTROLS FOR TRAINING THE MODEL BY ITERATING OVER THE VALUE PAIRS PROPERTIESAND RENDERING A FIELD PER INPUT AND OUTPUT  THEN I CREATE A BUTTON FOR ADDING NEW ITEMS AND ANOTHER ONE FOR TRAINING THE MODEL WHICH ARE ALREADY CONNECTED TO THEIR RESPECTIVE HANDLERS  FINALLY FOR THE PREDICTION CONTROLS I CREATE AN INPUT FIELD TO ALLOW THE USER TO ENTER A VALUE SO THAT ITS OUTPUT CAN BE PREDICTED  A FIELD TO SHOW THE PREDICTED VALUE AND A BUTTON TO PERFORM THE ACTUAL PREDICTION WHICH WILL ONLY BE ENABLED ONCE THE MODEL HAS BEEN TRAINED  IN THERE THEY ARE DECLARING A PRETTY SIMPLE MODEL THAT JUST HAS ONE LAYER  ONE HIDDEN UNIT AND ALSO THAT IT WILL RECEIVE JUST ONE INPUT  THEN THE MODEL WILL BE COMPILED USING THE MEAN SQUARED ERROR LOSS FUNCTION AND STOCHASTIC GRADIENT DESCENT  MOVE THE REST OF THE CODE INTO THE PREDICT HANDLER AND SET THE PREDICTEDVALUE PROPERTY TO THE OUTPUT FROM THE MODEL AND CHANGE THE HARDCODED VALUE TO THE PROPERTY PROVIDED BY THE USER  NOW GO INTO THE BROWSER  CLICK ON TRAIN AND LET'S SEE IF OUR INTUITION IS RIGHT ABOUT THE VALUES THAT THE MODEL SHOULD PREDICT  CLOSE ENOUGH  NOW LET'S PUBLISH OUR CODE INTO GITHUB PAGES  INITIALIZE YOUR LOCAL REPOSITORY FOR THE CODE  ADD ALL THE FILES  COMMIT THE CODE  ADD THE REPOSITORY SO THAT YOU CAN PUSH THE CODE INTO YOUR REPO AND FINALLY PUSH THE CODECREATE A NEW BRANCH WITH THIS NAME WHICH WON'T HAVE ANY RELATION WITH THE CODE ON THE MASTER BRANCHDELETE EVERYTHING BUT THE BUILD DIRECTORY AND MOVE ITS CONTENTS TO THE ROOT OF YOUR GIT'S REPOSITORY  THEN AGAIN ADD EVERYTHING  AWESOME  CONGRATULATIONS AND THANKS FOR WATCHING  AND IF YOU LIKED THE VIDEO PLEASE HIT SUBSCRIBE\n",
        "transcription_base": " So, if you're new here, hit the subscribe and the bell notification buttons below so that you don't miss a thing. So, let's start. I'm going to use it in this video so I can create a simple, static, but interactive site for deploying into GitHub pages. Once that's finished, you will see a couple of folders. I will add the inMudavirali helper and restart the server. I will add the state for the value pairs to hold an array of inputs and outputs so that we can train our new model and the state to hold the properties related to the model. Then I add the handlers for managing changes and adding new items on the inputs and outputs. changes into the model properties and two empty handlers, one for training the model and another for predicting new values. First, I add the controls for training the model by iterating over the value pairs properties and rendering a field per input and output. Then I create a button for adding new items and another one for training the model which are already connected to their respective handlers. Finally, for the prediction controls, I created input field to allow the user to enter a value so that its output can be predicted, a field to show the predicted value and a button to perform the actual prediction, which will only be enabled once the model has been trained. In there, they are declaring a pretty simple model that just has one layer, one hidden unit, and also that it will receive just one input. Then the model will be compiled using the mean squared error loss function and stochastic gradient descent. Move the rest of the code into the predict handler and set the predicted value property to the output from the model and change the hard coded value to the property provider via the user. Now, go into the browser, click on Train, and let's see if our intuition is right about the values that the model should predict. Close enough. Now, let's publish our code into GitHub pages. Initialize your local repository for the code, add all the files, commit the code, add the repository so that you can push the code into your repo and finally push the code. Create a new branch with this name which won't have any relation with the code on the master branch. Delete everything but the build directory and move its content to the root of your git repository. Then again, add everything awesome. Congratulations and thanks for watching and if you liked the video, please hit subscribe.",
        "transcription_medium": " So, if you're new here, hit the subscribe button and the bell notification buttons below so that you don't miss a thing. So let's start. I am going to use it in this video so I can create a simple static but interactive site for deploying into GitHub pages. Once that's finished, you will see a couple of folders. I will add the Inmoodability helper and restart the server. I will add the state for the value pairs to hold an array of inputs and outputs so that we can train our new model and the state to hold the properties related to the model. Then I add the handlers for managing changes and adding new items on the inputs and outputs. Changes into the model properties and two empty handlers, one for training the model and another for predicting new values. First, I add the controls for training the model by iterating over the value pairs properties and rendering a field per input and output. Then I create a button for adding new items and another one for training the model, which are already connected to their respective handlers. Finally, for the prediction controls, I create an input field to allow the user to enter a value so that its output can be predicted, a field to show the predicted value and a button to perform the actual prediction, which will only be enabled once the model has been trained. In there, they are declaring a pretty simple model that just has one layer, one hidden unit, and also that it will receive just one input. Then the model will be compiled using the mean squared error loss function and stochastic gradient descent. Move the rest of the code into the predict handler and set the predicted value property to the output from the model and change the hard-coded value to the property provided by the user. Now, go into the browser, click on train, and let's see if our intuition is right about the values that the model should predict. Close enough. Now, let's publish our code into GitHub pages. Initialize your local repository for the code, add all the files, commit the code, add the repository so that you can push the code into your repo, and finally, push the code. Create a new branch with this name, which won't have any relation with the code on the master branch. Delete everything but the build directory and move its content to the root of your git repository Then again add everything awesome Congratulations, and thanks for watching and if you liked the video, please hit subscribe",
        "transcription_large_v3": " So, if you're new here, hit the subscribe and the bell notification buttons below so that you don't miss a thing. So let's start! I am going to use it in this video so I can create a simple static but interactive site for deploying into GitHub pages. Once that's finished, you will see a couple of folders. I will add the Inmutaverli helper and restart the server. I will add the state for the value pairs to hold an array of inputs and outputs, so that we can train our new model and the state to hold the properties related to the model. Then I add the handlers for managing changes and adding new items on the inputs and outputs. Changes into the model properties and two empty handlers, one for training the model and another for predicting new values. First, I add the controls for training the model by iterating over the value pairs properties and rendering a field per input and output. Then I create a button for adding new items and another one for training the model which are already connected to their respective handlers. Finally, for the prediction controls, I create an input field to allow the user to enter a value so that its output can be predicted, a field to show the predicted value and a button to perform the actual prediction which will only be enabled once the model has been trained. In there they are declaring a pretty simple model that just has one layer, one hidden unit and also that it will receive just one input. Then the model will be compiled using the mean squared error loss function and stochastic gradient descent. Move the rest of the code into the predict handler and set the predicted value property to the output from the model and change the hardcoded value to the property provided by the user. Now go into the browser, click on train and let's see if our intuition is right about the values that the model should predict. Close enough. Now let's publish our code into github pages. Initialize your local repository for the code, add all the files, commit the code, add the repository so that you can push the code into your repo, and finally push the code. Create a new branch with this name which won't have any relation with the code on the master branch. Delete everything but the build directory and move its content to the root of your git's repository. Then again add everything. Awesome! Congratulations and thanks for watching and if you liked the video please hit subscribe"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000491.mp3": {
        "gt": "BUT THERE'S ACTUALLY A STEP IN BETWEEN WHICH IS NOT OFTEN TALKED ABOUT  AND THIS IS THE INTERNAL DATA MODEL OF GOOGLE TAG MANAGER  SO ONCE WE PUSH DATA INTO THE DATA LAYER   IT ACTUALLY GETS STORED INSIDE OF THE INTERNAL DATA MODEL  TODAY   I WANT TO SHOW YOU MY THREE WAYS ON HOW I UTILIZE THIS OFTEN FOR MY TAG DEPLOYMENTS   SPEED UP MY WORKFLOW  AND MAKE OTHER COOL STUFF HAPPEN  NOW WITHOUT FURTHER ADO  WE GOT LOTS TO COVER  SO LET'S DIVE IN  WELCOME BACK TO OUR DEMO SHOP  NOW LET'S TAKE A LOOK   FIRST OF ALL   AT OUR GOOGLE TAG MANAGER OBJECT   WE CAN ACCESS IT BY GOING INTO OUR DEVELOPER TOOLS  IN GOOGLE CHROME   FOR EXAMPLE   IT WOULD BE HERE AND THEN NAVIGATING ONTO THE CONSOLE WHERE WE HAVE ACCESS TO THE JAVASCRIPT RUNTIME ENVIRONMENT WHERE WE CAN PUT IN OUR COMMANDS  AND THIS IS THE OBJECT THAT WE'RE TALKING ABOUT  IN ORDER TO ACCESS IT   YOU WILL NEED TO HAVE YOUR GTM ID READY  BECAUSE IT MIGHT BE THAT THEY ARE DIFFERENT OBJECTS FOR DIFFERENT CONTAINERS  AND WE CAN ACCESS OUR CONTAINER BY THE SQUARE BRACKETS  DOUBLE QUOTES  AND OUR GTM CONTAINER ID   YOU PRESS ENTER   AND HERE WE CAN SEE ALL THE DIFFERENT METHODS THAT WE HAVE AVAILABLE  TAKE A LOOK AT THE DATA LAYER   THIS IS THE INTERNAL DATA MODEL THAT YOU CAN ACCESS THROUGH THIS JAVASCRIPT OBJECT  ALL WE NEED TO DO IS WRITE A DOT AND THEN DATA LAYER  AND FROM HERE   I'LL SHOW YOU MY FIRST TIP  SO THROUGH THE GET METHOD  WE CAN ACTUALLY GET ANY KIND OF VALUE FROM THE DATA LAYER WITHOUT NEEDING TO CREATE A DATA LAYER VARIABLE  SO FOR EXAMPLE   ON THIS PAGE   IT'S A PRODUCT PAGE   WE HAVE OUR DATA LAYER HERE  AND WE CAN SEE  WHERE WE WANT TO SEND OVER AN EVENT TO FACEBOOK AND IN THAT FACEBOOK EVENT   WE WANT TO SEND A TRACK CALLED TO VIEW CONTENT  AND I WOULD LIKE TO HAVE THE ACTUAL PRODUCT NAME IN HERE  NOW OBVIOUSLY   I COULD LOOK AT MY DATA LAYER AND THEN CREATE A VARIABLE WITHIN GOOGLE TAG MANAGER DATA LAYER VARIABLE  AND THEN GO BACK AND INPUT THIS WITH THE TWO CURLY BRACKETS  BUT WHAT IF I ONLY WANTED TO USE THIS VARIABLE ONCE AND ONLY FOR THIS TAG  SINCE WE ARE HERE ALREADY IN THE CONTEXT OF JAVASCRIPT  I COULD JUST USE OUR GOOGLE TAG MANAGER OBJECT TO ACCESS THIS VALUE  HOW WOULD I DO THAT  WELL   JUST LIKE A DATA LAYER VARIABLE  YOU WOULD NEED TO PUT IN YOUR KEY FOR THE DATA LAYER INTO THE VARIABLE   AND SO I'M GOING TO JUST WRITE DOT GET HERE  AND THEN ENTER THE VARIABLE KEY  IN OUR CASE  THAT WOULD BE ECOMMERCE DOT DETAIL DOT  I WILL WRITE ZERO AND THEN NAME  AND I CAN PRESS ENTER  AND I CAN SEE IF THIS WAS RESOLVED   UNFORTUNATELY   I MADE A MISTAKE HERE  TOO   SO I FORGOT THE PRODUCT ACTUALLY  LET'S GO BACK HERE  AND PUT THIS AFTER DETAIL   WE HAVE OUR PRODUCT  AND ZERO AND NAME   AND WE CAN SEE HERE WE GET THE NAME  AND SO WE COULD JUST USE THIS CODE DIRECTLY IN THE ENVIRONMENT OF JAVASCRIPT RIGHT HERE AND RESOLVE IT THIS WAY  LET'S TRY THIS OUT  SAVE THIS  AND REFRESH   GO BACK TO OUR PAGE  OUR TAG FIRES  WHAT IF YOU WANTED TO CAPTURE CERTAIN ATTRIBUTES FROM A CLICK  I GET A GTM LINK   CLICK ALREADY INSTALLED A CLICK TRIGGER  IF I GO TO INSPECT ELEMENT HERE  I WOULDN'T BE ABLE TO USE SOME THING LIKE A DOM ELEMENT VARIABLE  AS THIS WOULD ONLY BE EVALUATED ONCE ONCE THE PAGE LOADS  BUT EVERY TIME A USER CLICKS ON AN ADD TO CART BUTTON  LUCKILY   THE GOOGLE TAG MANAGER OBJECT LETS US ACCESS THE DATA MODEL WITHIN GOOGLE TAG MANAGER  AND HERE   WE CAN ALWAYS SEE WHAT LINK WAS LAST CLICKED ON   SO IF I CLICK HERE   AGAIN ON ADD TO CART  AND I REPEAT THIS COMMAND   AND BY THE WAY   I JUST PRESS THE UP ARROW TO GET THE LAST COMMAND BACK   PRESS ENTER AGAIN  WE NOW SEE THAT WE ALWAYS HAVE THE LAST VALUE THAT IS CURRENTLY WRITTEN INTO THE DATA LAYER TO OUR DISPOSAL HERE WITHIN JAVASCRIPT  HOW WOULD I DO THIS  WELL   WE CAN JUST GO OVER TO GOOGLE TAG MANAGER AND BUILD A CUSTOM JAVASCRIPT VARIABLE  SO GO OVER TO NEW AND BUILD A CUSTOM JAVASCRIPT VARIABLE  THIS CUSTOM JAVASCRIPT VARIABLE WILL BE FOR OUR PRODUCT ID  NOW IN BETWEEN ONE TO DO AN EXTRACTION OF THE DATA   SO WE WILL PULL OUR GTM ELEMENT HERE  AND THEN WE WANT TO DO AN OPERATION ON IT   WHICH IS PULL OUT THE DATA PRODUCT ID  HOW WOULD YOU DO THAT   WELL   WE CAN UTILIZE A COMMAND CALLED DOT GET ATTRIBUTE  AND THEN IN PARENTHESES   OUR SELECTOR IN THIS CASE   DATA MINUS PRODUCT UNDERSCORE ID  AND WE CAN TEST IT OUT ALL BEFOREHAND  AND WE GET FIFTY BACK   THIS IS WHAT WE WANTED  SO LET'S GO AHEAD AND COPY THIS  WE ACTUALLY DON'T NEED TO PUT IT UP HERE   BUT WE CAN JUST SIMPLY RETURN IT RIGHT AWAY  JUST LIKE THAT  AND EVERY TIME I CLICK ON AN ADD TO CART BUTTON HERE  WE SHOULD SEE IN OUR VARIABLES  THE PRODUCT ID BEING FILLED DIFFERENTLY WITH EACH GTM CLICK  SO NOW WE COULD UTILIZE THIS  IN OUR TAG   WE ALREADY HAVE A TAG PREPARED   THIS IS THE ADD TO CART TAG  WHERE I'M SENDING OFF A FACEBOOK EVENT  AND I WOULD LIKE TO INPUT OUR PRODUCT ID THIS TIME  BY THE WAY  EVEN GOING BACK TO THE TIP NUMBER ONE  WE COULD WRITE THE WHOLE LINE IN HERE WITHOUT ACTUALLY NEEDING TO BUILD A VARIABLE ITSELF WITHIN THE CUSTOM JAVASCRIPT VARIABLE   EVEN CLEANER  AND EVEN LESS ASSETS INSIDE OF YOUR GOOGLE TAG MANAGER ACCOUNT  BUT IF YOU WOULD LIKE TO REUSE THIS VARIABLE IN OTHER TAGS   THEN YOU MIGHT WANT TO PUT THIS INTO A VARIABLE AND ABSTRACT THAT THIS WAY  LET'S SAVE THIS REFRESH  SEE WHAT HAPPENS  AND IF FACEBOOK RECEIVES THE DATA  ADD TO CART AND WE HAVE A NEW EVENT HERE THAT IS A CLICK EVENT AND THE PRODUCT ID IS FIFTY THREE   SO REALLY GREAT USE OF THE GOOGLE TAG MANAGER OBJECT AS WELL  LAST BUT NOT LEAST   I OFTEN USE THIS WHEN I WOULD LIKE TO UTILIZE THE MATCHES CSS SELECTOR OPTION  SO IF I WOULD LIKE TO BUILD A TRIGGER TO TRIGGER ON THE TOP HERE OF THE MENU ITSELF  I COULD OBVIOUSLY BUILD DIFFERENT TRIGGERS FOR CLOTHING   HOODIES   T-SHIRTS   AND SO ON  BUT TO KEEP IT AS CLEAN AS POSSIBLE  YOU MIGHT WANT TO UTILIZE THE MATCHES CSS SELECTOR  WHAT DOES THAT MEAN   WELL   IF WE WOULD LIKE TO FIRE THIS TAG UPON OUR MENU CLICK  AND THAT WOULD BE THE ALL ELEMENTS TRIGGER  AND THEN WE ONLY WANT TO FIRE THIS WHEN A CERTAIN ELEMENT   AND IN OUR CASE   THAT WOULD BE THE CLICK ELEMENT MATCHES THE CSS SELECTOR  NOW   WHAT DO WE FILL INTO THIS MATCHES CSS SELECTOR AND WHY WE USE THE CLICK ELEMENT  LET'S CHECK OUT OUR PAGE AGAIN   I NEED TO SAVE THIS I'M JUST GONNA PUT IN HERE ONE JUST FOR NOW  AND REFRESH OUR PREVIEW AND DEBUG MODE  SO WE CAN SEE THE GTM ELEMENT  DOESN'T REALLY MATTER WHERE I CLICK   I GET A NEW GTM CLICK  WHAT IS IN THE BACKGROUND OF THAT   LET'S CHECK IT OUT INSIDE OF OUR GOOGLE TAG MANAGER OBJECT  OPEN UP THE DEVELOPER TOOLS AGAIN   GO BACK TO OUR COMMAND  AND THIS TIME  HERE WE GO  WE HAVE JUST CLICKED HERE ON THE SEARCH  AND THEREFORE THIS IS THE ELEMENT THAT WOULD BE EVALUATED IN TERMS OF OUR TRIGGER  WE ALSO HAVE THIS AVAILABLE   IF YOU CLICK FOR EXAMPLE   ON THIS IMAGE HERE  OR BACK AGAIN  EACH TIME THE VALUE GETS PULLED   AND WE HAVE THE GTM ELEMENT AVAILABLE TO US TO BE EVALUATED IN OUR TRIGGER  NOW THE CRUCIAL PART THAT WE WANT TO ACTUALLY LOOK AT IS THE MENU UP HERE  IT WILL ACTUALLY LET ME REVEAL THIS ELEMENT IN THE ELEMENTS PANEL  AND THAT WILL GIVE ME MY ELEMENTS PANEL UP HERE  WHICH WILL UNDERNEATH OPEN UP THE CONSOLE AS WELL  SO LET'S TAKE A LOOK AT HOW WE CAN DO THIS  IF WE HAVE THE RIGHT GTM ELEMENT HERE ALREADY  WE CAN SIMPLY USE THE MATCHES COMMAND  AND THEN  WITHOUT QUOTATION MARKS   WE CAN ENTER OUR CSS SELECTOR AND SEE IF IT MATCHES UP  YOU CAN SEE THE MATCHES CSS SELECTOR WOULD TURN TRUE IN THIS INSTANCE  I GET A NEW GTM ELEMENT   AND IF I CLICK HERE  LET'S SEE IF THIS WORKS  LET'S CLICK HEREAND IT TURNS FALSE  SO WE HAVE NOW A CSS SELECTED IF YOU CAN USE INSIDE OF OUR TRIGGER  WITH THAT IN MIND   WE CAN UTILIZE THIS  GO OVER TO GOOGLE TAG MANAGER  GO BACK INTO OUR CLICKS HERE AND SAY WE ONLY WANT TO FIRE THIS IF THE MATCHES CSS SELECTOR  RELOAD THIS  AND NOW IF I CLICK ON ANY ELEMENT UP HERE  WE HAVE OUR GTM CLICK   AND OUR TAG DOESN'T FIRE  OR WE HAVEN'T ACTUALLY CONNECTED IT TO THE TAG ITSELF   SO LET'S DO THAT REALLY QUICKLY ITSELF  LET'S GO BACK HERE  AND NOW CLICK ON OUR MENU   AND WE SEE THE GA EVENT MENU   CLICK HAS FIRED  IF YOU CLICK ON ANY OTHER ELEMENT  IT DOESN'T FIRE  AND NOW WE HAVE TAGGED WITH THE HELP OF THE CSS SELECTOR  ALL OF THESE MENU POINTS UP HERE  AND THE TAG FIRES  ALL RIGHT   SO THERE YOU HAVE IT   THIS IS HOW YOU CAN UTILIZE THE GOOGLE TAG MANAGER OBJECT  DO YOU HAVE ANY OTHER USE CASES THAT YOU USE THE GOOGLE TAG MANAGER OPTION FOR OFTENTIMES   I WOULD LOVE TO HEAR FROM YOU IN THE COMMENTS DOWN BELOW  AND IF YOU LIKED THIS VIDEO   WHY NOT GIVE US A THUMBS UP AND ALSO SUBSCRIBE TO OUR CHANNEL RIGHT OVER THERE BECAUSE WE BRING YOU NEW VIDEOS JUST LIKE THIS ONE EVERY WEEK  NOW MY NAME IS JULIAN  HAPPY MEASURING  \n",
        "transcription_base": " But there's actually a step in between, which is not often talked about. And this is the internal data model of Google Tag Manager. So once we push data into the data layer, it actually gets stored inside of the internal data model. Today I want to show you my three ways on how I utilize this often for my tag deployment, speed up my workflow, and make other cool stuff happen. Now without further ado, we've got lots to cover. So let's dive in. Welcome back to our demo shop. Now let's take a look first of all at our Google Tag Manager object. We can access it by going into our developer tools in Google Chrome for example it would be here and then navigating onto the console. We will have access to the JavaScript runtime environment where we can put in our commands. And this is the object that we are talking about. Now in order to access it you will need to have your GTM ID ready because it might be that there are different objects for different containers and we can access our container by the square brackets double quotes and our gtm container ID. You press enter and here we can see all the different methods that we have available. Take a look at the data layer. This is the internal data model that you can access through this JavaScript object. All we need to do is write a dot and then data layer. And from here I'll show you my first tip. So through the get method, we can actually get any kind of value from the data layer without needing to create a data layer variable. So for example on this page it's a product page. We have our data layer here and we can see where we want to send over an event to Facebook. And in that Facebook event, we want to send a track call to view content. And I would like to have the actual product name in here. Now, obviously I could look at my data layer and then create a variable within Google TagMensha, a data layer variable, and then go back and import this with the two curly brackets. But what if I only wanted to use this variable once and only for this tag? Since we're here already in the context of JavaScript, I could just use our Google Tag Manager object to access this value. How would I do that? Well, just like a data layer variable, you would need to put in your key for the data layer into the variable. And so I'm going to just write dot get here and then enter the variable key. in our case that would be e-commerce.detail.hourride0 and then name. And I can press enter and I can see if this was resolved. Unfortunately, I made a mistake here just so I forgot the products actually. Let's go back here and put this after the detail we have our products and zero and name and we can see here we get the name. And so we could just use this code directly in the environment of JavaScript right here and resolve it this way. Let's try this out, save this and refresh, go back to our page, our tag files. What if you wanted to capture certain attributes from a click? I get a GTM link click, I already installed a click trigger if I go to inspect element here. I wouldn't be able to use something like a DOM element variable as this would only be evaluated once the page loads. But every time a user clicks on an app to to cut button. Luckily, the Google Tag Manager object lets us access the data model within Google Tag Manager. And here we can always see what link was last clicked on. So if I click here again on add to cut and I repeat this command. And by the way, I just press the up arrow to get the last command back. Press enter again. We now see that we always have the last value that is currently written into the data layer to our disposal here within JavaScript. What would I do this? Well, we can just go over to Google Tag Manager and build a custom JavaScript variable. So go over to new and build a custom JavaScript variable. This custom JavaScript variable will be for our product ID. Now in between we want to do an extraction of the data. So we'll pull our GTM element here and then we want to do an operation on it, which is pull out the data product ID. How would you do that? Well, we can utilize a command called dot get attribute and then in parentheses, our selector, in this case, data minus product underscore ID. And we can test it out all beforehand and we get 50 back. This is what we wanted. So let's go ahead and copy this. We actually don't need to put it up here, but we can just simply return it right away, just like that. Then every time I click on an AttuCard button here, we should see in our variables, the Product ID being filled differently with each GTM click. So now we could utilize this in our tag. We already have a tag prepared. This is the AttuCard tag where I'm sending off a Facebook event and I would like to input our Product ID this time. By the way, even going back to the tip number one, we could write the whole line in here without actually needing to build a variable itself within the custom JavaScript variable, even cleaner and even less assets inside of your Google Tag Manager account. But if you would like to reuse this variable in other tags, then you might want to put this into a variable and abstract it this way. Let's save this, refresh, see what happens, and if Facebook receives the data, the add to cart, and we have a new event here that is a click event, and the product that the is 53. So really great use of the Google Tag Manager object as well. Last but not least, I often use this when I would like to utilize the Matches CSS selector option. So if I would like to build a trigger to trigger on the top here of the menu itself, I could obviously build different triggers for clothing, hoodies, t-shirts and so on. But to keep it as clean as possible, You might want to utilize the matches CSS selector. What does that mean? Well, if we would like to fire this tag upon our menu click and there would be the all element trigger and then we only want to fire this when a certain element and in our case there would be the click element matches the CSS selector. Now what do we fill into this matches CSS selector and why we use the click element. Let's check out our page again. I need to save this. So I'm just going to put in here one just for now and refresh our preview and debug mode. So you can see the GTM element. Doesn't really matter where I click. I get a new GTM click. What is in the background of that? Let's check it out inside of our Google Tag Manager object. Open up the developer tools again. Go back to our command. And this time, here we go. We have just clicked here on the search. And therefore, this is the element that would be evaluated in terms of our trigger. We also have this available, if you click, for example, on this image here, or back again, each time the value gets pulled and we have the GTM element available to us to be evaluated in our trigger. Now, the crucial part that we want to actually look at is the menu up here. It will actually let me reveal this element in the elements panel. And that will give me my elements panel up here. which will underneath open up the console as well. So let's take a look at how we can do this. If we have the right GTM element here already, we can simply use the matches command. And then with our quotation marks, we can enter our CSS selector and see if it matches up. You can see the matches CSS selector would turn true in this instant. I get a new GTM element and if I click here, let's see if this works, let's click here and it turns false. So we have now a CSS selected that we can use inside of our trigger. Without a mind, we can utilize this. Go over to Google Tag Manager, go back into our clicks here and say, we only want to fire this if the matches CSS selector reload this. And now if I click on any element up here, we have our GTM click. And our tag doesn't fire. Or we haven't actually connected it to the tag itself. So let's do that quickly itself. Let's go back here and now click on our menu and we see the GA event menu click has fired. If you click on any other element, it doesn't fire. And now we have tagged with the help of the CSS selector, all of these menu points up here and the tags fires. All right, so there you have it. This is how you can utilize the Google Tag Manager object. Do you have any other use cases that you use to Google Tag Manager object for? Oftentimes I would love to hear from you in the comments down below. And if you like this video, why not give us a thumbs up and also subscribe to our channel right over there because we bring you new videos just like this one every week. Now my name is Julian. Happy measuring.",
        "transcription_medium": " But there's actually a step in between which is not often talked about. And this is the internal data model of Google Tag Manager. So once we push data into the data layer, it actually gets stored inside of the internal data model. Today I want to show you my three ways on how I utilize this often for my tag deployment, speed up my workflow and make other cool stuff happen. Now without further ado, we've got lots to cover. So let's dive in. Welcome back to our demo shop. Now let's take a look first of all at our Google Tag Manager object. We can access it by going into our developer tools in Google Chrome, for example, that would be here, and then navigating onto the console. We will have access to the JavaScript runtime environment where we can put in our commands. And this is the object that we are talking about. Now in order to access it, you will need to have your GTM ID ready, because it might be that there are different objects for different containers. And we can access our container by these square brackets, double quotes, and our GTM container ID. You press enter. And here we can see all the different methods that we have available. Take a look at the data layer. This is the internal data model that you can access through this JavaScript object. All we need to do is write a dot and then data layer. And from here, I'll show you my first tip. So through the get method, we can actually get any kind of value from the data layer without needing to create a data layer variable. So for example, on this page, it's a product page, we have our data layer here, and we can see where we want to send over an event to Facebook. And in that Facebook event, we want to send a track call to view content. And I would like to have the actual product name in here. Now, obviously, I could look at my data layer and then create a variable within Google Tag Manager data layer variable, and then go back and input this with the two curly brackets. But what if I only wanted to use this variable once and only for this tag? Since we're here already in the context of JavaScript, I could just use our Google Tag Manager object to access this value. How would I do that? Well, just like a data layer variable, you would need to put in your key for the data layer into the variable. And so I'm going to just write dot get here and then enter the variable key. In our case, that would be ecommerce dot detail dot I will write zero and then name and I can press enter and I can see if this was resolved. Unfortunately I made a mistake here, just so I forgot the products actually. Let's go back here and put this after the detail. We have our products and zero and name and we can see here we get the name. And so we could just use this code directly in the environment of JavaScript right here and resolve it this way. Let's try this out. Save this and refresh. Go back to our page, our tag files. What if you wanted to capture certain attributes from a click? I get a GTM link click, I already installed a click trigger. If I go to inspect element here, I wouldn't be able to use something like a DOM element variable as this would only be evaluated once the page loads. But every time a user clicks on an add to cart button, luckily the Google Tag Manager object lets us access the data model within Google Tag Manager. And here we can always see what link was last clicked on. So if I click here again on add to cart and I repeat this command, and by the way, I just press the up arrow to get the last command back, press enter again, we now see that we always have the last value that is currently written into the data layer to our disposal here within JavaScript. How would I do this? Well, we can just go over to Google Tag Manager and build a custom JavaScript variable. So go over to new and build a custom JavaScript variable. This custom JavaScript variable will be for our product ID. Now in between we want to do an extraction of the data. So we'll pull our GTM element here. And then we want to do an operation on it, which is pull out the data product ID. How would you do that? Well, we can utilize a command called dot get attribute. And then in parentheses, our selector in this case, data minus product underscore ID. And we can test it out all beforehand and we get 50 back. This is what we wanted. So let's go ahead and copy this. We actually don't need to put it up here, but we can just simply return it right away, just like that. And every time I click on an Add to Cart button here, we should see in our variables, the product ID being filled differently with each GTM click. So now we could utilize this in our tag. We already have a tag prepared. This is the add to cart tag where I'm sending off a Facebook event. And I would like to input our product ID this time. By the way, even going back to the tip number one, we could write the whole line in here without actually needing to build a variable itself within the custom JavaScript variable, even cleaner and even less assets inside of your Google Tag Manager account. But if you would like to reuse this variable in other tags, then you might want to put this into a variable and abstract it this way. Let's save this, refresh, see what happens, and if Facebook receives the data, we'll add to cart and we have a new event here. That is a click event and the product ID is 53. So really great use of the Google Tag Manager object as well. Last but not least, I often use this when I would like to utilize the Matches CSS selector option. So if I would like to build a trigger to trigger on the top here of the menu itself, I could obviously build different triggers for clothing, hoodies, t-shirts and so on. But to keep it as clean as possible, you might want to utilize the Matches CSS selector. What does that mean? Well, if we would like to fire this tag upon our menu click, and that would be the All Elements trigger. And then we only want to fire this when a certain element and in our case that would be the click element matches the CSS selector. Now what do we fill into this matches CSS selector and why we use the click element. Let's check out our page again. I need to save this. So I'm just going to put in here one just for now and refresh our preview and debug mode so we can see the GTM element. Doesn't really matter where I click. I get a new GTM click. What is in the background of that? Let's check it out inside of our Google Tag Manager object. Open up the developer tools again, go back to our command. And this time, here we go. We have just clicked here on the search. And therefore, this is the element that would be evaluated in terms of our trigger. We also have this available if you click, for example, on this image here, go back again. Each time the value gets pulled and we have the GTM element available to us to be evaluated in our trigger. Now the crucial part that we want to actually look at is the menu up here. It will actually let me reveal this element in the elements panel and that will give me my elements panel up here which will underneath open up the console as well. So let's take a look at how we can do this. If we have the right GTM element here already, we can simply use the matches command. And then with our quotation marks, we can enter our CSS selector and see if it matches up. You can see the match CSS selector would turn true in this instant, I get a new GTM element. And if I click here, let's see if this works. Let's click here. And it turns false. So we have now a CSS selector that we can use inside of our trigger. But at the mind, we can utilize this, go over to Google Tag Manager, go back into our clicks here and say, we only want to fire this if the matcher CSS selector, reload this. And now if I click on any element up here, we have our GTM click and our tag doesn't fire. Oh, we haven't actually connected it to the tag itself. So let's do that really quickly itself. Let's go back here and now click on our menu and we see the GA event menu click has fired. If you click on any other element, it doesn't fire. And now we have tagged with the help of the CSS selector, all of these menu points up here and the tag fires. All right, so there you have it. This is how you can utilize the Google Tag Manager object. Do you have any other use cases that you use the Google Tag Manager object for? Oftentimes I would love to hear from you in the comments down below. And if you like this video, why not give us a thumbs up and also subscribe to our channel right over there because we bring you new videos just like this one every week. Now my name is Julian. Happy measuring.",
        "transcription_large_v3": " But there's actually a step in between which is not often talked about. And this is the internal data model of Google Tag Manager. So once we push data into the data layer, it actually gets stored inside of the internal data model. Today, I want to show you my three ways on how I utilize this often for my tag deployment, speed up my workflow, and make other cool stuff happen. Now without further ado, we've got lots to cover. So let's dive in. Welcome back to our demo shop. Now let's Let's take a look first of all at our Google Tag Manager object. We can access it by going into our developer tools in Google Chrome, for example, it would be here, and then navigating onto the console, we will have access to the JavaScript runtime environment where we can put in our commands. And this is the object that we are talking about. Now in order to access it, you will need to have your GTM ID ready, because it might be be that they are different objects for different containers. And we can access our container by these square brackets, double quotes, and our GTM container ID. You press enter, and here we can see all the different methods that we have available. Take a look at the data layer. This is the internal data model that you can access through this JavaScript object. All we need to do is write a dot and then data layer. And from here, I'll show you my first tip. So through the get method, we can actually get any kind of value from the data layer without needing to create a data layer variable. So for example, on this page, it's a product page. We have our data layer here and we can see where we want to send over an event to Facebook. And in that Facebook event, we want to send a track call to view content. And I would like to have the actual product name in here. Now, obviously, I could look at my data layer and then create a variable within Google Tag Manager data layer variable, and then go back and input this with the two curly brackets. But what if I only wanted to use this variable once and only for this tag? Since we're here already in the context of JavaScript, I could just use our Google Tag Manager object to access this value. How would I do that? Well, just like a data layer variable, you would need to put in your key for the data layer into the variable. And so I'm going to just write dot get here and then enter the variable key. In our case, that would be ecommerce.detail. I will write zero and then name and I can press enter and I can see if this was resolved. Unfortunately, I made a mistake here, just so I forgot the products actually. Let's go back here and put this after the detail. We have our products and zero and name. And we can see here we get the name. And so we could just use this code directly in the environment of JavaScript right here and resolve it this way. Let's try this out. Save this and refresh. Go back to our page, our tag files. What if you wanted to capture certain attributes from a click? I get a GTM link click. I already installed a click trigger. If I go to inspect element here, I wouldn't be able to use something like a DOM element variable as this would only be evaluated once the page loads. But every time a user clicks on an Add to Cart button, luckily the Google Tag Manager object lets us access the data model within Google Tag Manager. And here we can always see what link was last clicked on. So if I click here again on Add to Cart, and I repeat this command, and by the way, I just press the up arrow to get the last command back, press Enter again, we now see that we always have the last value that is currently written into the data layer to our disposal here within JavaScript. How would I do this? Well, we can just go over to Google Tag Manager and build a custom JavaScript variable. So go over to new and build a custom JavaScript variable. This custom JavaScript variable will be for our product ID. Now in between we want to do an extraction of the data. So we will pull our GTM element here. And then we want to do an operation on it, which is pull out the data product ID. How would you do that? Well, we can utilize a command called dot get attribute and then in parentheses our selector in this case data minus product underscore ID. And we can test it out all beforehand, and we get 50 back. This is what we wanted. So let's go ahead and copy this. We actually don't need to put it up here, but we can just simply return it right away, just like that. And every time I click on an Add to Cart button here, we should see in our variables, the product ID being filled differently with each GTM click. So now we could utilize this in our tag, we already have a tag prepared. This is the add to cart tag where I'm sending off a Facebook event and I would like to input our product ID this time. By the way, even going back to the tip number one, we could write the whole line in here without actually needing to build a variable itself within the custom JavaScript variable. Even cleaner and even less assets inside of your Google Tag Manager account. But if you would like to reuse this variable in other tags, then you might want to put this into a variable and abstract it this way. Let's save this, refresh, see what happens, and if Facebook receives the data, we'll add to cart and we have a new event here that is a click event and the product ID is 53. So really great use of the Google Tag Manager object as well. Last but not least, I often use this when I would like to utilize the Matches CSS selector option. So, if I would like to build a trigger to trigger on the top here of the menu itself, I could obviously build different triggers for clothing, hoodies, t-shirts, and so on. But to keep it as clean as possible, you might want to utilize the Matches CSS selector. What does that mean? Well, if we would like to fire this tag upon our menu click, and that would be the All Elements trigger, and then we only want to fire this when a certain element, and in our case that would be the click element matches the CSS selector. Now what do we fill into this matches CSS selector and why we use the click element. Let's check out our page again. I need to save this so I'm just gonna put in here one just for now and refresh our preview and debug mode so we can see the GTM element. Doesn't really matter where I click. I get a new GTM click. What is in the background of that? Let's check it out inside of our Google Tag Manager object. Open up the developer tools again, go back to our command. And this time, here we go. We have just clicked here on the search. And therefore, this is the element that would be evaluated in terms of our trigger. We also have this available if you click for example, on this image here, go back again. Each time the value gets pulled and we have the GTM element available to us to be evaluated in our trigger. Now the crucial part that we want to actually look at is the menu up here. It will actually let me reveal this element in the elements panel. And that will give me my elements panel up here, which will underneath open up the console as well. So let's take a look at how we can do this. If we have the right GTM element here already, we can simply use the matches command. And then with our quotation marks, we can enter our CSS selector and see if it matches up. You can see the matcher CSS selector would turn true in this instant. I get a new GTM element and if I click here, let's see if this works. Let's click here and it turns false. So we have now a CSS selector that we can use inside of our trigger. With that in mind, we can utilize this. over to Google Tag Manager, go back into our clicks here and say we only want to fire this if the matches CSS selector reload this. And now if I click on any element up here, we have our GTM click and our tag doesn't fire or we haven't actually connected it to the tag itself. So let's do that quickly itself. Let's go back here and now click on our menu and we see the GA event menu click has fired. If you click on any other element, it doesn't fire. And now we have tagged with the help of the CSS selector, all of these menu points up here and the tag fires. All right, so there you have it. This is how you can utilize the Google Tag Manager object. Do you have any other use cases that you use the Google Tag Manager object for? Oftentimes, I would love to hear from you in the comments down below. And if you like this video, why not give us a thumbs up and also subscribe to our channel right over there because we bring you new videos just like this one every week. Now, my name is Julian. Happy measuring."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000509.mp3": {
        "gt": "VOLUNTEERING FOR ORGANIZATIONS   KIND OF LIKE  AND THEN I TAKE EVERYTHING THAT I LEARN BEING OUT IN THE COMMUNITY BACK TO PANTHEON  SO THAT OUR DEVELOPERS ARE ACTIVELY CREATING FUNCTIONALITY AND FEATURES AND THINGS LIKE THAT THAT ARE USEFUL AND RELEVANT TO OUR CUSTOMERS  NOW   I AM GOING TO BE USING  UM   OTHER SORT OF SERVICE PROVIDER THAT YOU MIGHT BE USING  FOR TODAY  ANOTHER PIECE IS CONFIGURATION  AND THEN WE ALSO HAVE CONTENT  AND THIS COULD BE MADE-UP OF BLOG POSTS   PRODUCTS  AND WHEN YOU GO TO THINK ABOUT USING  THE FIRST ONE IS CODE  THE SECOND ONE IS THE DATABASE  ALL OF THOSE THINGS THAT GOT TIED TO YOUR CONTENT  SO   HOW DO THESE TIE TO EACH OTHER   I MEAN   THE FIRST ONE IS FAIRLY SELF-EXPLANATORY  YOUR CONFIGURATION GETS EXPORTED AS PART OF THE DATABASE   IT'S  SO   WITH THIS SORT OF ANATOMY   THIS SORT OF BASELINE UNDERSTANDING  A DEVELOPMENT WORK FLOW  FOR ANY WEB APPLICATION   FOR ANY WEB PROJECT  NOW  WE ALSO HAVE OUR TEST ENVIRONMENT   WHICH IS BASICALLY A COPY OF YOUR LIVE ENVIRONMENT   AND IT'S A SAFE SPACE TO EXPERIMENT   TO  THE DEV ENVIRONMENT IS WHERE YOU'RE ACTIVELY DEVELOPING NEW FUNCTIONALITY ON YOUR WEBSITE  IT'S WHERE YOU ARE  AND   SO   ALL OF THAT WORK IS ACTIVELY HAPPENING IN DEV   AND WHEN THAT WORK IS DONE  POTENTIALLY BREAKING SOMETHING BY DEPLOYING STRAIGHT TO LIVE   NO  YOU DEPLOY IT TO THE TEST ENVIRONMENT  AND BECAUSE THE TEST ENVIRONMENT IS AN EXACT COPY OF LIVE  YOU ARE ABLE TO SUS OUT ANY SORT OF SURPRISES  YOU CAN  SO THAT THERE ARE ABSOLUTELY NO SURPRISES  AND YOU DEPLOY YOUR CODE UP TO LIVE  ONCE THIS SORT OF LIFE CYCLE IS COMPLETED AND EVERYTHING IS STABLE AND LIVE IS UP-TO-DATE AND READY TO GO  YOU CAN THEN SYNC YOUR DATABASE AND FILES BACK DOWN TO DEV  STARTING THE DEVELOPMENT SORT OF LIFE CYCLE OVER AGAIN  AND THIS IS HOW IT'S BEEN FOR YEARS   FOR MANY   MANY YEARS   MORE THAN TEN YEARS  WELL  IF PEOPLE ARE ADDING CONTENT AND BUYING THINGS FROM THE STORE AND LEAVING COMMENTS AND THINGS IN THE LIVE ENVIRONMENT  THE DATABASE AND THE FILES ALWAYS GO DOWN   THEY'RE ALWAYS GOING FROM LIVE DOWN TO SOMEWHERE ELSE  WELL   HISTORICALLY  THE SOLUTION TO THIS HAS BEENIT JUST FEELS LIKE YOU'RE WASTING YOUR TIME  IT'S SUPER DEPRESSING  ALSO   IT PUTS YOU IN A POSITION WHERE YOU'RE VERY   VERY LIABLE TO MAKE MISTAKES  AND  YES   YOU ABSOLUTELY COULD  CONFIGURATION MANAGEMENT LIGHT  SO   WHAT THIS DOES WITH CONFIGURATION MANAGEMENT IS THAT INSTEAD OF EXPORTING OUR CONFIGURATION TO THE DATABASE  WE EXPORT THAT CONFIGURATION   SO THAT  ALL THOSE CHANGES WE'VE MADE INTO CODE  INTO YAMAL FILES THAT ARE VERY READABLE AND   YOU KNOW   EASY TO PARSE AND UNDERSTAND WHAT'S GOING ON  AND WE SAY OVERWRITE THE CONFIGURATION THAT EXISTS IN THE DATABASE RIGHT NOW WITH WHAT I HAVE IN MY CODE   WITH WHAT I'VE EXPORTED IN A DIFFERENT ENVIRONMENT  AND THIS MOVES OUR CONFIGURATION USING CODE FROM DEV TO TEST TO LIVE   SO THAT OUR WORK FLOW IS MUCH   MUCH FASTER   SO  AND THEN WHEN IT COMES TIME TO ACTUALLY DEPLOY  BUT THEN WE IMPORT THE CONFIGURATION IN THIS NEW ENVIRONMENT  OKAY  BASICALLY   WHENEVER YOU ADD SOME NEW PIECE OF FUNCTIONALITY   YOU'RE PROBABLY ADDING A MODULE OR TWO TO DO WHATEVER THAT FUNCTIONALITY IS  YOU'RE ABLE TO MOVE THAT ALONG WITH THE CODE THAT'S CHANGING FOR ADDING THAT FUNCTIONALITY  IT ALSO MEANS THAT YOU CAN VERSION CONTROL YOUR CONFIGURATION  WE CAN EVEN REVERT CHANGES   IF SOMETHING WASN'T SUPPOSED TO CHANGE  IF YOU'RE USING CONFIGURATION MANAGEMENT  GET IT UP TO LIVE THAT WAY  I JUST HAVE TO EXPORT MY CONFIGURATION  SYNC THE DATABASE AND FILES DOWN   OVERWRITING MY LOCAL ENVIRONMENT  AND THEN I RE-IMPORT THE CONFIGURATION  BUT WITH ALL OF THE NEW CONTENT TOO  ALSO   YOU CAN AUTOMATE THINGS WITH DRUSH  BY USING CONFIGURATION MANAGEMENT  YOU'RE ABLE TO USE DRUSH COMMANDS TO IMPORT AND EXPORT YOUR CONFIGURATION ALONG THE WAY  AND WE CAN ACTUALLY AUTOMATE THAT   YOU CAN WRITE SCRIPTS THAT WILL  THE FIRST ONE IS THAT CONFIG ONLY WORKS TO AND FROM THE SAME SITE   AND THIS WAS INTENTIONAL  THAT CAN HELP TO  IT IS ALSO REALLY IMPORTANT ALONG THE WAY TO COMMUNICATE WITH YOUR TEAM  IT IS VERY LIKELY THAT YOU'RE GOING TO OVERWRITE CHANGES THAT PEOPLE ARE MAKING IN CONFIGURATION  AND WHEN YOU MOVE YOUR CONFIGURATION UP TO LIVE   YOU IMPORT IT INTO LIVE  THEY JUST LOST ALL THE CHANGES AND CONFIGURATION THAT THEY HAD MADE  THAT SORT OF FEELS LIKE CONFIGURATION   LIKE ON PAR WITH THE NAME OF YOUR WEBSITE OR THE SLOGAN OR   YOU KNOW   SOMETHING LIKE THAT  BUT YOU COULD ALSO HAVE A BLOCK THAT IS  BUT YOU COULD ALSO SETUP TAXONOMY IN ADVANCE TO DEFINE  THE FIRST ONE IS CONFIG DIRECT SAVE  SO   BY DEFAULT   WHEN YOU EXPORT CONFIGURATION FROM ONE SITE  IT DOWNLOADS A G ZIPPED TAR FILE TO YOUR COMPUTER  WHICH ISN'T THE MOST HELPFUL  I MUCH PREFER THE  THIS MODULE   CONFIG DIRECT SAVE  WILL GIVE US A BUTTON IN THE INTERFACE TO ONE-CLICK SYNC UP OUR  ANOTHER ONE IS CONFIGURATION READ-ONLY MODE  THIS IS REALLY HELPFUL FOR THAT SITUATION WHERE YOU HAVE CUSTOMERS OR YOU HAVE PEOPLE WHO ARE POTENTIALLY CHANGING CONFIGURATION IN THE LIVE ENVIRONMENT   WHERE YOU DON'T WANT THEM TO MAKE CHANGES THAT COULD POTENTIALLY BE OVERWRITTEN  THERE IS ALSO  AND CONFIG IGNORE IS A GREAT MODULE FOR IGNORING CERTAIN ASPECTS OF YOUR CONFIGURATION THAT YOU DO NOT WANT TO GO FROM ONE ENVIRONMENT TO THE OTHER  AND THEN IT WON'T ACCIDENTALLY END UP ON THE LIVE SITE  HELLO   EVERYONE  I AM THE EDITOR OF UMAMI MAGAZINE  LET'S BEGIN  SO   FIRST OF ALL   I'M ON THE UMAMI FOOD MAGAZINE WEBSITE   AND I NEED TO LOG-IN   SO I GO INTO THE LOG-IN SCREEN  I'M GOING TO  GO AND TAKE A LOOK AT ALL THE CONTENT WE HAVE IN OUR WEBSITE AND THEN  THIS LOOKS PRETTY GOOD   I'M GOING TO CLICK ON THE ADD CONTENT BUTTON TO CREATE A NEW PIECE OF CONTENT ON HERE   AND I WOULD LIKE TO CREATE AN ARTICLE  THE ARTICLE IS GOING TO LET US WRITE A NEW BLOG POST FOR OUR ARTICLE SECTION  SO THAT IT SHOWS UP THERE   AND   YOU KNOW  I REALLY LOVE OATMEAL   SO I'M GOING TO CREATE A NEW BLOG POST ALL ABOUT OATMEAL   SO  YOU SHOULD DEFINITELYEAT SOME HEARTY OATMEAL  BECAUSE IT'S GOOD FOR YOU  ALL RIGHT   AND THEN FOR THE BODY  IT HELPS THAT THE  AND  ONE SECOND  ALL RIGHT  I AM DEFINITELY READY TO EAT SOME DELICIOUS OATMEAL   SO  IT AUTOMATICALLY GETS PROMOTED TO OUR ARTICLE SECTION OF OUR WEBSITE   SO   IF I GO OVER TO THE ARTICLE SECTION  I CAN SEE  WELL   I CAN DEFINITELY SEE THE ARTICLE THAT I CREATED  BUT THERE'S SUPPOSED TO BE MORE ARTICLES THERE  YEAH   IT SHOULD DEFINITELY BE SHOWING UP THERE  ALL RIGHT   WELL   I'M NOT SURE  WE'LL SEE YOU NEXT TIME  AND THEN PLEASE WAIT WHILE I SWITCH INTO THE  OUR EDITOR CONTACTED US TO SAY THAT THERE IS SOME SORT OF A PROBLEM WITH THE ARTICLES PAGE   AND SO I WENT TO THE ARTICLES PAGE ON OUR LIVE WEBSITE   AND  YEAH   IT SURE LOOKS LIKE THERE'S JUST ONE PIECE OF CONTENT THERE  MAYBE   THEY DELETED THE CONTENT AGAIN   LET'S GO CHECK THAT OUT   LET'S GO TO THE CONTENT SECTION OF THE WEBSITE   AND  HERE   WE HAVE A  YEAH   SURE ENOUGH   THERE IS  JUST ONE ARTICLE THERE   OKAY   WELL   LET ME LOG-IN AS MYUSE A SPECIFIED NUMBER OF ITEMS   ONE ITEM  I WONDER HOW THAT HAPPENED   OKAY   WELL  LET'S CHANGE THIS   WE CAN FIX IT PRETTY QUICKLY  ALL RIGHT   I'M GOING TO CLICK APPLY  AND THERE WE GO   OKAY   THIS LOOKS GREAT  WE'RE GOING TO GO DOWN TO CONFIGURATION  IT TAKES JUST A MINUTE FOR IT TO LOAD UP  ALL RIGHT   SO WE CAN DEFINITELY SEE THAT THERE'S A CHANGE HERE NOW  UM  AND WE WENT FROM SHOWING ONE TO SHOWING SIX   SO THAT LOOKS GOOD  NOW   AGAIN  I GET PRETTY FRUSTRATED SOMETIMES WITH THE DRUPAL INTERFACE  I HAVE TO CLICK THIS BUTTON TO EXPORT   AND YOU SEE HERE   IT SAYS IT'S GOING TO DOWNLOAD IT  THAT'S TERRIBLE  IT'S ACTUALLY JUST GOING TO SAVE IT TO MY CODE DIRECTLY   I DON'T HAVE TO DOWNLOAD AND UPLOAD THAT DIRECTLY   I CAN JUST DO IT DIRECTLY FROM HERE  WHICH IS EXACTLY WHAT I WANT  SO IF I SEE HERE   IT SAYS ONE FILE IS READY TO COMMIT  SO   YEAH   THIS LOOKS LIKE WHAT I EXPECT  THIS IS NOT A PANTHEON-SPECIFIC THING THAT WE'RE TALKING ABOUT  ALL RIGHT   SO THAT IS COMPLETED  SO  JUST TAKES A MOMENT  YES   WE ONLY SEE THE ONE ARTICLE   BUT THAT'S OKAY   WE ACTUALLY  LET ME GO BACK  LET ME JUST WAIT FOR A MOMENT FOR THIS TO BE COMPLETED  AND THEN WE CAN CONTINUE  AND LET'S GO BACK TO THE ARTICLES PAGE   AND THERE WE GO   YES   WE SEE THE EAT SOME HEARTY OATMEAL THAT OUR FINE EDITOR CREATED EARLIER  BRAND NEW CONTENT IN THIS NEW ENVIRONMENT   BECAUSE THIS IS A COPY OF OUR LIVE ENVIRONMENT  AND IF I GO INTO MY LOG-IN   OH   NO  I DON'T NEED TO GO TO THE INSTALL   I NEED TO GO TO THE USER LOG-IN   THERE'S PROBABLY A CACHING THING HAPPENING HERE AT THE MOMENT   LET ME GO BACK AND CLEAR THE CACHE  OF COURSE   LIVE DEMOS   RIGHT  NOW   LET'S GO BACK  OKAY   AND  BUT IT SHOULDN'T HAVE  WELL   LET ME GO BACK HERE   LET ME CLICK ON MY TEST ENVIRONMENT AGAIN  AND LET'S GO TAKE A LOOK AT THIS  OKAY   SO NOW LET'S GO TO LOG-IN AGAIN  HEY   THERE WE GO   OKAY   SO NOW   I'M GOING TO LOG-IN AS MY DEVELOPER ACCOUNT  AND NOW WE CAN ACTUALLY TAKE A LOOK AT THIS WEBSITE FROM MY PERSPECTIVE WITH ALL THE NEW CONTENT AND ALL OF THE EXISTING CONFIGURATION THAT WE BUILT IN DEV  SO   IF I GO BACK TO MY ARTICLE SECTION   I SHOULD SEE THAT EAT SOME HEARTY OATMEAL ARTICLE THAT OURBUT IF YOU WERE BUILDING OUT A CONTENT TYPE WITH FIELDS AND VIEWS AND ALL THOSE DIFFERENT THINGS  SO   LET'S ACTUALLY IMPORT THIS CONFIGURATION   AND WE SHOULD BE ABLE TO GET OUR TEAM TO REVIEW IT   SO   WE'LL GO OVER TO CONFIGURATION  WE'LL GO DOWN TO CONFIGURATION SYNCHRONIZATION  THIS IS GOING TO LOOK AT THE CODE THAT WE HAVE IN OUR CONFIGURATION THAT WE'VE ALREADY EXPORTED AND COMPARE IT TO OUR DATABASE   AND WE WANT TO IMPORT THOSE CHANGES INTO OUR DATABASE   SO THAT IT ACTUALLY OVERWRITES THE THINGS THAT WE HAD CHANGED IN THE PREVIOUS ENVIRONMENT   SO  I'M JUST GOING TO CLICK THE IMPORT ALL BUTTON  AND THAT SHOULD GET US ALL SYNCED UP AND READY TO GO  TAKES JUST A MOMENT  OKAY   SO   WE CAN SEE HERE   WE HAVE THE EAT SOME HEARTY OATMEAL ARTICLE THAT WAS JUST CREATED ON LIVE  WE HAVE ALL SIX ARTICLES   ALL OF OUR CONFIGURATIONS   SO NOW  EVERYTHING IS WORKING IN TEST   THAT'S WONDERFUL  AND WHILE HE'S DOING THAT   I ACTUALLY HAVE SOME TEST RESULTS THAT RAN  JUST GOT A MESSAGE FROM THE EDITOR  WE'RE GOING TO PUT IN OURIT'S JUST GOING TO WORK THIS TIME  SO  NOW  THE LIVE WEBSITE   I COULD DO IT DIRECTLY FROM THE COMMAND LINE WITH DRUSH   AND THAT WOULD ALSO WORK PRETTY WELL  LOVE ME SOME POKEMONS  OUR COMMAND LINE INTERFACE  SYNCHRONOUS CONFIGURATION   LOOKS GOOD  SUCCESS   EXCELLENT   OKAY   LET'S GO BACK AND CHECK IT   SO  OURGO BACK TO THE ARTICLES PAGE  YAY   WE FIXED IT  AND I'M BACK   OKAY   THANK YOU ALL FOR  ALLOWING ME TO HAVE A LITTLE BIT OF FUN WITH THE PRESENTATION TODAY   LIKE I SAID   I WAS BUMMED I DIDN'T GET TO DO ANY OF THE  AND THAT IS WHO BROKE THE PAGE  WHO CAUSED THAT PARTICULAR ISSUE TO COME UP   WELL  I MENTIONED EARLIER THAT SINCE WE'RE USING CONFIGURATION MANAGEMENT AND THAT'S IN VERSION CONTROL  WE CAN TELL WHO MADE THAT CHANGE  WHICH ONE IS IT  THERE IT IS  ALL RIGHT   AND IF I CLICK ENTER  I CAN SEE THAT I DID IT BACK IN FEBRUARY  DEBUGGING A PROBLEM WITH THE ARTICLES PAGE  UM   I'VE ACTUALLY GIVEN THIS PRESENTATION A FEW TIMES   SO THIS WAS ONE OF THE LAST TIMES THAT I GAVE THIS PRESENTATION  WHEN THIS CHANGED   LIKE   HE DIDN'T HAVE TO FIX IT AND THEN RE   KIND OF OVERWRITE IT   HE COULD HAVE WENT BACK AND SEEN   LIKE   OH  AND THEN YOU'RE RIGHT BACK TO WHERE YOU STARTED   YOU DON'T HAVE TO  THIS IS ALSO SORT OF A GAME-CHANGER IN ITS OWN WAY   BECAUSE IT DOES MEAN THAT YOU CAN CUT ONE ENTIRE STEP OUT OF YOUR WORK FLOW  YOU THEN DEPLOY TO TEST   YOU THEN IMPORT CONFIGURATION  YOU DEPLOY TO LIVE AND THEN IMPORT CONFIGURATION THERE   SO THAT'S ACTUALLY TWO STEPS  WE COULD SETUP A SCRIPT THAT WOULD JUST RUN DRUSH IMPORT  AND THEN IT WOULD JUST DO IT FOR US AUTOMATICALLY   WHICH  SO YOU DEFINITELY WANT TO TALK TO YOUR TEAM  JUST TO MAKE SURE THAT  DEVELOPMENT WORK FLOW WITH CONFIGURATION MANAGEMENT AUTOMATED WITH DRUSH   YOU STILL HAVE DEV   TEST   LIVE   OF COURSE  BUT NOW   AS A SINGLE STEP  YOU BOTH SYNC UP YOUR FILES IN DATABASE AND DEPLOY AND IMPORT YOUR CONFIGURATION  SO   ONCE THE TEST ENVIRONMENT'S STOOD UP   YOU DEPLOY AND IMPORT AT THE SAME TIME  WHICH IS GREAT   BECAUSE THIS IS A REQUIRED STEP   IF YOU WANT TO DO AUTOMATED TESTING   IF YOU WANT FULLY AUTOMATED TESTING TO HAPPEN EVERY TIME THAT YOU DEPLOY  SO   FOR EXAMPLE   IF YOU WANTED TO DO A VISUAL REGRESSION TEST TO COMPARE SCREEN-SHOTS OF LIVE AND TEST AND MAKE SURE THAT THEY'RE WORKING OR THAT THEY'RE DIFFERENT   BECAUSE YOU CHANGED SOMETHING  POSSIBLY OUTDATED IN A COUPLE OF SPACES   BECAUSE IT'S DOCUMENTATION  THERE IS ALSOANDALL RIGHT   AND WITH THAT  SECOND ONE WITH  RANDY FAY   I THINK  THE FIRST ONE WITH AMY JUNE IS MEANT FOR FOLKS WHO DON'T REALLY KNOW ANYTHING ABOUT CONTRIBUTING BACK TO THE COMMUNITY  YOU DON'T HAVE TO KNOW CODE   YOU DON'T HAVE TO  BE TECHNICAL IN ANY WAY WHATSOEVER TO GET SOMETHING OUT OF THAT AND TO BE ABLE TO GIVE BACK  SHOULD BE LOTS OF FUN   LOTS OF GREAT OPPORTUNITIES  AND WITH THAT   I WILL THANK YOU VERY MUCH FOR  DAVID   I HAVE A QUESTION  I THINK IT DOES  CAN EVERYBODY HEAR ME  VERY GOOD  VERY GOOD  \n",
        "transcription_base": " volunteering for organizations kind of like. And then I take everything that I learn being out in the community back to Pantheon so that our developers are actively creating functionality and features and things like that are useful and relevant to our customers. Now, I am going to be using other sort of service provider that you might be using for today. Another piece is configuration. And then we also have content. And this could be made up of blog posts, products. And when you go to think about using the first one as code, the second one is the database, all of those things that got tied to your content. So how do these tie to each other? I mean, the first one's fairly self-explanatory. Your configuration gets exported as part of the database. It's, so with this sort of anatomy, this sort of baseline understanding, a development workflow for any web application, for any web project. Now, we also have our test environment, which is basically a copy of your live environment. And it's a safe space to experiment to, the dev environment is where you're actively developing new functionality on your website. It's where you are. And so all of that work is actively happening in dev. And when that work is done, potentially breaking something by deploying straight to live. No, you deploy it to the test environment. And because the test environment is an exact copy of live, You are able to suss out any sort of surprises. You can, so that there are absolutely no surprises and you deploy your code up to live. Once this sort of lifecycle is completed and everything is stable and live is up to date and ready to go, you can then sync your database and files back down to dev, starting the development sort of lifecycle over again. And this is how it's been for years, for many, many years, more than 10 years. Well, if people are adding content and buying things from the store and leaving comments and things in the live environment, the database and the files always go down. They're always going from live down to somewhere else. Well, historically, the solution to this has been it just feels like you're wasting your time. It's super depressing. Also, it puts you in a position where you're very, very liable to make mistakes. And yes, you absolutely could configuration management light. So what this does with configuration management is that instead of exporting our configuration to the database, we export that configuration so that all those changes we've made into code, into GAML files that are very readable and easy to parse and understand what's going on. And we say, overwrite the configuration that exists in the database right now with what I have in my code, with what I've exported in a different environment. And this moves our configuration using code from dev to test to live so that our workflow is much, much faster. So, and then when it comes time to actually deploy, but then we import the configuration in this new environment. Okay, basically whenever you add some new piece of functionality, you're probably adding a module or two to do whatever that functionality is, you're able to move that along with the code that's changing for adding that functionality. It also means that you can version control your configuration. We can even revert changes if something wasn't supposed to change if you're using configuration management, get it up to live that way. I just have to export my configuration, sync the database and files down overwriting my local environment, and then I re-import the configuration, but with all of the new content, too. Also, you can automate things with Drush. By using Configuration Management, you're able to use Drush commands to import and export your configuration along the way. And we can actually automate that. You can write scripts that will, the first one is that config only works to and from the same site. And this was intentional that can help to, it is also really important along the way to communicate with your team. It is very likely that you're going to overwrite changes that people are making in configuration. and when you move your configuration up to live, you import it into live, they just lost all the changes in configuration that they had made. That sort of feels like configuration, like on par with the name of your website or the slogan or something like that, but you could also have a block that is, but you could also set up taxonomy in advance to define the first one is config direct save. So by default, when you export configuration from one site, It downloads a gzipt tar file to your computer, which isn't the most helpful. I much prefer this module, ConfigDirectSave, will give us a button in the interface to one click, sync up, another one, is Configuration Read Only mode. This is really helpful for that situation where you have customers or you have people who are potentially changing configuration in the live environment where you don't want them to make changes that could potentially be overwritten. There is also, and config ignores a great module for ignoring certain aspects of your configuration that you do not want to go from one environment to the other, and then it won't accidentally end up on the live site. Hello, everyone. I am the editor of Umami Magazine. Let's begin. So first of all, I'm on the Umami Food Magazine website and I need to log in. So I go into the login screen. I'm going to go and take a look at all the content we have on our website and then this looks pretty good. I'm going to click on the add content button to create a new piece of content on here. And I would like to create an article. The article is going to let us write a new blog post for our article section so that it shows up there. And you know, I really love oatmeal. So I'm going to create a new blog post all about oatmeal. So you should definitely eat some hearty oatmeal because it's good for you. All right. And then for the body, it helps that the end one second. All right. I am definitely ready to eat some delicious oatmeal. So it automatically gets promoted to our article section of our website. So if I go over to the article section, I can see Well, I can definitely see the article that I created, but there's supposed to be more articles there. Yeah, they should definitely be showing up there. All right, well, I'm not sure. We'll see you next time. And then please wait while I switch into the R editor contacted us to say that there is some sort of a problem with the articles page. And so I went to the articles page on our live website and yeah, it sure looks like there's just one piece of content there. there. Maybe they deleted the content again. Let's go check that out. Let's go to the content section of the website and here we have a yeah sure enough there is just one article there. Okay well let me log in as my use a specified number of items one item. I wonder how that happened. Okay well let's change this we can fix it pretty quickly. All right and I'm going to click apply and there we go. Okay, this looks great. We're gonna go down to configuration. Yeah, it takes just a minute for it to load up. All right, so we can definitely see that there's a change here now. And we went from showing one to showing six, so that looks good. Now again, I get pretty frustrated sometimes with the droople interface. I have to click this button to export, and you see here it says it's gonna download it. That's terrible. It's actually just gonna save it to my code directory. I don't have to download and upload that directly. I can just do it directly from here, which is exactly what I want. So if I see here, it says one file is ready to commit. So yeah, this looks like what I expect. This is not a Pantheon specific thing that we're talking about. All right, so that is completed. So I'll just take some moment. Yes, we only see the one article, but that's okay. We actually, let me go back. Let me just wait for a moment for this to be completed, and then we can continue. And let's go back to the articles page, and there we go. We see the Eatsom Helority oatmeal that are fine and it are created earlier, brand new content and this new environment, because this is a copy of our live environment. And if I go into my login, oh no, I don't need to go to the install, I need to go to the user login. There's probably a caching thing happening here at the moment. Let me go back and clear the cache. Of course, live demo is right. Now let's go back. Okay, and it shouldn't have. Well, let me go back here. Let me click on my test environment again. And let's go take a look at this. OK, so now let's go to login again. Hey, there we go. OK, so now I'm going to login as my developer account. And now we can actually take a look at this website from my perspective with all the new content and all of the existing configuration that we built in dev. So if I go back to my article section, I should see that I eat some hearty oatmeal article that are, but if you were building out a content type with fields and views and all those different things, so let's actually import configuration and we should be able to get our team to review it. So we'll go over to configuration, go down to configuration synchronization. This is going to look at the code that we have in our configuration that we've already exported and compare it to our database and we want to import those changes into our database so that it actually overrides the things that we had changed in a previous environment. So I'm just going to click the import all button and that should get us all synced up and ready to go. It's just a moment. Okay, so we can see here we have the Eat some Hardy oatmeal article that was just created on live. We have all six articles, all of our configurations. And now everything is working in test. That's wonderful. And while he's doing that, I actually have some test results that ran, just got a message from the editor. We're going to put in our, it's just going to work this time. So now the live website, I could do it directly from the command line with That would also work pretty well. Let me focus on our command line interface. Synchronized configuration looks good. Success. Excellent. Okay, let's go back and check it. So our go back to the articles page. Yay, we fixed it. And I'm back. Okay. Thank you all for allowing me to have a little bit of fun with the presentation today. Like I said, I was bummed I didn't get to do any of the. And that is who broke the page? Who caused that particular. caused that particular issue to come up. Well, I mentioned earlier that since we're using configuration management and that's in version control, we can tell who made that change. Which one is it? There it is. All right. And if I click Enter, I can see that I did it back in February, debugging a problem with the articles page. I've actually given this presentation a few times. So this was one of the last times that I gave this presentation. When this changed, like he didn't have to fix it and then re can override it. He could have went back and seen, oh, and then you're right back to where you started. You don't have to. This is also sort of a game changer in its own way because it does mean that you can cut one entire step out of your workflow. You then deploy to test you then import configuration. You deploy to live and then import configuration there. So that's actually two steps. We could set up a script that would just run Drush import, and then it would just do it for us automatically, which you definitely want to talk to your team, just to make sure that development workflow with configuration management automated with Drush, you still have to have just live, of course. But now, as a single step, you both sync up your files and database and deploy and import your configuration. So once the test environment stood up, you deploy and import at the same time, which is great because this is a required step if you want to do automated testing. If you want fully automated testing to happen every time that you deploy. So for example, if you wanted to do a visual regression test to compare screenshots of live and test and make sure that they're working or that they're different because you've changed something. Possibly outgated in a couple spaces because it's documentation. There is also, and all right, and with that, second one with Randy Fay, I think. The first one with Amy June is meant for folks who don't really know anything about contributing back to the community. You don't have to know code, you don't have to be technical in any way whatsoever to get something out of that and to be able to give back. It should be lots of fun, lots of great opportunities. And with that, I will thank you very much for... David, I have a question. I think it does. Can everybody hear me? Very good. Very good. you",
        "transcription_medium": " volunteering for organizations kind of like, and then I take everything that I learned being out in the community back to Pantheon so that our developers are actively creating functionality and features and things like that that are useful and relevant to our customers. Now I am going to be using other sort of service provider that you might be using. For today, another piece is configuration. And then we also have content. And this can be made up of blog posts, products. And when you go to think about using, the first one is code. The second one is the database. All of those things that get tied to your content. So how do these tie to each other? I mean, the first one's fairly self-explanatory. Your configuration gets exported as part of the database. So with this sort of anatomy, this sort of baseline understanding a development workflow for any web application for any web project. Now we also have our test environment which is basically a copy of your live environment and it's a safe space to experiment to the dev environment is where you're actively developing new functionality on your website it's where you are and so all of that work is actively happening in dev and when that work is done potentially breaking something by deploying straight to live. No, you deploy it to the test environment. And because the test environment is an exact copy of live, you are able to suss out any sort of surprises. You can, so that there are absolutely no surprises and you deploy your code up to live. Once this sort of life cycle is completed and everything is stable and live is up to date and ready to go. You can then sync your database and files back down to dev starting the development sort of life cycle over again. And this is how it's been for years, for many, many years, more than 10 years. Well, if people are adding content and buying things from the store and leaving comments and things in the live environment, the database and the files always go down. They're always going from live down to somewhere else. Well, historically, the solution to this has been it just feels like you're wasting your time. It's super depressing. Also, it puts you in a position where you're very, very liable to make mistakes. And yes, you absolutely could configuration management light. So what this does with configuration management is that instead of exporting our configuration to the database, we export that configuration so that all those changes we've made into code, into YAML files that are very readable and easy to parse and understand what's going on. And we say, overwrite the configuration that exists in the database right now with what I have in my code, with what I've exported in a different environment. And this moves our configuration using code from dev to test to live so that our workflow is much, much faster. So, and then when it comes time to actually deploy, but then we import the configuration in this new environment. Okay, basically whenever you add some new piece of functionality, you're probably adding a module or two to do whatever that functionality is, you're able to move that along with the code that's changing for adding that functionality. It also means that you can version control your configuration. We can even revert changes if something wasn't supposed to change. If you're using configuration management, get it up to live that way. I just have to export my configuration, sync the database and files down overwriting my local environment, and then I reimport the configuration, but with all of the new content too. Also, you can automate things with Drush. By using configuration management, you're able to use Drush commands to import and export your configuration along the way, and we can actually automate that. You can write scripts that will... The first one is that config only works to and from the same site, and this was intentional. That can help to... It is also really important along the way to communicate with your team. It is very likely that you're going to overwrite changes that people are making in configuration. And when you move your configuration up to live, you import it into live, they just lost all the changes in configuration that they had made. That sort of feels like configuration, like on par with the name of your website or the slogan or something like that. But you could also have a block that is, but you could also set up taxonomy in advance to define, the first one is config direct save. So by default, when you export configuration from one site, it downloads a gzip tar file to your computer, which isn't the most helpful. I much prefer the, this module config direct save will give us a button in the interface to one click sync up our, another one is configuration read only mode. This is really helpful for that situation where you have customers or you have people who are potentially changing configuration in the live environment where you don't want them to make changes that could potentially be overwritten. There is also, and config-ignore is a great module for ignoring certain aspects of your configuration that you do not want to go from one environment to the other, and then it won't accidentally end up on the live site. Hello, everyone. I am the editor of Umami Magazine. Let's begin. So first of all, I'm on the Umami Food Magazine website, and I need to log in. So I go into the Login screen. I'm going to go and take a look at all the content we have on our website. And then this looks pretty good. I'm going to click on the Add Content button to create a new piece of content on here. And I would like to create an article. The article is going to let us write a new blog post for our article section so that it shows up there. And I really love oatmeal. So I'm going to create a new blog post all about oatmeal. So you should definitely eat some hearty oatmeal, because it's good for you. All right. And then for the body, it helps that the end. One second. All right. I am definitely ready to eat some delicious oatmeal. So it automatically gets promoted to our article section of our website. So if I go over to the article section, I can see. I can definitely see the article that I created, but there's supposed to be more articles there. Yeah, they should definitely be showing up there. All right, well, I'm not sure. We'll see you next time. And then please wait while I switch into the... Our editor contacted us to say that there is some sort of a problem with the articles page, and so I went to the articles page on our live website, and yeah, it sure looks like there's just one piece of content there. Maybe they deleted the content again. Let's go check that out. Let's go to the content section of the website. Here we have a, yeah sure enough, there is just one article there. Okay, well let me log in as my, use a specified number of items, one item. I wonder how that happened. Okay, well let's change this. We can fix it pretty quickly. All right, I'm going to click apply and there we go. Okay, this looks We're going to go down to configuration. It takes just a minute for it to load up. All right. So we can definitely see that there's a change here now. And we went from showing one to showing six. So that looks good. Now, again, I get pretty frustrated sometimes with the Drupal interface. I have to click this button to export. And you see here it says it's going to download it. That's terrible. It's actually just going to save it to my code directory. I don't have to download and upload that directly. I can just do it directly from here, which is exactly what I want. exactly what I want. So if I see here it says one file is ready to commit. So yeah, this looks like what I expect. This is not a Pantheon specific thing that we're talking about. Alright, so that is completed. So just take some moment. Yes, we only see the one article, but that's okay. We actually, let me go back, let me just wait for a moment for this to be completed and then we can continue. And let's go back to the articles page and there we go. Yes, we see the eat some some healthy oatmeal that our fine editor created earlier. Brand new content in this new environment because this is a copy of our live environment. And if I go into my login, oh no, I don't need to go to the install. I need to go to the user login. There's probably a caching thing happening here at the moment. Let me go back and clear the cache. Of course, live demos, right? Now let's go back. Okay. And it shouldn't have. Well, let me go back here. Let me click on my test environment again. And Let's go take a look at this. OK, so now let's go to Login again. Hey, there we go. OK, so now I'm going to log in as my developer account. And now we can actually take a look at this website from my perspective with all the new content and all of the existing configuration that we built in dev. So if I go back to my article section, I should see that Eat Some Hearty Oakmeal article that are, but if you were building out a content type with fields and views and all those different things, so let's actually import this configuration. and we should be able to get our team to review it. So we'll go over to configuration, go down to configuration synchronization. This is going to look at the code that we have in our configuration that we've already exported and compare it to our database. And we want to import those changes into our database so that it actually overwrites the things that we had changed in the previous environment. So I'm just gonna click the import all button and that should get us all synced up and ready to go. It's just a moment. Okay, so we can see here we have the eat some hearty oatmeal article that was just created on live. We have all six articles, all of our configurations. So now everything is working in test. That's wonderful. And while he's doing that, I actually have some test results that ran. I just got a message from the editor. We're going to put in our, it's just going to work this time. So now the live website, I could do it directly from the command line with Drush, and that would also work pretty well. Let me see, oh, come on. Our command line interface, synchronized configuration, looks good. Success, excellent. Okay, let's go back and check it. So, go back to the articles page. Yay, we fixed it. And I'm back. Okay, thank you all for allowing me to have a little bit of fun with the presentation today. Like I said, I was bummed I didn't get to do any of the, and that is who broke the page? Who caused that particular issue to come up? Well, I mentioned earlier that since we're using configuration management, and that's in version control, we can tell who made that change. Which one is it? There it is. All right. And if I click Enter, I can see that I did it back in February, debugging a problem with the articles page. I've actually given this presentation a few times. So this was one of the last times that I gave this presentation. When this changed, like he didn't have to fix it and then re-overwrite it. He could have went back and seen it. and then you're right back to where you started. You don't have to, this is also sort of a game changer in its own way because it does mean that you can cut one entire step out of your workflow. You then deploy to test, you then import configuration, you deploy to live and then import configuration there. So that's actually two steps. We could set up a script that would just run Drush import and then it would just do it for us automatically, which so you definitely want to talk to your team just to make sure that development workflow with configuration management, automated with Drush, you still have DevDest Live, of course, but now as a single step, you both sync up your files and database and deploy and import your configuration. So once the test environment stood up, you deploy and import at the same time, which is great because this is a required step if you want to do automated testing. If you want fully automated testing to happen, every time that you deploy. So for example, if you wanted to do a visual regression test to compare screenshots of live and test and make sure that they're working or that they're different because you've changed something, possibly outdated in a couple spaces because it's documentation. There is also and all right and with that second one with Randy Fay I think. The first one with Amy June is meant for folks who don't really know anything about contributing back to the community. You You don't have to know code. You don't have to be technical in any way whatsoever to get something out of that and to be able to give back should be lots of fun, lots of great opportunities. And with that, I will thank you very much for David. I have a question. I think it does. Can everybody hear me? Very good. Very good.",
        "transcription_large_v3": " volunteering for organizations kind of like. And then I take everything that I learned being out in the community back to Pantheon so that our developers are actively creating functionality and features and things like that that are useful and relevant to our customers. Now, I am going to be using other sort of service provider that you might be using. For today, another piece is configuration. And then we also have content. And this could be made up of blog posts, products. And when you go to think about using the first one is code. The second one is the database. All of those things that get tied to your content. So how do these tie to each other? I mean, the first one's fairly self-explanatory. Your configuration gets exported as part of the database. So with this sort of anatomy, this sort of baseline understanding, a development workflow for any web application, for any web project. Now, we also have our test environment, which is basically a copy of your live environment, and it's a safe space to experiment. The dev environment is where you're actively developing new functionality on your website. It's where you are. And so all of that work is actively happening in dev, and when that work is done, potentially breaking something by deploying straight to live. No, you deploy it to the test environment. And because the test environment is an exact copy of live, you are able to suss out any sort of surprises. You can, so that there are absolutely no surprises and you deploy your code up to live. Once this sort of life cycle is completed and everything is stable and live is up to date and ready to go, you can then sync your database and files back down to dev, starting the development sort of life cycle over again. And this is how it's been for years, for many, many years, more than 10 years. Well, if people are adding content and buying things from the store and leaving comments and things in the live environment, the database and the files always go down. They're always going from live down to somewhere else. Well, historically, the solution to this has been, it just feels like you're wasting your time. It's super depressing. Also, it puts you in a position where you're very, very liable to make mistakes. And yes, you absolutely could configuration management light. So what this does with configuration management is that instead of exporting our configuration to the database, we export that configuration so that all those changes we've made into code, into YAML files that are very readable and easy to parse and understand what's going on. And we say, overwrite the configuration that exists in the database right now with what I have in my code, with what I've exported in a different environment. And this moves our configuration using code from dev to test to live, so that our workflow is much, much faster. So, and then when it comes time to actually deploy, but then we import the configuration in this new environment. Okay, basically whenever you add some new piece of functionality, you're probably adding a module or two to do whatever that functionality is. You're able to move that along with the code that's changing for adding that functionality. It also means that you can version control your configuration. We can even revert changes if something wasn't supposed to change. If you're using configuration management, get it up to live that way. I just have to export my configuration, sync the database and files down overwriting my local environment, and then I re-import the configuration, but with all of the new content too. Also, you can automate things with Drush. By using configuration management, you're able to use Drush commands to import and export your configuration along the way. And we can actually automate that. You can write scripts that will... The first one is that config only works to and from the same site. And this was intentional. That can help to... It is also really important along the way to communicate with your team. It is very likely that you're going to overwrite changes that people are making in configuration. And when you move your configuration up to live, you import it into live, they just lost all the changes and configuration that they had made. That sort of feels like configuration, like on par with the name of your website or the slogan or something like that. But you could also have a block that is, but you could also set up taxonomy in advance to define. The first one is config direct save. So by default, when you export configuration from one site, it downloads a gzipped tar file to your computer, which isn't the most helpful. I much prefer this module, ConfigDirectSave, will give us a button in the interface to one-click sync up our... Another one is configuration read-only mode. This is really helpful for that situation where you have customers or you have people who are potentially changing configuration in the live environment where you don't want them to make changes that could potentially be overwritten. There is also, and Config Ignore is a great module for ignoring certain aspects of your configuration that you do not want to go from one environment to the other, and then it won't accidentally end up on the live site. Hello everyone. I am the editor of Umami magazine. Let's begin. So first of all, I'm on the Umami food magazine website and I need to log in. So I go into the login screen. I'm going to go and take a look at all the content we have on our website. And then this looks pretty good. I'm going to click on the add content button to create a new piece of content on here. And I would like to create an article. The article is going to let us write a new blog post for our article section so that it shows up there. And you know, I really love oatmeal. So I'm going to create a new blog post all about oatmeal. So you should definitely eat some hearty oatmeal because it's good for you. All right. And then for the body, it helps that the... And one second. All right. I am definitely ready to eat some delicious oatmeal. So it automatically gets promoted to our articles section of our website. So if I go over to the articles section, I can see, well, I can definitely see the article that I created, but there's supposed to be more articles there. Yeah, they should definitely be shooting up there. All right. Well, I'm not sure. We'll see you next time. And then please wait while I switch into the, our editor contacted us to say that there is some sort of a problem with the articles page and so I went to the articles page on our live website and yeah it sure looks like there's just one piece of content there maybe they deleted the content again let's go check that out let's go to the content section of the website and here we have a yeah sure enough there is just one article there okay well let me log in as my use a specified number of items one item I wonder how that happened okay well let's change this we can fix it pretty quickly all right I'm gonna click apply and there we go okay this looks great we're gonna go down to configuration and it takes just a minute for it to load up all right so we can definitely see that there's a change here now and we went from showing one to showing six so that looks good now again I get pretty frustrated sometimes with the Drupal interface I have to click this button to export and you see here it says it's gonna download it that's terrible it's actually just gonna save it to my code directory. I don't have to download and upload that directly. I can just do it directly from here, which is exactly what I want. So if I see here it says one file is ready to commit. So yeah, this looks like what I expect. This is not a Pantheon specific thing that we're talking about. All right, so that is completed. So just take some moment. Yes, we only see the one article, but that's okay. We actually, let me go back. Let me just wait for a moment for this to be completed and then we can continue and let's go back to the articles page and there we go yes we see the eat some hellery oatmeal that our fine editor created earlier brand new content in this new environment because this is a copy of our live environment and if I go into my login oh I don't need to go to the install I need to go to the user login there's probably a caching thing happening here at the moment let me go back and clear the cache of course live demos right now let's go back okay and it shouldn't have well let me go back here let me click on my test environment again and let's go take a look at this okay so now let's go to login again hey there we go okay so now I'm gonna log in as my developer account and now we can actually take a look at this website from my perspective with all the new content and all of the existing configuration that we built in dev so if I go back to my article section I should see that eat some hearty oatmeal article that are but if you were building out a content type with fields and views and all those different things so let's actually import this configuration and we should be able to get our team to review it so we'll go over to configuration go down to configuration synchronization this is going to look at the code that we have in our configuration we've already exported and compare it to our database and we want to import those changes into our database so that it actually overwrites the things that we had changed in a previous environment. So I'm just going to click the import all button and that should get us all synced up and ready to go. It's just a moment. Okay, so we can see here we have the eat some hearty oatmeal article that was just created on live. We have all six articles, all of our configurations, so now everything is working in test. That's wonderful. And while he's doing that, I actually have some test results that ran just got a message from the editor we're going to put in our it's just going to work this time so now the live website I could do it directly from the command line with rush and that would also work pretty well let me poke our command line interface synchronized configuration looks good success excellent okay let's go back and check it so go back to the articles page Yay, we fixed it and I'm back. Okay, thank you all for allowing me to have a little bit of fun with the presentation today. Like I said, I was bummed I didn't get to do any of the and that is who broke the page who caused that particular issue to come up. up well I mentioned earlier that since we're using configuration management and that's in version control we can tell who made that change which one is it there it is alright and if I click enter I can see that I did it back in February debugging a problem with the articles page I've actually given this presentation a few times so this was one of the last times that I gave this presentation when this changed like he didn't have to fix it and then re over write it. He could have went back and seen it. Oh, and then you're right back to where you started. You don't have to. This is also sort of a game changer in its own way, because it does mean that you can cut one entire step out of your workflow. You then deploy to test, you then import configuration, you deploy to live, and then import configuration there. So that's actually two steps. We could set up a script that would just run Drush import, and then it would just do it for us automatically, So you definitely want to talk to your team just to make sure that development workflow with configuration management automated with Drush. You still have DevTest Live, of course. But now as a single step, you both sync up your files and database and deploy and import your configuration. So once the test environment stood up, you deploy and import at the same time, which is great because this is a required step if you want to do automated testing. if you want fully automated testing to happen every time that you deploy. So for example, if you wanted to do a visual regression test to compare screenshots of live and test and make sure that they're working or that they're different because you've changed something, possibly outdated in a couple spaces because it's documentation. There is also and all right and with that, second one with Randy Fay, I think. The first one with Amy June is meant for folks who don't really know anything about contributing back to the community. You don't have to know code. You don't have to be technical in any way whatsoever to get something out of that and to be able to give back. It should be lots of fun, lots of great opportunities. And with that, I will thank you very much for... David, I have a question. I think it does. Can everybody hear me? Very good. Very good."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000525.mp3": {
        "gt": "GREETINGS FELLOW NERDS  CARBON IS THE BACKBONE OF ORGANIC CHEMISTRY AND FINDING WAYS TO CONNECT CARBON TO CARBON IS A CRITICALLY IMPORTANT OPERATION THAT ORGANIC CHEMISTS ARE ALWAYS TRYING TO FIND NEW WAYS AND TOOLS FOR  ONE OF THE MOST FAMOUS AND OLDEST REACTIONS TO DO THIS THAT IS STILL USED EXTENSIVELY TODAY IS THE GRIGNARD REACTION  BUT THIS ISN'T THE ONLY APPLICATION  FOR THIS VIDEO THOUGH   I'M JUST GOING TO FOCUS ON DOING VERY SIMPLE REACTIONS OF MAKING TERTIARY ALCOHOLS  I WANT TERTIARY ALCOHOLS TO PERFORM SOME AMATEUR RESEARCH IN MAKING ALKALI METALS LIKE POTASSIUM  I'M GOING TO START BY MAKING SOME SMALL TERTIARY ALCOHOLS LIKE TWO METHYL TWO OCTANOL AND T-AMYL ALCOHOL AND THEN BY CHANGING THE REAGENTS I'LL TRY AND MAKE THREE ETHYL THREE PENTANOL  FINALLY I'LL ATTEMPT SEVEN HEXYL SEVEN TRIDECANOL  NOW OF CRITICAL IMPORTANCE IS TO HAVE HIGH PURITY SOLVENT  GRIGNARD REACTIONS ARE VERY SENSITIVE TO WATER AND AIR AS WELL AS REACTIVE IMPURITIES LIKE ALCOHOLS   ACIDS   AND SO ON  SO THE SOLVENT MUST BE RIGOROUSLY PURIFIED TO ENSURE RELIABILITY AND YIELD  BUT BRIEFLY THE DIETHYL ETHER WAS REACTED WITH POTASSIUM HYDROXIDE AND SODIUM METAL AND THEN DISTILLED TO REMOVE THE IMPURITIES  THIS IS THE FIRST STEP TO DOING GRIGNARD REACTIONS  NOW THE NEXT STEP IS TO MAKE THE GRIGNARD REAGENT  HIGH QUALITY SOLVENT IS VERY IMPORTANT FOR THE RELIABILITY OF THIS REACTION  NOW WE NEED TO ACTIVATE OUR MAGNESIUM  BASICALLY ETCHING OFF THE SURFACE SO IT BECOMES REACTIVE  THERE ARE A NUMBER OF WAYS TO DO THIS SO I'M GOING TO TRY A FEW UNTIL ONE WORKS  LOOKS LIKE NOTHING IS HAPPENING YET  I'M GOING TO START STIRRING IT NOW FOR ABOUT TEN MINUTES AND HOPEFULLY THE REACTION WILL START  OKAY   STILL NO OBVIOUS SIGNS  THE REASON WHY I'M WAITING SO LONG BETWEEN EACH OF MY STEPS IS BECAUSE THERE IS USUALLY AN INDUCTION PERIOD BEFORE THE REACTION STARTS  ETHER BOILS INCREDIBLY EASILY AND YOU CAN LOSE YOUR REACTION THAT WAY  ONE OF THE MAIN REASONS WHY THIS VIDEO TOOK SO LONG WAS BECAUSE OF BLUNDERS LIKE THAT  I SIMPLY WENT TOO FAST AND ADDED TOO MUCH BROMOHEXANE WITHOUT GIVING IT TIME TO START UP  ANYWAY   LOOKS LIKE IT'S WORKING  WE'RE SEEING CLOUDING OF THE REACTION MIXTURE AND IT'S ALSO BUBBLING VERY SLIGHTLY  USUALLY WHEN IT'S READY IT'LL START TO CLEAR UP AGAIN  AND IT LOOKS LIKE IT'S HAPPENING ABOUT NOW  WE KNOW HAVE ACTIVATED MAGNESIUM AS WELL AS A SMALL AMOUNT OF GRIGNARD REAGENT PRODUCT  AT THIS POINT WE CAN START SLOWLY ADDING THE REST OF OUR BROMOHEXANE MIXTURE  SINCE THE MAGNESIUM IS ACTIVATED  MAKE SURE YOUR CONDENSER HAS RIGOROUS COOLING TO KEEP YOUR ETHER FROM BOILING OFF  COOLING WITH ICE WATER IS RECOMMENDED  IT'S VERY EASY TO GO INTO THERMAL RUNAWAY ON A PREPARATORY SCALE LIKE THIS IF YOU'RE IMPATIENT  SO WHAT'S HAPPENING IS THE MAGNESIUM IS REACTING WITH THE BROMOHEXANE TO FORM HEXYLMAGNESIUM BROMIDE  THIS IS OUR GRIGNARD REAGENT  IT IS TRULY AN ORGANOMETALLIC COMPOUND   WHERE WE HAVE CARBON BONDED DIRECTLY TO A METAL  NOW STUDENTS OCCASIONALLY MAKE THE MISTAKE OF LABELLING THIS AS THE GRIGNARD REACTION  THIS IS NOT THE GRIGNARD REACTION  THE ACTUAL NAMED GRIGNARD REACTION IS THE NEXT STEP WHERE THIS STUFF IS REACTED WITH A CARBONYL COMPOUND  THE CONFUSION ARISES BECAUSE IN MOST GRIGNARD REACTION PROCEDURES MAKING THE GRIGNARD REAGENT IS A PART OF IT  SO THE BELIEF THAT ITS NECESSARY SOMETIMES ARISES  YOU CAN ACTUALLY BUY GRIGNARD REAGENTS DIRECTLY FROM CHEMICAL SUPPLIERS SKIPPING THE TIME CONSUMING AND NOTORIOUSLY UNRELIABLE PREPARATION STEP  THE DRAWBACK OF BUYING GRIGNARD REAGENTS THOUGH IS THAT THEY ARE AIR SENSITIVE  SO YOU NEED AIR-FREE TECHNIQUES AND OCCASIONALLY A GLOVEBOX TO USE THEM EFFECTIVELY BEFORE THEY GO BAD  FOR MOST CHEMISTS THOUGH   AND ALMOST ALL AMATEURS  ANYWAY  YOU'LL HAVE TO DECIDE FOR YOURSELF WHICH REAGENT YOU USE MORE OF  ANYWAY   WE NOW ADD OUR DESIRED CARBONYL COMPOUND  FOR THIS PARTICULAR RUN MY TARGET COMPOUND IS TWO METHYL TWO OCTANOL  BEING CAREFUL NOT TO LET IT HEAT UP TOO MUCH  THE ACETONE REACTS WITH THE HEXYLMAGNESIUM BROMIDE TO GIVE US TWO METHYL TWO OCTANOXY MAGNESIUM BROMIDE  THIS IS THE ACTUAL GRIGNARD REACTION  ESSENTIALLY WE'RE ADDING A HEXYL GROUP TO THE CARBONYL CARBON OF THE ACETONE  FORMING A CARBON CARBON BOND BETWEEN THEM  IT'S AN EXTREMELY VERSATILE REACTION  ANYWAY   AS WE PROGRESS THE PRODUCTS WILL START TO PRECIPITATE OUT  KEEP VIGOROUSLY STIRRING SO THEY REMAIN SUSPENDED AND DON'T SOLIDIFY  ONCE ALL THE ACETONE IS ADDED  CONTINUE LETTING IT REACT FOR TEN MINUTES  NOW WE PLACE IT IN A ICE BATH AND LET IT COOL FOR HALF AN HOUR  WITH VIGOROUS STIRRING   WE SLOWLY ADD OUR REACTION MIXTURE FROM EARLIER  OVERHEATING IS REALLY EASY IF YOU GO TOO FAST  EVENTUALLY ALL THE REACTION MIXTURE IS ADDED AND WE NOW HAVE A NEW MIXTURE OF GELATINOUS MAGNESIUM HYDROXY BROMIDE  ETHER AND OUR TARGET ALCOHOL  UNFORTUNATELY THEY'RE NOT GOING TO SEPARATE CLEANLY SO WE'LL NEED TO DISSOLVE THE PRECIPITATE FIRST  YOU CAN USE ANY CONCENTRATION OF HYDROCHLORIC ACID  IT WAS SIMILARLY UNWORKABLE TO DIRECTLY ADD ACID TO THE RAW REACTION MIXTURE  SO DOING IT IN TWO STEPS   MIXING IT WITH WATER FIRST AND THEN ADDING ACID WAS MORE CONTROLLABLE  USING A SEPARATORY FUNNEL WE SEPERATE THE LAYERS AND COLLECT JUST THE UPPER ETHER LAYER  NOW THE EASIEST WAY TO REMOVE THE DIETHYL ETHER IS TO SETUP A SIMPLE DISTILLATION APPARATUS AND DISTILL IT OFF  YOU CAN SAVE YOUR ETHER FOR REUSE ALTHOUGH IT SHOULD BE STORED OVER SODIUM TO DESTROY ANY CONTAMINANTS  ONCE THE TEMPERATURE RISES PAST FORTY DEGREES CELSIUS MOST OF THE ETHER HAS BEEN REMOVED AND NOW IT'S A MATTER OF SEPARATING OUT OUR TARGET ALCOHOL  LET THE MIXTURE COOL AND RECONFIGURE AROUND IT A FRACTIONAL DISTILLATION SETUP  THIS IS MOSTLY LEFTOVER ETHER   SOME ACETONE   WATER AND A BIT OF OUR TARGET ALCOHOL  ONCE IT HITS NINETY CELSIUS   STOP HEATING AND LET IT COOL  NOW ON TOP OF THE FRACTIONAL DISTILLATION COLUMN WE INSTALL A DEAN STARK APPARATUS  TURN ON THE HEATING AND START REMOVING THE WATER  THE REASON WHY I'M DOING THIS IS BECAUSE THERE IS A LOT OF WATER REMAINING IN THE MIXTURE  SURE   WE REMOVED MOST OF IT BY SEPARATION BUT ETHER DISSOLVES A SMALL AMOUNT OF WATER IN ITSELF  NOW WATER FORMS AN AZEOTROPE WITH A LOT OF ORGANIC SUBSTANCES INCLUDING OUR TARGET ALCOHOL SO WE CAN TAKE ADVANTAGE OF THAT TO REMOVE THE WATER USING AZEOTROPIC DISTILLATION WITH OUR DEAN STARK APPARATUS FOR FURTHER INFORMATION ABOUT USING THE DEAN STARK APPARATUS YOU CAN CHECK THE VIDEO DESCRIPTION  THEN ADD ALL THE ORGANICS BACK IN AND REASSEMBLE THE CONDENSER ONTO THE FRACTIONAL DISTILLATION COLUMN  ABOVE THIS TEMPERATURE WE ARE COLLECTING OUR TARGET TWO METHYL TWO OCTANOL  AND THAT IS OUR TARGET TWO METHYL TWO OCTANOL  NOW I WANT A VARIETY OF TERTIARY ALCOHOLS FOR MY UPCOMING EXPERIMENTS IN MAKING ALKALI METALS SO NOW I'M GOING TO TRY AND MAKE TWO METHYL TWO BUTANOL  ALSO KNOWN AS TERTIARY AMYL ALCOHOL OR T-AMYL ALCOHOL  LOOKING BACK I THINK THE CLAISEN ADAPTER IS MORE CONVENIENT SINCE IT WORKS WITH A SHORT FUME HOOD  WE START UP OUR REACTION BY ADDING A COUPLE OF GRAMS OF BROMOETHANE AND LETTING IT SIT FOR TEN MINUTES BEFORE WE STIR IT UP  THIS TIME IT REACTS RIGHT AWAY  THE BOILING SHOWS AN EXOTHERMIC REACTION OCCURRED SO THE MAGNESIUM IS ACTIVATED  AND WE CAN THEN DRIP IN OUR BROMOETHANE AND ETHER SOLUTION  THIS TIME WE MAKE ETHYLMAGNESIUM BROMIDE WHICH IS MUCH SHORTER THAN HEXYLMAGNESIUM BROMIDE  IT IS HERE WHERE OUR ETHYLMAGNESIUM BROMIDE REACTS TO PRODUCE OUR TARGET T-AMYLOXY MAGNESIUM BROMIDE  WHEN THE REACTION ENDS IT'LL COOL AND SOME OF THE COMPOUNDS WILL PRECIPITATE  ONCE AGAIN WE'RE HYDROLYZING OUR ALKOXIDE TO MAKE THE ALCOHOL AND PRECIPITATE MAGNESIUM HYDROXY BROMIDE  NOW WE JUST USE A SEPARATORY FUNNEL AND SEPARATE OUT THE UPPER ETHER LAYER  WE THEN PERFORM A SIMPLE DISTILLATION AND REMOVE ALL THE LOWER BOILING COMPONENTS UP TO ABOUT EIGHTY DEGREES CELSIUS  DISCARD EVERYTHING BELOW NINETY FIVE CELSIUS AND THEN START COLLECTING  AND THERE IS OUR T-AMYL ALCOHOL PRODUCT  A LOW PURITY FORERUN AND A HIGHER PURITY END RUN  BUT THESE WILL BE SUITABLE FOR MY EXPERIMENTS  NOW SO FAR WE'VE BEEN ADDING GRIGNARD REAGENTS TO KETONES   SPECIFICALLY ACETONE  ACETONE IS ESSENTIALLY TWO METHYL GROUPS ATTACHED TO A CARBONYL GROUP SO THIS MAKES ANY ALCOHOL WE PRODUCE FROM IT ALSO HAVE TWO METHYL GROUPS  I WANT A MUCH LARGER ALCOHOL FOR MY FUTURE EXPERIMENTS  SO INSTEAD OF A KETONE I'M GOING TO USE AN ESTER  WHAT HAPPENS IN THIS CASE IS THAT ONE EQUIVALENT OF THE GRIGNARD REAGENT FIRST REACTS WITH THE ESTER AND CAUSES THE ESTER ALCOHOL TO LEAVE AND PRODUCES A KETONE  THEN ANOTHER EQUIVALENT OF GRIGNARD REAGENT CAN BE ADDED TO PRODUCE A TERTIARY ALCOHOL BUILT UP FROM TWO GRIGNARD REAGENTS AND THE CARBOXYLIC ACID THAT WAS PART OF THE ESTER  SO LET'S TRY THAT  SINCE WE'VE ALREADY DONE TWO GRIGNARD REACTIONS I'M GOING TO GLOSS THROUGH THE DETAILS  THIS QUICKLY REACTS WITH ANOTHER EQUIVALENT OF ETHYLMAGNESIUM BROMIDE TO MAKE THREE ETHYL THREE PENTOXY MAGNESIUM BROMIDE  YOU MIGHT BE WONDERING IF YOU COULD ISOLATE THE THREE PENTANONE ITSELF  YOU'D GET A MIXTURE OF PRODUCTS  THIS DOESN'T MEAN YOU CAN'T SELECTIVELY MAKE KETONES WITH GRIGNARD REACTIONS  YOU JUST NEED TO USE DIFFERENT SUBSTRATES LIKE NITRILES  ANYWAY   AFTER THE REACTION IS FINISHED  ONCE IT'S ALL HYDROLYZED   WE TITRATE IN HYDROCHLORIC ACID  I'VE BEEN USING HYDROCHLORIC ACID BECAUSE ITS CHEAP   YOU CAN ALSO USE SULFURIC ACID   ACETIC ACID   OR EVEN SODIUM BISULFATE  HYDROCHLORIC ACID IS ACTUALLY NOT THE BEST ACID TO USE BECAUSE THERE IS SOME DANGER OF CHLORINATING THE TERTIARY ALCOHOL BY SUBSTITUTION AT HIGH CONCENTRATIONS  BUT USING AN ACID LIKE SULFURIC ACID WOULD REDUCE THE RISK CONSIDERABLY  ANYWAY   WE NOW SEPERATE THE TWO LAYERS USING A SEPARATORY FUNNEL AND RECOVER THE ETHER LAYER ON TOP  ONCE AGAIN WE SETUP FOR SIMPLE DISTILLATION  AS YOU CAN SEE A DEAN STARK APPARATUS IS VERY USEFUL IN ORGANIC CHEMISTRY  REMOVING WATER IS SUCH A COMMON PRACTICE THAT HAVING SPECIAL EQUIPMENT FOR IT SAVES A CONSIDERABLE AMOUNT OF WORK  WASTING SIEVES ISN'T WORTH IT WHEN A DEAN STARK APPARATUS REMOVES THE BULK WATER I DESIRE FOR JUST THE COST OF ELECTRICITY AND TIME TO RUN IT  ANYWAY   ONCE THE DRYING IS DONE  WE SETUP A FRACTIONAL DISTILLATION COLUMN AND START RECOVERING OUR TERTIARY ALCOHOL  AND THERE IT IS   THREE ETHYL THREE PENTANOL  NOW I WANT AN EVEN BIGGER ALCOHOL THAN THIS  SO THE NEXT LOGICAL STEP WOULD BE TO USE OUR BROMOHEXANE AND ADD HEXYL CHAINS  BUT THAT STILL LEAVES A TINY LITTLE ETHYL CHAIN  WE CAN INSTEAD USE AN ORGANIC CARBONATE  ORGANIC CARBONATES REACT WITH GRIGNARDS TO FIRST PRODUCE ESTERS  THEN THEY REACT AGAIN TO PRODUCE KETONES   AND FINALLY THEY PRODUCE ALCOHOLS  THEY'RE ALWAYS LOST  ONLY THE GRIGNARD REAGENT MATTERS  SO WE CAN USE ANY ORGANIC CARBONATE WE WANT  SO I'M GOING TO DO THAT  AS DESCRIBED BEFORE WE'RE ESSENTIALLY MAKING SEVEN HEXYL SEVEN TRIDECANOL  A VERY LARGE TERTIARY ALCOHOL  INTERESTINGLY   I GOT A PRECIPITATE MUCH SOONER  WE USE A SEPARATORY FUNNEL TO RECOVER THE UPPER ETHER LAYER THAT CONTAINS OUR TARGET ALCOHOL  IT MIGHT BE HELPFUL TO WASH THE ETHER AGAIN A FEW TIMES WITH WATER TO REMOVE THE PROPYLENE GLYCOL SINCE IT'S WATER SOLUBLE  THE BOILING POINT OF SEVEN HEXYL SEVEN TRIDECANOL IS FAR TOO HIGH AT ABOVE THREE HUNDRED CELSIUS   SO IT WOULD FORM A NEGLIGIBLE AZEOTROPE WITH WATER  MY HOTPLATE IS NOT HOT ENOUGH TO DISTILL SEVEN HEXYL SEVEN TRIDECANOL SO I WASN'T WORRIED ABOUT LOSING IT  ONCE IT STOPPED DISTILLING I LET IT COOL  AND HERE IS OUR RESIDUE CONTAINING OUR TARGET ALCOHOL  IT'S FULL OF IMPURITIES AND I WANT TO PURIFY IT  BUT HAVING A BOILING POINT BEYOND THE LIMIT OF MY HOTPLATE DISTILLING IT DIRECTLY IS NOT AN OPTION  FORTUNATELY WE CAN USE STEAM DISTILLATION  YOU CAN CHECK IN THE VIDEO DESCRIPTION FOR MORE DETAILS ON IT  BASICALLY RATHER THAN RETURN THE LIGHTER COMPONENTS FOR REBOILING  IT RETURNS THE HEAVIER COMPONENTS  IN THIS CASE WATER  THE TARGET ALCOHOL IS LIGHTER THAN WATER SO IT FLOATS ON TOP AND STAYS IN THE TRAP  THE BEAUTY OF THIS APPROACH IS THAT EVEN THOUGH OUR TARGET COMPOUND HAS AN EXCESSIVELY HIGH BOILING POINT  AS LONG AS IT FORMS AN AZEOTROPE WITH WATER  EVEN A NEGLIGIBLE ONE OF JUST A FEW PERCENT  IT CAN BE DISTILLED OVER AND PURIFIED  THIS TECHNIQUE IS USED EXTENSIVELY FOR RECOVERING ESSENTIAL OILS THAT WOULD OTHERWISE BURN IF HEATED TOO HIGH  ONLY TINY AMOUNTS OF OUR TARGET ALCOHOL COME OVER WITH EVERY DROP  EVENTUALLY THOUGH I WAS ABLE TO RECOVER JUST THE ALCOHOL  AFTER WASTING A COUPLE OF MONTHS ON THIS I DECIDED NOT TO REDO IT  ANYWAY   WE NOW HAVE A NICE COLLECTION OF VARIOUS TERTIARY ALCOHOLS  HERE ARE THE RESPECTIVE WEIGHTS AND YIELDS THAT I OBTAINED  THEY'RE ALL PRETTY BAD BECAUSE I'M WORKING UNDER AMATUER CONDITIONS  BUT IN GENERAL   GRIGNARD REACTIONS ARE PRETTY HIGH YIELDING IF YOU WORK WITH PURE LAB GRADE CHEMICALS AND LARGE SCALES  I WANT TO TRY AND MAKE VARIOUS ALKALI METALS LIKE POTASSIUM AND MAYBE EVEN SODIUM  NOW I KNOW I ALREADY DISCOVERED HOW TO MAKE SODIUM BY AMATEUR MEANS BUT A METHOD TO MAKE IT WITHOUT SETTING THINGS ON FIRE WOULD BE EVEN BETTER  THANKS FOR WATCHING  SPECIAL THANK YOU TO ALL OF MY SUPPORTERS ON PATREON FOR MAKING THESE SCIENCE VIDEOS POSSIBLE WITH THEIR DONATIONS AND THEIR DIRECTION  THEN CHECK OUT MY PATREON PAGE HERE OR IN THE VIDEO DESCRIPTION  I REALLY APPRECIATE ANY AND ALL SUPPORT  \n",
        "transcription_base": " Greetings fellow nerds. Carbon is the backbone of organic chemistry and finding ways to connect carbon to carbon is a critically important operation that organic chemists are always trying to find new ways and tools for. One of the most famous and oldest reactions to do this that is still used extensively today is the Grinyard reaction, but this isn't the only application. For this video though, I'm just going to focus on doing very simple reactions of making tertiary alcohols. I want tertiary alcohols to perform some amateur research in making alkali metals like potassium. I'm going to start by making some small tertiary alcohols like two methyl, two octanol and T-amyl alcohol. And then by changing the reagents, I'll try and make three Ethyl-3 pentanol. Finally, I'll attempt a 7-hexyl-7 tridecanol. Now, if critical importance is to have high purity solvent, green yard reactions are very sensitive to water and air as well as reactive impurities like alcohols, acids and so on. So the solvent must be rigorously purified to ensure liability annealed. But briefly the DFOE thorough was reacted with potassium hydroxide and sodium metal and then to stilter-moved impurities. This is the first step to doing Grignard reactions. Now the next step is to make the Grignard reagents. High quality solvent is very important for the reliability of this reaction. Now we need to activate our magnesium. Basically etching off the surface so it becomes reactive. There are a number of ways to do this so I'm going to try a few until one works. Looks like nothing is happening yet. I'm going to start stirring it now for about 10 minutes and hopefully the reaction will start. Okay, still no obvious signs. The reason why I'm waiting so long between each of my steps is because there is usually an induction period before the reaction starts. Ether boil is incredibly easily and you can lose the reaction that way. One of the main reasons why this video took so long was because of blunders like that. I simply went too fast and added too much raw hexane without giving a time to start up. Anyway, looks like it's working. We're seeing clouding of the reaction mixture and it's also bubbling very slightly. Usually when it's ready, it'll start to clump up again. And it looks like it's happening about now. We now have activated magnesium as well as a small amount of green yard reagent product. At this point we can start slowly adding the rest of our borohaxane mixture. Since the magnesium is activated, make sure your condenser has rigorous cooling to keep your ether from boiling off. Cooling with ice water is recommended. It's very easy to go into thermal runaway on a preparatory scale like this if you're impatient. So what's happening is the magnesium is reacting with the borohaxane to form hexal magnesium bromide. This is our green yard reagent. It is truly an organometallic compound where we have a carbon bonded directly to a metal. Now, students occasionally make the mistake of labeling this as the Greenyard reaction. This is not the Greenyard reaction. The actual named Greenyard reaction is the next step where this stuff is reacted with a carbonyl compound. The confusion arises because in most Greenyard reaction procedures, making the Greenyard reagent a part of it. So the belief that it's necessary sometimes arises. You can actually buy Greenyard Radiance directly from Chemical Supplier, skipping the time consuming and notoriously unreliable preparation step. The drawback of buying Greenyard Radiations though is that they are irresensitive, so you need air-free techniques and occasionally a glove box to use them effectively before they go bad. For most chemists though, and almost all amateurs, anyway, you have to decide for yourself which reagents you use more of. Anyway, we now add our desired carbonyl compound. For this particular run, my target compound is two methyl, two octanol. Being careful not to add heat up too much. The acetone reacts with the hexal magnesium bromide to give us two methyl to octane oxy magnesium bromide. This is the actual green yard reaction. Essentially, we're adding a hexal group to the carbonyl carbon of the acetone forming a carbon-carbon bond between them. It's an extremely versatile reaction. Anyway, as we progress, the products will start to precipitate out. Keep vigorously stirring so they remain suspended and don't solidify. Once all the acetone is added, continue letting it react for 10 minutes. Now we place it in an ice bath and let it cool for half an hour. With vigorous stirring, we slowly add our reaction mixture from earlier. Overheating is really easy if you go too fast. Eventually, all the reaction mixture is added and we now have a new mixture of gelatinous magnesium hydroxy bromide, ether, and our target alcohol. Unfortunately, they're not going to separate cleanly, so we'll need to dissolve the precipitate first. You can use any concentration hydrochloric acid. It was similarly unworkable to directly add acid to the raw reaction mixture. So doing it in two steps, mixing it with water first, and then adding acid was more controllable. Using a separate-tory funnel, we separate the layers and collect just the upper ether layer. Now, the easiest way to remove the death ether is to set up a simple distillation apparatus and distill it off. You can save your ether for reuse, although it should be stored over sodium to destroy any contaminants. Once the temperature rises, past 3 degrees Celsius, most of the ether has been removed and now it's a matter of separating out our target alcohol. What the mixture is cool and reconfigure around it a fractional distillation setup. This is mostly left over ether, some acetone, water, and a bit of our target alcohol. Once it hits 90 Celsius, stop heating and let it cool. Now on top of the fractional distillation column, we install a Dean Stark apparatus. Turn on the heating and start removing the water. The reason why I'm doing this is because there is a lot of water remaining in the mixture. Sure, we removed most of it by separation, but ether dissolves a small amount of water in itself. Now, water forms an easier trope with a lot of organic substances, including our target alcohol, so we can take advantage of that to remove the water using azeotropic distillation with our de-starca apparatus. Preferred through information about using the de-starca apparatus, you can check the video's description. Then add all the organics back in and reassemble the condenser onto the fractural distillation column. Above this temperature, we are collecting our target to methyl-2-octanol, and that is our target to methyl-2-octanol. Now I want a variety of tertiary alcohols from my upcon experiments in making alkali metals, so now I'm going to try and make two methyl tubutinal, also known as tertiary amyl alcohol or T-amyl alcohol. Looking back, I think the Clay's an adapter is more convenient since it works with a short fume hood. We start up our reaction by adding a couple of grams of broathane and when it gets set for 10 minutes before we start up. This time it reacts right away. The boiling shows an exothermic reaction occurred so the magnesium is activated, and we can then drip in our bromoethane and ether solution. This time we make ethomegnesium bromide, which is much shorter than hexomegnesium bromide. It is here where our ethomegnesium bromide reacts to produce our target, T-amol oxide magnesium bromide. When the reaction ends, it'll cool and some of the compounds will precipitate. Once again, we're hydrolyzing our oxide to make the alcohol and precipitate magnesium hydroxy bromide. Now we just use this upper tary funnel and separate out the upper ether layer. We then perform a simple distillation and remove all the lower boiling components up to about 8 degrees Celsius. Discard everything below 95 cells, see us and then start collecting. And there is our TAM alcohol product, a low purity 4 run and a higher purity end run. But these will be suitable for my experiments. Now so far we've been adding Grinyard reagents to ketones, specifically acetone. Acetone is essentially two methyl groups attached to a carbonyl group, so this makes any alcohol we produce from it also have two methyl groups. I want a much larger alcohol for my future experiments. So instead of a ketone, I'm going to use an ester. What happens in this case is that one equivalent of the Grinyard reagent first reacts with the ester and causes the ester alcohol to leave and produces a ketone. Then another equivalent of Grinyard reagent can be added to produce a tertiary alcohol built up from two green yard reagents, and the carbousal gas that was part of the ester. So let's try that. Since we've already done two green yard reagents, I'm going to gloss through the details. This quickly reacts with another equivalent of F on magnesium bromide to make three Ethyl-3 pentoxy magnesium bromide. You might be wondering if you could isolate the three pentanone itself. You get a mixture of products. This doesn't mean you can't selectively make ketones with green yard reactions, You just need to use different substrates like nitrials. Anyway, after the reaction is finished, once it's all hydrolyzed, we tie trade in hydrochloric acid. I've been using hydrochloric acid because it's cheap. You can also use sulfuric acid, acetic acid, or even sodium bisulfate. Hydrochloric acid is actually not the best acid to use because there is some danger of chlorinating the tertiary alcohol by substitution at high concentration. But using an acid like sulfuric acid would reduce the risk considerably. Anyway, we now separate the two layers using a separatory funnel and recover the ethyl later on top. Once again, we set for a simple distillation. As you can see, a Dean Stark apparatus is very useful in organic chemistry. Removing water is such a common practice that having special equipment for it saves a considerable amount of work. Wasting saves isn't worth it when a Dean Stark apparatus removes the bulk water I desire for just the cost of electricity and time to run it. Anyway, once the drawing is done, we set up a fractional distillation column and start recovering Yachter's Shary alcohol. And there it is, 3 Ethyl 3 Pentanol. Now I want an even bigger alcohol than this. So the next logical step would be to use our Bromohexane and Ed Hexel chains, but that still leaves a tiny little Ethyl chain. We can instead use an organic carbonate. Organic carbonates react with green yards to first-pruce esters, then they react again to produce ketones and finally they produce alcohols, they're always lost. Only the Greenyard Ration matters, so we can use any organic carbonate we want, so I'm gonna do that. As described before, we're essentially making 7 hexal 7 trideconal, a very large tertiary alcohol. Interestingly, I got to precipitate much sooner. We use a separateary funnel to recover the upper ethereal air that contains our target alcohol. Be helpful to wash the ether again a few times with water to remove the propylene glycol since it's water soluble. The boiling point of 7 hexal 7 tridecadol is far too high and above 300 Celsius, so it would from a negligible age of trouble with water. My hot plate is not hot enough to distill 7 hexal 7 tridecadol, so I wasn't worried about losing it. Once it's stopped, it's still like cool. And here is our residue containing our target alcohol. full of impurities and I want to purify it. But having a boiling point beyond the limit of my hot plate to stilling it directly is not an option. Fortunately, we can use steam distillation. You can check in the video description for more details on it. Basically, rather than return the lighter components for reboiling, it returns to heavier components. In this case, water. The targadal colon is lighter than water so it floats on top and stays in the trap. The beauty of this approach is that even though our target compound has excessively high living point, as long as it forms an easy trope with water, even a negligible one of just a few percent, it can be distilled over and purified. This technique is used extensively for recovering essential oils that would otherwise burn if heated too high. Only tiny amounts of a target alcohol come over with every drop. Eventually though, I was able to recover just the alcohol. After wasting a couple of months on this, I decided not to redo it. Anyway, we now have a nice collection of various tertiary alcohols. Here are the respective weights and heels that I obtained. They're all pretty bad because I'm working on dramatical conditions. But in general, Grinard reactions are pretty high yielding if you work with pure lab grade chemicals and large scales. I want to try and make various alkali metals like potassium and maybe even sodium. Now I know I already discovered how to make sodium by amateur means, but a method to make it without setting things on fire would be even better. Thanks for watching. Special Thank you to all of my supporters on Patreon for making these science videos possible with their donations and their direction. Then check out my Patreon page here or in the video description. I really appreciate any and all support.",
        "transcription_medium": " Greetings fellow nerds. Carbon is the backbone of organic chemistry and finding ways to connect carbon to carbon is a critically important operation that organic chemists are always trying to find new ways and tools for. One of the most famous and oldest reactions to do this that is still used extensively today is the Grignard reaction. But this isn't the only application. For this video though i'm just going to focus on doing very simple reactions of making tertiary alcohols. I want tertiary alcohols to perform some amateur research in making alkali metals like potassium. I'm going to start by making some small tertiary alcohols like 2-methyl-2-octanol and T-amo alcohol and then by changing the reagents i'll try and make 3-ethyl-3-pentanol. Finally i'll attempt a 7-hexyl-7-tridecanol. Now of critical importance is to have high purity solvent. Grignard reactions are very sensitive to water and air as well as reactive impurities like alcohols, acids and so on. So the solvent must be rigorously purified to ensure reliability and yield. But briefly, the diethyl ether was reacted with potassium hydroxide and sodium metal and then distilled to remove the impurities. This is the first step to doing grignard reactions. Now the next step is to make the grignard reagent. High quality solvent is very important for the reliability of this reaction. Now we need to activate our magnesium. Basically etching off the surface so it becomes reactive. There are a number of ways to do this so i'm going to try a few until one works. Looks like nothing is happening yet. I'm going to start stirring it now for about ten minutes and hopefully the reaction will start. Okay still no obvious signs. The reason why i'm waiting so long between each of my steps is because there is usually an induction period before the reaction starts. Ether boils incredibly easily and you can lose the reaction that way. One of the main reasons why this video took so long was because of blenders like that. I simply went too fast and added too much rhohexane without giving it time to start up. Anyway, looks like it's working. We're seeing clouding of the reaction mixture and it's also bubbling very slightly. Usually when it's ready it'll start to clear up again. And it looks like it's happening about now. We now have activated magnesium as well as a small amount of grignard reagent product. At this point we can start slowly adding the rest of our bromohexane mixture. Since the magnesium is activated, make sure your condenser has rigorous cooling to keep your ether from boiling off. Cooling with ice water is recommended. It's very easy to go into thermal runaway on a preparatory scale like this if you're impatient. So what's happening is the magnesium is reacting with the bromohexane to form hexamgnesium bromide. This is our grainyard reagent. It is truly an organometallic compound where we have a carbon bonded directly to a metal. Now students occasionally make the mistake of labeling this as the Grignard reaction. This is not the Grignard reaction. The actual named Grignard reaction is the next step where this stuff is reacted with a carbonyl compound. The confusion arises because in most Grignard reaction procedures making the Grignard reagent is a part of it. So the belief that it's necessary sometimes arises. You can actually buy green yard reagents directly from chemical suppliers, skipping the time consuming and notoriously unreliable preparation step. The drawback of buying green yard reagents though is that they are air sensitive. So you need air free techniques and occasionally a glove box to use them effectively before they go bad. For most chemists though, and almost all amateurs, anyway, you'll have to decide for yourself which reagent you use more of. Anyway, we now add our desired carbonyl compound. For this particular run my target compound is 2-methyl-2-octanol. Being careful not to let it heat up too much. The acetone reacts with the hexamgnesium bromide to give us 2-methyl-2-octane oxymgnesium bromide. This is the actual Grignard reaction. Essentially we're adding a hexyl group to the carbonyl carbon of the acetone forming a carbon-carbon bond between them. It's an extremely versatile reaction. Anyway, as we progress, the products will start to precipitate out. Keep vigorously stirring so they remain suspended and don't solidify. Once all the acetone is added, continue letting it react for ten minutes. Now we place it in an ice bath and let it cool for half an hour. With vigorous stirring we slowly add our reaction mixture from earlier. Overheating is really easy if you go too fast. Eventually all the reaction mixture is added and we now have a new mixture of gelatinous magnesium hydroxy bromide, ether and our target alcohol. Unfortunately they're not going to separate cleanly so we'll need to dissolve the precipitate first. You can use any concentration hydrochloric acid. It was similarly unworkable to directly add acid to the raw reaction mixture. So doing it in two steps, mixing it with water first and then adding acid was more controllable. Using a separatory funnel we separate the layers and collect just the upper ether layer. Now the easiest way to remove the death ether is to set up a simple distillation apparatus and distill it off. You can save your ether for reuse although it should be stored over sodium to destroy any contaminants. Once the temperature rises past 40 degrees celsius, most of the ether has been removed and now it's a matter of separating out our target alcohol. Let the mixture cool and reconfigure around it a fractional distillation setup. This is mostly leftover ether, some acetone, water and a bit of our target alcohol. Once it hits 90 celsius, stop heating and let it cool. Now on top of the fractional distillation column we install a deinstark apparatus. Turn on the heating and start removing the water. The reason why i'm doing this is because there is a lot of water remaining in the mixture. Sure we removed most of it by separation but ether dissolves a small amount of water in itself. Now water forms an azeotrope with a lot of organic substances including our target alcohol. So we can take advantage of that to remove the water using azeotropic distillation with our deinstark apparatus. For further information about using the Dean's darker apparatus you can check the video description. Then add all the organics back in and reassemble the condenser onto the fractional distillation column. Above this temperature we are collecting our target 2-methyl-2-octanol. And that is our target 2-methyl-2-octanol. Now i want a variety of tertiary alcohols for my upcoming experiments in making alkali metals. So now i'm going to try and make 2-methyl-2-butanol. also known as tertiary amyl alcohol or T-amyl alcohol. Looking back i think the Claisen adapter is more convenient since it works with a short fume hood. We start up our reaction by adding a couple of grams of bromoethane and letting it sit for ten minutes before we stir it up. This time it reacts right away. The boiling shows an exothermic reaction occurred so the magnesium is activated and we can then drip in our bromoethane and ether solution. This time we make ethyl magnesium bromide which is much shorter than hexyl magnesium bromide. It is here where our ethyl magnesium bromide reacts to produce our target T-amyl oxide magnesium bromide. When the reaction ends it'll cool and some of the compounds will precipitate. Once again we're hydrolyzing our oxide to make the alcohol and precipitate magnesium hydroxy bromide. Now we just use a separatory funnel and separate out the upper ether layer. We then perform a simple distillation and remove all the lower boiling components up to about 80 degrees celsius. Discard everything below 95 celsius and then start collecting. And there is our tea alcohol product. A low purity floor run and a higher purity end run. But these will be suitable for my experiments. Now so far we've been adding grignard reagents to ketones, specifically acetone. Acetone is essentially two methyl groups attached to a carbonyl group so this makes any alcohol we produce from it also have two methyl groups. I want a much larger alcohol for my future experiments. So instead of a ketone, i'm going to use an ester. What happens in this case is that one equivalent of the grignard reagent first reacts with the ester and causes the ester alcohol to leave and produce a ketone. Then another equivalent of grignard reagent can be added to produce a tertiary alcohol built up from two grignard reagents and the carbosolic acid that was part of the ester. So let's try that. Since we've already done two grignard reagents i'm going to gloss through the details. This quickly reacts with another equivalent of ethyl magnesium bromide to make 3-ethyl-3-pentoxy magnesium bromide. You might be wondering if you could isolate the 3-pentanone itself. You get a mixture of products. This doesn't mean you can't selectively make ketones with grindard reactions, you just need to use different substrates like nitriles. Anyway, after the reaction is finished, once it's all hydrolyzed we titrate in hydrochloric acid. I've been using hydrochloric acid because it's cheap. You can also use sulfuric acid, acetic acid, or even sodium bisulfate. Hydrochloric acid is actually not the best acid to use because there is some danger of chlorinating the tertiary alcohol by substitution at high concentration. but using an acid like sulfuric acid would reduce the risk considerably. Anyway, we now separate the two layers using a separatory funnel and recover the ethyl layer on top. Once again we set up for a simple distillation. As you can see a Dean's dark apparatus is very useful in organic chemistry. Removing water is such a common practice that having special equipment for it saves a considerable amount of work. Wasting sieves isn't worth it when a Dean Stargap bradis removes the bulk water i desire for just the cost of electricity and time to run it. Anyway, once the drying is done, we set up a fractional distillation column and start recovering our tertiary alcohol. And there it is, three ethyl, three pentanol. Now i want an even bigger alcohol than this. So the next logical step would be to use our bromohexane and adhexyl chains. But that still leaves a tiny little ethyl chain. We can instead use an organic carbonate. Organic carbonates react with grignards to first produce esters. Then they react again to produce ketones and finally they produce alcohols. They're always lost. Only the grignard reagent matters. So we can use any organic carbonate we want. So i'm going to do that. As described before, we're essentially making 7-hexyl-7-tridecanol, a very large tertiary alcohol. Interestingly i got it precipitate much sooner. We used a separatory funnel to recover the upper ether layer that contains our target alcohol. It might be helpful to wash the ether again a few times with water to remove the propylene glycol since it's water soluble. The boiling point of 7-hexyl-7-tridecanol is far too high and above 300 celsius. So it would firm a negligible azeotrope with water. My hot plate is not hot enough to distill 7-hexyl-7-tridecanol so I wasn't worried about losing it. Once it stopped distilling I let it cool. And here is our residue containing our target alcohol. It's full of impurities and i want to purify it. But having a boiling point beyond the limit of my hot plate distilling it directly is not an option. Fortunately we can use steam distillation. You can check in the video description for more details on it. Basically rather than return the lighter components for reboiling, it returns the heavier components. In this case water. The target alcohol is lighter than water so it floats on top and stays in the trap. The beauty of this approach is that even though our target compound has an excessively high boiling point, as long as it forms an azeotrope with water, even a negligible one of just a few percent, it can be distilled over and purified. This technique is used extensively for recovering essential oils that would otherwise burn if heated too high. Only tiny amounts of our target alcohol come over with every drop. Eventually though, I was able to recover just the alcohol. After wasting a couple of months on this, I decided not to redo it. Anyway, we now have a nice collection of various tertiary alcohols. Here are the respective weights and yields that i obtained. They're all pretty bad because i'm working under amateur conditions. But in general, grignard reactions are pretty high yielding if you work with pure lab grade chemicals and large scales. I want to try and make various alkali metals like potassium and maybe even sodium. Now i know i already discovered how to make sodium by amateur means, but a method to make it without setting things on fire would be even better. Thanks for watching. Special thank you to all of my supporters on patreon for making these science videos possible with their donations and their direction. Then check out my patreon page here or in the video description. I really appreciate any and all support.",
        "transcription_large_v3": " Greetings fellow nerds. Carbon is the backbone of organic chemistry and finding ways to connect carbon to carbon is a critically important operation that organic chemists are always trying to find new ways and tools for. One of the most famous and oldest reactions to do this that is still used extensively today is the Grignard reaction. But this isn't the only application. For this video though i'm just going to focus on doing very simple reactions of making tertiary alcohols. I want tertiary alcohols to perform some amateur research in making alkali metals like potassium. I'm going to start by making some small tertiary alcohols like 2-methyl 2-octanol and T-amyl alcohol. And then by changing the reagents i'll try and make 3-ethyl-3-pentanol. Finally i'll attempt 7-hexyl-7-tridecanol. Now of critical importance is to have high purity solvent. Grignard reactions are very sensitive to water and air as well as reactive impurities like alcohols, acids and so on. So the solvent must be rigorously purified to ensure reliability and yield. But briefly the diethyl ether was reacted with potassium hydroxide and sodium metal and then distilled to remove the impurities. This is the first step to doing grignard reactions. Now the next step is to make the grignard reagent. High quality solvent is very important for the reliability of this reaction. Now we need to activate our magnesium. Basically etching off the surface so it becomes reactive. There are a number of ways to do this so i'm going to try a few until one works. Looks like nothing is happening yet. I'm going to start stirring it now for about ten minutes and hopefully the reaction will start. Okay, still no obvious signs. The reason why i'm waiting so long between each of my steps is because there is usually an induction period before the reaction starts. Ether boils incredibly easily and you can lose the reaction that way. One of the main reasons why this video took so long was because of blunders like that. I simply went too fast and added too much romehexane without giving it time to start up. Anyway, looks like it's working. We're seeing clouding of the reaction mixture and it's also bubbling very slightly. Usually when it's ready it'll start to clear up again. And it looks like it's happening about now. We now have activated magnesium as well as a small amount of grignard reagent product. At this point we can start slowly adding the rest of our bromohexane mixture. Since the magnesium is activated, make sure your condenser has rigorous cooling to keep your ether from boiling off. Cooling with ice water is recommended. It's very easy to go into thermal runaway on a preparatory scale like this if you're impatient. So what's happening is the magnesium is reacting with the bromohexane to form hexamagnesium bromide. This is our grainyard reagent. It is truly an organometallic compound where we have a carbon bonded directly to a metal. Now students occasionally make the mistake of labeling this as the Grignard reaction. This is not the Grignard reaction. The actual named Grignard reaction is the next step where this stuff is reacted with a carbonyl compound. The confusion arises because in most Grignard reaction procedures making the Grignard reagent is a part of it. So the belief that it's necessary sometimes arises. You can actually buy green yard reagents directly from chemical suppliers skipping the time consuming and notoriously unreliable preparation step. The drawback of buying green yard reagents though is that they are air sensitive. So you need air free techniques and occasionally a glove box to use them effectively before they go bad. For most chemists though, and almost all amateurs, anyway, you'll have to decide for yourself which reagent you use more of. Anyway, we now add our desired carbonyl compound. For this particular run my target compound is 2-methyl-2-octanol. Being careful not to let it heat up too much. The acetone reacts with the hexyl magnesium bromide to give us 2-methyl-2-octane-oxy magnesium bromide. This is the actual Grignard reaction. Essentially we're adding a hexyl group to the carbonyl carbon of the acetone forming a carbon-carbon bond between them. It's an extremely versatile reaction. Anyway, as we progress the products will start to precipitate out. Keep vigorously stirring so they remain suspended and don't solidify. Once all the acetone is added, continue letting it react for ten minutes. Now we place it in an ice bath and let it cool for half an hour. With vigorous stirring we slowly add our reaction mixture from earlier. Overheating is really easy if you go too fast. Eventually all the reaction mixture is added and we now have a new mixture of gelatinous magnesium hydroxy bromide, ether and our targeted alcohol. Unfortunately they're not going to separate cleanly so we'll need to dissolve the precipitate first. You can use any concentration of hydrochloric acid. It was similarly unworkable to directly add acid to the raw reaction mixture. So doing it in two steps, mixing it with water first and then adding acid was more controllable. Using a separatory funnel we separate the layers and collect just the upper ether layer. Now the easiest way to remove the death ether is to set up a simple distillation apparatus and distill it off. You can save your ether for reuse although it should be stored over sodium to destroy any contaminants. Once the temperature rises past 40 degrees celsius most of the ether has been removed and now it's a matter of separating out our target alcohol. Let the mixture cool and reconfigure around it a fractional distillation setup. This is mostly leftover ether, some acetone, water and a bit of our target alcohol. Once it hits 90 celsius stop heating and let it cool. Now on top of the fractional distillation column we install a dienstarch apparatus. Turn on the heating and start removing the water. The reason why i'm doing this is because there is a lot of water remaining in the mixture. Sure we removed most of it by separation but ether dissolves a small amount of water in itself. Now water forms an azeotrope with a lot of organic substances including our tarragon alcohol. So we can take advantage of that to remove the water using azeotropic distillation with our dienstarch apparatus. For further information about using the Dean's darkened apparatus you can check the video description. Then add all the organics back in and reassemble the condenser onto the fractional distillation column. Above this temperature we are collecting our target 2-methyl 2-octanol. And that is our target 2-methyl 2-octanol. Now i want a variety of tertiary alcohols for my upcoming experiments in making alkaline metals. So now i'm going to try and make 2-methyl 2-butanol. Also known as tertiary amyl alcohol or tea amyl alcohol. Looking back i think the clazen adapter is more convenient since it works with a short fume hood. We start up our reaction by adding in a couple of grams of bromoethane and letting it sit for ten minutes before we stir it up. This time it reacts right away. The boiling shows an exothermic reaction occurred so the magnesium is activated and we can then drip in our bromoethane and ether solution. This time we make ethyl magnesium bromide which is much shorter than hexyl magnesium bromide. It is here where our ethyl magnesium bromide reacts to produce our target, T-amyloxide magnesium bromide. When the reaction ends it'll cool and some of the compounds will precipitate. Once again we're hydrolyzing our alkoxide to make the alcohol and precipitate magnesium hydroxy bromide. Now we just use the separatory funnel and separate out the upper ether layer. We then perform a simple distillation and remove all the lower boiling components up to about 80 degrees celsius. Discard everything below 95 celsius and then start collecting. And there is our tea amyl alcohol product. A low purity 4 run and a higher purity n run. But these will be suitable for my experiments. Now so far we've been adding grignard reagents to ketones, specifically acetone. Acetone is essentially two methyl groups attached to a carbonyl group so this makes any alcohol we produce from it also have two methyl groups. I want a much larger alcohol for my future experiments. So instead of a ketone i'm going to use an ester. What happens in this case is that one equivalent of the grignard reagent first reacts with the ester and causes the ester alcohol to leave and produces a ketone. Then another equivalent of grignard reagent can be added to produce a tertiary alcohol built up from two grignard reagents and the carbosilic acid that was part of the ester. So let's try that. Since we've already done two grignard reagents i'm going to gloss through the details. This quickly reacts with another equivalent of ethyl magnesium bromide to make 3-ethyl-3-pentoxy magnesium bromide. You might be wondering if you could isolate the 3-pentanone itself. You get a mixture of products. This doesn't mean you can't selectively make ketones with grindrard reactions, you just need to use different substrates like nitriles. Anyway, after the reaction is finished, once it's all hydrolyzed we titrate in hydrochloric acid. I've been using hydrochloric acid because it's cheap. You can also use sulfuric acid, acetic acid or even sodium bisulfate. Hydrochloric acid is actually not the best acid to use because there is some danger of chlorinating the tertiary alcohol by substitution at high concentration. But using an acid like sulfuric acid would reduce the risk considerably. Anyway, we now separate the two layers using a separatory funnel and recover the ethyl layer on top. Once again we set for a simple distillation. As you can see a dean stark apparatus is very useful in organic chemistry. Removing water is such a common practice that having special equipment for it saves a considerable amount of work. Wasting sieves isn't worth it when a dean stark apparatus removes the bulk water i desire for just the cost of electricity and time to run it. Anyway, once the drying is done, we set up a fractional distillation column and start recovering our tertiary alcohol. And there it is, 3 ethyl 3 pentanol. Now i want an even bigger alcohol than this. So the next logical step would be to use our bromohexane and add hexyl chains. But that still leaves a tiny little ethyl chain. We can instead use an organic carbonate. Organic carbonates react with grignards to first produce esters. Then they react again to produce ketones and finally they produce alcohols. They're always lost. Only the grignard reagent matters. So we can use any organic carbonate we want. So i'm going to do that. As described before, we're essentially making 7-hexyl-7-tridecanol, a very large tertiary alcohol. Interestingly i got a precipitate much sooner. We used a separatory funnel to recover the upper ether layer that contains our target alcohol. It might be helpful to wash the ether again a few times with water to remove the propylene glycol since it's water soluble. The boiling point of 7-hexyl-7-tridecanol is far too high at above 300 celsius. So it would form a negligible azeotrope with water. My hot plate is not hot enough to distill 7-hexyl-7-tridecanol so i wasn't worried about losing it. Once it stopped distilling i let it cool. And here is our residue containing our target alcohol. It's full of impurities and i want to purify it. But having a boiling point beyond the limit of my hot plate distilling it directly is not an option. Fortunately we can use steam distillation. You can check in the video description for more details on it. Basically rather than return the lighter components for reboiling, it returns the heavier components. In this case water. The target alcohol is lighter than water so it floats on top and stays in the trap. The beauty of this approach is that even though our target compound has an excessively high boiling point, as long as it forms an azeotrope with water, even a negligible one of just a few percent, it can be distilled over and purified. This technique is used extensively for recovering essential oils that would otherwise burn if heated too high. Only tiny amounts of our target alcohol come over with every drop. Eventually though, i was able to recover just the alcohol. After wasting a couple of months on this i decided not to redo it. Anyway, we now have a nice collection of various tertiary alcohols. Here are the respective weights and yields that i obtained. They're all pretty bad because i'm working under amateur conditions. But in general, grignard reactions are pretty high yielding if you work with pure lab grade chemicals and large scales. I want to try and make various alkali metals like potassium and maybe even sodium. Now i know i already discovered how to make sodium by amateur means but a method to make it without setting things on fire would be even better. Thanks for watching. Special thank you to all of my supporters on patreon for making these science videos possible with their donations and their direction. Then check out my patreon page here or in the video description. I really appreciate any and all support."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000541.mp3": {
        "gt": "MOST PEOPLE PREFER TO READ AT A LEVEL THAT IS MORE PLAIN AND STRAIGHTFORWARD  THINK ABOUT IT  THEY'RE ALREADY USING MENTAL ENERGY TRYING TO DECIDE WHETHER OR NOT TO PURCHASE YOUR PRODUCT YOU DON'T WANT TO MAKE THEM WORK HARDER BY BEING SESQUIPEDALIAN  SO PUT AWAY YOUR TEN-DOLLAR WORDS AND JUST WRITE USING NATURAL LANGUAGE THAT AN ELEVEN YEAR OLD COULD KEEP UP WITH   NOW IF YOU WANT TO MAKE YOUR COPY EVEN MORE POWERFUL  DON'T USE YOUR WORDS AT ALL AND I'M NOT TALKING ABOUT PLAGIARIZING   USE YOUR CUSTOMER'S WORDS   LET ME EXPLAIN WHAT THAT MEANS  YOUR TARGET AUDIENCE HAS LIKELY SHARED THEIR THOUGHTS AND FEELINGS ABOUT THE PROBLEM YOUR PRODUCT SOLVES IN FORUMS   REVIEWS   OR MAYBE EVEN IN REPLIES TO YOUR OWN CONTENT   WHEN PEOPLE READ SALES COPY THAT USES LANGUAGE THEY'VE USED TO DESCRIBE THEIR PROBLEM  THEY'RE INSTANTLY MORE LIKELY TO RESPOND   HOW DO YOU FIND THESE WORDS   LOOK IN ONLINE FORUMS LIKE REDDIT DOT COM WHERE THE PROBLEM YOUR PRODUCT SOLVES IS DISCUSSED  HOW DO YOU USE THEM IN A WAY THAT WILL ACTUALLY BE EFFECTIVE  AGITATE THE PAIN  FOR EXAMPLE   LET'S SAY YOUR PRODUCT IS AN ONLINE COURSE ABOUT HOW TO GET A BOOK PUBLISHING DEAL   IN YOUR RESEARCH  MAYBE YOU'VE SEEN PEOPLE SAY THINGS LIKE  I WANT TO PUBLISH A BOOK BUT I JUST DON'T KNOW WHERE TO START  OR HAVE YOU WRITTEN A BOOK AND NOW YOU'RE NOT SURE WHO TO SEND YOUR MANUSCRIPT TO  SECOND  AGITATE THE PAIN  I JUST FEEL SO CONFUSED AND FRUSTRATED   OR I'M AFRAID IF I SEND IT TO THE WRONG PERSON  IT WILL JUST BE IGNORED OR REJECTED  THE A IN YOUR FORMULA COULD READ SOMETHING LIKE THIS IF YOU'RE FEELING CONFUSED AND FRUSTRATED YOU'RE NOT ALONE  OR MAYBE YOU'RE AFRAID YOUR MANUSCRIPT WILL END UP ON SOME PERSON'S DESK WHO WILL REJECT IT   OR EVEN WORSE   IGNORE IT  FINALLY   PRESENT YOUR SOLUTION  EVEN HERE YOU CAN STILL USE YOUR CUSTOMER'S WORDS TO HELP PRESENT YOUR SOLUTION   MAYBE THEY'VE SAID I WISH SOMEONE COULD SIMPLIFY THE WHOLE PROCESS AND EXPLAIN IT IN A WAY THAT MAKES SENSE   OR I JUST NEED SOME CLEAR DIRECTION FOR WHO TO SEND MY BOOK TO  AND PROVIDE INSIGHTS INTO EVERY OTHER PART OF THE PUBLISHING PROCESS  IF YOU'RE FEELING CONFUSED AND FRUSTRATED  YOU'RE NOT ALONE  STRATEGY NUMBER THREE PROVIDE SOCIAL PROOF SOCIAL PROOF IS SOMETHING THAT SIGNALS TO POTENTIAL BUYERS THAT PEOPLE ARE EXCITED ABOUT OR HAD A GREAT EXPERIENCE WITH A PRODUCT   ONE OF THE BEST WAYS YOU CAN PROVIDE SOCIAL PROOF ON YOUR SALES PAGE IS BY INCLUDING TESTIMONIALS  DISCOUNTS TOWARD FUTURE PURCHASES  OR EVEN SOME KIND OF GIFT   AND DON'T WORRY IF YOU DON'T HAVE ANYTHING EXTRA TO OFFER  THAT TRIGGER A STRONGER EMOTIONAL RESPONSE THAN TEXT ALONE CAN ACHIEVE   STRATEGY NUMBER FOUR INTRODUCE YOURSELF PEOPLE BUY FROM PEOPLE THEY KNOW   LIKE   AND TRUST  A CREATOR BIO IS AN OPPORTUNITY TO INCREASE THE LEVEL OF AFFINITY SOMEONE HAS FOR YOU AND YOUR BRAND  AND CAN MOVE PEOPLE FURTHER DOWN THE SALES FUNNEL   CHECK OUT THIS VIDEO IF YOU WANT A COMPREHENSIVE LOOK AT HOW TO WRITE THE PERFECT BIO  TELL THEM SOMETHING INTERESTING OR UNIQUE ABOUT YOURSELF  IT'S ALWAYS A GOOD IDEA TO LET PEOPLE SEE THERE'S A REAL PERSON BEHIND THE PRODUCT  IT MAY SEEM LIKE IT'S NOT IMPORTANT TO INCLUDE A BIO BECAUSE PEOPLE ARE THERE FOR YOUR PRODUCT   RIGHT   BUT DON'T UNDERESTIMATE THE POWER OF MAKING A PERSONAL CONNECTION TO HELP YOUR CUSTOMER FEEL MORE CONFIDENT IN MAKING A PURCHASE   STRATEGY NUMBER FIVE OVERCOME OBJECTIONS MOST PEOPLE WILL COME TO YOUR SALES PAGE WITH SOME NUMBER OF REASONS THEY MIGHT BE HESITANT TO BUY  IT DOESN'T MATTER HOW GREAT A JOB YOU DO OF TALKING ABOUT YOUR PRODUCT  THEN PROVIDE A COMPELLING REASON THEY CAN MOVE PAST THIS HESITATION AND MAKE A PURCHASE   THERE ARE THREE DIFFERENT WAYS TO ADDRESS OBJECTIONS ON YOUR SALES PAGE  AND WE RECOMMEND USING ALL THREE  BUILD THE OBJECTIONS INTO YOUR SALES COPY  WHEN WRITING YOUR SALES COPY   YOU CAN INCLUDE LANGUAGE THAT ADDRESSES SOME OF THE MOST COMMON OBJECTIONS ALONG WITH YOUR SOLUTIONS  IF YOU'RE AWARE OF A REALLY STRONG OBJECTION OR OBSTACLE  MAKE A SECTION THAT ADDRESSES THAT SPECIFICALLY  INCLUDING QUESTIONS LIKE HOW LONG DOES IT TAKE TO GO THROUGH THE ONLINE COURSE   OR IS THERE A MONEY-BACK GUARANTEE  CAN GO A LONG WAY TOWARD SETTING YOUR CUSTOMER'S MIND AT EASE  THREE  USE LIVE CHAT TO ANSWER QUESTIONS IN REAL TIME  THERE'S STILL ANOTHER IMPORTANT HURDLE YOU HAVE TO HELP THEM GET OVER AND THAT'S RISK   ANY TIME WE BUY SOMETHING   WE TAKE ON THE RISK THAT THE PRODUCT WON'T SOLVE OUR PROBLEM OR SATISFY OUR NEEDS AND THAT WE'LL ESSENTIALLY LOSE THE MONEY WE'VE SPENT   IF YOU'RE WILLING TO TAKE ON SOME OF THE RISK   YOUR CUSTOMER WILL FEEL MORE CONFIDENT AND WILLING TO MAKE A PURCHASE  THIS IS CALLED RISK REVERSAL AND THERE ARE THREE COMMON APPROACHES SELLERS USE OFFER SOME KIND OF MONEY-BACK GUARANTEE  WHETHER IT'S THIRTY DAYS   SIXTY DAYS   NINETY DAYS   OR LIFETIME   THIS APPROACH REDUCES THE FINANCIAL RISK TO THE CUSTOMER FOR WHATEVER WINDOW YOU SET FOR THE GUARANTEE  OFFER PART OF YOUR PRODUCT FOR FREE  STRATEGY NUMBER SEVEN STAY CONNECTED THERE ARE ALWAYS GOING TO BE VISITORS WHO ARE NOT QUITE FAR ENOUGH DOWN THE SALES FUNNEL TO MAKE A PURCHASE   BUT THAT DOESN'T MEAN THEY WON'T EVENTUALLY BUY FROM YOU  LINK IT UP IN THE COMMENTS BELOW SO WE CAN LEARN FROM ONE ANOTHER  AND OF COURSE IF YOU HAVE ANY QUESTIONS   DON'T HESITATE TO ASK  IF YOU FOUND THIS VIDEO HELPFUL AND YOU WANT MORE CONTENT LIKE THIS  \n",
        "transcription_base": " Most people prefer to read at a level that is more plain and straightforward. Think about it. They're already using mental energy trying to decide whether or not to purchase your product. You don't want to make them work harder by being a sesco-pedilian, so put away your $10 words and just write using natural language that an 11-year-old can keep up with. Now, if you want to make your copy even more powerful, don't use your words at all. And I'm not talking about plagiarizing. Use your customer's words. Let me explain what that means. Your target audience has likely shared their thoughts and feelings about the problem your product solves, informs, reviews, or maybe even replies to your own content. When people read sales copy that uses language they've used to describe their problem, they're instantly more likely to respond. How do you find these words? Look in online forums like Reddit.com, or the problem your product solves is discussed. How do you use them in a way that will actually be effective? Agitate the the pain. For example, let's say your product is an online course about how to get a book publishing deal. In your research, maybe you've seen people say things like, I want to publish a book, but I just don't know where to start. Or have you written a book and now you're not sure who to send your manuscript to? Second, agitate the pain. I just feel so confused and frustrated. Or I'm afraid if I send it to the wrong person, it'll just be ignored or rejected. The A in your formula could read something like this. If you're feeling confused and frustrated, you're not alone. Or maybe you're afraid your manuscript will end up on some person's desk who will reject it or even worse, ignore it. Finally, present your solution. Even here, you can still use your customer's words to help present your solution. Maybe they've said, I wish someone could simplify the whole process and explain it in a way that makes sense, or I just need some clear direction for who to send my book to, and provide insights into every other part of the publishing process. If you're feeling confused and frustrated, you're not alone. Strategy number three, provide social proof. Social proof is something that signals to potential buyers that people are excited about, or had a great experience with the product. One of the best ways you can provide social proof on your sales page is by including testimonials. toward future purchases, or even some kind of gift. And don't worry if you don't have anything extra to offer, that trigger a stronger emotional response than text alone can achieve. Strategy number four. Introduce yourself. People buy from people they know like and trust. A creator bio is an opportunity to increase the level of affinity someone has for you and your brand, and can move people further down the sales funnel. Check out this video if you want a comprehensive look at how to write the perfect bio. Tell them something interesting or unique about yourself. It's always a good idea to let people see there's a real person behind the product. It may seem like it's not important to include a bio because people are there for your product, right? But don't underestimate the power of making a personal connection to help your customer feel more confident in making a purchase. Strategy number five, overcome objections. Most people will come to your sales page with some number of reasons they might be hesitant to buy. It doesn't matter how great a job you do of talking about your product, then provide a compelling reason they can move past this hesitation and make a purchase. There are three different ways to address objections on your sales page, and we recommend using all three. Build the objections into your sales copy. When writing your sales copy, you can include language that addresses some of the most common objections along with your solutions. If you're aware of a really strong objection or obstacle, make a section that addresses that specifically. Including questions like how long does it take to go through the online course or is there a money back guarantee can go a long way towards setting your customer's mind at ease. Three, use live chat to answer questions in real time. There's still another important hurdle you have to help them get over and that's risk. Anytime we buy something, We take on the risk that the product won't solve our problem or satisfy our needs and that will essentially lose the money we've spent. If you're willing to take on some of the risk, your customer will feel more confident and willing to make a purchase. This is called risk reversal and there are three common approaches sellers use. Offer some kind of money back guarantee. Whether it's 30 days, 60 days, 90 days, or lifetime, this approach reduces the financial risk to the customer for whatever window you set for the guarantee. Offer part of your product for free. Strategy number seven, stay connected. There are always going to be visitors who are not quite far enough down the sales funnel to make a purchase, but that doesn't mean they won't eventually buy from you. Link it up in the comments below so we can learn from one another. And of course, if you have any questions, don't hesitate to ask. If you found this video helpful and you want more content like this,",
        "transcription_medium": " Most people prefer to read at a level that is more plain and straightforward. Think about it. They're already using mental energy trying to decide whether or not to purchase your product. You don't want to make them work harder by being a sesquipedillion, so put away your $10 words and just write using natural language that an 11-year-old could keep up with. Now, if you want to make your copy even more powerful, don't use your words at all. And I'm not talking about plagiarizing. Use your customers' words. Let me explain what that means. Your target audience has likely shared their thoughts and feelings about the problem your product solves in forums, reviews, or maybe even in replies to your own content. When people read sales copy that uses language they've used to describe their problem, they're instantly more likely to respond. How do you find these words? Look in online forums like reddit.com where the problem your product solves is discussed. How do you use them in a way that will actually be effective? Agitate the pain. For example, let's say your product is an online course about how to get a book publishing deal. In your research, maybe you've seen people say things like, I want to publish a book, but I just don't know where to start. Or have you written a book and now you're not sure who to send your manuscript to? Second, agitate the pain. I just feel so confused and frustrated. Or I'm afraid if I send it to the wrong person, it'll just be ignored or rejected. The A in your formula could read something like this. If you're feeling confused and frustrated, you're not alone. Or maybe you're afraid your manuscript will end up on some person's desk who will reject it or even worse, ignore it. Finally, present your solution. Even here, you can still use your customer's words to help present your solution. Maybe they've said, I wish someone could simplify the whole process and explain it in a way that makes sense. Or I just need some clear direction for who to send my book to and provide insights into every other part of the publishing process. If you're feeling confused and frustrated, you're not alone. Strategy number three, provide social proof. Social proof is something that signals to potential buyers that people are excited about or had a great experience with the product. One of the best ways you can provide social proof on your sales page is by including testimonials, discounts toward future purchases, or even some kind of gift. And don't worry if you don't have anything extra to offer that trigger a stronger emotional response than text alone can achieve. Strategy number four, introduce yourself. People buy from people they know, like, and trust. A creator bio is an opportunity to increase the level of affinity someone has for you and your brand and can move people further down the sales funnel. Check out this video if you want a comprehensive look at how to write the perfect bio. Tell them something interesting or unique about yourself. It's always a good idea to let people see there's a real person behind the product. It may seem like it's not important to include a bio because people are there for your product, right? But don't underestimate the power of making a personal connection to help your customer feel more confident in making a purchase. Strategy number five, overcome objections. Most people will come to your sales page with some number of reasons they might be hesitant to buy. It doesn't matter how great a job you do of talking about your product, then provide a compelling reason they can move past this hesitation and make a purchase. There are three different ways to address objections on your sales page, and we recommend using all three. Build the objections into your sales copy. When writing your sales copy, you can include language that addresses some of the most common objections along with your solutions. If you're aware of a really strong objection or obstacle, make a section that addresses that specifically. Including questions like, how long does it take to go through the online course? Or is there a money back guarantee? Can go a long way towards setting your customer's mind at ease. Three, use live chat to answer questions in real time. There's still another important hurdle you have to help them get over, and that's risk. Anytime we buy something, we take on the risk that the product won't solve our problem or or satisfy our needs, and that will essentially lose the money we've spent. If you're willing to take on some of the risk, your customer will feel more confident and willing to make a purchase. This is called risk reversal, and there are three common approaches sellers use. Offer some kind of money back guarantee. Whether it's 30 days, 60 days, 90 days, or lifetime, this approach reduces the financial risk to the customer for whatever window you set for the guarantee. Offer part of your product for free. Strategy number seven, stay connected. There are always gonna be visitors who are not quite far enough down the sales funnel to make a purchase, but that doesn't mean they won't eventually buy from you. Link it up in the comments below so we can learn from one another. And of course, if you have any questions, don't hesitate to ask. If you found this video helpful and you want more content like this,",
        "transcription_large_v3": " Most people prefer to read at a level that is more plain and straightforward. Think about it. They're already using mental energy trying to decide whether or not to purchase your product. You don't want to make them work harder by being a sesquipedalian, so put away your $10 words and just write using natural language that an 11-year-old could keep up with. Now, if you want to make your copy even more powerful, don't use your words at all. And I'm not talking about plagiarizing. Use your customers' words. Let me explain what that means. Your target audience has likely shared their thoughts and feelings about the problem your product solves in forums reviews or maybe even in replies to your own content when people read sales copy that uses language they've used to describe their problem they're instantly more likely to respond how do you find these words look in online forums like reddit.com where the problem your product solves is discussed how do you use them in a way that will actually be effective agitate the pain for For example, let's say your product is an online course about how to get a book publishing deal. In your research, maybe you've seen people say things like, I want to publish a book, but I just don't know where to start. Or have you written a book and now you're not sure who to send your manuscript to? Second, agitate the pain. I just feel so confused and frustrated. Or I'm afraid if I send it to the wrong person, it'll just be ignored or rejected. The A in your formula could read something like this. If you're feeling confused and frustrated, you're not alone. Or maybe you're afraid your manuscript will end up on some person's desk who will reject it or even worse, ignore it. Finally, present your solution. Even here you can still use your customer's words to help present your solution. Maybe they've said, I wish someone could simplify the whole process and explain it in a way that makes sense. Or I just need some clear direction for who to send my book to. provide insights into every other part of the publishing process. If you're feeling confused and frustrated, you're not alone. Strategy number three, provide social proof. Social proof is something that signals to potential buyers that people are excited about or had a great experience with the product. One of the best ways you can provide social proof on your sales page is by including testimonials, discounts toward future purchases, or even some kind of gift. And don't worry if you don't have anything extra to offer that trigger a stronger emotional response than text alone can achieve. Strategy number four, introduce yourself. People buy from people they know, like, and trust. A creator bio is an opportunity to increase the level of affinity someone has for you and your brand and can move people further down the sales funnel. Check out this video if you want a comprehensive look at how to write the perfect bio. Tell them something interesting or unique about yourself. It's always a good idea to let people see there's a real person behind the product. It may seem like it's not important to include a bio because people are there for your product, right? But don't underestimate the power of making a personal connection to help your customer feel more confident in making a purchase. Strategy number five, overcome objections. Most people will come to your sales page with some number of reasons they might be hesitant to buy. It doesn't matter how great a job you do of talking about your product, then provide a compelling reason they can move past this hesitation and make a purchase. There are three different ways to address objections on your sales page, and we recommend using all three. Build the objections into your sales copy. When writing your sales copy, you can include language that addresses some of the most common objections along with your solutions. If you're aware of a really strong objection or obstacle, make a section that addresses that specifically, including questions like, how long does it take to go through the online course or is there a money-back guarantee can go a long way towards setting your customer's mind at ease. Three, use live chat to answer questions in real time. There's still another important hurdle you have to help them get over and that's risk. Anytime we buy something, we take on the risk that the product won't solve our problem or satisfy our needs and that we'll essentially lose the money we've spent. If you're willing to take on some of the risk, your customer will feel more confident and willing to make a purchase. This is called risk reversal, and there are three common approaches sellers use. Offer some kind of money-back guarantee. Whether it's 30 days, 60 days, 90 days, or lifetime, this approach reduces the financial risk to the customer for whatever window you set for the guarantee. Offer part of your product for free. Strategy number seven, stay connected. There are always going to be visitors who are not quite far enough down the sales funnel to make a purchase, but that doesn't mean they won't eventually buy from you. Link it up in the comments below so we can learn from one another. And of course, if you have any questions, don't hesitate to ask. If you found this video helpful and you want more content like this,"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000557.mp3": {
        "gt": "PREFERABLY LESS THAN SIXTY CHARACTERS  TO UNDERSTAND THE KEYWORDS THAT ARE USUALLY PUT UP FOR VIDEOS OF THE SAME KIND  SO THAT YOUR VIDEO ALSO GETS DISPLAYED WHEN THE CONTENT IS SEARCHED FOR  YOU CAN ALSO USE GOOGLE'S KEYWORD PLANNER FOR THIS PURPOSE  ONCE THIS IS DONE   YOU CAN PUT A WELL-DETAILED DESCRIPTIONBE CAUTIOUS TO USE WORDS RELATED TO YOUR VIDEO ONLY  NUMBER FOUR IS CATEGORY CATEGORIZING YOUR VIDEO CAN PLAY A GOOD ROLE IN HOW IT GETS DISCOVEREDIF YOU WEREN'T AWARE OF IT YET  KNOW THAT YOUTUBE LETS YOU ADD YOUR VIDEO TO A PARTICULAR CATEGORY  LIKE TRAVEL   GAMING   ENTERTAINMENTTHAT REPRESENTS YOUR VIDEO IN A SINGLE SHOT  WHICH IN CONTRAST PROVIDES A LOT OF SCOPES FOR OPTIMIZING YOUR VIDEOS  SUBTITLES AND CLOSED CAPTIONS MAKE THE TASK OF VIEWING EASIER FOR THE AUDIENCE  BUT ON THE OTHER HAND   IT PROVIDES YOU YET ANOTHER OPPORTUNITY TO ADD AND HIGHLIGHT RELEVANT KEYWORDS  GIVE END SCREENS THIS WILL DIRECT VIEWERS TO OTHER VIDEOS FROM YOUR CHANNEL AND ENCOURAGE THEM TO SUBSCRIBE TO YOUR CHANNEL  USING THESE   YOU CAN GUIDE THE VIEWER TO WHAT YOU WOULD LIKE THEM TO WATCH NEXT  ASK THEM TO SUBSCRIBE  TURN ON NOTIFICATIONS AND SUGGEST ANOTHER ENTERTAINING VIDEO OF INTEREST TO THEM  OPTIMIZE YOUR VIDEOS FOR MOBILE VIEWING MAJORITY OF THE VIDEOS ARE WATCHED USING A MOBILE  SO CUSTOMIZE YOUR VIDEOS SUCH THAT THEY ARE MOBILE FRIENDLY IN TERMS OF SCREEN SIZE   CLARITY AND QUALITY  SHORTEN YOUR VIDEOS AS MUCH AS POSSIBLE VIDEOS THAT ARE TOO LONG WON'T BE PREFERRED BY THE VIEWERS  ACCORDING TO STUDIES  TRY TO PORTRAY THE CONTENT IN A VERY CRISP MANNER  BE PRECISE  ENGAGING AND CONVERSATIONAL  AND GAIN TWO POINT FOUR MILLION TO FOUR POINT FIVE MILLION VIEWS EASILY  CHANNELS LIKE FIVE MINUTE RECIPES ALWAYS UPLOAD VIDEOS IN THE RANGE OF SIX TO TEN MINUTES  ALTHOUGH THE CHANNEL HAS A SUBSCRIBER COUNT OF AROUND FIVE MILLIONNEXT IS FEATURE THE VIDEO ON YOUR YOUTUBE PAGE ONCE YOU HAVE UPLOADED YOUR VIDEO TO YOUTUBE  REMEMBER TO FEATURE IT ON THE FRONT PAGE  WHEN A VIEWER VISITS YOUR CHANNEL  THE LATEST VIDEO SHOULD BE THE FIRST ONE ON DISPLAY  IT NOT ONLY BRINGS ATTENTION TO THE VIDEO  BUT ALSO SHINES LIGHT ON HOW ORGANIZED AND UPDATED YOUR CHANNEL IS  NEXT  WHEN PEOPLE VISIT YOUR WEBSITE  DOING THIS ALSO IMPROVES YOUR VIDEO'S SEARCH EFFICIENCY  YOU CAN SUBMIT YOUR OWN VIDEOS  SO THAT PEOPLE VIEWING THOSE VIDEOS ALSO ACCESS YOUR PROFILE  MAKING A VIDEO THAT FOLLOWS UP WITH AN ALREADY EXISTING TREND CAN HELP YOU GAIN VIEWS  WHICH WAS AN ACTIVITY THAT REQUIRED VOLUNTEERS TO DUMP A BUCKET OF ICE COLD WATER OVER THEIR HEAD  THE CHALLENGE HAD SPREAD TO INDIA TOO  FOLLOWING UP WITH VIRAL PHENOMENA IN A MORE CREATIVE WAY AFTER ANALYZING THE ALREADY UPLOADED SIMILAR VIDEOS  WHICH IN ITSELF HAD BECOME A PHENOMENON  WHO WOULDN'T HAVE WATCHED THE ADORABLE KIDS  HARRY AND CHARLIE   SEATED COMFORTABLY ON A CHAIR IN THE VIRAL VIDEO  CHARLIE BIT MY FINGER  FOLLOWED BY CHARLIE'S CUTE GIGGLE  SOMETHING AS SIMPLE AS TWO YOUNG BROTHERS MESSING AROUND WITH EACH OTHER  WAS CAPABLE OF ALL THE WORLDLY ATTENTION  NEXT IS CREATE EXCLUSIVE ORIGINAL CONTENT EXAMPLE   IN THIS CASE   IS THAT OF CANADIAN YOUTUBER OF INDIAN DESCENT   LILLY SINGH  THAT REFLECTED HER CHILDHOOD BELIEF THAT SHE CAN ACHIEVE ANYTHING  SHE BECAME POPULAR THROUGH HER COMEDY VIDEOS WITH A TOUCH OF PUNJABI CULTURE  WHEREIN SHE ACTS AS HERSELF  AS OF TODAY   SHE HAS A SUBSCRIBER COUNT OF FOURTEEN POINT NINE MILLION AND AROUND THREE BILLION VIEWS  I HAVE USED IT HERE TO STRESS ON THE FACT THAT   MAJORITY OF THE WORLD-FAMOUS YOUTUBERS TODAY  WERE ONLY COMMON MEN AND WOMEN LIKE US WHEN THEY STARTED  HE CONTINUED CREATING CONTENT FOR YOUTUBE   IN THE FORM OF COMEDY SKITS OF EIGHT TO TEN MINUTES  TODAY HE HAS SIXTEEN POINT TWO MILLION SUBSCRIBERS AND A TOTAL OF ONE POINT SIX BILLION VIEWSUSE LEGIT WAYSTHERE ARE MARKETING PAGES WHICH PROMISE TO HELP YOU BUILD YOUR VIEWS  THEY DON'T PROVIDE HIGH QUALITY TRAFFIC EITHER  JUST INACTIVE BOTS THAT YOUTUBE HAS ALREADY MARKED FRAUDULENT  IT WON'T JUST LOOK AT THE NUMBER OF VIEWS YOUR VIDEO IS GETTING  DON'T LET ANY ILLEGAL CROWD MANIPULATE YOU INTO EMPTYING YOUR POCKETS   SO STAY SAFE   PLAY SMART  WORK ETHICAL  \n",
        "transcription_base": " preferably less than 60 characters. To understand the keywords that are usually put up for videos of the same kind, so that your video also gets displayed when the content is searched for. You can also use Google's keyword planner for this purpose. Once this is done, you can put a detailed description, be cautious to use words related to your video only. 4 is category. Categorizing your video can play a good role in how it gets discovered. If you weren't aware of it yet, know that YouTube lets you add your video to a particular category like travel, gaming, entertainment that represents your video in a single shot, which in contrast provides a lot of scope for optimizing your videos. Subtitles and closed captions make the task of viewing easier for the audience. But on the other hand, it provides you yet another opportunity to add and highlight relevant keywords. Give and screen. This will direct viewers to other videos from your channel and encourage them to subscribe to your channel. Using these, you can guide the viewer to what you would like them to watch next as them to subscribe. Turn on notifications and suggest another entertaining video of interest to them. Visualize your videos for mobile viewing. Majority of the videos are watched using a mobile. So customize your videos such that they are mobile friendly in terms of screen size, clarity and quality. Shorten your videos as much as possible. Videos that are too long would be preferred by the viewers. According to studies, try to portray the content in a very crisp manner. Precise, Engaging and Conversational and gain 2.4 million to 4.5 million views easily. Channels like 5 minute recipes always upload videos in the range of 6 to 10 minutes. Although the channel has a subscriber count of around 5 million, next is feature the video on your YouTube page. Once you have uploaded your video to YouTube, remember to feature it on the front page. of your visits your channel. The latest video should be the first one on display. It not only brings attention to the video, but also shines light on how organized and updated your channel is. Next, when people visit your website, doing this also improves your video search efficiency. You can submit your own videos so that people viewing those videos also access your profile. a video that follows up with an already existing trend can help you gain views which was an activity that required volunteers to dump a bucket of ice cold water over their head. The challenge had spread to India too. Following up with viral phenomena in a more creative way, after analyzing the already uploaded similar videos which in itself had become a phenomenon. Who wouldn't have watched the adorable kids, Harry and Charlie seated comfortably on a chair in the viral video, Charlie bit my finger. Followed by Charlie's cute giggle, something as simple as two young brothers messing around with each other was capable of all the worldly attention. Next is create exclusive original content. Example in this case is that of Canadian YouTuber of Indian descent Lily Singh that reflected her childhood belief that she can achieve anything. She became popular through her comedy videos with a touch of Punjabi culture wherein she access herself. As of today, she has a subscriber count of 14.9 million and around 3 billion views. I have used it here to stress on the fact that majority of the world famous YouTubers today were only common men and women like us when they started. He continued creating content for YouTube in the form of comedy skits of 8 to 10 minutes. Today he has 16.2 million subscribers and a total of 1.6 billion views. Use legit ways. They are marketing pages which promise to help you build your views. They don't provide high quality traffic either. Just inactive bots that YouTube has already marked fraudulent. It would just look at the number of views your video is getting. Don't let any illegal crowd manipulate you into emptying your pockets. So stay safe, play smart, work ethical.",
        "transcription_medium": " preferably less than 60 characters to understand the keywords that are usually put up for videos of the same kind so that your video also gets displayed when the content is searched for. You can also use Google's Keyword Planner for this purpose. Once this is done, you can put a detailed description. Be cautious to use words related to your video only. 4. Category Categorizing your video can play a good role in how it gets discovered. If you weren't aware of it yet, know that YouTube lets you add your video to a particular category like travel, gaming, entertainment that represents your video in a single shot, which in contrast provides a lot of scope for optimizing your videos. Subtitles and closed captions make the task of viewing easier for the audience, But on the other hand, it provides you yet another opportunity to add and highlight relevant keywords. Give end screen. This will direct viewers to other videos from your channel and encourage them to subscribe to your channel. Using these, you can guide the viewer to what you would like them to watch next. Ask them to subscribe, turn on notifications and suggest another entertaining video of interest to them. Optimize your videos for mobile viewing. Majority of the videos are watched using a mobile. So customize your videos such that they are mobile friendly in terms of screen size, clarity and quality. Shorten your videos as much as possible. Videos that are too long won't be preferred by the viewers. According to studies, try to portray the content in a very crisp manner. Be precise, engaging and conversational and gain 2.4 million to 4.5 million views easily. Channels like 5-Minute Recipes always upload videos in the range of 6 to 10 minutes. Although the channel has a subscriber count of around 5 million, next is feature the video on your YouTube page. Once you have uploaded your video to YouTube, remember to feature it on the front page. page. When a viewer visits your channel, the latest video should be the first one on display. It not only brings attention to the video, but also shines light on how organized and updated your channel is. Next, when people visit your website, doing this also improves your video search efficiency. You can submit your own videos so that people viewing those videos also access your profile. Making a video that follows up with an already existing trend can help you gain views, which was an activity that required volunteers to dump a bucket of ice-cold water over their head. The challenge had spread to India too, following up with viral phenomena in a more creative way after analysing the already uploaded similar videos which in itself had become a phenomenon. Who wouldn't have watched the adorable kids? Harry and Charlie seated comfortably on a chair in the viral video, Charlie bit my finger, followed by Charlie's cute giggle. Something as simple as two young brothers messing around with each other was capable of all the worldly attention. Next is create exclusive original content. Example in this case is that of Canadian YouTuber of Indian descent, Lilly Singh, that reflected her childhood belief that she can achieve anything. She became popular through her comedy videos with a touch of Punjabi culture wherein she accessed herself. As of today, she has a subscriber count of 14.9 million and around 3 billion views. I have used it here to stress on the fact that majority of the world famous YouTubers today were only common men and women like us when they started. He continued creating content for YouTube in the form of comedy skits of 8-10 minutes. Today he has 16.2 million subscribers and a total of 1.6 billion views. Use legit ways. There are marketing pages which promise to help you build your views. They don't provide high quality traffic either, just inactive bots that YouTube has already marked fraudulent. It won't just look at the number of views your video is getting. Don't let any illegal crowd manipulate you into emptying your pockets. So stay safe, play smart, work ethical.",
        "transcription_large_v3": " preferably less than 60 characters to understand the keywords that are usually put up for videos of the same kind so that your video also gets displayed when the content is searched for you can also use google's keyword planner for this purpose once this is done you can put a detailed description be cautious to use words related to your video only number four is category Categorizing your video can play a good role in how it gets discovered. If you weren't aware of it yet, know that YouTube lets you add your video to a particular category like travel, gaming, entertainment that represents your video in a single shot, which in contrast provides a lot of scope for optimizing your videos. Subtitles and closed captions make the task of viewing easier for the audience. but on the other hand it provides you yet another opportunity to add and highlight relevant keywords give and screen this will direct viewers to other videos from your channel and encourage them to subscribe to your channel using these you can guide the viewer to what you would like them to watch next ask them to subscribe turn on notifications and suggest another entertaining video of interest to them. Optimize your videos for mobile viewing. Majority of the videos are watched using a mobile. So, customize your videos such that they are mobile friendly in terms of screen size, clarity and quality. Shorten your videos as much as possible. Videos that are too long won't be preferred by the viewers. According to studies, try to portray the content in a very crisp manner be precise engaging and conversational and gain 2.4 million to 4.5 million views easily channels like five-minute recipes always upload videos in the range of 6 to 10 minutes although the channel has a subscriber count of around 5 million next is feature the video on your YouTube page once you've uploaded your video to YouTube remember to feature it on the front page when a viewer visits your channel the latest video should be the first one on display it not only brings attention to the video but also shines light on how organized and updated your channel is next when people visit your website doing this also improves your videos search efficiency you can submit your own videos so that people viewing those videos also access your profile making a video that follows up with an already existing trend can help you gain views which was an activity that required volunteers to dump a bucket of ice cold water over their head the challenge had spread to india too following up with viral phenomena in a more creative way after analyzing the already uploaded similar videos which in itself had become a phenomenon. Who wouldn't have watched the adorable kids, Harry and Charlie seated comfortably on a chair in the viral video, Charlie bit my finger, followed by Charlie's cute giggle. Something as simple as two young brothers messing around with each other was capable of all the worldly attention. Next is create exclusive original content. Example in this case is that of Canadian YouTuber. of Indian descent Lilly Singh that reflected her childhood belief that she can achieve anything. She became popular through her comedy videos with a touch of Punjabi culture, wherein she access herself. As of today, she has a subscriber count of 14.9 million and around 3 billion views. I have used it here to stress on the fact that majority of the world famous youtubers today were only common men and women like us when they started he continued creating content for YouTube in the form of comedy skits of 8 to 10 minutes today he has 16.2 million subscribers and a total of 1.6 billion views use legit ways there are marketing pages which promise to help you build your views they don't provide high quality traffic either just in active bots that YouTube has already marked fraudulent. It won't just look at the number of views your video is getting. Don't let any illegal crowd manipulate you into emptying your pockets. So stay safe, play smart, work ethical."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000577.mp3": {
        "gt": "AND THEN WE'RE GONNA TRY TO FIND THIS ONEAND TWO RESULTS AMBASSADOR GAMES AMBASSADOR GAMES SO ACTUALLY THE SUPPLIER FOR THIS PRODUCT MIGHT BE A LITTLE BIT HARDER TO SOURCE SO WE'RE NOT GONNA STICK TO THAT ONE RIGHT NOW WHAT I'M GONNA DO IS STICK TO THE SKIP BALL TO THE SKIP BALL RIGHT HERE AND THIS ONE SHOULD BE SHOULD BE PRETTY GOOD   ANKLE   SKIP BALL  ACTIVE JUMPER KIDS ANKLE   SKIP JUMP ROPEAND THAT'S OUT THERE ON THEIRSO THAT'S PERFECT THE DESCRIPTION ACTUALLY THIS WAY I LIKE EPRO LOW AS WELL THEY ACTUALLY PULL UP THE WHOLE DESCRIPTION WITH ALL OF THE IMAGES AND EVERYTHING AND ALL OF THEWITH THE PRODUCT ITSELF   SO LET'S GO TO SHOPIFY   AND NOW IF WE GO TO THE PRODUCT SECTION HEREIT'S JUMP JUMPING FAIRYINFRARED NOAMAZING FLYING FAIRY FLYING FAIRY AMAZING CHRISTMASAND NOW THAT PRODUCT AS WELL WILL BE ON THE PRODUCTS SECTION HERE   HAVE YOU LOAD IT AGAIN  REALLY REALLY EASY   THAT'S WHY I LIKE THE APP   IT'S SUPER EASY TO IMPORT PRODUCTS HERE AND YOU CAN IMPORT IMPORTIMPORT SUCCESSFULLYWE'RE GOING TO TAKE ALL THESE PRODUCTS AND PUT THEM IN DIFFERENT COLLECTIONSYOU'RE GONNA CREATE A COLLECTION HERE WHAT I WOULD RECOMMEND IS DIVIDING THEM UP IN EITHER SEASONS SO YOU CAN DO FOR WINTER FOR SUMMER FOR AUTUMN  OR YOU CAN DO BY CATEGORY LIKE BABY BOYS GIRLS PARENTS   SO FOR EXAMPLE   YOU CAN DO DIFFERENT CATEGORIES OR YOU CAN JUST DO BESTSELLERSAND THEN I'M GONNA PUT PRODUCT TAG IS EQUAL ANIMATED PRODUCT TAG IS EQUAL TO BOYBOY  AND NOW EVERY SINGLE PRODUCT THAT I ADD WITH THE TAG BOY  SO LET'S SAY I GO TO MY PRODUCTSAND I FIND ONE THAT I HAVE HERE AND I CLICK ON LET'S SAY THIS ONEAND I PUT BOY IN THE TAGS HERE BOYNOW THIS PRODUCT IS GOING TO BE SHOWN ON THE COLLECTIONBOYS  THEN WE'RE GONNA DO A COLLECTION FOR PARENTS   WHICH WE'RE GOING TO DO CREATE COLLECTION WHICH MAYBE WE CAN SELL WINE COVERS OR WINE BOTTLES  AND TAG IS BABY  ACTUALLY   NO   I'M GONNA PUT COLLECTIONS BOYS ADD AND THEN I'M GONNA DO GIRLSAND THEN THIS ONE I'M GOING TO EDIT IT AND PUT FOR BOYS THIS BECAUSE IT LOOKS A LITTLE BIT BETTER A LITTLE MORE PROFESSIONAL AND THEN I'M GOING TO DO FOR BABIES DOWN HERE AND I'M GONNA DO BABYADD AND NOW FOR PARENTSOR PARENTS AND I'M GONNA DO PARENTS HERE PARENTS TELL YOU ABOUT COLLECTION AND NOW THAT'S DONE MENU ITEMS WHAT I WOULD SUGGEST IS ADDING ANOTHER MENU ITEM WHICH IS CONTACT  BUT WE'RE GONNA FIRST BEFORE WE DO THAT   WE'RE GONNA CREATE A CONTACT PAGE SO LET'S JUST PUT THESE AND REMOVE CATALOG FROM HEREAND THEN YOU CAN GO TO VIEW PAGE AND IT'S JUST GOING TO BE A CONTACT FORM PAGE   AND THEN THEN WE'RE GONNA GO TO NAVIGATION GO TO MAIN MENU ADD A MENU ITEM CONTACT USAND CONTACTWHOOPS CONTACT US   THERE WE GO PAGES CONTACT USAND I'LL PUT THAT THERE AND THEN MONTHLY SHIPMENT  SOTHERE WE GO AND MONTHLY SHIPMENT IN THE BEGINNING YOU'RE JUST GONNA PUT LESS THAN ONE THOUSAND BECAUSE THAT'S NOT WHAT YOU'RE GONNA HAVE THEN THE SUB DOMAIN FOR YOUR TRACKING PAGE   I WOULD DO MINI SNOWMENAND THIS IS WHERE YOU'RE GONNA HAVE ALL OF THE INFORMATION FOR TRACKING   SO START FOURTEEN DAY FREE TRIAL IT'S A LITTLE BIT  AGAIN   FIND IT THERE AND LET'S FILTER BY COUNTRY COUNTRY AND THEN LET'S PUT CHINACOPY THAT AND THEN GO TO OUR NAVIGATION ONLINE STORE NAVIGATION AND THEN IN THE MAIN MENU  I'M GOING TO PUT THAT AT THE END  SO TRACK MY ORDER AND THEN PUT A LINK THEREYOU HAVE TO MAKE THETHE THEME LIVE FIRST OF ALL SO BROOKLYN ACTIONSPUBLISH PUBLISHAND THEN CLICK ON CUSTOMIZEAND NOW WE'RE GONNA CUSTOMIZE THE HOME PAGE   SO HERE WE HAVE THE HOME PAGE  AND YOU'LL GET ONE FOR THIS ARE TWENTY TEN FIFTEEN BUCKS FIVE BUCKS FIVE TEN DOLLARS TEN DOLLARS EASY   YOU CAN GET A EASY LOGO AND THEN FOR THE HOMEPAGE LOGO   WHAT I WOULD RECOMMEND IS EXPLORING FREE IMAGES AND GOING WITH KIDS HERE BECAUSE OUR NICHE AND THEN DOINGLIKE FOR EXAMPLE THIS ONE THERE'S A GREAT IMAGE  IT'S COLD OUTSIDE   SO LET'S SELECT THATAND ACTUALLY   NO   THAT'S THE HOME PAGE LOGOSO LIKE THATAND NOW IT'S GONNA HAVE THIS IMAGE THERE THE OTHER IMAGE WE CAN ACTUALLY TAKE THIS ONE OUT AND REMOVE THAT WE DON'T NEED IT THERE   SO YOU CAN CLICK SAVE ANYTIME HERE A FREE COURSE TOUR IN THIS CASE WE'RE GOING TO JUST CALL IT INSTEAD OF FREE COURSE TOUR IN THE TEXT ON THE TOP WE CAN PUT FREE SHIPPINGFREE SHIPPING ON ALL ORDERSAND THAT SHOULD BE IT TEXT ON THE TOP   OKAY  NOW THE RICH TEXT ON THE SECOND SECTION HERE I WOULD SUGGEST JUST TAKING THAT OUT JUST REMOVE THAT SECTION COLLECTION LIST   I WOULD DO THREE COLLECTIONS   FOR EXAMPLE   WE'RE TALKING ABOUT THE BOYS LET'S DO GIRLS   NO   LET'S DO BOYS THIS ONE THEN   LET'S DO COLLECTION   NUMBER TWO   LET'S DO GIRLSAND COLLECTION NUMBER THREE   LET'S DO BABIESAND ACTUALLY LET'S PUT HERE JUST A COLLECTION OF PARENTS BECAUSE WE'RE GONNA SELL TO PARENTS AND ALSO TO KIDS SO BOYS GIRLS BABIES FEATURE COLLECTION CAN BE PARENTS FOR ALL YOUR FAMILY NEEDSPERFECT ALRIGHT   SO SAVE THAT AND NOW OUR STORE IS GONNA LOOK A LOT BETTER FOR THE SLIDESHOW HERE   I DEFINITELY RECOMMEND YOU CHANGE UP THESE AN INTRODUCTORY HERO BANNER  WHAT ELSE   YES HERE IS FAMILYFROM OUR FAMILYTO YOUR FAMILYPERFECT AND I WANT TO ALIGN THAT CENTER COOL AND NOW THE SLIDE NUMBER TOPICK ANOTHER FREE IMAGE KIDSLOAD MOREENJOY YOUR CHRISTMAS  ENJOY YOUR HOLIDAYSFROM THE WE SAID MINI SNOWMEN TEAMALL RIGHT   AMAZING NOW SAVE NOW OUR STORE IS GONNA LOOK A LOT BETTER SO IF YOU WANT TO GO BACK   DO YOU JUST HAVE TO CLICK ON THE SHOPIFY LOGO HERE  SO CAN I HOP BETTER NOW   LET'S WORK ON LEGAL PAGES   SO LEGAL PAGES ARE EXTREMELY IMPORTANT WHAT YOU'RE GOING TO DO IS GO TO SETTINGSAND THEN CLICK ON LEGALAND THEN GO TO REFUND POLICY CREATE FROM TEMPLATE GOT A PRIVACY POLICY CREATE FROM TEMPLATE TERMS OF SERVICE CREATE FROM TEMPLATE AND SHIPPING POLICY WILL BE FROM YOUR DIRECT SUPPLIER  HEREAND CLICK ON PAGESAND THESE PAGES AREN'T AUTOMATICALLY CONNECTED WHICH IS KIND OF ANNOYING BUT FOR EXAMPLE   YOU CAN CLICK HERE AND THIS ONE WAS A RETURNS POLICYSAVE THEN WE'RE GONNA TAKE THIS TEMPLATE AND PUT PRIVACY POLICYAND MAKE SURE TO CHANGE THE NAME OF YOUR STORE AND EVERYTHINGPROBABLY SEE POLICYCREATE A NEW ONESAVE THEN WE'RE GONNA PUT ANOTHER ONEAND WE'RE GONNA CREATE ANOTHER PAGETERMS SERVICEADD NEW PAGE SHIPPING NOW RETURNSNOW RETURNS PAGES TRANS POLICYNO TERMSTERMS OF THAT TERMS OF SERVICE  AND THEN THE LAST ONE PRIVACY POLICY AND THEN AGAIN   WE'RE GONNA PUT TRACKINGPAGE SOME PRIVACYAND ALSO   WE'RE GONNA PUT THE TRACKING PAGE SO TRACK MY ORDERTRACKNO   NO   IT HAS TO BE THE SPECIFIC LINK FROM AFTER SHIT   YEAH COPYAND THEN PUT IT HEREAND THEN LINK  BABYAND I SAVE THATAND NOW WE SHOULD HAVE A NICE COLLECTION ON THE CENTERGIRLS BABIES BEAUTIFUL NOW ALL YOUR FAMILY NEEDS THIS IS THE PARENTS ONE SO I'M JUST GONNA PUT HERE PARENTS OBVIOUSLY MAKE IT TO THE PAGE HOW YOU'RE ACTUALLY DOING PARENTSAVE THATGO TO ANOTHER PRODUCTSAVE THATAND THEN TAKE THIS ONE PARENTAND SAVE THAT ON THE MAIN PAGESO NOW WE KNOW THAT PARENT IS OUR MAIN PAGE   SO NOW WE HAVE HERE FOR ALL YOUR FAMILY NEEDS YOU HAVE THE PRODUCTS HERE  AND NOW THAT WE BOUGHT IT WE NEED TO CONFIRM AND VERIFY OUR EMAIL ADDRESS SO OUR EMAIL IS OVER HEREBECAUSE IF NOT YOUR DOMAIN WILL BE INACTIVEAPPROVE YOUR DOMAIN IT'S GONNA TAKE A LITTLE BITTHEN THEY JUST PUT FREAK OR STORE   YEAHNOW   WE'RE GONNA CHANGE THE ACTUAL NAME OF THE STORE GO TO SETTINGS GENERAL HERE IN THE TOP MINI STALLMANNOW   WE'RE GOING TO GO TO A PRODUCT PAGE   WE'RE GONNA ACTUALLY WORK ON THE PRODUCT ITSELF SO WE SAID WE ARE GOING TO ADVERTISE THIS ACTIVE JUMPER KIDS ANKLE   SKIP ROPE  A QUESTION TO THE PERSONS FOR EXAMPLE LOOKING TOLOOK UP DOESN'T LET ME EDIT THISTHIS IS AN IMAGE OR WELL   LET ME EDIT IT FOR SOME REASONLET ME TRY IT NOW NOW IT'S GONNA LET ME EDIT OKAY LOOKING TOOKAY   SO LET MELOOKING FOR A BETTERTHEN WE'RE GOING TO PUT THAT LARGE HEREAND PUT HEADING TWO OR HEADING ONE ACTUALLYSO THIS ONE IS LIKE AGAIN  THIS ONE IS ALSO PRETTY COOL THIS ONE IS ACTUALLY REALLY NICE SO WHAT I WANT I WOULD DO IS FOR EXAMPLE  I WOULD TAKE THIS AND PUT IT AS THE I WANT TO TAKE ONE OF THESE AND PUT THEM AS VARIANT IMAGES  SO I WANT TO TAKE THIS PINK ONE FOR EXAMPLE THAT LOOKS A LITTLE BIT MORE LEGITIMATE LIKE THIS LOOK A LOT BETTER AND I WANT TO TAKE IT AND POST IT TO THE VARIANT IMAGE OF THE PINKAND I WANT TO TAKE AN IMAGELIKE THIS ONE IT LOOKS A LOT BETTER AND I WANT TO CHANGE THAT FOR THE VARIANT  AND ALSO THE GREEN ONE IS THE DEFAULT ONE SO I WANT TO CHANGE IT FOR ANOTHER ONE THAT LOOKS A LITTLE BIT MORE LEGITI WANT TO CHANGE IT TO THIS ONE BECAUSE THAT'S THE MAIN VARIANT IMAGE THAT YOU'RE GONNA SEE WHEN YOU HIT THE PRODUCT PAGETAKE THESE IMAGES AND TAKE THEM OUT HEREAND I'M GONNA THE DESCRIPTION JUST LOOKS WAY TOO WEIRD  SO I'M GONNA CHANGE THIS ALL UP AND DELETE ALL OF THATAND NOW I HAVE THE CLEAN SLATE HERE OF THE DESCRIPTION WHAT I CAN DO IS EITHER HIRE SOMEBODY LIKE I WAS TALKING ABOUT OR LET'S DO LOOKING FOR BETTER PLAYTIME SOLUTIONOR A CHILDACTIVE JUMPERANKLE   SKIP ROPEFOR KIDSI WANT TO DO A LITTLE BIT BIGGER HEADING THREEFOR KIDSAND USE THAT SERVICE RIGHT HERE AND THEY CAN MAKE YOU A PRETTY GOOD VIDEO SO I'M GONNA PULL UP ONE OF THE VIDEOS THAT THEY DID FOR US  JUST GONNA PULL IT UP REAL QUICK I HAVE THE EMAIL FROM THEMGONNA TRY AND FIND IT HERE ONE SECOND   LET ME TRY AND FIND THE VIDEOPLAY NORMAL SPEED HERESO YOU CAN SEE IT'S PRETTY COOL I MEAN THEY ADD TEXT TO THE BOTTOM AND IT LOOKS GOOD IN GENERAL WHAT YOU CAN DO IS JUST DOWNLOAD IT STRAIGHT FROM YOUR EMAIL AND THIS VIDEO COST ME SEVENTY SEVEN DOLLARSSO FOR EXAMPLE   IF WE GO TO YOUTUBE HERE AND WE CLICK ON ACTUALLY LET'S GO TOTHE VIDEO WILL BE READY IN JUST A SECOND VIDEO PROCESSING SO ONCE IT'S PROCESS IS GONNA SHOW UP HERE   SO WE'RE GOING TO WAIT FOR THAT TO PROCESS AND ACTUALLY SHOW UPAND OUR VIDEO SHOULD BE DONE ANY MINUTE NOW  SHOULD BE SHOWINGTHERE WE GO  NOW WE TAKE THE VIDEOAND WE CLICK HERE AND WE ACTUALLY GO WATCH THE VIDEOMAKE SURE IT'S ALL GOOD IT UPLOADED PROPERLYFOR EXAMPLE THE NAME AMAZING DRAWING BOARDDRAWING BOARDFROM TINY SNOWMENAND WHAT'S OUT HERE LOOKS PHOTO REVIEWSYOU CAN ADD THAT APPINSTALLTAKE BASICAND NOW WHAT YOU'RE GOING TO DO WITH ALL YOUR PRODUCTS IS ACTIVELY IMPORT FROM LUKE'S TO YOUR STOREONCE IT LOADS   I'LL SHOW YOU WHERE IT IS SET A DISCOUNT   SKIPIMPORT REVIEWS AND THEN HERE WE GO ONE CLICK IMPORT FROM ALIEXPRESS PUT THAT HERE NOW WE HAVE IMPORT TO LUKE'S AND NOW WHAT WE'RE GONNA DO IS EVERY SINGLE TIME   WE HAVE A PRODUCT THAT WE WANT TO ADVERTISE LET'S SAY IT IS THISWE WANT TO ADVERTISE THE ACTIVE JUMPERJUMP ROPEIT WAS A SKIP SKIP JUMP ROPE OR WHAT WAS THE NAME OF THE PRODUCT   LET ME PULL IT UP REAL QUICK HEREANKLE SKIP JUMP ROPE  ANKLE  SKIP ROPE SKIP BALLTHIS ONEAND NOW WE'RE GOING TO DO IS CLICK IMPORT TO LUKE'SIT'S GONNA SAY SELECTOR REVIEWS FROM MINI SNOWMEN CLICK ACTIVE JUMPER FIVE STARS UP YOU CAN CLICK ALL COUNTRIES TO ENGLISH AND THEN PREVIEW AN IMPORTARRIVED SUPER FAST LITTLE MORE IN TWO WEEKS WORKS PAT FAIRLY IMPORT SATISFIED IMPORT ABSOLUTELY   LOVE THIS IN SUPER STURDY AND IS VERY NICE IMPORTPERFECTIT'S THESE REVIEWS ARE JUST TOO SIMPLEOKAY   PERFECT THIRTY THREE DAYS IS TOO MUCH   THIRTY THREE DAYS IS TOO MUCH IMPORT COLLECTED AND NOW WHEN WE GO TO THE PRODUCT PAGE   WE WILL SEE THAT THE PRODUCT HAS THE REVIEWS ON THE BOTTOM   IT HAS A TEN REVIEWS HERE AND WHEN YOU CLICK DOWN IT HAS ALL THE REVIEWS ON THE BOTTOM  IN THIS CASE YOU CAN JUST DO BOTH SHOPIFY PAYMENTS PAYPAL CLICK COMPLETE ACCOUNT SETUP AND NOW YOU'RE GONNA BE SET UP AND HERE IN THE BOTTOM YOU CAN DISMISS THESE TIPS GET RID OF THAT  AND ARE YOU GONNA HAVE THE TOTAL SESSIONS FOR TODAY PAYOUT SCHEDULE  MINI SNOWMEN WHICH IS THE NAME OF OUR STORE MINI SNOWMEN  OH MAN PIXELCOPY THATAND LET'S TYPE IN FREE COURSE TOUR WHICH IS THE EMAIL THAT WE USE IN THE BEGINNINGAND THEN YOUR PASSWORDAND THEN FROM ONLINE STORE GO TO PREFERENCESHERE IN THE BOTTOM PREFERENCESSO WHAT YOU'RE GONNA DO IS CLICK ADD ACCOUNTS ADD ASSETSCHOOSE A CATEGORY BRAND CREATE PAGEAND THEN WHAT I SUGGEST IS GETTING SOME LIKES ON THE PAGE   DO NOT RUN FACEBOOK ADS FROM A PAGE THAT DOESN'T HAVE ANY LIGHTS DOESN'T HAVE ANY POST WHAT I SUGGEST IS TAKING YOUR PAGE AND RUNNING A LITTLE AD AND I'LL SHOW YOU THE TYPE OF AD THAT YOU'RE GONNA DO HERE YOU CAN VIEW THE PAGE  OBVIOUSLY   NO ONE IS GONNA BUY FROM THAT PAGE SO YOU WANT TO ADD A PROFILE PICTURE YOU WANT TO ADD A COVER AND YOU ALSO WANT TO CREATEA FACEBOOK AD FOR PAGE LIKES SO YOU CAN DO AND CREATE A NEW CAMPAIGN AND CLICK ENGAGEMENTI WOULD GET UP TO TWO HUNDRED LIKES ON YOUR PAGE   IT WON'T BE THAT EXPENSIVE IF YOU TARGET WORLDWIDE IF YOU TARGET ALL THE E PACKET COUNTRIES MAYBE IT'S GONNA BE ONE LIKE FOR FIVE CENTS  SO YOU'RE GONNA GET A HUNDRED LIKES FOR AROUND FIVE DOLLARS   IT'S WORTH IT IT'S GONNA BE GOOD SOCIAL PROOF FOR YOUR ACCOUNT  NOW   WE'RE GONNA CREATE AN ACTUAL AD WITH OUR PRODUCTAND THE ACTIVE JUMPER KIDS ROPE RIGHT HERE  AND I'M GONNA SET UP MY BUSINESS MANAGER HERE SELECT A BIG SO THE BIG SALE WE'RE GONNA SELECT IS THE MINI SNOWMAN THERE IS NO ACTIVITY YET   SO IT'S GONNA SHOW ALL IN RED AND ALL WEIRD   BUT IT'S NORMAL   THERE'S NO ACTIVITY   THERE'S NO SALES THERE'S NOTHING WHAT YOU'RE GONNA DO IS CHOOSE PURCHASESO WHAT WE CAN DO IS TYPE IN ON GOOGLE KIDS BRANDS BESTWE'RE BEST KIDS BRANDS IN THE WORLD BEST KIDS CLOTHES BEST KIDS CLOTHING WEBSITE BABY CLOTHES BRAND LET'S TYPE IN BEST IT TOY BRANDSAND WE HAVE LEGO MATTEL BABY EINSTEIN NINTENDO SO WE CAN PUT THOSE ON AND ACTUALLY GO TO HERE DETAILED TARGETING CLICK MATTELAND WHAT'S THE SIZE THAT GIVE US   IT'S THIRTY EIGHT MILLION PEOPLE SO THAT'S A LITTLE BIT INSANE ALWAYS TAKE OUT THIS LITTLE TICK HERE EXPAND YOUR AUDIENCE  TAKE THAT OUT NOW   IT'S A ONE POINT ONE MILLION SO I DON'T YOU A REALLY SOLID ONE   I RECOMMEND STAYING WITHIN THAT RANGE ALWAYS TARGET TWENTY THREE PLUS THEY TEND TO HAVE MORE MONEY SIXTY FIVE LOCATION   IT'S IN FRANCE   SO I DON'T WANT TO TARGET FRANCE  I WANT TO TARGET UNITED STATESAND I WANT TO TARGET CANADA AS WELLAND ALL YOU HAVE TO DO IS TAKE ALL THESE COUNTRIES CLICK COPY AND CLICK ADD LOCATIONS AND BULKSELECT COUNTRIESAT THIRTY LOCATIONSAND NOW WE HAVE AN AUDIENCE OF TWO HUNDRED AND SIXTY THOUSAND SO THAT'S A LITTLE BIT TOO BIG   LET'S PUT MORE GRANTS DOWN THERE  SO IT DOESN'T HAVE TO BE THAT SMALL LITTLE TIKES LET'S SEE HOW THAT GIVE USSO WHAT YOU'RE GONNA DO IS LET'S PULL UP HERE THE NAME MINI SNOWMENAND THEN WE'RE GONNA DO ANKLE SKIP ROPE ALWAYS NAME YOUR ADS JUST TO MAKE SURE THAT THEY'RE ORGANIZED YOU'RE GONNA TAKE THE FACEBOOK PAGE MINI SNOWMENSINGLE IMAGE OR VIDEO WE'RE GONNA ADD OUR VIDEO THAT WE HAVEUPLOAD VIDEOAND WE HAVE THE VIDEO HEREKNOWLET ME SEE WHERE I PUT THISRECENT THERE WE GOTHAT'S ALSO GOOD THE BEST THING TO DO RIGHT NOW IS TO AT START WITH A QUESTION SO ALWAYS EITHER START WITH A QUESTION OR START WITH A REVIEW WE'VE DONE SOME ADS WHERE WE EITHER PUT A REVIEW AND YOU CAN DO THIS BY GOING TO JOY PIXELS  AND I CLICK ONE TWO THREE FOUR FIVE FIVE STARSWHOOPS AND IT DIDN'T DIDN'T ACTUALLY ADD THEM  SO I'M GONNA ADD THEM HERE ONE TWO THREE FOUR FIVE COPYFIVE STARSI BOUGHT THIS AND YOU CAN ADD IT LIKE THAT   I BOUGHT THISFOR MY DAUGHTERLAST MONTH AND SHE HASN'T BEEN BORED SINCEHIGHLY RECOMMENDMINI SNOWMAN'SPARENTS WITHWITHWITH CHILDRENWE WANT TO SELL THIS TO CHILDRENAROUNDAND YOU CAN SAY GET YOURS HEREAND AN EMOJI AGAIN AND YOU CAN PUT A LITTLE ARROWAND NOW MINI SNOWMEN DOT-COM SLASHED JUMPAPPLY CHANGESAND HERE IN ANOTHER TEXT YOU CAN START WITH A QUESTION SO HAS AN ENERGYINTRODUCING THE MINI SNOWMENUNCLE JUMP ROPETHE BEST WAYACTIVE AND ENTERTAINSEE WHY MORE THAN TWENTY FIVE THOUSAND PARENTSPARENTSAND THEN THE SAME LITTLE NO   YEAH THE LINK AND THEN YOU CAN PUT JUST TWO IN THERE YEAH  SO THAT I WOULD DO THOSE TWO TEXTS   AND THEN I WOULD DO HEADLINESKEEP YOUR CHILDBUSY FOR HOURSYOU CAN TAKE THE FIVE HERE AND DOMY CHILDDOESN'T STOPUSING ITHERE WE GO  ALRIGHT   SO THE FIRST AD IS EVER CREATED AND THAT'S SOME GOOD AD COPY FOR YOU FOR YOU TO TAKEHERE'S HOW THE PROCESS WORKS  WHO IS THIS FOR  \n",
        "transcription_base": " And then we're going to try to find this one and two results, Ambassador games and Ambassador games. So actually, the supplier for this product might be a little bit harder to source. So we're not going to stick to that one right now. What I'm going to do is stick to the Skip Ball. To the Skip Ball right here. And this one should be pretty good. Ankle Skip Ball. Active Jumper Kids. Ankle Skip. Jumper. And let's add that on there. So that's perfect. The description, actually, this way, I like E-Polo as well. Well, they actually pull up the whole description with all of the images and everything and all of the product itself. So let's go to Shopify. And now if we go to the product section here, is jumping fairy infrared. No, amazing flying fairy, flying fairy, amazing Christmas. And now that product as well will be on the product section here if you load it again, really, really easy. That's why I like the app. super easy to import products here and you can import import import successfully. We're going to take all these products and put them in different collections. You're going to create a collection here. What I would recommend is dividing them up in either seasons. So you can do for winter, for summer, for autumn, or you can do by category, like baby, boys, girls, parents. So for example, you can do different categories, or you can just do best sellers. And then I'm gonna put product tag is equal, automated, product tag is equal to boy, boy. And now every single product that I add with the tag boy, so let's say I go to my products and I find one that I have here, and I click on, let's say this one, And I put boy in the tags here, boy. Now, this product is going to be shown on the collection. Boys, then we're going to do a collection for parents, which we're going to do create collection, which maybe we can sell wine covers or wine bottles and tag this baby. Actually, no, I'm going to put collections, boys, ad. And then I'm going to do girls. And then this one, I'm going to edit it and put four boys. This is because it looks a little bit better, a little more professional. And then I'm gonna do four babies down here, and I'm gonna do baby, add and now for parents, or parents. And I'm gonna do parents here, parents. Take that collection, and now that's done. Many items, what I would suggest is adding another menu item, which is contact, but we're gonna first, before we do that, we're gonna create a contact page. So let's just put these and remove catalog from here, and then you can go to view page, and it's just gonna be a contact form page. And then we're gonna go to navigation, go to main menu, add a menu item, contact bus. And contact, oops, contact us. There we go, pages, contact bus. And I'll put that there. And then monthly shipment, so there we go. And monthly shipment, in the beginning, you're just gonna put less than 1000 because that's not where you're gonna have. Then the sub domain for tracking page, would do mini snowmen and this is where you're going to have all of the information for tracking. So start 14 day free trial. There's a little bit again, find it there and let's filter by country, country and then let's put China. Copy that and then go to our navigation online store navigation and then in the main menu, I'm going to put that at the end. So track my order and then put a link there you have to make the theme live first of all. So Brooklyn actions publish, publish, and then click on customize. And now we're going to customize the homepage. So here we have the homepage and you'll get one for this are $20, $10, $15, $5, $10, $10 easy. You can get an easy logo. And then for the home page logo, what I would recommend is exploring free images and going with kids here because This is our niche and then doing like, for example, this one. This is a great image. It's cold outside. So let's select that and actually, no, that's the homepage logo. So like that. And now it's going to have this image there. The other image we can actually take this one out and remove that. We don't need it there. So you can click save anytime here, free course store. In this case, we're going to just call it instead of free core store. In the text on the top, we can put free shipping, free shipping on all orders. That should be it. Text on the top. Okay. Now, the rich text on the second section here, I would suggest just taking that out, just remove that section. Collection list, I would do three collections. For example, we're talking about the boys. Let's do girls. No, let's do boys. This one. Then let's do collection number two. Let's do girls. and collection number three, let's do babies. And actually, let's put here just a collection of parents, because we're going to sell two parents and also two kids. So boys, girls, babies, feature collection can be parents, but all your family needs, perfect. All right, so save that. And now our store is going to look a lot better. For the slideshow here, I definitely recommend you change up this and introductory hero banner. What I suggest here is family from our family to your family. Perfect. And I want to align that center. Cool. And now the slide number two. Pick another free image. Kids, load more. Enjoy your Christmas. Enjoy your holidays from the, we said, mini snowmen. Tame. All right. Amazing. Now save. Now our store is going to look a lot better. So if you want to go back, you just have to click on the Shopify logo here so it can a lot better. Now let's work on legal pages. So legal pages are extremely important. What you're going to do is go to settings and then click on legal and then go to refund policy, create from template, go to privacy policy, create from template, terms of service, create from template and shipping policy will be from a direct supplier here and click on pages and these pages aren't automatically connected which is kind of annoying but for example you can click here and this one was the returns policy, save, Then we're going to take this template and put privacy policy and make sure to change the name over your store and everything. Probably see policy, create a new one, save. Then we're going to put another one and then we're going to create another page, terms service, add new page, shipping, no returns, never turns pages, turns policy, no terms, terms of that, terms of service. And then the last one privacy policy and then again, we're going to put the tracking page privacy and also we're going to put the tracking page so track my order track. No, no, it has to be the specific link from after ship. Yeah, copy and then put it here. the link baby. Now I saved that and now we should have a nice collection on the center. Girls, babies, beautiful. Now all your family needs, this is the parents one. So I'm just going to put here parents obviously make it to the page that you're actually doing parent. Save that, get another product, save that and then save this one parent and save that on the main page. So now we know that parent is our main page. So now we have here for all your family needs, you have the products here. And now that we bought it, we need to confirm and verify our email address. So our email is over here because if not here domain will be inactive, prove your domain. It's going to take a little bit and then just put free core store here. Now we're going to change the actual name of the store. Good settings, general. Here in the top mini snowman, now we're going to go to a product page. We're going to actually work on the product itself. So we said we are going to advertise this active jumper kid's ankle skip rope, a question to the person. For example, looking to look up doesn't let me edit this. This is an image or hold me edit it for some reason. Let me try not now it's going to let me edit. Okay, looking to okay, so let me looking for a better then we're going to put that large here and put heading two or heading one actually. So this one is like again, this one is also pretty cool. This one is actually really nice. So what I would do is, for example, I would take this and put it as the, I want to take one of these and put them as variant images. So I want to take this pink one, for example, that looks a little bit more legitimate, like this look a lot better. And I want to take it and post it to the variant image of the pink. And I want to take an image like this one looks a lot better and I want to change up for the variant and also the green one is the default one. So I want to change it for another one that looks a little bit more legit. I want to change it to this one because that's the main variant image that you're going to see when you hit the product page. Take these images and take them out here and I'm going to the description just looks way too weird. So I'm going to change this all up and delete all of that. And now I have the clean slate here of the description. What I can do is either hire somebody like I was talking about or let's do looking for a better playtime solution for your child active jumper and close skip route for kids. I want to do a little bit bigger heading three for kids and use that service right here and they can make you a pretty good video so I'm going to pull up one of the videos that they did for us. I'm just going to pull it up real quick. I have the email from them. I'm going to try and find it here. One second, let me try and find the video. Play normal speed here. So you can see it's pretty cool. I mean, they add text to the bottom and it looks good in general. What you can do is just download it straight from your email and this video cost me $77. So for example, if we go to YouTube here and we click on actually, let's go to the video will be ready in just a second video processing. So once it's processed, it's going to show up here. So we're going to wait for that to process and actually show up. And our video should be done any minute. Now, should be showing. There we go. Now we take the video and we click here. And we actually go watch the video. Make sure it's all good. It uploaded properly. For example, the name amazing drawing board, drawing board from Tiny Snowman. And what's out here, looks for the reviews. You can add that app install, take basic. And now what you're going to do with all your products is actively import from loops to your store. Once it loads, I'll show you where it is. So that this count skip import reviews. And then here we go. One click imports from how they express with that here. Now we have import to loops. And now what we're going to do is every single time we have a product that we want to advertise, let's say it is this. We want to advertise the active jumper. jump rope. It was a skip skip jump rope or what was the name of the product. Let me pull it up real quick here. Ankle skip jump rope, ankle skip rope, skip ball. This one. And now we're going to do is click import to loops. It's going to say select the reviews from mini snowman, click active jumper, five stars up. You can click all countries to English and then preview that import. Arrive super fast learn more in two weeks works perfectly import satisfied import Absolutely, lovely since super sturdy and is very nice import perfect as these reviews are just too simple, okay perfect 33 days is too much 33 days is too much import collected and now when we go to the product page we will see that the Product has the reviews on the bottom it has the 10 reviews here And when you click down it has all the reviews on the bottom. In this case, you can just do both Shopify payments, PayPal, click complete account setup, and now you're going to be set up. And here in the bottom, you can dismiss these tips. Get rid of that. And now you're going to have the total sessions for today. Payout schedule, mini snowmen, which is the name of our store. Mini snowmen, snowmen, pixel, copy that. And let's type in free course store, which is the email that we use in the beginning and then your password and then from online store go to preferences here in the bottom preferences. So what you're going to do is click add accounts add assets, choose a category brand, create page. And then what I suggest is getting some likes on the page. Do not run Facebook ads from a page that doesn't have any likes, doesn't have any posts. What I suggest is taking your page and running a little ad, and I'll show you the type of ad that you're going to do. Here, you can view the page. Obviously, no one is going to buy from that page. So you want to add a profile picture, you want to add a cover, and you also want to create a Facebook ad for page likes. So you can do and create a new campaign and click engagement. I would get up to 200 lights on your page. It won't be that expensive if you target worldwide. If you target all the e-packet countries, maybe it's gonna be one like for five cents. So you're gonna get a hundred lights for around $5. It's worth it. It's gonna be good social proof for your account. Now we're gonna create an actual ad with our product and the active jumper kids rope right here. And now I'm gonna set up my business manager here. Select a pixel. The pixel that we're gonna select is the mini-snowman. There is no activity yet. So it's going to show all in red and all weird, but it's normal. There's no activity. There's no sales. There's nothing. What you're going to do is choose purchase. So what we can do is type in on Google, kids brands, best, or best kids brands in the world, best kids clothes, best kids clothing website, baby clothes brand. Let's type in best it toy brands. And we have Lego, Mattel, Baby Einstein, Nintendo. So we can put those on and actually go to here, detail targeting, click, Mattel. And what's the size that give us? It's 38 million people. So that's a little bit insane. Always take out this little tick here, expand your audience. Take that out. Now it's 1.1 million. So that's actually a really solid one. I recommend staying within that range. Always target 23 plus. They tend to have more money. 65 location. It's in France. So I don't want to target France. I want to target United States. And I want to target Canada as well. And all you have to do is take all these countries, click copy and click add locations in bulk, select countries at 30 locations. And now we have an audience of 260,000. So that's a little bit too big. Let's put more brands down there. So it doesn't have to be that small, little tikes. Let's see how that gives us. So what you're gonna do is let's pull up here the name mini snowman and then we're gonna do ankle skip rope. Always name your ads just to make sure that they're organized. You're gonna take the face of page, many snowmen. Single image or video, we're gonna add our video that we have, upload video. And we have the video here. No, let me see where I put this. Recent, there we go. That's also good. The best thing to do right now is to start with a question. So always either start with a question or start with a review. We've done some ads where we either put a review and you can do this by going to Joy Pixels and I click one, two, three, four, five, five stars. Whoops, and it didn't actually add them. So I'm gonna add them here. One, two, three, four, five, copy, five stars. I bought this and you can add it like that. I bought this for my daughter last month and she hasn't been bored since. I highly recommend mini snowmen's parents with children. We wanna sell those to children around, and you can say get yours here. And then I'm gonna hold you again, and you can put a little arrow. And now mini snowmen.com slash jump, apply changes, and here in another text, you can start with a question. So have an energy introducing the mini snowmen, ankle jump rope, the best way, active and entertain. See why more than 25,000 parents, parents, and then the same little, no, yeah, the link, and then you can put just two in there. Yeah, so that I would do those two texts, and then I would do headlines, keep your child busy for hours. You can take the five here and do my child doesn't stop using it. And here we go. All right. So the first ad is ever created and does some good ad copy for you. For you to take, here's how the process works. Who is this for?",
        "transcription_medium": " And then we're gonna try to find this one and two results ambassador games ambassador games So actually the supplier for this product might be a little bit harder to source So we're not going to stick to that one right now What i'm going to do is stick to the skip ball to the skip ball right here And this one should be should be pretty good ankle skip ball active jumper kids ankle skip Jump rope and let's add that on there. So that's perfect the description actually this is why I like e prolo as well They actually pull up the whole description with all of the images and everything and all of the with the product itself So let's go to Shopify and now if we go to the product section here is jump jumping fairy infrared no amazing flying fairy flying fairy amazing Christmas and now that product as well will be on the product section here. Have you load it again really really easy That's why I like the app. It's super easy to import products here and you can import, import, import successfully. We're gonna take all these products and put them in different collections. You're gonna create a collection here. What I would recommend is dividing them up in either seasons, so you can do for winter, for summer, for autumn, or you can do by category, like baby, boys, girls, parents. So for example, you can do different categories, or you can just do bestsellers, and then I'm gonna put product tag is equal, automated, product tag is equal to boy, boy. And now every single product that I add with the tag boy, so let's say I go to my products and I find one that I have here and I click on, let's say this one and I put boy in the tags here, boy. Now this product is going to be shown on the collection. Boys, then we're gonna do a collection for parents, which we're gonna do create collection, which maybe we can sell wine covers or wine bottles and tag as baby. Actually, no, I'm gonna put collections, boys, add, and then I'm gonna do girls, and then this one I'm gonna edit it and put four boys, just because it looks a little bit better, a little more professional. And then I'm gonna do four babies down here, and I'm gonna do baby, add, and now for parents, or parents. And I'm gonna do parents here. Parents, take that collection, and now that's done. Menu items, what I would suggest is adding another menu item, which is contact, But we're gonna first, before we do that, we're gonna create a contact page. So let's just put these and remove catalog from here. And then you can go to view page and it's just gonna be a contact form page. And then we're gonna go to navigation, go to main menu, add a menu item, contact us. And contact, oops, contact us, there we go. Pages, contact us. And I'll put that there. And then monthly shipment, so there we go. And monthly shipment, in the beginning, you're just gonna put less than 1000 because that's not where you're gonna have. Then the sub domain for your tracking page, I would do mini snowman. And this is where you're gonna have all of the information for tracking. So start 14 day free trial. There's a little bit, again, find it there. And let's filter by country. And then let's put China, copy that. And then go to our navigation, online store navigation. And then in the main menu, I'm going to put that at the end. So track my order and then put a link there. You have to make the theme live, first of all. So Brooklyn actions, publish, publish, and then click on customize. And now we're gonna customize the homepage. So here we have the homepage and you'll get one for, this are 20, 10, 15 bucks, five bucks, five, $10, $10, easy. You can get a easy logo. And then for the homepage logo, what I would recommend is exploring free images and going with kids here, because it's our niche, and then doing like for example, this one. This is a great image. It's cold outside, so let's select that. And actually no, that's the homepage logo. Select that, and now it's gonna have this image there. The other image, we can actually take this one out and remove that. We don't need it there. So you can click save anytime here, free course store. In this case, we're gonna just call it instead of free course store. In the text on the top, we can put free shipping, free shipping on all orders, and that should be it. Text on the top. Okay, now the rich text on the second section here, I would suggest just taking that out, just remove that section. Collection list, I would do three collections. For example, we're talking about the boys, let's do girls, no, let's do boys, this one. Then let's do collection number two, let's do girls. Collection number three. Let's do babies and actually let's put here just a collection of Parents because we're gonna sell to parents and also to kids. So boys girls babies feature collection can be parents for all your Family needs perfect. All right, so save that and now our store is gonna look a lot better for the slideshow here I definitely recommend you change up these An introductory hero banner what I suggest here is family from our family to your family perfect and I want to align that center cool And now the slide number two pick another free image kids load more. Enjoy your Christmas. Enjoy your holidays from the we said mini snowman Team. All right, amazing Now save now our store is gonna look a lot better So if you want to go back you just have to click on the Shopify logo here So can a lot better now let's work on legal pages. So legal pages are extremely important What you're going to do is go to settings and they click on legal and they go to refund policy create from template Got a privacy policy create from template times the service create from template and shipping policy will be from a direct supplier here and Click on pages and these pages aren't automatically connected which is kind of annoying But for example, you can click here and this one was the returns policy save Then we're gonna take this template and put privacy policy and make sure to change the name of your store and everything privacy policy create a new one save Then we're gonna put another one and then we're gonna create another page terms service add new page shipping. No returns returns, no returns, pages, terms policy, no terms, terms of that, terms of service. And then the last one, privacy policy. And then again, we're going to put the tracking page, privacy. And also we're going to put the tracking page. So track my order, track, no, no, it has to be the specific link from after ship. Yeah. Copy and then put it here And then link baby, and I save that. And now we should have a nice collection on the center. Girls, babies, beautiful. Now all your family needs, this is the parents one. So I'm just gonna put here parents. Obviously make it to the page that you're actually doing. Parent, save that. Go to another product, save that. And then let's take this one, parent, and save that on the main page. So now we know that parent is our main page. So now we have here for all your family needs, you have the products here. And now that we bought it, we need to confirm and verify our email address. So our email is over here because if not, your domain will be inactive. Prove your domain. It's going to take a little bit and then just put free course store here. Now we're going to change the actual name of the store. Go to settings, general here on the top, mini snowman. Now we're going to go to a product page. We're going to actually work on the product itself. So we said we are going to advertise this active jumper, kids, ankle, skip rope a question to the person's for example looking to look up doesn't let me edit this this an image or well let me edit it for some reason let me try now it's gonna let me edit okay looking to okay so let me looking for a better then we're gonna put that large here and put heading two or heading one actually so this one is like again this one is also pretty cool this one is actually really nice. So what I would do is for example, I would take this and put it as the, I want to take one of these and put them as variant images. So I want to take this pink one for example, that looks a little bit more legitimate, like this look a lot better. And I want to take it and post it to the variant image of the pink. And I want to take an image like this one looks a lot better. And I want to change that for the variant. And also the green one is the default one. So I want to change it for another one that looks a little bit more legit. I want to change it to this one because that's the main variant image that you're gonna see when you hit the product page. Take these images and take them out here and I'm gonna the description just looks way too weird. So I'm gonna change this all up and delete all of that and now I have the clean slate here of the description. What I can do is either hire somebody like I was talking about or let's do looking for a are better playtime solution for a child active jumper ankle skip road for kids I want to do a little bit bigger heading three for kids and use that service right here and they can make you a pretty good video so I'm gonna pull up one of the videos that they did for us just gonna pull it up real quick I have the email from them I'm gonna try and find it here one second let me try and find the video play normal speed here so you can see it's pretty cool I mean they add text to the bottom and it looks good in general what you can do is just download it straight from your email and this video cost me $77 so for example if we go to YouTube here and we click on actually let's go to the video will be ready in just a second video processing so once it's process is gonna show up here so we're gonna wait for that to process and actually show up and our video should be done any minute now should be showing there we go now we take the video and we click here and we actually go watch the video make sure it's all good it uploaded properly for example the name amazing drawing board drawing board from tiny snowman and what out here Luke's photo reviews you can add that app install take basic and now what you're gonna do with all your products is actively import from Luke's to your store. Once it loads, I'll show you where it is. Set a discount, skip, import reviews, and then here we go. One-click import from Aliexpress, put that here. Now we have import to Luke's. And now what we're gonna do is every single time we have a product that we want to advertise, let's say it is this we want to advertise the active jumper, jump rope it was a skip skip jump rope or what was the name of the product let me pull it up real quick here ankle skip jump rope ankle skip rope skip ball this one and now we're gonna do is click import to Luke's it's gonna say selected reviews from mini snowmen click active jumper five stars up you can click all countries to English and then preview an import arrives super fast little more than two weeks works path-frily import satisfied import absolutely love this and super sturdy and is very nice import perfect it's these reviews are just too simple okay perfect 33 days is too much 33 days is too much import collected and now when we go to the product page we will see that the product has the reviews on the bottom it has the 10 reviews here and And when you click down, it has all the reviews on the bottom. In this case, you can just do both Shopify payments, PayPal, click complete account setup, and now you're going to be set up. And here in the bottom, you can dismiss these tips, get rid of that. And now you're going to have the total sessions for today, payout schedule, Mini Snowman, which is the name of our store, Mini Snowman, Snowman Pixel, copy that. Let's type in free course store, which is the email that we use in the beginning and then your password and then from online store Go to preferences here in the bottom preferences. So what you're gonna do is click add accounts add Assets choose a category brand Create page and then what I suggest is getting some likes on the page Do not run Facebook ads from a page that doesn't have any likes doesn't have any posts What I suggest is taking your page and running a little ad and I'll show you the type of ad that you're gonna do Here you can view the page. Obviously no one is gonna buy from that page So you want to add a profile picture you want to add a cover and you also want to create a Facebook ad For page likes so you can do and create a new campaign and click engagement I would get up to 200 likes on your page It won't be that expensive if you target worldwide if you target all the e-packet countries Maybe it's gonna be one like for five cents. So you're gonna get a hundred likes for around five dollars. It's worth it It's gonna be good social proof for your account Now we're gonna create an actual ad with our product and the active jumper kids rope right here And now I'm gonna set up my business manager here select a pixel the pixel are we're gonna select is the mini snowman There is no activity yet. So it's gonna show all in red and all weird, but it's normal. There's no activity. There's no sales There's nothing what you're gonna do is choose purchase. So what we can do is type in on Google kids brands best We're best kids brands in the world Best kids clothes best kids clothing website baby clothes brand. Let's type in best It toy brands and we have Lego Mattel baby Einstein Nintendo So we can put those on and actually go to here detail targeting Click Mattel and what's the size that give us it's 38 million people So that's a little bit insane always take out this little tick here expand your audience take that out now It's 1.1 million. So I was actually a really solid one I recommend staying within that range always target 23 plus they tend to have more money 65 location it's in France. So I don't want to target France I want to target United States and I want to target Canada as well. And all you have to do is take all these countries click copy and click add locations in bulk select countries at 30 location and now we have an audience of 260,000 so that's a little bit too big let's put more brands down there so it doesn't have to be that small little tykes let's see how that give us so what you're gonna do is let's pull up here the name mini snowman and then we're gonna do ankle skip rope always name your ads just to make sure that they're organized. You're gonna take the Facebook page, Mini Snowman, single image or video. We're gonna add our video that we have, upload video, and we have the video here. No, let me see where I put this. Resense, there we go. That's also good. The best thing to do right now is to start with a question. So always either start with a question or start with a review. We've done some ads where we either put a review and you can do this by going to to Joy pixels and I click one, two, three, four, five, five stars. Whoops. And it didn't, it didn't actually add them. So I'm going to add them here. One, two, three, four, five copy five stars. I bought this and you can add it like that. I bought this for my daughter last month and she hasn't been bored. Since highly recommend mini snowman's parents with with with children we want to sell this to children around and you can say get yours here and then emoji again and you can put a little arrow and now mini snowman dot-com slash jump apply changes and here in another text you can start with a question so have an energy introducing the mini snowman ankle jump rope the best way active and entertain see why more than 25,000 parents parents and then the same little no yeah the link and then you can put just two in there yeah so that I would do those two text and then I would do headlines. Keep your child busy for hours. You can take the five here and do my child doesn't stop using it. Here we go. All right. So the first ad is ever created and that's some good ad copy for you, for you to take. Here's how the process works. Who is this for?",
        "transcription_large_v3": " then we're gonna try to find this one and two results ambassador games ambassador games so actually the supplier for this product might be a little bit harder to source so we're not gonna stick to that one right now what I'm gonna do is stick to the skip ball to the skip ball right here and this one should be should be pretty good ankle skip ball active jumper kids ankle skip jump rope and I thought that on there so that's perfect the description actually This is why I like eProlo as well. They actually pull up the whole description with all of the images and everything and all of the, with the product itself. So let's go to Shopify. And now if we go to the product section here is Jumping Fairy, Infrared, no, Amazing, Flying Fairy, Flying Fairy, Amazing, Christmas. And now that product as well will be on the product section here. If you load it again, really, really easy. That's why I like the app. It's super easy to import products here and you can import, import, import successfully. We're going to take all these products and put them in different collections. You're going to create a collection here. What I would recommend is dividing them up in either seasons. So you can do for winter, for summer, for autumn, or you can do by category like baby, boys, girls, parents. So for example, you can do different categories or you can just do bestsellers. And then I'm going to put product tag is equal automated. product tag is equal to boy boy and now every single product that i add with the tag boy so let's say i go to my products and i find one that i have here and i click on let's say this one and i put boy in the tags here boy now this product is going to be shown on the collection boys then we're going to do a collection for parents which we're going to do create collection which maybe we can sell wine covers or wine bottles and tag this baby actually no I'm gonna put collections boys add and then I'm gonna do girls and then this one I'm gonna edit it and put four boys just because it looks a little bit better a little more professional and then I'm gonna do for babies down here and I'm gonna do baby add and now for parents or parents and I'm gonna do parents here parents take that collection and now that's done menu items what I would suggest is adding another menu item which is contact but we're gonna first before we do that we're gonna create a contact page so let's just put these and remove catalog from here and then you can go to view page and it's just gonna be a contact form page and then then we're gonna go to navigation go to main menu add a menu item contact us and contact whoops contact us there we go pages contact us and i'll put that there and then monthly shipment so there we go and monthly shipment um in the beginning you're just going to put less than 1000 because that's not what you're going to have then the sub domain for your tracking page i would do mini snowman and this is where you're going to have all of the information for tracking. So start 14 day free trial. It's a little bit, again, find it there and let's filter by country, country and then let's put China, copy that and then go to our navigation, online store, navigation. And then in the main menu, I'm going to put that at the end. So track my order and then put a link there. You have to make the theme live, first of all. So Brooklyn actions, publish, publish, and then click on customize. And now we're gonna customize the homepage. So here we have the homepage and you'll get one for, these are 20, 10, 15 bucks, five bucks, five, $10, $10, easy. You can get an easy logo. And then for the homepage logo, what I would recommend is exploring free images and going with kids here, cause it's our niche and then doing like, for example, this one, this is a great image. It's cold outside. So let's select that. And actually, no, that's the homepage logo. So like that, and now it's gonna have this image there. The other image, we can actually take this one out and remove that. We don't need it there. So you can click Save anytime here, FreeCore Store. In this case, we're gonna just call it instead of FreeCore Store, in the text on the top, we can put free shipping, free shipping on all orders. And that should be it, text on the top. Okay, now the rich text on the second section here, I would suggest just taking that out, just remove that section. Collection list, I would do three collections. For example, we're talking about the boys, let's do girls, no, let's do boys, this one. Then let's do collection number two, let's do girls. And collection number three, let's do babies. And actually let's put here just a collection of parents because we're gonna sell to parents and also to kids. So boys, girls, babies, feature collection can be parents for all your family needs. Perfect. All right, so save that. And now our store is gonna look a lot better. For the slideshow here, I definitely recommend you change up these, an introductory hero banner. What I suggest here is family, from our family to your family. Perfect. And I wanna align that center. Cool. And now the slide number two, another free image kids load more enjoy your christmas enjoy your holidays from the we said mini snowmen team all right amazing now save now our store is going to look a lot better so if you want to go back you just have to click on the shopify logo here it's looking a lot better now let's work on legal pages so legal pages are extremely important what you're going to do is go go to settings and then click on legal and then go to refund policy create from template got a privacy policy create from template terms of service create from template and shipping policy will be from your direct supplier here and click on pages and these pages aren't automatically connected which is kind of annoying but for example you can click here and this one was the returns policy save then we're gonna take this template and put privacy policy and make sure to change the name of your store and everything privacy policy create a new one save then we're gonna put another one and then we're gonna create another page terms of service add new page shipping no returns no returns pages terms policy no terms terms of that terms of service and then the last one privacy policy and then again we're gonna put the tracking page privacy and And also we're going to put the tracking page. So track my order, track. No, no, it has to be the specific link from AfterShift. Yeah, copy and then put it here. And then link baby. And I save that. And now we should have a nice collection on the center. Girls, babies, beautiful. Now all your family needs. This is the parents one. So I'm just going to put here parents. Obviously make it to the page that you're actually doing. Parents, save that. Go to another product, save that. and then let's take this one parent and save that on the main page so now we know that parent is our main page so now we have here for all your family needs you have the products here and now that we bought it we need to confirm and verify our email address so our email is over here because if not your domain will be inactive prove your domain it's going to take a little bit and then just put free course store here now we're going to change the actual name of the store go to settings general here on the top mini snowman now we're gonna go to a product page we're gonna actually work on the product itself so we said we are going to advertise this active jumper kids ankle skip rope a question to the person's for example looking to look up doesn't let me edit this this is an image or well let me edit it for some reason let me try now it's gonna let me at it okay looking to okay so let me looking for a better then we're gonna put that large here and and put heading two or heading one actually. So this one is like, again, this one is also pretty cool. This one is actually really nice. So what I would do is for example, I would take this and put it as the, I wanna take one of these and put them as variant images. So I wanna take this pink one, for example, that looks a little bit more legitimate, like this look a lot better. And I wanna take it and post it to the variant image of the pink. And I want to take an image like this one. It looks a lot better and I want to change that for the variant and also the green one is the default one. So I want to change it for another one that looks a little bit more legit. I want to change it to this one because that's the main variant image that you're going to see when you hit the product page. Take these images and take them out here and I'm going to the description just looks way too weird. So I'm going to change this all up and delete all of that. Now I have the clean slate here of the description. What I can do is either hire somebody like I was talking about, or let's do looking for a better playtime solution for a child, active jumper, ankle skip road for kids. I want to do a little bit bigger heading three for kids and use that service right here. And they can make you a pretty good video. So I'm going to pull up one of the videos that they did for us. Just going to pull it up real quick. I have the email from them. I'm going to try and find it here. One second. Let me try and find the video. Play normal speed here. So you can see it's pretty cool. I mean, they add text to the bottom and it looks good in general. What you can do is just download it straight from your email. And this video costs me $77. So for example, if we go to YouTube here and we click on, actually, let's go to, the video will be ready in just a second. Video processing. So once it's processed, it's going to show up here. So we're going to wait for that to process and actually show up. And our video should be done any minute now. Should be showing. There we go. Now we take the video and we click here and we actually go watch the video. Make sure it's all good. It uploaded properly. For example, the name Amazing Drawing Board. Drawing Board from Tiny Snowman. And what's out here? Luke's Photo Reviews. You can add that app, install, take basic. And now what you're going to do with all your products is actively import from Luke's to your store. Once it loads, I'll show you where it is. Set a discount, skip, import reviews. And then here we go. One click import from AliExpress, put that here. Now we have import to Luke's. And now what we're going to do is every single time we have a product that we want to advertise, let's say it is this, We want to advertise the active jumper, jump rope. It was a skip jump rope or what was the name of the product? Let me pull it up real quick here. Ankle skip jump rope, ankle skip rope, skip ball. This one. And now what we're going to do is click import to Luke's. It's going to say select the reviews from Mini Snowman. Click active jumper, five stars up. You can click all countries to English and then preview and import. arrives super fast little more in two weeks works perfectly import satisfied import absolutely love this and super sturdy and is very nice import perfect it's these reviews are just too simple okay perfect 33 days is too much 33 days is too much import collected and now when we go to the product page we will see that the product has the reviews on the bottom it has the 10 reviews here and when you click down it has all the reviews on the bottom in this case you can just do both Shopify payments PayPal click complete I account set up and now you're gonna be set up and here in the bottom you can dismiss these tips get rid of that and now you're gonna have the total sessions for today payout schedule mini snowmen which is the name of our store mini snowmen snowmen pixel copy that and let's type in free course store which is the email that we use in the beginning and then your password and then from online store go to preferences here in the bottom preferences so what you're gonna do is click add accounts add assets choose a category brand create page and then what I suggest is getting some likes on the page do not run Facebook ads from a page that doesn't have any likes doesn't have any posts what I suggest is taking your page and running a little ad and I'll show you the type of ad that you're gonna do here you can view the page obviously no one is gonna buy from that page so you want to add a profile picture you want to add a cover and you also want to create a Facebook ad for page likes so you can do and create a new campaign and click engagement I would get up to 200 likes on your page it won't be that expensive if you target worldwide if you target all the e-packet countries maybe it's gonna be one like for five cents so you're gonna get a hundred likes for around five dollars it's worth it it's gonna be good social proof for your account now we're gonna create an actual ad with our product and the active jumper kids rope right here and now I'm gonna set up my business manager here select the pixel the pixel that we're gonna select is the mini snowman there is no activity yet so it's gonna show all in red and all weird but it's normal there's no activity there's no sales there's nothing what you're gonna do is choose purchase so what we can do is type in on Google kids brands best or best kids brands in the world best kids clothes best kids clothing website baby clothes brand let's type in best it toy brands and we have Lego Mattel baby Einstein Nintendo so we can put those on and actually go to here detailed targeting click Mattel and what's the size that give us it's 38 million people so that's a little bit insane always take out this little tick here expand your audience take that out now it's 1.1 million so I'll just get a really solid one I recommend staying within that range always target 23 plus they tend to have more money 65 location it's in France so I don't want to target France I want to target United States and I want to target Canada as well and all you have to do is take all these countries click copy and click add locations in bulk select countries at 30 locations and now we have an audience of 260,000 so that's a little bit too big let's put more brands down there so it doesn't have to be that small little types let's see how that give us so what you're gonna do is let's pull up here the name mini snowman and then we're gonna do ankle skip rope always name your ads just to make sure that they're organized you're gonna take the Facebook page mini snowman single image or video we're gonna add our video that we have upload video and we have the video here no let me see where I put this recent there we go that's also good the best thing to do right now is to at start with a question so always either start with a question or start with a review we've done some ads where we either put a review and you can do this by going to joy pixels and I click one two three four, five, five stars. Whoops. And it didn't, it didn't actually add them. So I'm going to add them here. One, two, three, four, five, copy five stars. I bought this and you can add it like that. I bought this for my daughter last month and she hasn't been bored since. Highly recommend mini snowman's parents with with with children we want to sell this to children around and you can say get yours here and then emoji again and you can put a little arrow and now mini snowman.com slash jump apply changes and here in another text you can start with a question so have an energy introducing the mini snowman ankle jump rope the best way active and entertain see why more than 25 000 parents parents and then the same little no yeah the link and then you can put just two in there yeah so that i would do those two texts and then i would do headlines keep your child busy for hours you can take the five here and do my child doesn't stop using it here we go alright so the first ad is ever created and that's some good ad copy for you for you to take here's how the process works who is this for"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000593.mp3": {
        "gt": "FIRST OF ALL  OKAY AND SECOND OF ALL   TO PLAY A BRAND NEW GAME  YEAH  IT'S HARDER  BUTTER  OH  HOT POCKETS  AND FOR THE GRAND FINALE   IT'S THE ONE   THE ONLY  CHEESY GORDITA CRUNCH   OH WOW  THAT'S NOT SOMETHING I'M PROUD OF  ON MULTIPLE PARTS   IT'S NOT MELTEDVERY FOOTBALL SHAPED   TACO   WHEN I GO HERE  TWO OF THESE  IT'S A CHEESY GORDITA CRUNCH  \n",
        "transcription_base": " First of all, okay, that's not gonna want to play a brand new game. Yeah, it's harder butter. Oh Hot pockets and for the grand finale. It's the one the only cheesy gordita crunch. Oh Wow, that's not something I'm proud of on multiple parts not me old to shit. It's my football shape taco when I go here two of these It's a cheesy gordita crunch",
        "transcription_medium": " First of all, and second of all, to play a brand new game. Yeah. It's harder. Butter. Oh! Hot pockets. And for the grand finale, it's the one, the only cheesy gordita crunch. Oh, wow. That's not something I'm proud of on multiple parts. It's not melted sh-t. It's very football-shaped. Taco. When I go here, two of these. It's a cheesy gordita crunch.",
        "transcription_large_v3": " First of all, and second of all, to play a brand new game. Yeah. It's harder. Butter. Oh! Hot Pockets! And for the grand finale, it's the one, the only, Cheesy Gordita Crunch. Oh, wow. That's not something I'm proud of. On multiple parts. It's not melted sh**. It's very football shaped. Taco. When I go here, two of these. It's a Cheesy Gordita Crunch."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000609.mp3": {
        "gt": "AH MAN   WE'RE BACK TO THE PRESENT  THE BABY IS BORN  WELL WE KNEW THAT   THE BABY WAS BORN IN THE LASTI'M HAPPY WITH THIS  OHOH MY GOD  QUIET  ALTHOUGH I'M GOING TO MISS I FORGET WHAT HIS NAME IS   I'M GOING TO MISS THE DAD   YOU KNOW  \n",
        "transcription_base": " Aw man, we're back to the present. The baby is born! Well we knew that. The baby was born in the last... I'm happy with this. Uh oh. Oh my god. Quiet. Although I'm gonna miss, uh, forget what his name is. I'm gonna miss the dad, you know.",
        "transcription_medium": " Aww man, we're back to the present. The baby is born! Well we knew that, the baby was born in the last, uh, I'm happy with this. Uh oh. Oh my god. Quiet. Although I'm gonna miss, uh, I forget what his name is, I'm gonna miss the dad, you know?",
        "transcription_large_v3": " Oh man, we're back to the present. The baby is born. Well, we knew that the baby was born in the last, I'm happy with this. Uh oh, oh my God, quiet. Although I'm gonna miss, I forget what his name is, I'm gonna miss the dad, you know?"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000635.mp3": {
        "gt": "HUMANITY IS NOW FULLY INTO THE TECHNO-SCIENTIFIC AGE  THERE IS GOING TO BE NO TURNING BACK  ALTHOUGH VARYING AMONG DISCIPLINES SAY   ASTROPHYSICS   MOLECULAR GENETICS   THE IMMUNOLOGY   THE MICROBIOLOGY   THE PUBLIC HEALTH   TO THE NEW AREA OF THE HUMAN BODY AS A SYMBIONT  TO PUBLIC HEALTH   ENVIRONMENTAL SCIENCE   KNOWLEDGE IN MEDICAL SCIENCE AND SCIENCE OVERALL IS DOUBLING EVERY FIFTEEN TO TWENTY YEARS   TECHNOLOGY IS INCREASING AT A COMPARABLE RATE   BETWEEN THEM  THE TWO ALREADY PERVADE   AS MOST OF YOU HERE SEATED REALIZE   EVERY DIMENSION OF HUMAN LIFE  SO SWIFT IS THE VELOCITY OF THE TECHNO-SCIENTIFIC REVOLUTION  SO STARTLING IN ITS COUNTLESS TWISTS AND TURNS   THAT NO ONE CAN PREDICT ITS OUTCOME EVEN A DECADE FROM THE PRESENT MOMENT  THERE WILL COME A TIME   OF COURSE  HAS TO PEAK AND LEVEL OFF   BUT THAT'S NOT GOING TO MATTER TO YOU   THE REVOLUTION IS GOING TO CONTINUE FOR AT LEAST SEVERAL MORE DECADES   IT'LL RENDER THE HUMAN CONDITION RADICALLY DIFFERENT FROM WHAT IT IS TODAY  TRADITIONAL FIELDS OF STUDY ARE GOING TO CONTINUE TO GROW AND IN SO DOING   INEVITABLY THEY WILL MEET AND CREATE NEW DISCIPLINES  IN TIME   ALL OF SCIENCE WILL COME TO BE A CONTINUUM OF DESCRIPTION  AN EXPLANATION OF NETWORKS   OF PRINCIPLES AND LAWS  THAT'S WHY YOU NEED NOT JUST BE TRAINING IN ONE SPECIALTY   BUT ALSO ACQUIRE BREADTH IN OTHER FIELDS   RELATED TO AND EVEN DISTANT FROM YOUR OWN INITIAL CHOICE  KEEP YOUR EYES LIFTED AND YOUR HEAD TURNING  THE SEARCH FOR KNOWLEDGE IS IN OUR GENES  IT WAS PUT THERE BY OUR DISTANT ANCESTORS WHO SPREAD ACROSS THE WORLD   AND IT'S NEVER GOING TO BE QUENCHED  TO UNDERSTAND AND USE IT SANELY  AS A PART OF THE CIVILIZATION YET TO EVOLVE REQUIRES A VASTLY LARGER POPULATION OF SCIENTIFICALLY TRAINED PEOPLE LIKE YOU  IN EDUCATION   MEDICINE   LAW   DIPLOMACY  GOVERNMENT  BUSINESS AND THE MEDIA THAT EXIST TODAY  OUR POLITICAL LEADERS NEED AT LEAST A MODEST DEGREE OF SCIENTIFIC LITERACY   WHICH MOST BADLY LACK TODAY NO APPLAUSE   PLEASE  I'LL NOW PROCEED QUICKLY  IF YOU ARE A BIT SHORT IN MATHEMATICAL SKILLS   DON'T WORRY  MANY OF THE MOST SUCCESSFUL SCIENTISTS AT WORK TODAY ARE MATHEMATICALLY SEMI-LITERATE  A METAPHOR WILL SERVE HERE WHERE ELITE MATHEMATICIANS ANDINCLUDING A LARGE PORTION OF THOSE WHO COULD BE SAID TO BE OF THE FIRST RANK   ARE THE ONES WHO MAP THE TERRAIN   THEY SCOUT THE FRONTIERS  THEY CUT THE PATHWAYS  THEY RAISE THE BUILDINGS ALONG THE WAY  BUT IT'S BEEN MY HABIT TO BRUSH ASIDE THE FEAR OF MATHEMATICS WHEN TALKING TO CANDIDATE SCIENTISTS  DURING FORTY ONE YEARS OF TEACHING BIOLOGY AT HARVARD  I WATCHED SADLY AS BRIGHT STUDENTS TURNED AWAY FROM THE POSSIBILITY OF A SCIENTIFIC CAREER OR EVEN FROM TAKING NON-REQUIRED COURSES IN SCIENCE BECAUSE THEY WERE AFRAID OF FAILURE  THESE MATH-PHOBES DEPRIVE SCIENCE AND MEDICINE OF IMMEASURABLE AMOUNTS OF BADLY NEEDED TALENT  I DIDN'T TAKE ALGEBRA UNTIL MY FRESHMAN YEAR AT THE UNIVERSITY OF ALABAMA  I FINALLY GOT AROUND TO CALCULUS AS A THIRTY TWO YEAR OLD TENURED PROFESSOR AT HARVARD  WHERE I SAT UNCOMFORTABLY IN CLASSES WITH UNDERGRADUATE STUDENTS  LITTLE MORE THAN HALF MY AGE   A COUPLE OF THEM WERE STUDENTS IN A COURSE I WAS GIVING ON EVOLUTIONARY BIOLOGY  AND I LEARNED CALCULUS   I FOUND OUT THAT IN SCIENCE AND ALL ITS APPLICATIONS   WHAT IS CRUCIAL IS NOT THAT TECHNICAL ABILITY   BUT IT IS IMAGINATION IN ALL OF ITS APPLICATIONS  THEY ARE INSTEAD THE PRODUCTS OF DOWNSTREAM IMAGINATION LEADING TO HARD WORK  DURING WHICH MATHEMATICAL REASONING MAY OR MAY NOT PROVE TO BE RELEVANT  IDEAS EMERGE WHEN A PART OF THE REAL OR IMAGINED WORLD IS STUDIED FOR ITS OWN SAKE  THE PERSON OR TEAM THAT MADE THE DISCOVERY  A MATHEMATICIAN CAN THEN BE ADDED BY THEM AS A COLLABORATOR   CONSIDER THE FOLLOWING PRINCIPLE   WHICH I WILL MODESTLY CALL WILSON'S PRINCIPLE NUMBER ONEKEEP IN MIND   THEN  WILSON'S SECOND PRINCIPLE FOR EVERY SCIENTIST  WHETHER RESEARCHER  TECHNICIAN  TEACHER  MANAGER OR BUSINESSMAN  WORKING AT ANY LEVEL OF MATHEMATICAL COMPETENCE  THERE EXISTS A DISCIPLINE IN SCIENCE OR MEDICINE FOR WHICH THAT LEVEL IS ENOUGH TO ACHIEVE EXCELLENCE  NOW I'M GOING TO OFFER QUICKLY SEVERAL MORE PRINCIPLES THAT WILL BE USEFUL IN ORGANIZING YOUR EDUCATION AND CAREER   OR IF YOU'RE TEACHING  IN SELECTING A SUBJECT IN WHICH TO CONDUCT ORIGINAL RESEARCH  OR TO DEVELOP WORLD-CLASS EXPERTISE  TAKE A PART OF THE CHOSEN DISCIPLINE THAT IS SPARSELY INHABITED  JUDGE OPPORTUNITY BY HOW FEW OTHER STUDENTS AND RESEARCHERS ARE ON HAND  BUT THROUGH IT ALL   LOOK FOR A WAY TO BREAK OUT  THERE IS THE QUICKEST WAY ADVANCES ARE LIKELY TO OCCUR  AS MEASURED IN DISCOVERIES PER INVESTIGATOR PER YEAR  YOU MAY HAVE HEARD THE MILITARY DICTUM FOR THE GATHERING OF ARMIES MARCH TO THE SOUND OF THE GUNS  IN SCIENCE   THE EXACT OPPOSITE IS THE CASE MARCH AWAY FROM THE SOUND OF THE GUNS  SO WILSON'S PRINCIPLE NUMBER THREEMARCH AWAY FROM THE SOUND OF THE GUNS  OBSERVE FROM A DISTANCE   BUT DO NOT JOIN THE FRAY  MAKE A FRAY OF YOUR OWN  YOUR POTENTIAL TO SUCCEED WILL BE GREATLY ENHANCED IF YOU STUDY IT ENOUGH TO BECOME AN EXPERT  THERE ARE THOUSANDS OF PROFESSIONALLY DELIMITED SUBJECTS SPRINKLED THROUGH PHYSICS AND CHEMISTRY TO BIOLOGY AND MEDICINE  WHEN THE SUBJECT IS STILL VERY THINLY POPULATED   YOU CAN WITH DILIGENCE AND HARD WORK BECOME THE WORLD AUTHORITY  IF THAT'S THE CASE  GOOD  WHY HARD INSTEAD OF EASY  THE ANSWER DESERVES TO BE STATED AS PRINCIPLE NUMBER FOUR  NOW THIS BRINGS ME TO A BASIC CATEGORIZATION IN THE WAY SCIENTIFIC DISCOVERIES ARE MADE  SCIENTISTS   PURE MATHEMATICIANS AMONG THEM  FOLLOW ONE OR THE OTHER OF TWO PATHWAYS FIRST THROUGH EARLY DISCOVERIES  A PROBLEM IS IDENTIFIED AND A SOLUTION IS SOUGHT  OR LARGER   WHAT'S THE ROLE OF DARK MATTERIN THE EXPANSION OF THE UNIVERSE  AS THE ANSWER IS SOUGHT  EXPLORING A FOREST IN SEARCH OF A PARTICULAR QUARRY  BUT FOR PROBLEMS THEMSELVES WORTH SOLVING  THE TWO STRATEGIES OF RESEARCH  ORIGINAL RESEARCH   CAN BE STATED AS FOLLOWS  IN THE FINAL PRINCIPLE I'M GOING TO OFFER YOU FOR EVERY PROBLEM IN A GIVEN DISCIPLINE OF SCIENCE  THERE EXISTS A SPECIES OR ENTITY OR PHENOMENON IDEAL FOR ITS SOLUTION  AND CONVERSELY  FOR EVERY SPECIES OR OTHER ENTITY OR PHENOMENON   THERE EXIST IMPORTANT PROBLEMS FOR THE SOLUTION OF WHICH  THOSE PARTICULAR OBJECTS OF RESEARCH ARE IDEALLY SUITED  FIND OUT WHAT THEY ARE  THE DECADES AHEAD WILL SEE DRAMATIC ADVANCES IN DISEASE PREVENTION  GENERAL HEALTH   THE QUALITY OF LIFE  ALL OF HUMANITY DEPENDS ON THE KNOWLEDGE AND PRACTICE OF THE MEDICINE AND THE SCIENCE BEHIND IT YOU WILL MASTER  YOU HAVE CHOSEN A CALLING THAT WILL COME IN STEPS TO GIVE YOU SATISFACTION  AT ITS CONCLUSION  OF A LIFE WELL LIVED   AND I THANK YOU FOR HAVING ME HERE TONIGHT  \n",
        "transcription_base": " Humanity is now fully into the techno-scientific age. There's going to be no turning back, although varying among disciplines, say astrophysics, molecular genetics, the immunology, the microbiology, the public health, to the new area of the human body, of the symbiont, to public health, environmental science, knowledge in medical science, and science overall is doubling every 15 to 20 years. technology is increasing at a comfortable rate. Between them, the two already pervade, as most of you here see to realize every dimension of human life. So, Swiss is the velocity of the techno-scientific revolution. So, startling in its countless twists and turns that no one can predict its outcome, even a decade from the present moment. There will come a time, of course, has to peak and level off, But that's not going to matter to you. The revolution is going to continue for at least several more decades, or render the human condition radically different from what it is today. Traditional fields of study are going to continue to grow, and in so doing, inevitably they will meet and create new disciplines. In time, all of science will come to be a continuum of description and explanation of networks of principles and laws. That's why you need not just be training in one specialty, but also acquire breadth in other fields related to and even distance from your own initial choice. Keep your eyes listed and your head turning. The thirst for knowledge is in our genes. It was put there by our distant ancestors who spread across the world and it's never going to be quenched. To understand and use it, Sainly, as a part of the civilization yet to evolve, requires a vastly larger population of scientific and trained people like you, in education, medicine, law, diplomacy, government, business, and the media that exists today, our political leaders need at least a modest degree of scientific literacy, which most badly lack today, nor plausibly. I'll now proceed quickly. If you are a bit short in mathematical skills, don't worry. Many of the most successful scientists that work today are mathematically semi-literate. A metaphor will serve here, where elite mathematicians, and including a large portion of those who could be said to be of the first rank, are the ones who mapped the terrain, they scout the frontiers, they cut the pathways, They raised the buildings along the way. But it's been my habit to brush aside the fear of mathematics from talking to candidate scientists. During 41 years of teaching biology at Harvard, I watched sadly, as bright students turned away from the possibility of a scientific career or even from taking non-required courses in science because they were afraid of failure. These math fobes deprived science and medicine of a measurable amount of badly needed talent. I didn't take algebra until my freshman year at the University of Alabama. I finally got around the calculus as a 32-year-old tenured professor at Harvard, where I sat uncomfortably in classes with undergraduate students, little more than half my age. A couple of them were students. In a course, I was giving on evolutionary biology, and I learned calculus. I found out that in science, and all its applications what is crucial is not that technical ability, but it is imagination and all of its applications. They are instead the products of downstream imagination leading to hard work during which mathematical reasoning may or may not prove to be relevant. Ideas emerge when a part of the real or imagined world is studied for its own sake. The person or team that made the discovery, A mathematician can then be added by them as a collaborator. Consider the following principle, which I will modestly call Wilson's principle number one. Keep in mind then, Wilson's second principle. For every scientist, whether researcher, technician, teacher, manager, or businessman, working at any level of mathematical competence, there exists a discipline and science or medicine for which that level is enough to achieve excellence. Now I'm going to offer quickly several more principles that will be useful in organizing your education, career, or if you're teaching in selecting a subject in which to conduct original research or to develop world-class expertise, take a part of the chosen discipline that is sparsely inhabited, judge opportunity by how few other students and researchers are on hand. But through it all, look for a way to break out. There is the quickest way advances are likely to occur as measured in discoveries per investigator per year. You may have heard the military dictum for the gathering of armies, marched to the sound of the guns. In science, the exact opposite is the case, march away from the sound of the gun. So Wilson, principal number three, march away from the sound of the gun, observe from a distance, but do not join the fray. Make a fray of your own. Your potential to succeed will be greatly enhanced if you study it enough to become an expert. There are thousands of professionally delimited subjects sprinkled through physics and chemistry to biology and medicine, when the subject is still very thinly populated, you can with diligence and hard work become the world authority. If that's the case, good. Why hard instead of easy, the answer deserves to be stated as principal number four. Now this brings me to a basic categorization in the way scientific discoveries are made. Scientists, pure mathematicians among them, follow one or the other of two pathways, first through early discoveries, a problem is identified, and a solution is sought. Or larger, what's the role of dark matter in the expansion of the universe? As the answer is sought, exploring a forest and search of a particular quarry, but for problems themselves worth solving, the two strategies of research, Originally search can be stated as follow in the final principle I'm going to offer you. For every problem in a given discipline of science, there exists a species or entity or phenomenon ideal for its solution and conversely for every species or other entity or phenomenon there exist important problems for the solution of which those particular objects of research are ideally suited find out what they are. The decades ahead was seed dramatic advances into these prevention, general health, the quality of life. All of humanity depends on the knowledge and practice of the medicine and the science behind it you will master. You have chosen a calling that will come in steps to give you satisfaction at its conclusion of a life-well lived, and I thank you for having me here tonight.",
        "transcription_medium": " Humanity is now fully into the techno-scientific age. There's going to be no turning back. Although varying among disciplines, say astrophysics, molecular genetics, immunology, microbiology, to public health, to the new area of the human body of the symbiont, to public health, environmental science, knowledge in medical science, and science overall is doubling every 15 to 20 years. technology is increasing at a comparable rate. Between them, the two already pervade, as most of you here seated realize, every dimension of human life. So swift is the velocity of the techno-scientific revolution, so startling in its countless twists and turns that no one can predict its outcome even a decade from the present moment. There will come a time, of course, has to peak and level off, But that's not going to matter to you. The revolution is going to continue for at least several more decades. It will render the human condition radically different from what it is today. Traditional fields of study are going to continue to grow, and in so doing, inevitably they will meet and create new disciplines. In time, all of science will come to be a continuum of description and explanation of networks of principles and laws. That's why you need not just be training in one specialty, but also acquire breadth in other fields related to and even distant from your own initial choice. Keep your eyes lifted and your head turning. The thirst for knowledge is in our genes. It was put there by our distant ancestors who spread across the world and it's never going to be quenched. To understand and use it sanely as a part of the civilization yet to evolve requires a vastly larger population of scientifically trained people like you. In education, medicine, law, diplomacy, government, business, and the media that exists today, our political leaders need at least a modest degree of scientific literacy, which most badly lack today. No applause, please. I'll now proceed quickly. If you are a bit short in mathematical skills, don't worry. Many of the most successful scientists that work today are mathematically semi-literate. A metaphor will serve here, where elite mathematicians, including a large portion of those who could be said to be of the first rank, are the ones who map the terrain. They scout the frontiers. They cut the pathways. They raised the buildings along the way. But it's been my habit to brush aside the fear of mathematics when talking to candidate scientists. During 41 years of teaching biology at Harvard, I watched sadly as bright students turned away from the possibility of a scientific career or even from taking non-required courses in science because they were afraid of failure. These math-phobes deprived science and medicine of immeasurable amounts of badly needed talent. I didn't take algebra until my freshman year at the University of Alabama. I finally got around to calculus as a 32 year old tenured professor at Harvard where I sat uncomfortably in classes with undergraduate students, little more than half my age. A couple of them were students. In a course I was giving on evolutionary biology and I learned calculus. I found out that in science and all its applications, What is crucial is not that technical ability, but it is imagination and all of its applications. They are instead the product of downstream imagination leading to hard work during which mathematical reasoning may or may not prove to be relevant. Ideas emerge when a part of the real or imagined world is studied for its own sake. The person or team that made the discovery, A mathematician can then be added by them as a collaborator. Consider the following principle, which I will modestly call Wilson's principle number one. Keep in mind then, Wilson's second principle. For every scientist, whether researcher, technician, teacher, manager, or businessman, working at any level of mathematical competence, There exists a discipline in science or medicine for which that level is enough to achieve excellence. Now I'm going to offer quickly several more principles that will be useful in organizing your education and career or if you're teaching, in selecting a subject in which to conduct original research or to develop world-class expertise, take a part of the chosen discipline that is sparsely inhabited, judge opportunity by how few other students and researchers are on hand. But through it all, look for a way to break out. There is the quickest way advances are likely to occur as measured in discoveries per investigator per year. You may have heard the military dictum for the gathering of armies. March to the sound of the guns. In science, the exact opposite is the case. March away from the sound of the guns. So Wilson's principle number three, march away from the sound of the gun, observe from a distance, but do not join the fray. Make a fray of your own. Your potential to succeed will be greatly enhanced if you study it enough to become an expert. There are thousands of professionally delimited subjects sprinkled through physics and chemistry to biology and medicine. When the subject is still very thinly populated, you can with diligence and hard work become the world authority. If that's the case, good. Why hard instead of easy? The answer deserves to be stated as principle number four. Now this brings me to a basic categorization in the way scientific discoveries are made. Scientists, pure mathematicians among them, follow one or the other of two pathways. through early discoveries, a problem is identified, and a solution is sought. Or larger, what's the role of dark matter in the expansion of the universe? As the answer is sought, exploring a forest in search of a particular quarry, but for problems themselves worth solving. The two strategies of research, original research, can be stated as follows in the final principle I'm going to offer you. For every problem in a given discipline of science, there exists a species or entity or phenomenon ideal for its solution. And conversely, for every species or other entity or phenomenon, there exists important problems for the solution of which those particular objects of research are ideally suited, find out what they are. The decades ahead will see dramatic advances in disease, prevention, general health, the quality of life. All of humanity depends on the knowledge and practice of the medicine and the science behind it you will master. You have chosen a calling that will come in steps to give you satisfaction at its conclusion of a life well lived. And I thank you for having me here tonight.",
        "transcription_large_v3": " Humanity is now fully into the technoscientific age. There's going to be no turning back. Although varying among disciplines, say astrophysics, molecular genetics, immunology, microbiology, public health, to the new area of the human body of the symbiont, to public health, environmental science, knowledge in medical science, and science overall is doubling every 15 to 20 years. technology is increasing at a comparable rate between them the two already pervade as most of you here seated realize every dimension of human life so Swift is the velocity of the techno scientific revolution so startling and it's countless twists and turns that no one can predict its outcome even a decade from the present moment there'll come a time of course has to peak and level off, but that's not going to matter to you. The revolution is going to continue for at least several more decades. It will render the human condition radically different from what it is today. Traditional fields of study are going to continue to grow, and in so doing, inevitably they will meet and create new disciplines. In time, all of science will come to be a continuum of description and explanation of networks of principles and laws that's why you need not just be training in one specialty but also acquire breadth in other fields related to and even distant from your own initial choice keep your eyes lifted and your head turning the thirst for knowledge is in our genes it was put there by our distant ancestors who spread across the world and it's never going to be quenched to understand and use it sanely as a part of the civilization yet to evolve requires a vastly larger population of scientifically trained people like you in education medicine law diplomacy government business and the media that exists today our political leaders need at least a modest degree of scientific literacy which most badly lacked today no applause please i'll now proceed quickly if you are a bit short in mathematical skills don't worry many of the most successful scientists that work today are mathematically semi-literate a metaphor will serve here where elite mathematicians and including a large portion of those who could be said to be of the first rank are the ones who map the terrain they scout the frontiers they cut the pathways they raise the buildings along the way but it's been my habit to brush aside the fear of mathematics when talking to candidate scientists during 41 years of teaching biology at harvard i watched sadly as bright students turned away from the possibility of a scientific career or even from taking non-required courses in science because they were afraid of failure. These math phobes deprive science and medicine of immeasurable amounts of badly needed talent. I didn't take algebra until my freshman year at the University of Alabama. I finally got around to calculus as a 32-year-old tenured professor at Harvard, where I sat uncomfortably in classes with undergraduate students a little more than half my age. A couple of them were students in a course I was giving on evolutionary biology, and I learned calculus. I found out that in science, in all its applications, what is crucial is not that technical ability, but it is imagination in all of its applications. They are instead the product of downstream imagination leading to hard work during which mathematical reasoning may or may not prove to be relevant. but ideas emerge when a part of the real or imagined world is studied for its own sake. The person or team that made the discovery, a mathematician can then be added by them as a collaborator. Consider the following principle, which I will modestly call Wilson's principle number one. Keep in mind then Wilson's second principle. For every scientist, whether researcher, technician, teacher, manager, or businessman, working at any level of mathematical competence, there exists a discipline in science or medicine for which that level is enough to achieve excellence. Now, I'm going to offer quickly several more principles that will be useful in organizing your education, a career, or if you're teaching, in selecting a subject in which to conduct original research, or to develop world-class expertise, take a part of the chosen discipline that is sparsely inhabited, judge opportunity by how few other students and researchers are on hand, but through it all look for a way to break out. There is the quickest way advances are likely to occur, as measured in discoveries per investigator per year. you may have heard the military dictum for the gathering of armies march to the sound of the guns in science the exact opposite is the case march away from the sound of the gun so Wilson's principle number three march away from the sound of the gun observe from a distance but do not join the fray make a fray of your own your potential to succeed will be greatly enhanced if you study enough to become an expert there are thousands of professionally delimited subjects sprinkled through physics and chemistry to biology and medicine when the subject is still very thinly populated you can with diligence and hard work become the world authority if that's the case good why hard instead of easy the answer deserves to be stated as principle number four now this brings me to a basic categorization in the way scientific discoveries are made scientists pure mathematicians among them follow one or the other of two pathways first through early discoveries a problem is identified and a solution is sought or larger what's the role of dark matter in the expansion of the universe as the answer is sought exploring a forest in search of a particular quarry but for problems themselves worth solving the two strategies of research original research can be stated as follows in the final principle i'm going to offer you for every problem in a given discipline of science there exists a species or entity or phenomenon ideal for its solution and conversely for every species or other entity or phenomenon there exists important problems for the solution of which those particular objects of research are ideally suited find out what they are the decades ahead will see dramatic advances and disease prevention general health the quality of life all of humanity depends on the knowledge and practice of the medicine and the science behind that you will master you have chosen a calling that will come in steps to give you satisfaction at its conclusion of a life well lived. And I thank you for having me here tonight."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000651.mp3": {
        "gt": "SOCIAL MEDIA ADVERTISING   SOCIAL MEDIA MEASUREMENT  WHICH IS STILL A LITTLE BIT BIGGER THAN I'D LIKE TO BE   NOW   I'M GONNA FILTER DOWN A LITTLE BIT BY INTERESTS   SO IF I GO TO AUDIENCE ATTRIBUTES  INTERESTS  MEMBER INTERESTS  I WONDER  SO IF I PUT LIKE TWO DOLLARS IN HERE  AS WELL AS GIVE IT A NAME   WE'RE EXPLAINING WHAT SOMEONE IS GETTING   IT'S ATTENDING THE TOP SOCIAL MEDIA CONFERENCE  WE'LL HAVE THE OPPORTUNITY TO LAUNCH THIS CAMPAIGN AS WELL AS THIS AD  AND ONCE WE HIT LAUNCH CAMPAIGN  \n",
        "transcription_base": " social media advertising, social media measurement, which is still a little bit bigger than I'd like to be. Now I'm going to filter down a little bit by interests. So if I go to audience attributes, interests, member interests, I wonder... So if I put like $2 in here, as well as give it a name, we're explaining what someone is getting. It's attending the top social media conference. We'll have the opportunity to launch this campaign as well as this ad. and once we hit launch campaign",
        "transcription_medium": " Social media advertising, social media measurement, which is still a little bit bigger than I'd like to be. Now I'm going to filter down a little bit by interests. So if I go to audience attributes, interests, member interests, I wonder... So if I put like $2 in here, as well as give it a name, we're explaining what someone is getting. It's attending the top social media conference. We'll have the opportunity to launch this campaign as well as this ad. and once we hit launch campaign",
        "transcription_large_v3": " social media advertising, social media measurement, which is still a little bit bigger than I'd like to be. Now I'm going to filter down a little bit by interests. So if I go to audience attributes, interests, member interests, I wonder. So if I put like $2 in here, as well as give it a name, we're explaining what someone is getting. It's attending the top social media conference. We'll have the opportunity to launch this campaign as well as this ad. And once we hit launch campaign"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000669.mp3": {
        "gt": "THANK YOU   MY FRIEND  MY ADVICE DON'T GET SICK  AND YOU'RE FANTASTIC AS YOU  EVERYONE CAN SMELL IF YOU'RE PHONY OR NOT YOURSELF   AND DON'T BE SOMEBODY ELSE   BE YOU   AND THAT'S WHY YOU'RE GREAT   THANKRIGHT BACK WITH STAND-UP COMEDY FROM JIMMY CARR   SO\n",
        "transcription_base": " Thank you my friend. My advice, don't get sick and you're fantastic as you. Everyone can smell if you're phony or not yourself. And don't be somebody else. Be you. And that's why you're great. Thank you. Tell me right back the standup comedy from Jimmy Carr. So, stop.",
        "transcription_medium": " Thank you, my friend. My advice, don't get sick, and you're fantastic as you. Everyone can smell if you're phony or not yourself, and don't be somebody else. Be you, and that's why you're great. Thank you. We'll be right back with stand-up comedy from Jimmy Carr, so stay tuned.",
        "transcription_large_v3": " Thank you, my friend. My advice, don't get sick. And you're fantastic as you. Everyone can smell if you're phony or not yourself. And don't be somebody else, be you. And that's why you're great. Thank you. We'll be right back with stand-up comedy from Jimmy Carr."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000685.mp3": {
        "gt": "SORTING  FILTERING  AND GROUPING  LET ME START WITH THE APPLICATION CREATION PROCESS  OR VISUAL STUDIO CODE  IN THIS VIDEO  SELECT BLAZOR APP FROM THE TEMPLATE AND CLICK THE NEXT BUTTON  TO CREATE A BLAZOR PROJECT  I WILL CHOOSE THE BLAZOR SERVER APP  THE PROJECT HAS BEEN CREATED AND IS READY TO USE  TO ADD AND START USING A DATA GRID  FIRST I NEED TO INSTALL THE NECESSARY SYNCFUSION BLAZOR PACKAGES  FOR THAT I'LL OPEN THE NUGET PACKAGE MANAGER  AND I SEARCH FOR SYNCFUSION BLAZOR AND INSTALL IT INTO MY APPLICATION  I'LL IMPORT THE SYNCFUSION BLAZOR GRIDS NAMESPACE  AND THEN ADD THE SYNCFUSION BLAZOR SERVICE INSIDE THE CONFIGURE SERVICES METHOD  AND THEN WITHIN THE CONFIGURE METHOD  I'LL ALSO REGISTER THE SYNCFUSION LICENSE BY PASSING THE TRIAL LICENSE KEY IN THE REGISTER LICENSE METHOD  TO ADD THE GRID  I NAVIGATE TO THE INDEX COMPONENT  THE GRID IS NOT VISUALLY DISPLAYED ON THE BROWSER NOW AS THERE IS NO DATA BOUND TO IT  TO VISUALIZE THE DATA GRID ON THE BROWSER PAGE  I NEED TO BIND DATA TO IT  SO I'M GOING TO SHOW YOU HOW TO ADD DATA TO THE GRID TO SEE ITS BASIC LOOK AND FUNCTIONALITY  I CAN DIRECTLY WRITE C SHARP CODE HERE  SO I WOULD FIND THE MODEL CLASS ORDER  AND I'LL ADD A FIELD ORDER ID  IN THE SAME WAY  ORDER DATE AND FREIGHT WITH APPROPRIATE TYPES  NOW LET ME CREATE A LIST ORDERS  BASED ON THE ORDER MODEL CLASS  I WILL USE THE ONINITIALIZED LIFE CYCLE  TO GENERATE THE ENNUMERABLE OBJECT RANDOMLY FOR THE FIELDS ORDER ID  CUSTOMER ID  FREIGHT AND ORDER DATE  WHILE INITIALIZING THE COMPONENT  THEN I WILL ASSIGN THE ORDERS OBJECT TO THE DATA SOURCE PROPERTY  NOW I WILL SHOW YOU HOW TO CUSTOMIZE AND DISPLAY SPECIFIC COLUMNS IN THE DATA GRID  TO DO SO  I WOULD FIND THE GRID COLUMNS COMPONENT INSIDE THE SF GRID TAG  THIS GRID COLUMNS COMPONENT HAS SEVERAL COLUMN SPECIFIC OPTIONS TO DEFINE AND CUSTOMIZE THEM  WHICH I WILL COVER IN MY UPCOMING VIDEO  NOW I WILL SHOW YOU SOME BASIC OPTIONS ONE BY ONE  HERE I WOULD DEFINE GRID COLUMN AND THEN INCLUDE THE FIELD PROPERTY  TO MAP THE APPROPRIATE FIELD NAME FROM THE MODEL CLASS ORDER  THEN I WILL INCLUDE THE HEADER TEXT PROPERTY AND SET ITS VALUE TO ORDER ID  THEN I WILL ADD THE TEXT ALIGN PROPERTY AND SET ITS VALUE TOO RIGHT  TO ALIGN THE TEXT TO THE RIGHT SIDE OF THE COLUMN  IN THE SAME WAY  I WOULD DEFINE THE OTHER COLUMN FIELDS  FOR THE ORDER DATE COLUMN I WILL INCLUDE AN ADDITIONAL FORMAT PROPERTY AND SET ITS VALUE TO DTO DISPLAY THE SHORT DATE PATTERN  AND I'LL SET IT'S TYPE TO DATE  AS A NOTE  DATA GRID SUPPORTS MOST OF THE STANDARD C SHARP DATE TIME FORMATS  IN THE SAME WAY  HERE FOR THE FREIGHT COLUMN  I APPLIED THE CURRENCY FORMAT  NOW LET'S SEE HOW TO ENABLE SOME OF THE IMPORTANT FEATURES OF THE DATA GRID  I'LL START WITH THE PAGING FEATURE  IMAGINE YOU HAVE A HUGE NUMBER OF RECORDS DISPLAYED ON YOUR GRID  AND YOU WOULD LIKE TO VIEW LIMITED RECORDS PER PAGE  THIS IS POSSIBLE BY ENABLING THE PAGING FEATURE IN THE GRID  FIRST I WILL ADD THE ALLOW PAGING PROPERTY AND SET ITS VALUE TO TRUE IN THE DATA GRID CODE  IN THIS EXAMPLE I'M GOING TO DISPLAY FIVE RECORDS ON EACH PAGE  I WILL DEFINE THE GRID PAGE SETTINGS COMPONENT AND SET THE PAGE SIZE PROPERTY VALUE TO FIVE  NOW LET'S CHECK THE OUTPUT IN THE BROWSER  YOU CAN SEE THE GRID DISPLAYS FIVE RECORDS ON EACH PAGE  NOW I'LL SHOW YOU HOW TO SORT THE RECORDS IN DATA GRID  BY ENABLING THE SORTING FEATURE IN THE GRID  YOU CAN SORT THE RECORDS EITHER IN ASCENDING OR DESCENDING ORDER  SIMPLY BY CLICKING ON THE APPROPRIATE COLUMN HEADER  I WILL JUST ADD THE ALLOW SORTING PROPERTY AND SET ITS VALUE TO TRUE  THERE ARE SOME CASES WHERE YOU MAY NEED TO FILTER AND VIEW THE GRID RECORDS BASED ON SPECIFIC CRITERIA  TO PERFORM FILTERING  I NEED TO INCLUDE THE ALLOW FILTERING PROPERTY AND SET ITS VALUE TO TRUE  IN THE OUTPUT  WHEN I TYPE SOME TEXT VALUE IN THE CUSTOMER NAME COLUMN  THE GRID DISPLAYS THE MATCHING RECORDS  IF YOU NEED TO GROUP THE RECORDS AND VIEW THEM IN A HIERARCHICAL VIEW BASED ON A SPECIFIC GRID COLUMN VALUE  THEN YOU NEED TO ENABLE THE GROUPING FEATURE  HERE I WILL ADD THE ALLOW GROUPING PROPERTY AND SET ITS VALUE TO TRUE IN THE GRID  YOU CAN SEE HERE WHEN I DRAG THE CUSTOMER NAME COLUMN HEADER  AND DROP IT INTO THE GROUP DROP AREA  THE GRID DATA IS GROUPED BASED ON THE CUSTOMER NAME COLUMN  NOW LET ME QUICKLY SUMMARIZE WHAT WE HAVE SEEN IN THIS VIDEO  I HAVE ALSO SHOWN YOU HOW TO ADD A DATA GRID COMPONENT AND BINDING A DATA SOURCE TO IT  AND FINALLY   I SHOWED YOU HOW TO ENABLE A FEW OF ITS IMPORTANT FEATURES LIKE PAGING  SORTING   FILTERING AND GROUPING  TO LEARN MORE ABOUT OUR GRIDS FEATURES YOU CAN CHECK OUT OUR DOCUMENTATION LINK PROVIDED IN THE DESCRIPTION BELOW  YOU CAN DOWNLOAD THIS WORKING EXAMPLE FROM THE GITHUB LINK IN THIS VIDEO SUBSCRIPTION  YOU CAN ALSO SEE ABOUT GETTING A FREE LICENSE KEY TO USE OUR BLAZOR PRODUCTS  IF YOU ARE ELIGIBLE FOR OUR COMMUNITY LICENSE  THANK YOU FOR WATCHING THIS VIDEO AND IF YOU FOUND THIS VIDEO USEFUL  GIVE IT A LIKE AND SUBSCRIBE TO OUR CHANNEL  THANK YOU  \n",
        "transcription_base": " Sorting, filtering, and grouping. Let me start with the application creation process, or Visual Studio Code. In this video, select Blazor app from the template and click the next button. To create a Blazor project, I will choose the Blazor server app. The project has been created and is ready to use. To add and start using a data grid, first I need to install the necessary Syncfusion Blazor packages. For that, I'll open the New Get Package Manager, and I search for Syncfusion Blazer and install it into my application. I'll import the Syncfusion Blazer Grid's namespace, and then add the Syncfusion Blazer service inside the configured services method. And then within the configure method, I'll also register the Syncfusion license by passing the trial license key in the registered license method. To add the grid, I navigate to the index component. The grid is not visually displayed on the browser now, as there's no data bound to it. to visualize a data grid on the browser page, I need to bind data to it. So, I'm going to show you how to add data to the grid to see its basic look and functionality. I can directly write C sharp code here, so I would find the model class order, and I'll add a field order ID in the same way, order date and freight, with appropriate types. Now, let me create a list orders based on the order model class. I will use the on-initialized lifecycle to generate the innumerable object randomly for the fields, order ID, customer ID, freight, and order date while initializing the component. Then, I will sign the order's object to the data source property. Now I will show you how to customize and display specific columns in the data grid. To do so, I would define the grid columns component inside the SF Grid tag. This grid columns component has several column-specific options to define and customize them, which I will cover in my upcoming video. Now I will show you some basic options one by one. Here I will define grid column and then include the field property to map the appropriate field name from the model class order. Then I will include the header text property and set its value to order id. Then I will add the text align property and set its value to write to align the text to the right side of the column. In the same way I will define the other column fields. For the order date column, I will include an additional format property, and set its value to D to display the short date pattern, and I'll set its type to date. As a note, data grid supports most of the standard C-sharp date time formats. In the same way, here for the freight column, I applied the currency format. Now, let's see how to enable some of the important features of the data grid. I'll start with the Paging feature. Imagine you have a huge number of records displayed on your grid, and you would like to view limited records per page. This is possible by enabling the Paging feature in the grid. First, I will add the allowed Paging property and set its value to true. In the DataGrid code, in this example, I'm going to display fine records on each page. I will define the grid page settings component and set the page size property value to 5. Now, let's check the output in the browser. You can see the grid displays fine records on each page. Now, I'll show you how to sort the records in DataGrid. By enabling the Sorting feature in the grid, you can sort the records either in Ascending or Decenting Order, simply by clicking on the appropriate column header. I will just add the Allow Sorting property and set its value to True. There are some cases where you may need a filter and view the grid records based on specific criteria. To perform filtering, I need to include the Allow filtering property and set its value to True. In the Output, when I type some text value in the customer named column, the grid displays the matching records. You need to group the records and view them in a hierarchical view, based on a specific grid column value, then you need to enable the grouping feature. Here I will add the allow grouping property and set its value to true in the grid. You can see here, when I drag the customer name column header and drop it into the group drop area, the grid data is grouped based on the customer name column. Now let me quickly summarize what we have seen in this video. I have also shown you how to add a data grid component and bind a data source to it. And finally, I showed you how to enable a few of its important features like paging, sorting, filtering, and grouping. To learn more about our grid's features, you can check out our documentation link provided in the description below. You can download this working example from the GitHub link in this video's description. You can also see about getting a free license key to use our Blazer products if you're eligible for our community license. Thank you for watching this video, and if you found this video useful, give it a like and subscribe to our channel. Thank you.",
        "transcription_medium": " sorting, filtering, and grouping. Let me start with the application creation process or Visual Studio Code. In this video, select Blazor app from the template and click the next button. To create a Blazor project, I will choose the Blazor server app. The project has been created and is ready to use. To add and start using a data grid, first I need to install the necessary Syncfusion Blazor packages. For that, I'll open the NuGet package manager, and I search for Syncfusion Blazor and install it into my application. I'll import the Syncfusion Blazor grids namespace and then add the Syncfusion Blazor service inside the configured services method. And then within the configure method, I'll also register the Syncfusion license by passing the trial license key in the register license method. To add the grid, I navigate to the index component. The grid is not visually displayed on the browser now as there's no data bound to it. To visualize the data grid on the browser page, I need to bind data to it. So I'm going to show you how to add data to the grid to see its basic look and functionality. I can directly write C Sharp code here. So I would find the model class order and I'll add a field order ID in the same way, order date and freight with appropriate types. Now let me create a list orders based on the order model class. I will use the uninitialized lifecycle to generate the innumerable object randomly for the fields orderId, customerId, freight, and orderDate while initializing the component. Then, I will assign the orders object to the data source property. Now I will show you how to customize and display specific columns in the data grid. To do so, I will define the gridColumns component inside the sfGrid tag. This gridColumns component has several column-specific options to define and and customize them, which I will cover in my upcoming video. Now I will show you some basic options one by one. Here I will define grid column and then include the field property to map the appropriate field name from the model class order. Then I will include the header text property and set its value to order ID. Then I will add the text align property and set its value to right to align the text to the right side of the column. In the same way, I will define the other column fields. For the Order Date column, I will include an additional format property and set its value to D to display the short date pattern. And I'll set its type to Date. As a note, Data Grid supports most of the standard C Sharp date-time formats. In the same way, here for the Freight column, I applied the currency format. Now let's see how to enable some of the important features of the Data Grid. I'll start with the Paging feature. Imagine you have a huge number of records displayed on your grid, and you would like to view limited records per page. This is possible by enabling the Paging feature in the grid. First I will add the allowedPaging property and set its value to true in the data grid code. In this example, I'm going to display fine records on each page. I will define the gridPageSettings component and set the pageSize property value to 5. Now let's check the output in the browser. You can see the grid displays fine records on each page. Now I'll show you how to sort the records in data grid. By enabling the sorting feature in the grid, you can sort the records either in ascending or descending order simply by clicking on the appropriate column header. I will just add the allow sorting property and set its value to true. There are some cases where you may need to filter and view the grid records based on specific criteria. To perform filtering, I need to include the allow filtering property and set its value to true. In the output, when I type some text value in the customer name column, the grid displays the matching records. If you need to group the records and view them in a hierarchical view based on a specific grid column value, then you need to enable the grouping feature. Here I will add the allow grouping property and set its value to true in the grid. You can see here when I drag the customer name column header and drop it into the group drop area, the grid data is grouped based on the customer name column. Now let me quickly summarize what we have seen in this video. I have also shown you how to add a data grid component and bind a data source to it. And finally, I showed you how to enable a few of its important features like Paging, Sorting, Filtering, and Grouping. To learn more about our grid's features, you can check out our documentation link provided in the description below. You can download this working example from the GitHub link in this video's description. You can also see about getting a free license key to use our Blazor products if you are eligible for our community license. Thank you for watching this video, and if you found this video useful, give it a like and subscribe to our channel. Thank you.",
        "transcription_large_v3": " sorting, filtering, and grouping. Let me start with the application creation process, or Visual Studio Code. In this video, select Blazor App from the template and click the Next button. To create a Blazor project, I will choose the Blazor Server app. The project has been created and is ready to use. To add and start using a data grid, first I need to install the necessary Syncfusion Blazor packages. For that, I'll open the NuGet Package Manager and I search for Syncfusion Blazor and install install it into my application. I'll import the Syncfusion Blazor grids namespace, and then add the Syncfusion Blazor service inside the configured services method. And then, within the configure method, I'll also register the Syncfusion license by passing the trial license key in the register license method. To add the grid, I navigate to the index component. The grid is not visually displayed on the browser now, as there is no data bound to To visualize the data grid on the browser page, I need to bind data to it. So, I'm going to show you how to add data to the grid to see its basic look and functionality. I can directly write C-sharp code here. So, I would find the model class Order, and I'll add a field Order ID. In the same way, order date and freight, with appropriate types. Now, let me create a list orders based on the Order model class. class. I will use the onInitialized lifecycle to generate the enumerable object randomly for the fields orderID, customerID, freight, and orderDate while initializing the component. Then, I will assign the orders object to the data source property. Now, I will show you how to customize and display specific columns in the data grid. To do so, I will define the grid columns component inside the SFGrid tag. This grid columns component has several column specific options to define and customize them, which I will cover in my upcoming video. Now I will show you some basic options one by one. Here I will define grid column and then include the field property to map the appropriate field name from the model class order. Then I will include the header text property and set its value to Order ID. Then I will add the Text Align property and set its value to Right to align the text to the right side of the column. In the same way, I will define the other column fields. For the Order Date column, I will include an additional Format property and set its value to D to display the short date pattern. And I'll set its type to Date. As a note, DataGrid supports most of the standard C Sharp date time formats. In the same way, Here for the freight column, I applied the currency format. Now, let's see how to enable some of the important features of the data grid. I'll start with the paging feature. Imagine you have a huge number of records displayed on your grid, and you would like to view limited records per page. This is possible by enabling the paging feature in the grid. First, I will add the allowed paging property and set its value to true in the data grid code. In this example, I'm gonna display five records on each page. I will define the GridPageSettings component and set the PageSize property value to 5. Now let's check the output in the browser. You can see the grid displays 5 records on each page. Now I'll show you how to sort the records in DataGrid. By enabling the sorting feature in the grid, you can sort the records either in ascending or descending order simply by clicking on the appropriate column header. I will just add the AllowSorting property and set its value to True. There are some cases where you may need to filter and view the grid records based on specific criteria. To perform filtering, I need to include the allow filtering property and set its value to true. In the output, when I type some text value in the customer name column, the grid displays the matching records. If you need to group the records and view them in a hierarchical view based on a specific grid column value, then you need to enable the grouping feature. Here I will add the allow grouping property and set its value to true in the grid. You can see here when I drag the customer name column header and drop it into the the group drop area, the grid data is grouped based on the customer name column. Now let me quickly summarize what we have seen in this video. I have also shown you how to add a data grid component and bind a data source to it. And finally, I showed you how to enable a few of its important features like paging, sorting, filtering, and grouping. To learn more about our grid's features, you can check out our documentation link provided in the description below. You can download this working example from the GitHub link in this video's description. You can also see about getting a free license key to use our Blazor products if you are eligible for our community license. Thank you for watching this video, and if you found this video useful, give it a like and subscribe to our channel. Thank you."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000703.mp3": {
        "gt": "OUR LEGENDARY GUEST SPEAKER AND SLEEP DIPLOMAT  MATT WALKER   I JUST WANT TO ASK YOU A COUPLE OF QUESTIONS   SO HAVE A THINK  HOW MUCH SLEEP DID YOU GET LAST NIGHT   HOW MANY HOURS' SLEEP DID YOU GET LAST NIGHT   JUST HAVE A THINK   FIGURE IT OUT  OK   SO HOW MANY PEOPLE GOT BETWEEN FIVE AND SIX HOURS' SLEEP LAST NIGHT  OH   THAT'S ABOUT TWENTY PEOPLE OR SO  WHAT ABOUT SIX TO SEVEN HOURS' SLEEP  OH   ABOUT A THIRD OF THE PEOPLE   MAYBE  SEVEN TO EIGHT  YES  CONGRATULATIONS  YOU PROBABLY NEED TO LEAVE THE ROOM AT THIS POINT   OK  HE FOUNDED THE CENTER FOR HUMAN SLEEP SCIENCE  HIS WORK HAS FOCUSED   THROUGH HIS LIFE   ON UNDERSTANDING THE ROLE OF SLEEP IN HEALTH AND IN DISEASES  HE'S LIVERPOOL-BORN   HE'S A BRIT  HE ALSO HAS A CONSULTING RELATIONSHIP WITH GOOGLE THROUGH OUR SISTER COMPANY   VERILY   SO PLEASE WELCOME MATT WALKER  THANK YOU   MATT  MATT   WELCOME  FOR THOSE OF YOU WHO ANSWERED THAT YOU WERE GETTING SEVEN HOURS OR LESS  IS ZERO  DON'T DESPAIR  WE SEE EQUIVALENT IMPAIRMENTS IN FEMALE REPRODUCTIVE HEALTH CAUSED BY A LACK OF SLEEP  I'LL GIVE YOU JUST ONE EXAMPLE  HERE   YOU DON'T NEED A WHOLE NIGHT OF SLEEP DEPRIVATION  ALL IT TAKES IS ONE HOUR  BECAUSE THERE IS A GLOBAL EXPERIMENT PERFORMED ON ONE POINT SIX BILLION PEOPLE ACROSS SEVENTY COUNTRIES TWICE A YEAR  AND BY THE WAY   YOU SEE EXACTLY THAT SAME PROFILE AROUND DAYLIGHT SAVINGS TIME FOR ROAD TRAFFIC ACCIDENTS  FOR SUICIDE RATES  WHEREAS IN THE AUTUMN  IF YOU GET YOUR SENTENCING  AND WHAT YOU TYPICALLY THEN HAVE ARE WHAT ARE CALLED MICROSLEEPS WHERE YOUR EYELID WILL JUST PARTIALLY CLOSE  AT A MODERATE DRIFT ANGLE   YOU'RE IN THE NEXT LANE  I KNOW THIS  BUT I KNOW THAT THERE WAS A PUSH RECENTLY IN THE GOVERNMENT LEVEL TO TRY AND DELAY SCHOOL START TIMES UNTIL TEN O'CLOCK IN THE MORNING  THAT'S THE BARE MINIMUM FOR A TEENAGE BRAIN  THE REASON IS BECAUSE AS WE GO THROUGH ADOLESCENCE  OUR BIOLOGICAL PREFERENCE FOR GOING TO BED AND WAKING UP CHANGES  WHAT BETTER WAY TO DO THAT THAN ACTUALLY   NOW   GOING TO BED LATER THAN YOUR PARENTS  AND I HAVE THIS AT TALKS WHERE THERE WILL BE PEOPLE WHO WAIT ALL THE WAY TO THE END   AND THEY DON'T WANT TO COME TO THE MIC AND ASK THE QUESTION  AND WE DON'T DO THAT   AND WHAT'S STRANGE IS NONE OF US LOOK AT AN INFANT SLEEPING DURING THE DAY AND SAY   WELL  BUT IF YOU LOOK AT THE DATA NOW   WORRYINGLY   SOMEWHERE BETWEEN INFANCY AND EVEN CHILDHOOD  WE ABANDON THE NOTION THAT SLEEP IS IMPORTANT   AND INSTEAD   WE LABEL IT WITH THESE NEGATIVE CONNOTATIONS  BASED ON SOME DATA THAT WE'VE LOOKED AT  SOLIGHT  ONE OF THE PROBLEMS WITH OPPORTUNITY   THE REASON THAT MOST PEOPLE DON'T GET THE CHANCE TO SLEEP   EVEN IF THEY COULD SLEEP THAT AMOUNT  FIRSTLY   WE ARE TYPICALLY WORKING LONGER HOURS  AND WE'RE COMMUTING FOR LONGER PERIODS OF TIME   WHICH MEANS THAT MOST PEOPLE ARE LEAVING THE HOUSE EARLIER AND COMING HOME LATER  THEN YOU CAN START TO COME INTO THE HOME AND ASK   WHAT ELSE IS COMPROMISING YOUR SLEEP  WE CERTAINLY KNOW THAT BLUE LIGHT EMITTED FROM DEVICES CAN COMPROMISE YOUR SLEEP   THERE'S A FASCINATING STUDY WHERE THEY HAD PEOPLE READING ON AN IPAD FOR ONE HOUR BEFORE BED VERSUS JUST READING A NORMAL BOOK IN DIM LIGHT  AND WHAT THEY FOUND WAS THAT THE IPAD READING FIRSTLY   IT DELAYED THE RELEASE OF A HORMONE CALLED MELATONIN  AND THAT HORMONE NEEDS TO BE IN HIGH AMOUNTS TO TIME THE HEALTHY ONSET OF YOUR SLEEP  AND FURTHERMORE   IT DELAYED THE ONSET OF THAT MELATONIN BY ABOUT THREE HOURS  WHICH IS CRITICAL FOR THINGS LIKE MENTAL HEALTH  SO THE INVASION OF   I THINK   TECHNOLOGY INTO OUR ENVIRONMENT   PARTICULARLY BLUE LIGHT IS A HARM  BUT THAT'S NOT THE ONLY ISSUE  AND YOU TRAIN YOUR BRAIN TO EXPECT THAT EVERY MORNING   IT'S CALLED ANTICIPATORY ANXIETY  AND IT LIGHTENS YOUR SLEEP   IT PREVENTS YOU FROM GOING INTO THE DEEPER SLEEP  SO I THINK THAT'S ANOTHER PROBLEM   WHICH IS TECHNOLOGY  SO WE ARE A DARK-DEPRIVED SOCIETY   WE NEED THAT DARKNESS AT NIGHT  SO TRYING TO STAY AWAY FROM SCREENS IN THE LAST HOUR BEFORE BED   ALSO DIMMING DOWN THE LIGHTS IN YOUR HOME  I THINK ONE OF THE OTHER ASPECTS ABOVE AND BEYOND STRESS   WHICH IS A KEY THING TRIGGERING INSOMNIA  IS ALCOHOL AND CAFFEINE USE  FIRSTLY   CAFFEINE  BUT CAFFEINE ALSO IS MISUNDERSTOOD IN TERMS OF ITS DURATION OF ACTION  SO CAFFEINE HAS A HALF-LIFE OF ABOUT SIX HOURS AND A QUARTER-LIFE OF TWELVE HOURS  WHAT THAT MEANS IS THAT IF YOU HAVE A CUP OF COFFEE AT NOON  YOU SWIG A QUARTER OF A CUP OF COFFEE   AND YOU HOPE FOR A GOOD NIGHT OF SLEEP  BUT IF THAT'S THE CASE   IF YOU'RE USING CAFFEINE BEFORE MIDDAY  YOU'RE PROBABLY SELF-MEDICATING YOUR STATE OF CHRONIC SLEEP DEPRIVATION  AND SEDATION IS NOT SLEEP  BUT WHEN YOU HAVE A NIGHTCAP   YOU MISTAKE THE FORMER FOR THE LATTER  THE THIRD PROBLEM WITH ALCOHOL IS THAT IT'S VERY GOOD AT BLOCKING YOUR DREAM SLEEP   YOUR RAPID EYE MOVEMENT SLEEP  BUT WHAT ACTUALLY HAPPENS DURING SLEEP  IT'S DURING DEEP SLEEP THAT WE GET CARDIAC DECELERATION  IT'S ALSO DURING DEEP SLEEP   BUT ALSO REM SLEEP  WHEN YOU RESTOCK THE ARMORY OF YOUR IMMUNE SYSTEM  AND THAT'S WHY WHEN YOU START TO SLEEP LESS   YOU'RE FAR MORE VULNERABLE TO INFECTION  ANOTHER DEMONSTRATION OF THIS IS IF YOU GET A FLU SHOT  RENDERING THAT FLU SHOT LARGELY USELESS  AND THE REASON I MAKE THAT POINT IS MOTHER NATURE HAS   THEREFORE   NEVER HAD TO FACE THE CHALLENGE OF SLEEP DEPRIVATION THROUGHOUT THE COURSE OF EVOLUTION  SO SHE'S NEVER HAD TO COME UP WITH SAFETY NETS TO RISK MITIGATE THIS WHEN IT HAPPENS  NOW   THERE IS PRECEDENT IN BIOLOGY FOR THAT  AND THERE IS A METHOD LIKE THIS IN BIOLOGY   IT'S CALLED THE FAT CELL  THEN DOWN INTO THE DEEP STAGES OF NON-REM  AND THEN AFTER ABOUT SIXTY OR SEVENTY MINUTES   YOU'LL START TO RISE BACK UP   AND YOU'LL HAVE A SHORT REM SLEEP PERIOD  AND THEN YOU GO BACK DOWN AGAIN  SO THERE ARE THINGS IN YOUR SLEEP THAT CAN FORETELL   THAT CAN FORECAST  YOUR DISEASE RISK TEN OR TWENTY YEARS AHEAD OF TIME   AND THIS IS A LOT OF WORK THAT WE'RE DOING RIGHT NOW AT THE SLEEP CENTER  HOW CAN WE USE SLEEP AS A NEW BIOMARKER THAT IS PREDICTING YOUR DISEASE RISK DECADES AHEAD OF TIME  AND THE REASON THAT THAT'S IMPORTANT IS BECAUSE RIGHT NOW IN HEALTH CARE   WE ACTUALLY DON'T HAVE A MODEL OF HEALTH CARE  WE HAVE A MODEL OF SICK CARE  WHICH IS THAT WE ARE PRINCIPALLY INTERESTED IN TREATMENT  WHAT WE NEED TO HAVE IS A MODEL OF TRULY HEALTH CARE  NOT A MODEL OF TREATMENT  YOU GIVE YOURSELF THE OPPORTUNITY WINDOW TO DO SOMETHING ABOUT IT  AND SLEEP SEEMS TO CARRY WITHIN IT   NESTED IN ITS STATIC OF ELECTRICAL BRAINWAVES AT NIGHT   IT SEEMS TO HAVE LOTS OF THESE HEALTH BIOMARKERS THAT ARE DISEASE RISK PROTECTIVE OR PREDICTIVE  AND LET'S SAY THAT YOU JUST MAKE EACH ONE OF THOSE BRAIN CELLS HAVE A TONE TO IT  AND THEN WHAT WAS FASCINATING IN THOSE STUDIES IS THAT THEY THEN LET THE RATS SLEEP  SO OUR BODIES WERE NEVER DESIGNED TO BE FAST FORWARDED THROUGH TIME WITH THIS THING CALLED A JET ENGINE  AND IT CAUSES A BIOLOGICAL LAG   A MISMATCH   BETWEEN YOUR INTERNAL CLOCK AND THE PLACE THAT YOU ARRIVE   AND THAT'S WHAT WE CALL JET LAG  THERE ARE SOME TREATMENTS   QUOTE UNQUOTE   BUT THERE IS NO CURE  THE FIRST IS MOST PEOPLE SLEEP AT THE WRONG TIME ON THE FLIGHT  SO LET'S SAY I'M TRAVELING FROM SAN FRANCISCO BACK TO LONDON  THE FIRST THING YOU NEED TO DO   AS SOON AS YOU GET ON THE PLANE  IS CHANGE ALL CLOCKS TO THE NEW TIME ZONE   SO YOU'RE NOW IMMEDIATELY REMINDED WHAT YOU'RE WORKING WITH IN TERMS OF A TIME STRUCTURE  THE SECOND  NOW   I WILL TOUCH DOWN AT AROUND ABOUT ELEVEN O'CLOCK IN THE MORNING  WHY IS THAT A PROBLEM  THE LONGER THAT YOU'RE AWAKE THROUGHOUT THE DAY   THE MORE SLEEPINESS THAT YOU BUILD UP IN THE BRAIN   IT'S A CHEMICAL CALLED ADENOSINE  THE SLEEPIER THAT YOU ARE   THE MORE LIKELY YOU ARE TO FALL ASLEEP AND STAY ASLEEP  ESSENTIALLY   IT'S LIKE WAKING UP AT ELEVEN O'CLOCK IN THE MORNING  SO SLEEP IN THE FIRST HALF OF THE FLIGHT  THEN BRUTE FORCE YOURSELF AWAKE  STAY AWAKE  AND THEN STAY AWAKE FOR THE ENTIRETY OF THAT FOLLOWING DAY   DON'T BE TEMPTED TO NAP   BECAUSE IF YOU NAP  AGAIN   YOU RELEASE SOME OF THAT SLEEPINESS   IT'S ALMOST LIKE A PRESSURE VALVE ON A COOKER  AND IT WILL MAKE IT THAT MUCH HARDER TO FALL ASLEEP THAT FOLLOWING EVENING  THAT FIRST NIGHT   IF YOU NAIL THAT FIRST NIGHT WITH A GOOD NIGHT OF SLEEP   IT'S A GREAT WAY TO RESET YOUR BIOLOGICAL CLOCK  ONCE YOU'RE IN THE NEW TIME ZONE   TWO MORE RECOMMENDATIONS  THE FIRST IS IN THE MORNING   GO OUT AND GET DAYLIGHT  AT LEAST TWENTY TO THIRTY MINUTES OUTDOORS  WHEN YOU DO THAT IN THE MORNING   EVEN IF IT'S SUNNY   DON'T WEAR SUNGLASSES   I KNOW IT'S COOL   BUT YOU NEED TO GET THAT LIGHT INTO THE BRAIN  THE OTHER ONE IS EAT AT THE REGULAR TIMES WHEN EVERYONE ELSE IS EATING   NOT WHEN YOU'RE HUNGRY   BECAUSE FOOD   WE'VE DISCOVERED   IS JUST AS POWERFUL A RESETTING TRIGGER ON YOUR INTERNAL CLOCK AS LIGHT IS  AND THEN   IF YOU WANT TO   YOU CAN STRATEGICALLY USE MELATONIN   IT'S NOT AVAILABLE OVER HERE   BUT IT'S AVAILABLE IN OTHER COUNTRIES  JUST BE MINDFUL   HOWEVER   THAT IF YOU GET IT IN AMERICA   IT'S NOT REGULATED BY THE GOVERNMENT  ONE STUDY FOUND THAT IF YOU LOOKED AT TWENTY BRANDS   BASED ON WHAT IT SAID ON THE LABEL  SO THERE ARE SOME SPECIES   LIKE DOLPHINS   FOR EXAMPLE   WHO CAN SLEEP ENTIRELY WITH ONE HALF OF THEIR BRAIN  OTTERS DO THIS   MOST AQUATIC MAMMALS HAVE WHAT WE CALL UNIHEMISPHERIC SLEEP   WHICH IS THAT ONE HALF OF THEIR BRAIN IS AWAKE  AND ONE HALF OF YOUR BRAIN IS SLEEPING   AND THEN IT SWITCHES OVER  WHENEVER YOU SLEEP IN AN UNFAMILIAR LOCATION   WHAT WE FOUND IS THAT ONE HALF OF THE BRAIN DOES NOT SLEEP AS DEEPLY AS THE OTHER HALF OF THE BRAIN  I DON'T GET A LOT OF SLEEP  GET IT WHEN YOU CAN  ALSO TRYING TO HELP KIDS   AS WELL   ONE OF THE THINGS IS ROUTINE  ALSO   FOR KIDS  TAKING TOYS OUT OF THE BEDROOM IS A RECENT FINDING THAT THAT ACTUALLY MEANS THAT THE BEDROOM IS THIS THING OTHER THAN SLEEP   AND TOYS BECOME A TRIGGER   AND THEY ACTUALLY SLEEP WORSE WHEN THEY'VE GOT TOYS IN THE BEDROOM  SO GET THOSE OUT   AS WELL   DO SOMETHING CALMING AND RELAXING WITH THEM IN THE HOUR BEFORE BED TYPICALLY   READING   DOING A PUZZLE  AND THE REASON IS BECAUSE YOU NEED TO DROP YOUR CORE BODY TEMPERATURE BY ABOUT ONE DEGREE CELSIUS TO INITIATE SLEEP AND THEN TO STAY ASLEEP  IT'S THE REASON THAT YOU WILL ALWAYS FALL ASLEEP EASIER IN A ROOM THAT'S TOO COLD THAN TOO HOT  ALL OF THE HEAT IS RADIATED OUT OF THE BODY   SO YOUR CORE BODY TEMPERATURE ACTUALLY PLUMMETS   WHICH MEANS THAT YOU FALL ASLEEP FASTER AND STAY ASLEEP  SO TRYING TO HELP KIDS SLEEP BETTER WILL ULTIMATELY HELP YOU SLEEP BETTER  BUT TO COME TO YOUR QUESTION  YES   SLEEP IS NOT LIKE THE BANK THAT THE DAMAGE THAT IS HAPPENING IS HAPPENING   AND YOU CAN'T NECESSARILY REVERSE THAT DAMAGE   HOWEVER   IT IS NEVER TOO LATE TO START SLEEPING BETTER  AND BY THE WAY   IF ANYONE LISTENING IS A SNORER OR THEY KNOW OF SOMEONE WHO IS SNORING   GO AND GET THEIR DOCTOR TO DO A SLEEP TEST ON THEM   SLEEP APNEA   WHICH IS HEAVY SNORING   IS A KILLER IN TERMS OF A DISEASE  AND EIGHTY PERCENT OF PEOPLE WHO HAVE IT ARE UNDIAGNOSED  TURNED OUT THAT ABOUT HALF OF THE PEOPLE ADHERED TO THE TREATMENT   THE OTHER HALF DIDN'T  AND THEN YOU TRACK THEM FOR TEN OR FIFTEEN YEARS  AND ONE THING THAT WASN'T CLEAR TO ME FROM THE BOOK IS I THINK THERE IS THIS PROVERBIAL WAKING UP   OPENING THE WINDOW   DANCING IN THE STREET   EVERYTHING IS GREAT   I'VE HAD A GOOD NIGHT'S SLEEP  I HAVEN'T HAD THAT IN THE PAST TEN YEARS   AND I DOUBT MANY PEOPLE HERE HAVE  AND THIS IS WHY MOST PEOPLE WILL OFTEN SAY TO ME   WELL  SO THERE'S THIS THING CALLED TOO MUCH SLEEP   AND IT'S BAD   AND I SHOULDN'T BE SLEEPING AS MUCH  NO   WHAT YOU'RE DOING THERE IS YOU'RE JUST HAVING A HANGOVER BECAUSE YOUR BRAIN IS TRYING TO GET WHAT WE CALL RECOVERY SLEEP  AND IT WILL STILL FEEL HEAVY ON YOU  SO WHAT YOU NEED TO DO IS AN EXPERIMENT WHERE IF YOU CAN STRUCTURE YOUR WORK SCHEDULE  YOU JUST SAY   I AM NOT GOING TO SET AN ALARM  BUT GRADUALLY   WHAT WILL HAPPEN IS THAT YOU WILL SLEEP OFF SOME OF THAT DEBT   EVEN THOUGH YOU CAN'T MAKE IT ALL BACK  AND YOU WILL THROTTLE BACK   AND YOU WILL FIND A SWEET SPOT   AND THEN YOU WILL JUST START WAKING UP NATURALLY  ONE OF THE ISSUES YOU HAVE TO ASK YOURSELF   THOUGH   IS WHEN AM I DESIGNED TO SLEEP  AND IT'S CALLED YOUR CHRONOTYPE   SO EVERYONE HERE HAS A CHRONOTYPE   ARE YOU A MORNING TYPE   ARE YOU AN EVENING TYPE   ARE YOU SOMEWHERE IN BETWEEN   IT'S WHAT WE CALL OWLS AND LARKS  NOW   YOU DON'T GET TO DECIDE THAT   IT IS GENETICALLY HARDWIRED   IT'S GIFTED TO YOU AT BIRTH  HOW DO YOU FIGURE OUT WHAT TYPE YOU ARE   WELL  IF YOU WERE TO BE ON A DESERT ISLAND WITH NO COMMITMENTS  NO ONE TO WAKE UP FOR   JUST ASK YOURSELF   WHAT TIME WOULD I PROBABLY LIKE TO GO TO BED   AND WHAT TIME WOULD I PROBABLY LIKE TO WAKE UP  THAT'S PROBABLY YOUR CHRONOTYPE  WHEN YOU SLEEP IN SYNC   IN HARMONY   WITH YOUR CHRONOTYPE   THAT'S WHEN YOU GET THE VERY BEST QUALITY OF SLEEP  IF YOU SLEEP IN A MISMATCHED FASHION WITH YOUR CHRONOTYPE   YOU WON'T GET GOOD SLEEP   AND YOU WILL STRUGGLE WITH SLEEP  A GOOD EXAMPLE OF THIS ISTHEY WILL OFTEN COME TO ME SAYING   LOOK   I'VE GOT TERRIBLE INSOMNIA   I LIE IN BED FOR THE FIRST TWO HOURS   AND I JUST CAN'T FALL ASLEEP  AND SO NO WONDER YOU'RE GOING TO BE LYING IN BED AWAKE FOR THE FIRST TWO HOURS   BECAUSE YOUR BODY IS NOT YET READY TO GENERATE THE SLEEP THAT IT NEEDS   AND IT MASQUERADES AS INSOMNIA   YOU DON'T HAVE INSOMNIA   YOU JUST HAVE A MISMATCH BETWEEN WHEN YOUR BIOLOGY WANTS YOU TO SLEEP AND WHEN YOU'RE TRYING TO SLEEP  AND THEN   COME SUNDAY NIGHT  SO I WOULDN'T GET TOO HUNG UP IF THESE DEVICES ARE TELLING YOU YOU'RE HAVING VERY LITTLE DEEP SLEEP  IF I BROUGHT YOU INTO MY LABORATORY   THE ACCURACY THERE WOULD BE THE TRUTH-TELLING THING  IS THE FORM FACTOR  SO I'M ACTUALLY VERY ENAMORED RIGHT NOW WITH THIS IDEA THAT I WOULD TERM UNWEARABLES FOR SLEEP RATHER THAN WEARABLES FOR SLEEP  I THINK THE BEST DEVICE   ULTIMATELY   IS PROBABLY GOING TO BE THE BED ITSELF  WELL   THINK ABOUT YOUR MATTRESS  YOUR MATTRESS NOW   SIXTY YEARS ON  IN FACT   WHEN WE'VE LOOKED AT HUNTER-GATHERER TRIBES WHOSE WAY OF LIFE HASN'T CHANGED FOR THOUSANDS OF YEARS   THEY HAVE BIPHASIC SLEEP  BY THE WAY   HAVE YOU EVER WONDERED WHAT THE TERM MIDNIGHT ACTUALLY MEANS  THE MIDDLE OF THE NIGHT  WHICH IS THAT IF YOU ARE STRUGGLING WITH YOUR SLEEP AT NIGHT  DO NOT NAP DURING THE DAY   BECAUSE IT COMES BACK TO THAT SLEEPINESS SIGNAL  AS YOU'RE AWAKE ACROSS THE DAY   YOU'RE BUILDING UP ALL OF THAT HEALTHY SLEEPINESS   AND WHEN YOU SLEEP   YOU REMOVE IT SO THAT YOU WAKE UP FEELING REFRESHED  BUT IF YOU TAKE A NAP IN THE AFTERNOON  YOU RELEASE SOME OF THAT SLEEPINESS   AND IT CAN MAKE IT HARDER TO FALL ASLEEP OR STAY ASLEEP AT NIGHT  SO IF YOU ARE NOT STRUGGLING WITH SLEEP AND YOU CAN NAP REGULARLY   NAPS ARE JUST FINE  THAT'S FINE   BUT COLD IT MUST BE  THE LAST THING I WOULD SAY IS DO NOT LIE IN BED AWAKE FOR VERY LONG  DON'T STAY IN BED   GET OUT OF BED   GO TO A DIFFERENT ROOM   AND IN DIM LIGHT   JUST READ A BOOK   AN ONLY RETURN WHEN YOU'RE SLEEPY  AND THE REASON IS THAT YOUR BRAIN IS SO ASSOCIATIVE THAT IT WILL VERY QUICKLY LEARN THAT YOUR BEDROOM IS THE PLACE OF BEING AWAKE RATHER THAN BEING ASLEEP  AND YOU NEED TO BREAK THAT ASSOCIATION  AND SO BY COMING BACK ONLY WHEN YOU'RE SLEEPY   YOU WILL RELEARN THE CONNECTION THAT YOUR BEDROOM IS THE PLACE OF SLEEP   NOT ABOUT WAKE  WHY WOULD YOU LIE IN BED WAITING TO GET SLEEPY  \n",
        "transcription_base": " our legendary guest speaker and sleep diplomat, Matt Walker. I just want to ask you a couple of questions. So have a think, how much sleep did you get last night? How many hours sleep did you get last night? Just have a think, figure it out. Okay, so how many people got between five and six hours sleep last night? Oh, that's about 20 people or so. What about six to seven hours sleep? Or about a third of the people maybe? Seven to eight? Yes! Congratulations! You probably need to leave the room at this point. Okay, he founded the centre for human sleep science. His work has focused through his life on understanding the role of sleep in health and in diseases. He's Liverpool Bournem. He's a Brit. He also has a consulting relationship with Google through our sister company Verily. So please welcome Matt Walker. Thank you, Matt. Matt, welcome. For those of you who answered that you were getting seven hours or less is zero. Don't despair. We see equivalent impairments in female reproductive health caused by a lack of sleep. I'll give you just one example. Here you don't need a whole night of sleep deprivation. All it takes is one hour because there is a global experiment performed on 1.6 billion people across 70 countries twice a year. And by the way you see exactly that same profile around daylight savings time for road traffic accidents, for suicide rates, whereas in the autumn if you get your sentencing and what you typically then have are what are called micro-sleeps where your eyelid will just partially close at a moderate drift angle you're in the next lane. But I know that there was a push recently in the government level to try and delay school start times until 10 o'clock in the morning. That's the burn minimum for a teenage brain. The reason is because as we go through adolescence are biological preference for going to bed and waking up changes. What better way to do that than actually now going to bed later than your parents. And I have this at talks where there will be people who wait all the way to the end and they don't want to come to the mic and ask the question. And we don't do that. And what's strange is, none of us look at an infant sleeping during the day and say, well, but if you look at the data now, worryingly, somewhere between infancy and even childhood, we abandon the notion that sleep is important. And instead, we label it with these negative connotations based on some data that we've looked at. So, might, one of the problems with opportunity, the reason that most people don't get the chance to sleep, even if they could sleep that amount. Firstly, we are typically working longer hours and we're commuting for longer periods of time, which means that most people are leaving the house earlier and coming home later. Then you can start to come into the home and ask what else is compromising your sleep. We certainly know that blue light emitted from devices can compromise your sleep. There's a fascinating study where they had people reading on an iPad for one hour before bed versus just reading a normal book dim light. And what they found was that the iPad reading firstly it delayed the release of a hormone called melatonin and that hormone needs to be in high amounts to time the healthy onset of your sleep. And furthermore it delayed the onset of that melatonin by about three hours which is critical for things like mental health. So the invasion of, I think, technology into our environment, particularly blue light is a harm. But that's not the only issue. And you train your brain to expect that every morning, it's called anticipatory anxiety. And it lightens your sleep, it prevents you from going into the deeper sleep. So I think that's another problem, which is technology. So we are a dark, deprived society. We need that darkness at night. So trying to stay away from screens in the last hour before bed, Also, dimming down the lights in your home, I think one of the other aspects above and beyond stress, which is a key thing, triggering insomnia, is alcohol and caffeine use. Firstly, caffeine, but caffeine also is misunderstood in terms of its duration of action. So caffeine has a half-life of about six hours and a quarter-life of 12 hours. What that means is that if you have a cup of coffee at noon, you swig a quarter of a cup of coffee and you hope for a good night of sleep. But if that's the case, if you're using caffeine before midday, you're probably self-medicating your state of chronic sleep deprivation. And sedation is not sleep. But when you have a nightcap, you mistake the former for the latter. The third problem with alcohol is that it's very good at blocking your dream sleep, your rapid eye movement sleep. But what actually happens during sleep? It's during deep sleep that we get cardiac deceleration. It's also during deep sleep, but also REM sleep when you restock the armory of your immune system. And that's why when you start to sleep less, you're far more vulnerable to infection. Another demonstration of this is if you get a flu shot, rendering that flu shot largely useless, and the reason I make that point is, Mother Nature has therefore never had to face the challenge of sleep deprivation throughout the course of evolution. So she's never had to come up with safety nets to risk mitigate this when it happens. Now there is precedent in biology for that. And there is a method like this in biology, it's called the fat cell, then down into the deep stages of non-REM. And then after about 60 or 17 minutes, you'll start to rise back up and you'll have a short REM sleep period. And then you go back down again. So there are things in your sleep that can foretell, that can forecast your disease risk 10 or 20 years ahead of time. And this is a lot of work that we're doing right now at the Sleep Center. How can we use sleep as a new biomarker that is predicting your disease risk, decades ahead of time, and the reason that that's important is because right now in health care, we actually don't have a model of health care. We have a model of sick care, which is that we are principally interested in treatment. What we need to have is a model of truly health care, not a model of treatment. give yourself the opportunity window to do something about it and sleep seems to carry within it nested in its static of electrical brainwaves at night, it seems to have lots of these health biomarkers that are disease risk protective or predictive. And let's say that you just make each one of those brain cells have a tone to it and then what was fascinating in those studies is that they then let the rat sleep. So our bodies were never designed to be fast-forwarded through time with this thing called a jet engine and it causes a biological lag a mismatch between your internal clock and the place that you arrive and that's what we call jet lag. There are some treatments quote unquote but there is no cure. The first is most people sleep at the wrong time on the flight. So let's say I'm traveling from San Francisco back to London. The first thing you need to do as soon as you get on the plane is change all clocks to the new time zone. So you're now immediately reminded what you're working with in terms of a time structure. The second, now I will touch down it around about 11 o'clock in the morning. Why is that a problem? The longer that you're awake throughout the day, the more sleepiness that you build up in the brain. It's a chemical called a denocene. The sleepier that you are, the more likely you are to fall asleep and stay asleep. Essentially it's like waking up at 11 o'clock in the morning. So sleep in the first half of the flight. Then brute force yourself awake. Stay awake and then stay awake for the entirety of that following day. Don't be tempted to nap because if you nap, again you release some of that sleepiness. It's almost like a pressure valve on a cooker, and it will make it that much harder to fall asleep that following evening. That first night, if you nail that first night with a good night of sleep, it's a great way to reset your biological clock. Once you're in the new time zone two more recommendations, the first is in the morning, go out and get daylight, at least 20 to 30 minutes outdoors. When you do that in the morning, even if it's sunny, don't wear sunglasses. I know it's cool, but you need to get that light into the brain. The other one is eat at the regular times when everyone else is eating, not when you're hungry, because food we've discovered is just as powerful a resetting trigger on your internal clock as light is. And then if you want to, you can strategically use melatonin, it's not available over here, but it's available in other countries. Just be mindful, however, that if you get it in America, it's not regulated by the government. Once that he found that if you looked at 20 brands based on what it said on the label. So there are some species like dolphins, for example, who can sleep entirely with one half of their brain. Autos do this. Most aquatic mammals have what we call uni hemispheric sleep, which is that one half of their brain is awake, and one half of your brain is sleeping a minute, switches over. Whenever you sleep in an unfamiliar location, what we found is that one half of the brain does not sleep as deeply as the other half of the brain. I don't get a lot of sleep. Get it when you can. Also trying to help kids as well, one of the things is routine. Also for kids taking toys out of the bedroom is a recent finding. That actually means that the bedroom is this thing other than sleep and toys become a trigger and they actually sleep worse when they've got toys in the bedroom. So get those out as well. Do something calming and relaxing with them in the hour before bed, typically reading, doing a puzzle. And the reason is because you need to drop your core body temperature by about one degree Celsius to initiate sleep and then to stay asleep. That's the reason that you will always fall asleep, easy in a room that's too cold and too hot. All of the heat is radiated out of the body, so your core body temperature actually plummets, which means that you fall asleep faster and stay asleep. So trying to help kids sleep better will ultimately help you sleep better. But to come to your question, yes, sleep is not like the bank that the damage that is happening is happening and you can't necessarily reverse that damage. However, it is never too late to start sleeping better. And by the way, if anyone listening is a snorer or they know of someone who is snoring, go and get their doctor to do a sleep test on them. Sleep apnea, which is heavy snoring, is a killer in terms of a disease and 80% of people who have it are undiagnosed. Turned out that about half of the people adhere to the treatment, the other half didn't. And then you track them for 10 or 15 years. And one thing that wasn't clear to me from the book is I think there is this proverbial waking up, opening the window, dancing in the street, everything is great, I had a good night's sleep. I haven't had that in the past 10 years and I doubt many people here have. And this is why most people will often say to me, well, so there's this thing called too much sleep and it's bad and I shouldn't be sleeping as much. Now what you're doing there is you're just having a hangover because your brain is trying to get what we call recovery sleep and it will still feel heavy on you. So what you need to do is an experiment where if you can structure your work schedule, you just say I am not going to set an alarm. But gradually what will happen is that you will sleep off some of that debt even though you can't make it all back. And you will throttle back and you will find a sweet spot and then you will just start waking up naturally. One of the issues you have to to ask yourself though is when am I designed to sleep? And it's called your chronotype. So everyone here has a chronotype. Are you a morning type? Are you an evening type? Are you somewhere in between? So what we call owls and logs. Now, you don't get to decide that. It is genetically hardwired. It's gifted to you at birth. How do you figure out what type you are? Well, if you were to be on a desert island with no commitments, no one to wake up for, just ask yourself, what time would I probably like to go to bed and what time I probably like to wake up. That's probably your chronotype. When you sleep in sink, in harmony with your chronotype, that's when you get the very best quality of sleep. If you sleep in a mis-match fashion with your chronotype, you won't get good sleep and you'll struggle with sleep. A good example of this is, they will often come to me saying, look, I've got terrible insomnia. I lie in bed for the first two hours and I just can't fall asleep. And so no wonder you're going to be lying in bed awake for the first two hours because your body is not yet ready to generate the sleep that it needs and it masquerades as insomnia. You don't have insomnia, you just have a mismatch between when your biology wants you to sleep and when you're trying to sleep. And then come Sunday night. So I wouldn't get too hung up if these devices are telling you you're having very little deep sleep. If I brought you into my laboratory, the accuracy there would be the truth telling thing. It's the form factor. So I'm actually very enamored right now with this idea that I would term unwearables for sleep rather than wearables for sleep. I think the best device ultimately is probably going to be the bed itself. Well think about your mattress. Your mattress now 60 years on. In fact when we've looked at hunter-gatherer tribes whose way of life hasn't changed for thousands of years they have bifasic sleep. By the way have you ever wondered what the term midnight actually means? The middle of the night which is that if you are struggling with your sleep at night do not nap during the day because it comes back to that sleepiness signal. As you're awake across the day, you're building up all of that healthy sleepiness and when you sleep, you remove it so that you wake up feeling refreshed. But if you take a nap in the afternoon, you release some of that sleepiness and it can make it harder to fall asleep or stay asleep at night. So if you are not struggling with sleep and you can nap regularly, naps are just fine. That's fine, but cold it must be. The last thing I would say is, do not lie in bed awake for very long. Don't stay in bed, get out of bed, go to a different room, and in dim light just read a book and only return when you're sleepy. And the reason is that your brain is so associative that it will very quickly learn that your bedroom is the place of being awake, rather than being asleep, and you need to break that association. And so by coming back only when you're sleepy, you will relearn the connection that your bedroom is the place of sleep, not about wake. Why would you lie in bed waiting to get sleeping?",
        "transcription_medium": " our legendary guest speaker and sleep diplomat, Matt Walker. I just want to ask you a couple of questions. So have a think. How much sleep did you get last night? How many hours sleep did you get last night? Just have a think. Figure it out. Okay, so how many people got between five and six hours sleep last night? That's about 20 people or so. What about six to seven hours sleep? Or about a third of the people, maybe? Seven to eight? Yes! Congratulations. You probably need to leave the room at this point. Okay. He founded the Center for Human Sleep Science. His work has focused through his life on understanding the role of sleep in health and in diseases. He's Liverpool born. He's a Brit. He also has a consulting relationship with Google through our sister company Verily. So please welcome Matt Walker. Thank you, Matt. Matt, welcome. For those of you who answered that you were getting seven hours or less is zero. Don't despair. We see equivalent impairments in female reproductive health caused by a lack of sleep. I'll give you just one example. Here you don't need a whole night of sleep deprivation. All it takes is one hour because there is a global experiment performed on 1.6 billion people across 70 countries twice a year. And by the way, you see exactly that same profile around daylight savings time for road traffic accidents, for suicide rates. Whereas in the autumn, if you get your sentencing and what you typically then have are what are called micro sleeps, where your eyelid will just partially close at a moderate drift angle you're in the next lane. But I know that there was a push recently in the government level to try and delay school start times until 10 o'clock in the morning. That's the bare minimum for a teenage brain. The reason is because as we go through adolescence, our biological preference for going to bed and waking up changes. better way to do that than actually now going to bed later than your parents. And I have this at talks where there will be people who wait all the way to the end and they don't want to come to the mic and ask the question. And we don't do that. And what's strange is none of us look at an infant sleeping during the day and say, well, but if you look at the data now, worryingly, somewhere between infancy and even childhood, we abandon the notion that sleep is important. And instead we label it with these negative connotations. Based on some data that we've looked at. So light. One of the problems with opportunity, the reason that most people don't get the chance to sleep even if they could sleep that amount. Firstly, we are typically working longer hours and we're commuting for longer periods of time, which means that most people are leaving the house earlier and coming home later. Then you can start to come into the home and ask what else is compromising your sleep. We certainly know that blue light emitted from devices can compromise your sleep. There's a fascinating study where they had people reading on an iPad for one hour before bed versus just reading a normal book in dim light. And what they found was that the iPad reading, firstly, it delayed the release of a hormone called melatonin. And that hormone needs to be in high amounts to time the healthy onset of your sleep. And furthermore, it delayed the onset of that melatonin by about three hours, which is critical for things like mental health. So the invasion of, I think, technology into our environment, particularly blue light, is a harm. But that's not the only issue. And you train your brain to expect that every morning. It's called anticipatory anxiety. And it lightens your sleep. It prevents you from going into the deeper sleep. So I think that's another problem, which is technology. So we are a dark deprived society, we need that darkness at night. So trying to stay away from screens in the last hour before bed, also dimming down the lights in your home. I think one of the other aspects above and beyond stress, which is a key thing, triggering insomnia is alcohol and caffeine use. Firstly caffeine, but caffeine also is misunderstood in terms of its duration of action. So caffeine has a half life of about six hours and a quarter life of 12 hours. What that means is that if you have a cup of coffee at noon, you swig a quarter of a cup of coffee and you hope for a good night of sleep. But if that's the case, if you're using caffeine before midday, you're probably self-medicating your state of chronic sleep deprivation. And sedation is not sleep. But when you have a nightcap, you mistake the former for the latter. The third problem with alcohol is that it's very good at blocking your dream sleep, your rapid eye movement sleep. But what actually happens during sleep? during deep sleep that we get cardiac deceleration. It's also during deep sleep, but also REM sleep, when you restock the armory of your immune system. And that's why when you start to sleep less, you're far more vulnerable to infection. Another demonstration of this is if you get a flu shot, rendering that flu shot largely useless. And the reason I make that point is mother nature has therefore never had to face the challenge of sleep deprivation throughout the course of evolution. So she's never had to come up with safety nets to risk mitigate this when it happens. Now there is precedent in biology for that. And there is a method like this in biology. It's called the fat cell, then down into the deep stages of non-REM. And then after about 60 or 70 minutes, you'll start to rise back up and you'll have a short REM sleep period. And then you go back down again. So there are things in your sleep that can foretell, that can forecast your disease risk, 10 or 20 years ahead of time, and this is a lot of work that we're doing right now at the Sleep Center, how can we use sleep as a new biomarker that is predicting your disease risk decades ahead of time? And the reason that that's important is because right now in healthcare, we actually don't have a model of healthcare. We have a model of sick care, which is that we are principally interested in treatment. What we need to have is a model of truly healthcare, not a model of treatment. you give yourself the opportunity window to do something about it. And sleep seems to carry within it nested in its static of electrical brainwaves at night, it seems to have lots of these health biomarkers that are disease risk, protective or predictive. And let's say that you just make each one of those brain cells have a tone to it. And then what was fascinating in those studies is that they then let the rat sleep. So our bodies were never designed to be fast forwarded through time with this thing called a jet engine. And it causes a biological lag, a mismatch between your internal clock and the place that you arrive. And that's what we call jet lag. There are some treatments, quote unquote, but there is no cure. The first is most people sleep at the wrong time on the flight. So let's say I'm traveling from San Francisco back to London. The first thing you need to do as soon as you get on the plane is change all clocks to the new time zone. So you're now immediately reminded what you're working with in terms of a time structure. The second, now I will touch down at around about 11 o'clock in the morning. Why is that a problem? The longer that you're awake throughout the day, the more sleepiness that you build up in the brain. It's a chemical called adenosine. The sleepier that you are, the more likely you are to fall asleep and stay asleep. Essentially it's like waking up at 11 o'clock in the morning. So sleep in the first half of the flight, then brute force yourself awake, stay awake, and then stay awake for the entirety of that following day. Don't be tempted to nap, because if you nap, again, you release some of that sleepiness. It's almost like a pressure valve on a cooker, and it will make it that much harder to fall asleep that following evening. That first night, if you nail that first night with a good night of sleep, it's a great way to reset your biological clock. Once you're in the new time zone, two more recommendations. The first is in the morning, go out and get daylight, at least 20 to 30 minutes outdoors. When you do that in the morning, even if it's sunny, don't wear sunglasses. I know it's cool, but you need to get that light into the brain. The other one is eat at the regular times when everyone else is eating, not when you're hungry. Because food, we've discovered, is just as powerful a resetting trigger on your internal clock as light is. And then if you want to, you can strategically use melatonin. It's not available over here, but it's available in other countries. Just be mindful, however, that if you get it in America, it's not regulated by the government. One study found that if you looked at 20 brands based on what it said on the label. So there are some species like dolphins, for example, who can sleep entirely with one half of their brain. Otters do this. Most aquatic mammals have what we call unihemispheric sleep, which is that one half of their brain is awake, and one half of your brain is sleeping, and then it switches over. Whenever you sleep in an unfamiliar location, what we found is that one half of the brain does not sleep as deeply as the other half of the brain. I don't get a lot of sleep. Get it when you can. Also trying to help kids as well, one of the things is routine. Also for kids, taking toys out of the bedroom is a recent finding that that actually means that the bedroom is this thing other than sleep and toys become a trigger and they actually sleep worse when they've got toys in the bedroom. So get those out as well, do something calming and relaxing with them in the hour before bed, typically reading, doing a puzzle. And the reason is because you need to drop your core body temperature by about one degree Celsius to initiate sleep and then to stay asleep. That's the reason that you will always fall asleep easy in a room that's too cold and too hot. All of the heat is radiated out of the body. So your core body temperature actually plummets, which means that you fall asleep faster and stay asleep. So trying to help kids sleep better will ultimately help you sleep better. But to come to your question, yes, sleep is not like the bank that the damage that is happening is happening and you can't necessarily reverse that damage. However, it is never too late to start sleeping better. And by the way, if anyone listening is a snorer or they know of someone who is snoring, go and get their doctor to do a sleep test on them. Sleep apnea, which is heavy snoring, is a killer in terms of a disease and 80% of people who have it are undiagnosed. Turned out that about half of the people adhere to the treatment, the other half didn't. And then you track them for 10 or 15 years. And one thing that wasn't clear to me from the book is I think there is this proverbial waking up, opening the window, dancing in the street, everything is great, you've had a good night's sleep. I haven't had that in the past 10 years and I doubt many people here have. And this is why most people will often say to me, well, so there's this thing called too much sleep and it's bad and I shouldn't be sleeping as much. Now what you're doing there is you're just having a hangover because your brain is trying to get what we call recovery sleep and it will still feel heavy on you. So what you need to do is an experiment where if you can structure your work schedule, you just say, I am not going to set an alarm. But gradually what will happen is that you will sleep off some of that debt, even though you can't make it all back. And you will throttle back and you will find a sweet spot. And then you will just start waking up naturally. One of the issues you have to ask yourself though is, when am I designed to sleep? And it's called your chronotype. So everyone here has a chronotype. Are you a morning type? Are you an evening type? Are you somewhere in between? It's what we call owls and larks. Now, you don't get to decide that. It is genetically hardwired. It's gifted to you at birth. How do you figure out what type you are? Well, if you were to be on a desert island with no commitments, no one to wake up for, just ask yourself, what time would I probably like to go to bed and what time would I probably like to wake up? That's probably your chronotype. When you sleep in sync, in harmony with your chronotype, that's when you get the very best quality of sleep. if you sleep in a mismatch fashion with your chronotype, you won't get good sleep and you'll struggle with sleep. A good example of this is, they will often come to me saying, look, I've got terrible insomnia. I lie in bed for the first two hours and I just can't fall asleep. And so no wonder you're going to be lying in bed awake for the first two hours because your body is not yet ready to generate the sleep that it needs and it masquerades as insomnia. You don't have insomnia. You just have a mismatch between when your biology wants you to sleep and when you're trying to sleep. And then come Sunday night, So I wouldn't get too hung up if these devices are telling you you're having very little deep sleep. If I brought you into my laboratory, the accuracy there would be the truth telling thing. It's the form factor. So I'm actually very enamored right now with this idea that I would term unwearables for sleep, rather than wearables for sleep. I think the best device ultimately is probably going to be the bed itself. Well, think about your mattress. Your mattress now, 60 years on, in fact, when we've looked at hunter gatherer tribes, whose way of life hasn't changed for thousands of years, they have biphasic sleep. By the way, have you ever wondered what the term midnight actually means? The middle of the night, which is that if you are struggling with your sleep at night, do not nap during the day because it comes back to that sleepiness signal. As you're awake across the day, you're building up all of that healthy sleepiness. And when you sleep, you remove it so that you wake up feeling refreshed. But if you take a nap in the afternoon, you release some of that sleepiness and it can make it harder to fall asleep or stay asleep at night. So if you are not struggling with sleep and you can nap regularly, naps are just fine. That's fine, but cold it must be. The last thing I would say is, do not lie in bed awake for very long. Don't stay in bed, get out of bed, go to a different room, and in dim light, just read a book and only return when you're sleepy. And the reason is that your brain is so associative that it will very quickly learn that your bedroom is the place of being awake rather than being asleep. And you need to break that association. And so by coming back only when you're sleepy, you will relearn the connection that your bedroom is the place of sleep, not about wake. Why would you lie in bed waiting to get sleeping?",
        "transcription_large_v3": " our legendary guest speaker and sleep diplomat, Matt Walker. I just want to ask you a couple of questions. So have a think. How much sleep did you get last night? How many hours sleep did you get last night? Just have a think. Figure it out. OK, so how many people got between five and six hours sleep last night? Ooh, that's about 20 people or so. What about six to seven hours sleep? Or about a third of the people, maybe? Seven to eight? Yes! Congratulations. You probably need to leave the room at this point. OK. He founded the Center for Human Sleep Science. His work has focused through his life on understanding the role of sleep in health and in diseases. He's Liverpool-born. He's a Brit. He also has a consulting relationship with Google through our sister company, Verily. So please welcome Matt Walker. MATT WALKER, Thank you, Matt. MATT WALKER, Matt, welcome. MATT WALKER, For those of you who answered that you were getting seven hours or less is zero. MATT WALKER, Don't despair. MATT WALKER, We see equivalent impairments female reproductive health caused by a lack of sleep. I'll give you just one example. Here, you don't need a whole night of sleep deprivation. All it takes is one hour, because there is a global experiment performed on 1.6 billion people across 70 countries twice a year. And by the way, you see exactly that same profile around daylight savings time for road traffic accidents, for suicide rates, whereas in the autumn, if you get your sentencing, And what you typically then have are what are called micro-sleeps, where your eyelid will just partially close. At a moderate drift angle, you're in the next lane. But I know that there was a push recently in the government level to try and delay school start times until 10 o'clock in the morning. That's the bare minimum for a teenage brain. The reason is because as we go through adolescence, our biological preference for going to bed and waking up changes. what better way to do that than actually now going to bed later than your parents and i have this at talks where there will be people who wait all the way to the end and they don't want to come to the mic and ask the question and we don't do that and what's strange is none of us look at an infant sleeping during the day and say well but if you look at the data now worryingly somewhere between infancy and even childhood we abandon the notion that sleep is important and instead we label it with these negative connotations. Based on some data that we've looked at. So light. One of the problems with opportunity, the reason that most people don't get the chance to sleep, even if they could sleep that amount. Firstly, we are typically working longer hours and we're commuting for longer periods of time, which means that most people are leaving the house earlier and coming home later. Then you can start to come into the home and ask what else is compromising your sleep. We certainly know that blue light emitted from devices can compromise your sleep. There's a fascinating study where they had people reading on an iPad for one hour before bed versus just reading a normal book in dim light. And what they found was that the iPad reading, firstly, it delayed the release of a hormone called melatonin. And that hormone needs to be in high amounts to time the healthy onset of your sleep. And furthermore, it delayed the onset of that melatonin by about three hours, which is critical for things like mental health. So the invasion of, I think, technology into our environment, particularly blue light, is a harm. But that's not the only issue. And you train your brain to expect that every morning. It's called anticipatory anxiety. And it lightens your sleep. It prevents you from going into the deeper sleep. So I think that's another problem, which is technology. So we are a dark, deprived society. We need that darkness at night. So trying to stay away from screens in the last hour before bed. Also dimming down the lights in your home. I think one of the other aspects above and beyond stress, which is a key thing triggering insomnia, is alcohol and caffeine use. Firstly, caffeine. But caffeine also is misunderstood in terms of its duration of action. So caffeine has a half-life of about six hours and a quarter-life of 12 hours. What that means is that if you have a cup of coffee at noon, you swig a quarter of a cup of coffee and you hope for a good night of sleep. But if that's the case, if you're using caffeine before midday, you're probably self-medicating your state of chronic sleep deprivation. And sedation is not sleep. But when you have a nightcap, you mistake the former for the latter. The third problem with alcohol is that it's very good at blocking your dream sleep, your rapid eye movement sleep. But what actually happens during sleep? It's during deep sleep that we get cardiac deceleration. It's also during deep sleep, but also REM sleep, when you restock the armory of your immune system. And that's why when you start to sleep less, you're far more vulnerable to infection. Another demonstration of this is if you get a flu shot, rendering that flu shot largely useless. And the reason I make that point is, mother nature has therefore never had to face the challenge of sleep deprivation throughout the course of evolution. So she's never had to come up with safety nets to risk mitigate this when it happens. Now, there is precedent in biology for that. And there is a method like this in biology. It's called the fat cell. Then down into the deep stages of non-REM. And then after about 60 or 70 minutes, you'll start to rise back up and you'll have a short REM sleep period. And then you go back down again. So there are things in your sleep that can foretell, that can forecast your disease risk 10 or 20 years ahead of time. And this is a lot of work that we're doing right now at the Sleep Center. How can we use sleep as a new biomarker that is predicting your disease risk decades ahead of time? And the reason that that's important is because right now in health care, we actually don't have a model of health care. We have a model of sick care, which is that we are principally interested in treatment. What we need to have is a model of truly health care, not a model of treatment. You give yourself the opportunity window to do something about it. and sleep seems to carry within it, nested in its static of electrical brainwaves at night, it seems to have lots of these health biomarkers that are disease risk protective or predictive. And let's say that you just make each one of those brain cells have a tone to it. And then what was fascinating in those studies is that they then let the rats sleep. So our bodies were never designed to be fast forwarded through time with this thing called a jet engine. and it causes a biological lag, a mismatch between your internal clock and the place that you arrive and that's what we call jet lag. There are some treatments quote-unquote but there is no cure. The first is most people sleep at the wrong time on the flight. So let's say I'm traveling from San Francisco back to London. The first thing you need to do as soon as you get on the plane is change all clocks to the new time zone so you're now immediately reminded what you're working with in terms of a time structure. The second, now I will touch down at around about 11 o'clock in the morning. Why is that a problem? The longer that you're awake throughout the day, the more sleepiness that you build up in the brain. It's a chemical called adenosine. The sleepier that you are, the more likely you are to fall asleep and stay asleep. Essentially, it's like waking up at 11 o'clock in the morning. So sleep in the first half of the flight, then brute force yourself awake, stay awake, and then stay awake for the entirety of that following day. Don't be tempted to nap because if you nap, again, you release some of that sleepiness. It's almost like a pressure valve on a cooker and it will make it that much harder to fall asleep that following evening. That first night, if you nail that first night with a good night of sleep, it's a great way to reset your biological clock. Once you're in the new time zone, two more recommendations. The first is in the morning, go out and get daylight, at least 20 to 30 minutes outdoors. When you do that in the morning, even if it's sunny, don't wear sunglasses. I know it's cool, but you need to get that light into the brain. The other one is eat at the regular times when everyone else is eating, not when you're hungry, because food we've discovered is just as powerful a resetting trigger on your internal clock as light is. And then if you want to, you can strategically use melatonin. It's not available over here, but it's available in other countries. just be mindful however that if you get it in America it's not regulated by the government one study found that if you looked at 20 brands based on what it said on the label so there are some species like dolphins for example who can sleep entirely with one half of their brain otters do this most aquatic mammals have what we call unihemispheric sleep which is that one half of their brain is awake and one half of your brain is sleeping a minute switches over whenever you sleep in an unfamiliar location what we found is that one half of the brain does not sleep as deeply as the other half of the brain. I don't get a lot of sleep. Get it when you can. Also trying to help kids as well one of the things is routine. Also for kids taking toys out of the bedroom is a recent finding that that actually means that the bedroom is this thing other than sleep and toys become a trigger and they actually sleep worse when they've got toys in the bedroom. So get those out as well. Do something calming and relaxing with them in the hour before bed, typically reading, doing a puzzle. And the reason is because you need to drop your core body temperature by about one degree Celsius to initiate sleep and then to stay asleep. That's the reason that you will always fall asleep easy in a room that's too cold and too hot. All of the heat is radiated out of the body. So your core body temperature actually plummets, which means that you fall asleep faster and stay asleep. So trying to help kids sleep better will ultimately help you sleep better. But to come to your question, yes, sleep is not like the bank, that the damage that is happening is happening and you can't necessarily reverse that damage. However, it is never too late to start sleeping better. And by the way, if anyone listening is a snorer or they know of someone who is snoring, go and get their doctor to do a sleep test on them. sleep apnea, which is heavy snoring, is a killer in terms of a disease. And 80% of people who have it are undiagnosed. Turned out that about half of the people adhered to the treatment, the other half didn't. And then you track them for 10 or 15 years. And one thing that wasn't clear to me from the book is I think there is this proverbial waking up, opening the window, dancing in the street, everything is great if I had a good night's sleep. I haven't had that in the past 10 years. And I doubt many people here have. And this is why most people will often say to me, well, So there's this thing called too much sleep and it's bad and I shouldn't be sleeping as much Now what you're doing there is you're just having a hangover because your brain is trying to get what we call Recovery sleep and it will still feel heavy on you So what you need to do is an experiment where if you can structure your work schedule You just say I am NOT going to set an alarm But gradually what will happen is that you will sleep off some of that debt Even though you can't make it all back and you will throttle back and you will find a sweet spot and then you will just Start waking up naturally One of the issues you have to ask yourself though is when am I designed to sleep? And it's called your chronotype. So everyone here has a chronotype. Are you a morning type? Are you an evening type? Are you somewhere in between? It's what we call owls and larks. Now you don't get to decide that. It is genetically hardwired. It's gifted to you at birth. How do you figure out what type you are? Well, if you were to be on a desert island with no commitments, no one to wake up for, just ask yourself what time would I probably like to go to bed and what time would I probably like to wake up that's probably your chronotype when you sleep in sync in harmony with your chronotype that's when you get the very best quality of sleep if you sleep in a mismatch fashion with your chronotype you won't get good sleep and you'll struggle with sleep a good example of this is they will often come to me saying look I've got terrible insomnia I lie in bed for the first two hours and I just can't fall asleep and so no wonder you're going to be lying in bed awake for the first two hours because your body is not yet ready to generate the sleep that it needs. And it masquerades as insomnia. You don't have insomnia. You just have a mismatch between when your biology wants you to sleep and when you're trying to sleep. And then comes Sunday night. So I wouldn't get too hung up if these devices are telling you you're having very little deep sleep. If I brought you into my laboratory, the accuracy there would be the truth telling thing. It's the form factor. So I'm actually very enamored right now with this idea that I would term unwearables for sleep rather than wearables for sleep. I think the best device ultimately is probably going to be the bed itself. Well, think about your mattress. Your mattress now 60 years on. In fact, when we've looked at hunter-gatherer tribes whose way of life hasn't changed for thousands of years, they have biphasic sleep. By the way, have you ever wondered what the term midnight actually means? the middle of the night, which is that if you are struggling with your sleep at night, do not nap during the day because it comes back to that sleepiness signal. As you're awake across the day, you're building up all of that healthy sleepiness. And when you sleep, you remove it so that you wake up feeling refreshed. But if you take a nap in the afternoon, you release some of that sleepiness and it can make it harder to fall asleep or stay asleep at night. So if you are not struggling with sleep and you can nap regularly, naps are just fine. That's fine, but cold it must be. The last thing I would say is do not lie in bed awake for very long. Don't stay in bed. Get out of bed, go to a different room, and in dim light, just read a book and only return when you're sleepy. And the reason is that your brain is so associative that it will very quickly learn that your bedroom is the place of being awake rather than being asleep. And you need to break that association. And so by coming back only when you're sleepy, you will relearn the connection that your bedroom is the place of sleep, not about wake. Why would you lie in bed waiting to get sleeping?"
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000719.mp3": {
        "gt": "BECAUSE OF HOW NEW THE INDUSTRY IS  BUT THIS DOESN'T ALWAYS WORK   SO TODAY   JUST LIKE THAT TIME YOU SWIPED RIGHT ON YOUR FRIEND'S GRANDMA  WE'RE LOOKING AT THINGS MUCH OLDER THAN YOU EXPECTED  MARIO  LINK  DONKEY KONG   SAMUS ARAN THESE ARE THE NAMES OF SOME OF THE GREATEST VIDEO GAME CHARACTERS OF ALL TIME  OBVIOUSLY THERE WAS NO PERSONAL COMPUTING BACK THEN   THERE WEREN'T EVEN TV SCREENS  THIS DIDN'T FIT THE GRAND AMBITIONS HE HAD FOR NINTENDO  HE TRIED OUT MANY VENTURES AND OVER THE FOLLOWING YEARS NINTENDO RAN A TAXI COMPANY   A TV NETWORK   A FOOD BRAND AND EVEN A SERIES OF LOVE HOTELS  SO ZELDA COULD HAVE BEEN A TYPE OF RICE AND PERFECT DARK COULD HAVE BEEN A VERY GLOOMY EROTIC PENTHOUSE  THEY SAW THE POTENTIAL OF THE LIGHT GUN AND HOW PEOPLE COULD INTERACT WITH A SCREEN  INTERESTINGLY   MARIO WAS ACTUALLY NAMED AFTER MARIO SEGALE  HE ALSO ATE MAGIC MUSHROOMS AND SAVED A PRINCESS FROM A GIANT EVIL TURTLE  MORSE CODE HAD ITS OWN FORM OF ABBREVIATION   WITH CERTAIN NUMBERS BEING GIVEN A MEANING SO AS TO SAVE ON UNNECESSARY TAPPING TIME  ONE WAS WAIT A MINUTE  THIRTEEN WAS I DON'T UNDERSTAND AND TWENTY TWO WAS LOVE AND KISSES ALTHOUGH THIS BECAME EIGHTY EIGHT AT SOME POINT LATER ON  MAYBE WE NEEDED FOUR TIMES AS MUCH LOVE AND KISSES IN THE WORLD  THESE AREN'T REALLY EMOTICONS THOUGH  LIKE AN INSIDE JOKE FOR LINCOLN  THERE WAS NO AUTOCORRECT IN THE TIME OF ABRACADABRA LINCOLN  SO THERE COULD HAVE BEEN A LOT OF MILKSHAKES IN HIS SPLEEN  I MEAN MISTAKES IN HIS SPEECH  BEFORE THE WORLD WENT DIGITAL  AND IF YOU WANTED SOMETHING FASTER THAN RELYING ON THE POSTMAN   THEN YOU TURNED TO THE FAX MACHINE  OVER THIRTY YEARS BEFORE THE TELEPHONE  AND LIKE ALEXANDER GRAHAM BELL   IT WAS ANOTHER SCOTSMAN   ALEXANDER BAIN   WHO INVENTED THE FAX MACHINE  THE FIRST COMMERCIAL SERVICE WAS WITH GIOVANNI CASELLI'S PANTELEGRAPH  SENDERS WOULD USE NON-CONDUCTING INK AND WRITE ON A SHEET OF TIN  A METAL STYLUS WOULD MOVE ACROSS THE SHEET AND WOULD REGISTER THE CURRENT  WHICH WOULD CUT OUT EVERY TIME IT PASSED OVER THE INK  WHICH WOULD REACT AND STAIN THE PAGE WHEN A CURRENT PASSED THROUGH IT  THE BIGGEST DIFFICULTY WAS SYNCHING UP THE MACHINES  SO THEY USED LARGE   HEAVY PENDULUMS TO STOP THE RECEIVING MACHINE FROM ONLY PRINTING THE FIRST HALF OF THE DOCUMENT   AND YOUR GIRLFRIEND RECEIVING A FAX SAYING MY DEAREST SUSANNE  I'VE FOUND SOMEONE ELSE  YEAH   GOOD LUCK EXPLAINING TO HER THAT IT SHOULD HAVE ENDED WITH TO FIX THE LEAK ON MY ROOF  MODERN COMMUNICATION HAS MADE A LOT OF OLD TECH REDUNDANT AND THE LANGUAGE AND FORM IS CONSTANTLY CHANGING  BUT AS WITH THE EMOTICON   SOME OF THE THINGS THAT WE ASSOCIATE SOLELY WITH INTERNET CULTURE  BUT ITS USAGE WAS RELATIVELY COMMON PLACE WHEN RECORDING TRADE  ONE THEORY IS THAT IT STARTED AS AN A INSIDE AN E TO DENOTE EACH AT RATHER THAN JUST AT  THIS SYMBOL COULD HAVE BEEN USED TO AVOID THAT CONFUSION  IT WAS ALSO COMMONLY USED IN SPAIN AND PORTUGAL FROM THE SIXTEENTH CENTURY TO MEAN ARROBA   A UNIT OF WEIGHT  THESE DAYS   MANY LANGUAGES HAVE A DIFFERENT NICKNAME FOR IT  THE KOREANS CALL IT SNAIL   THE DANISH CALL IT ELEPHANT'S TRUNK  THE SLOVAKS CALL IT PICKLED HERRING AND THE DUTCH SOMETIMES CALL IT LITTLE MONKEY'S TESTICLE  YOU DO NOT WANT TO SEE HOLLAND'S BROWSING HISTORY  YOU KNOW THE ONLY DATE YOU CAN ACTUALLY REMEMBER FROM HISTORY CLASS  AND HERE'S A FACT THAT WILL DESTROY EVERYTHING YOU THOUGHT YOU KNEW ABOUT HISTORY  OXFORD UNIVERSITY IS ACTUALLY OLDER THAN THE AZTEC EMPIRE  NOW HERE'S A SNACK THAT IS FAR OLDER THAN YOU'D EXPECT  IT'S POPCORN  THE OLDEST EXISTING SNACK BRAND IN THE STATES IS BAKER'S CHOCOLATE  BAKER TOOK HIS CHANCE  AFTER ALL  LIFE IS LIKE A BOX OF CHOCOLATES YOU EAT THEM ALL YOURSELF AS SOON AS YOU GET THE OPPORTUNITY  AND OUR FINAL ITEM ALSO COMES FROM AN OLD SNACK SPAM  THAT BECAME POPULAR IN THE POST WAR PERIOD  WE'RE TALKING ABOUT THE NEVER ENDING STREAM OF ANNOYING MESSAGES  IT'S NO COINCIDENCE THAT THEY SHARE THE SAME NAME THOUGH  WHEN EARLY INTERNET CHAT ROOMS BEGAN   SOME USERS WOULD REPEATEDLY TYPE SPAM IN ORDER TO SHIFT A LINE OF TEXT OFF-SCREEN  SINCE YOU WOULDN'T HAVE THE ABILITY TO SCROLL THROUGH CONVERSATIONS LIKE WE DO NOW  BUT THIS CONCEPT WAS NOT UNIQUE TO THE WORLD OF THE INTERNET  A MESSAGE FROM MESSRS GABRIEL OF TWENTY SEVEN HARLEY STREET  I NEED TO GO NOW AS I MUST REPLY TO MISTER JAKANDE'S EMAIL  HE SAYS THERE'S SIX MILLION DOLLARS WAITING FOR ME IN A TRUST ACCOUNT  \n",
        "transcription_base": " because of how new the industry is, but this doesn't always work. So today, just like that time we swiped rights on your friend's grandma, we're looking at things much older than you expected. Mario, Link, Donkey Kong, Samus Aron. These are the names of some of the greatest video game characters of all time. Obviously, there was no personal computing back then, there weren't even tv screens. This didn't fit the grand ambitions he had for Nintendo. He tried out many ventures and over the following years Nintendo ran a taxi company, a TV network, a food brand and even a series of love hotels. So Zelda could have been a type of rice and perfect dark could have been a very gloomy erotic penthouse. They saw the potential of the light gun and how people could interact with a screen. Interestingly Mario was actually named after Mario Sago. He also Also eight magic mushrooms ensaved a princess from a giant evil turtle, Morse code had its own form of abbreviation, with certain numbers being given a meaning, so as to save on a necessary tapping time. One was wait a minute, 13 was, I don't understand, and 22 was love and kisses. Although this became 88 at some point later on, maybe we needed four times as much love and kisses in the world, these aren't really a motor console. an inside joke for Lincoln. There was no auto correct in the time of Abracadabra Lincoln, so there could have been a lot of milkshakes in his fleet. I mean mistakes in his speech, before the world went digital. And if he wanted something faster than relying on the postman, then you turn to the fax machine. Over 30 years before the telephone, and like Alexander Graham Bell, it was another Scotsman, Alexander Bain, who invented the fax machine. The first commercial service was with Giovanni Cacelli's Pan-Telegra. Senders would use non-conducting ink in right on a sheet of tin. A metal stylist would move across the sheet and would register the current, which would cut out every time it passed over the ink, which would react and stain the page when a current passed through it. The biggest difficulty was sinking up the machines, so they used large heavy pendulums to stop the receiving machine from only printing the first half of the document. And your girlfriend receiving a fact saying, my dearest Susan, I found someone else. Yeah, God look explaining to her that it should have ended with too fixed to leak on my roof. Modern communication has made a lot of all tech redundant, and the language and form is constantly changing. But, as with the emoticons, some of the things that we associate solely with internet culture, but it's usage was relatively commonplace when recording trade. One theory is that it started as an A inside an E to denote each at rather than just at. This symbol could have been used to avoid that confusion. It was also commonly used in Spain and Portugal from the 16th century to Mineroba, a unitive weight. These days many languages have a different nickname for it. The Koreans call it Snape. The Danish call it Elephant's trunk. The Slovak's call it Pickled Herring, and the Dutch sometimes call it little monkeys' testicle. You do not want to see Holland's browsing history. You know, the only dates you can actually remember from history class, and here's a fact that will destroy everything you thought you knew about history. Oxford University is actually older than the Aztec Empire. Now, here's a snack that is far older than you'd expect. It's popcorn. The oldest existing snack brand in the States is Baker's chocolate, the baker took his chance. After all, life is like a box of chocolates. You eat them all yourself as soon as you get the opportunity. And our final item also comes from an old snack. Spam. That became popular in the post-war period. We're talking about the never-ending stream of annoying messages. It's no coincidence that they share the same name, though. When early internet chapter rooms began, some users would repeatedly type spam in order to shift the line of text off-screen since you wouldn't have the ability to scroll through conversations like we do now. But this concept was not unique to the world of the internet. A message from Messer's Gabriel of 27 Halley Strings. I need to go now as I must reply to Mr. Jacquade's email. He says there's $6 million waiting for me in a trust account.",
        "transcription_medium": " because of how new the industry is. But this doesn't always work, so today, just like that time you swiped right on your friend's grandma, we're looking at things much older than you expected. Mario, Link, Donkey Kong, Samus Aran, these are the names of some of the greatest video game characters of all time. Obviously there was no personal computing back then, there weren't even TV screens. This didn't fit the grand ambitions he had for Nintendo. He tried out many ventures and over the following years Nintendo ran a taxi company, a TV network, a food brand and even a series of love hotels. So Zelda could have been a type of rice and Perfect Dark could have been a gloomy, erotic penthouse. They saw the potential of the light gun and how people could interact with a screen. Interestingly, Mario was actually named after Mario Sagal. He also ate magic mushrooms and saved a princess from a giant evil turtle. Morse code had its own form of abbreviation, with certain numbers being given a meaning so as to save unnecessary tapping time. One was Wait a minute, 13 was I don't understand and 22 was Love and Kisses, although this became 88 at some point later on. Maybe we needed four times as much love and kisses in the world. These aren't really emoticons though, like an inside joke for Lincoln. There was no autocorrect in the time of Abracadabra Lincoln, so there could have been a lot of milkshakes in his spleen, I mean mistakes in his speech, before the world went digital. And if you wanted something faster than relying on the postman, then you turned to the fax machine, over 30 years before the telephone. And like Alexander Graham Bell, it was another Scotsman, Alexander Bain, who invented the fax machine. The first commercial service was with Giovanni Casselli's Pantellagraph. These would use non-conducting ink and write on a sheet of tin. A metal stylus would move across the sheet and would register the current, which would cut out every time it passed over the ink, which would react and stain the page when a current passed through it. The biggest difficulty was syncing up the machines, so they used large heavy pendulums to stop the receiving machine from only printing the first half of the document and your girlfriend receiving a fax saying, my dearest Suzanne, I found someone else. Yeah, good luck explaining to her that it should have ended with, to fix the leak on my roof. Modern communication has made a lot of old tech redundant and the language and form is constantly changing. But as with the emoticon, some of the things that we associate solely with internet culture, but its usage was relatively commonplace when recording trade. One theory is that it started as an A inside an E to denote each at rather than just at. This symbol could have been used to avoid that confusion. It was also commonly used in Spain and Portugal from the 16th century to mean a roba, a unit of weight. These days many languages have a different nickname for it. The Koreans call it snail, the Danish call it elephant's trunk, the Slovaks call it pickled herring and the Dutch sometimes call it little monkey's testicle. You do not want to see Holland's browsing history. You know, the only dates you can actually remember from history class. And here's a fact that will destroy everything you thought you knew about history. Oxford University is actually older than the Aztec Empire. Now here's a snack that is far older than you'd expect. It's popcorn. The oldest existing snack brand in the States is Baker's Chocolate. Baker took his chance, after all life is like a box of chocolates, you eat them all yourself as soon as you get the opportunity. And our final item also comes from an old snack, spam, that became popular in the post-war period. We're talking about the never-ending stream of annoying messages. It's no coincidence that they share the same name though. When early internet chat rooms began, some users would repeatedly type spam in order to shift a line of text off screen, since you wouldn't have the ability to scroll through conversations like we do now. But this concept was not unique to the world of the internet. a message from Mrs Gabriel of 27 Harley Street.",
        "transcription_large_v3": " because of how new the industry is. But this doesn't always work, so today, just like that time you swiped right on your friend's grandma, we're looking at things much older than you expected. Mario, Link, Donkey Kong, Samus Aran, these are the names of some of the greatest video game characters of all time. Obviously there was no personal computing back then, there weren't even TV screens. This didn't fit the grand ambitions he had for Nintendo. He tried out many ventures and over the following years Nintendo ran a taxi company, a TV network, a food brand and even a series of love hotels. So Zelda could have been a type of rice and Perfect Dark could have been a very gloomy erotic penthouse. They saw the potential of the light gun and how people could interact with a screen. Interestingly Mario was actually named after Mario Sagat, he also ate magic mushrooms and saved a princess from a giant evil turtle, Morse code had its own form of abbreviation, with certain numbers being given a meaning so as to save on unnecessary tapping time. One was wait a minute, 13 was I don't understand and 22 was love and kisses, although this became 88 at some point later on. Maybe we needed 4 times as much love and kisses in the world. These aren't really emoticons though, like an inside joke for Lincoln. There was no autocorrect in the time of Abracadabra Lincoln, so there could have been a lot of milkshakes in his spleen, I mean mistakes in his speech, before the world went digital. And if you wanted something faster than relying on the postman, then you turn to the fax machine, over 30 years before the telephone. And like Alexander Graham Bell, it was another Scotsman, Alexander Bain, who invented the fax machine. The first commercial service was with Giovanni Caselli's Pantelegraph. Machines would use non-conducting ink and write on a sheet of tin. A metal stylus would move across the sheet and would register the current, which would cut out every time it passed over the ink, which would react and stain the page when a current passed through it. The biggest difficulty was syncing up the machines, so they used large heavy pendulums to stop the receiving machine from only printing the first half of the document and your girlfriend receiving a fax saying, my dearest Suzanne, I found someone else. Yeah, good luck explaining to her that it should have ended with, to fix the leak on my roof. Modern communication has made a lot of old tech redundant and the language and form is constantly changing. But as with the emoticon, some of the things that we associate solely with internet culture, but its usage was relatively commonplace when recording trade. One theory is that it started as an A inside an E to denote each at rather than just at. This symbol could have been used to avoid that confusion. It was also commonly used in Spain and Portugal from the 16th century to mean a roba, a unit of weight. These days many languages have a different nickname for it. The Koreans call it snail, the Danish call it elephant's trunk, the Slovaks call it pickled herring and the Dutch sometimes call it little monkey's testicle. You do not want to see Holland's browsing history. You know, the only dates you can actually remember from history class. But here's a fact that will destroy everything you thought you knew about history. Oxford University is actually older than the Aztec Empire. Now here's a snack that is far older than you'd expect. It's popcorn. The oldest existing snack brand in the States is Baker's Chocolate. The baker took his chance. After all, life is like a box of chocolates. You eat them all yourself as soon as you get the opportunity. And our final item also comes from an old snack, spam, that became popular in the post-war period. We're talking about the never-ending stream of annoying messages. It's no coincidence that they share the same name though. When early internet chat rooms began, some users would repeatedly type spam in order to shift a line of text off screen since you wouldn't have the ability to scroll through conversations like we do now. But this concept was not unique to the world of the internet. A message from Mrs Gabriel of 27 Harley Street. I need to go now as I must reply to Mr Jakande's email. He says there's $6 million waiting for me in a trust account."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000737.mp3": {
        "gt": "MONITOR HEREPOP THIS OUT OF HERE  FROM THE ACTUAL STRAP SO DEFINITELY A NICE FEATURE  THE HEARTRATE MONITOR WITH THE STRAPCOMES IN AT FORTY FOUR GRAMSAND THEN THE CADENCE SENSOR WITH TWO OF THE RUBBER MOUNTING STRAPS WILL COME IN AT TWELVE GRAMS SO FAIRLY LIGHT OVERALL  THEN YOU HAVE AN OK BUTTON AND A LAP BUTTON ON THE BOTTOM RIGHT  THEY'RE BOTH REALLY EASY TO CLICK AS THEY HAVE NICE TEXTURE TO THEMON THE BACK YOU HAVE TWO ADDITIONAL BUTTONS  MAYBE IT'S A PATENT ISSUE BUT IT FITS ANY STANDARD GARMIN MOUNT  YOU DON'T GET THE SATISFYING CLICK WHEN YOU PUT IT IN AS IT JUST GETS A LITTLE MORE FRICTION BUT I FOUND THAT ONCE YOU GET CLOSE TO CENTER IT GETS REALLY HIGH FRICTION SO YOU CAN ACTUALLY ADJUST IT LEFT TO RIGHT SLIGHTLY AND IT WORKS OUT PRETTY WELL   IT DOESN'T RATTLE OR JITTER ON THE MOUNTTRAINING OR STRAVA TYPE APPS  FIRST OPTION IS LANGUAGE  AND THAT'S IT FOR INITIAL SETUP SO YOU'RE READY TO GO AT THIS POINT  ALTITUDE   RIDE TIME   CADENCE  NOW THIS IS WHERE THE BUTTON INTERFACE IS A LITTLE BIT NON-INTUITIVE THE BACK BUTTON ON THE LEFT IS TO OPEN A MENUTHE BOTTOM LEFT HERE IS TO GO DOWN ON THE MENU  WE'LL GO TO SENSORS AND WE'RE GOING TO GO CONNECT THEM  WE'LL NAVIGATE BACK TO SETTINGSGO TO SENSORS  YOU HAVE THE CADENCEAND THEN SIMPLY PRESS MORE OK ON THAT OK ON RESCANSEE IF IT PICKS IT UP  ROTATE THE CRANK A LITTLE BITAND THAT'S IT SO YOU GET THE ID AND YOU'RE CONNECTED  SO THAT'S IT   NOW WE HAVE BOTH SENSORS CONNECTEDLET'S GO BACK TO THE MAIN MENUTHE GREAT THING ABOUT THIS IS REALLY SIMPLE MENU NAVIGATION  CYCLING IS YOUR DATA SCREEN  IF YOU GO DOWN TO BIKEYOU CAN PICK WHICH BIKE YOU WANT THIS IS WHERE USE THE BACK THE TWO LEFT BUTTONS GO UP AND DOWN  GOING TO CLICK OKNOW YOU CAN GO UP SO WE CAN DO A MANUAL SETTINGPRESS OK ON THATYOU CAN HAVE THEM ON OR OFF  LET'S GO AHEAD AND CONFIGURE ONE TO SHOW YOU THE PROCESS   WITHIN EACH PAGE YOU CAN HAVE UP TO EIGHT ITEMS SO QUITE A LOT  LET'S SHOW YOU WHAT THAT LOOKS LIKE  THAT'S EIGHT SO WITH EIGHT YOU CAN PICK INDIVIDUAL ITEMS IN EACH  ALTITUDE  THAT'S THE BEST PART ABOUT GPS YOU CAN ACTUALLY GET PERCENT GRADE  CADENCE   YOU CAN SEE YOUR AVERAGE CADENCE THE LAP CADENCE  YOU CAN SEE ONCE YOU PICK ONE THERE'S A RIDICULOUS AMOUNT  AND EVEN DOWN LEFT PEDAL RIGHT PEDAL  SO GO AHEAD AND PICK ONE SINCE I CAN'T GET OUT OF THE MENU  YOU CAN ACTUALLY LOOK AT YOUR LAST AVERAGE SPEED  YOU CAN MANUALLY TURN IT ON HEREAND YOU CAN SEE NOW IT'S ON  GENERALIF I GO BACK IN HEREYOU CAN HAVE IT NEVER TURN OFF SO MANUALLY ONCE YOU TURN IT ON IT'LL STAY ONSO DO FIVE SECONDSAND NOW YOU CAN SEE IF I HAVE IT ON WITHIN FIVE SECONDS IT'LL TURN OFF WHEN IT'S IDLECONNECTING YOUR DEVICE IS REALLY SIMPLE YOU DOWNLOAD THE APP YOU HAVE THE GPS ON AND YOU ENABLE BLUETOOTH  YOU CAN SEE HERE THE GLOSSY SCREEN SHOWS SOME REFLECTIONS THAT'S SLIGHTLY ANNOYING BUT WITH THE CONTRAST OF THE SCREEN IT'S NOT THAT BAD  ALSO IT WILL REMIND YOU TO START A WORKOUT IF YOU START RIDING WITHOUT HAVING SET THE CYCLING ACTIVE  IT'S ALSO QUICK AND EASY TO SET UP YOU DON'T HAVE TO GO THROUGH A DIFFICULT INSTRUCTION MANUAL OR A LOT OF SCREENS TO GET THE SENSORS CONNECTED AND GET ON THE ROAD  THE DISPLAY IS ALSO HIGHLY CONFIGURABLE WITH EIGHT PAGES AND EIGHT ITEMS PER PAGE  ALSO THE BUTTON INTERFACE TAKES A LITTLE BIT OF PRACTICE ESPECIALLY WITH THE UNLABELED REAR BUTTONS YOU DO HAVE TO RECALL WHAT THEY MEAN ON THE ROAD  \n",
        "transcription_base": " This monitor here, pop this out of here from the actual strap. So definitely a nice feature. The hard-raved monitor with the strap comes in at 44 grams and then the cadence sensor with two of the rubber mounting straps will come in at 12 grams. So fairly light overall. Then you have an OK button and a lap button on the bottom right. They're both really easy to click as they have a nice texture to them. On the back you have two additional buttons. Maybe it's a pan issue, but it fits any standard Garmin mount. You don't get the satisfying click when you put it in as it just gets a little more friction, but I found that once you get close to center, it gets really high friction, so you can actually adjust it left to right slightly. And it works out pretty well. It doesn't rattle or jitter on the mount. Training or Strava type apps. First option is language, and that's it for initial setup. So you're ready to go at this point. Altitude, right time, cadence. Now this is where the bun interface is a little bit non-intuitive. The back bun on the left is to open a menu. The bottom left here is to go down on the menu. We'll go to sensors and we're going to go connect them. So navigate back to settings, go to sensors, you have the cadence and then simply press more. Okay on that, okay on rescan. See if it picks it up. We'll take the crank a little bit and that's it. So you get the ID and you're connected. So that's it. center is connected. Let's go back to the main menu. The great thing about this is really simple menu navigation. Cycling is your data screen. So if you go down to bike, you can pick which bike you want. This is where you use the back, the two left buttons go up and down. We're going to click OK. Now you can go up. So we can do a manual setting. Press OK on that. You can have them on or off. So let's go ahead and configure one to show you the process. Within each page you can have up to eight So quite a lot. So let's show you what that looks like. That's eight. So with eight, you can pick individual items in each Altitude. That's the best part about GPS. You can actually get percent grade Cadence. You can see your average cadence The lap cadence. You can see once you pick one there's a ridiculous amount And even down left pedal right pedal. So go ahead and pick one since I can't get out of the menu You can actually look at your last average speed you can manually turn it on here and you can see now it's on general so if I go back in here you can have it never turn off so manually once you turn it on I'll stay on so do five seconds and now you can see if I have it on within five seconds it'll turn off when it's idle. Connecting your device is really simple you download the app you have the GPS on and you enable Bluetooth. You can see here the glossy screen shows some reflections that's slightly annoying but with the contrast of the screen it's not that bad. Also it will remind you to start a work out if you start riding without having set the cycling active. It's also quick and easy to set up. You don't have to go through a difficult instruction manual or a lot of screens to get the sensors connected and get on the road. The display is also highly configurable with eight pages and eight items per page. Also the bun interface takes a little bit of practice, especially with the unlabeled rear buns. You do have to recall what they mean on the road.",
        "transcription_medium": " monitor here pop this out of here from feature. The heart rate monitor with the strap comes in at 44 grams and then the cadence sensor with two of the rubber mounting straps will come in at 12 grams so fairly light overall. Then you have an okay button and a lap button on the bottom right. They're both really easy to click as they have a nice texture to them. On the back you have two additional buttons maybe it's a patent issue but it fits any standard Garmin mount. You don't get the satisfying click when you put it in as it just gets a little more friction but I found that once you get close to center it gets really high friction so you can actually adjust it left to right slightly and it works out pretty well it doesn't rattle or jitter on the mount training or Strava type apps. First option is language and that's it for initial setup so you're ready to go at this point altitude, ride time, cadence. Now this is where the button interface is a little bit non-intuitive. The back button on the open a menu the bottom left here is to Let's go back to the main menu. The great thing about this is really simple menu navigation. Cycling is your data screen so if you go want. This is where you use the back the Let's show you what that looks like. That's eight so with eight you can pick individual items in each altitude that's the best part about GPS you can actually get percent grade cadence you can see your average cadence, the lap cadence. a ridiculous amount and even down left once you turn it on it'll stay on so do five seconds and now you can see if I have it on within five seconds it'll turn off when it's idle. Connecting your device is really simple you download the app, Bluetooth. reflections that's slightly annoying but interface takes a little bit of practice especially with the unlabeled rear buttons. you do have to recall what they mean on the road.",
        "transcription_large_v3": " monitor here. Pop this out of here from the actual strap so definitely a nice feature. The heart rate monitor with the strap comes in at 44 grams and then the cadence sensor with two of the rubber mounting straps will come in at 12 grams so fairly light overall. Then you have an okay button and a lap button on the bottom right. They're both really easy to click as they have a nice texture to them. On the back you have two additional buttons maybe it's a patent issue but it fits any standard Garmin mount you don't get the satisfying click when you put it in as it just gets a little more friction but I found that once you get close to center it gets really high friction so you can actually adjust it left to right slightly and it works out pretty well it doesn't rattle or jitter on the mount training or Strava type apps. First option is language and that's it for initial setup so you're ready to go at this point altitude ride time, cadence. Now this is where the button interface is a little bit non-intuitive. The back button on the left is to open a menu. The bottom left here is to go down on the menu. We'll go to sensors and we're going to go connect them. So navigate back to settings, go to sensors, you have the cadence and then simply press more. Okay on that. Okay on rescan. See if it picks it up. Rotate the crank a little bit and that's it. So you get the ID and you're connected. So that's it. Now we have both sensors connected. Let's go back to the main menu. The great thing about this is really simple menu navigation. Cycling is your data screen so if you go down to bike you can pick which bike you want. This is where you use the back the two left buttons go up and down. Click OK. Now you can go up so we can do a manual setting press OK on that. You can have them on or off. Let's go ahead and configure one to show you the process within each page you can up to eight items so quite a lot. Let's show you what that looks like that's eight. So with eight you can pick individual items in each altitude that's the best part about GPS you can actually get percent grade. Cadence you can see your average cadence the lap cadence you can see once you pick one there's a ridiculous amount and even down left pedal right pedal so go ahead and pick one since I can't get out of the menu. You can actually look at your last average speed you can manually turn it on here and you can see now it's on general. So if I go back in here you can have it never turn off so manually once you turn it on it'll stay on. So do five seconds and now you can see if I have it on within five seconds it'll turn off when it's idle. Connecting your device is really simple you download the app you have the GPS on and you enable bluetooth. You can see here the glossy screen shows some reflections that's slightly annoying but with the contrast of the screen it's not that bad. Also it will remind you to start a workout if you start riding without having set the cycling active. It's also quick and easy to set up you don't have to go through a difficult instruction manual or a lot of screens to get the sensors connected and get on the road. The display is also highly configurable with eight pages and eight items per page. Also the button interface takes a little bit of practice especially with the unlabeled rear buttons you do have to recall what what they mean on the road."
    },
    "/work/yuxiang1234/backup/Gigaspeech-train/mp3/YOU0000000761.mp3": {
        "gt": "HERE ARE JUST A FEW OF THE SEEMINGLY UNREAL   ALBEIT   ENTIRELY TRUE HIGHLIGHTS FROM HIS RESUME  HE'S A FORMER MTV BREAK DANCER IN TAIWAN  THE ONE TIME NATIONAL CHINESE KICKBOXING CHAMPION  THE FIRST AMERICAN TO HOLD THE GUINNESS WORLD RECORD IN TANGO   A HORSEBACK ARCHER   PRINCETON UNIVERSITY GUEST LECTURER   AND ANGEL INVESTOR WHO HAS RACKED UP A SERIOUS STRING OF ENTREPRENEURIAL MAGA HITS  INCLUDING UBER   FACEBOOK   TWITTER   AND ALIBABA  HE IS AN UNPARALLELED   SELF EXPERIMENTER   PROFESSIONAL NOTE TAKER   AND WOULD BE NINTH GRADE TEACHER  WHICH HAS BEEN DOWNLOADED MORE THAN ONE HUNDRED MILLION TIMES  HE'S BEEN CALLED THE OPRAH OF AUDIO AND THE INDIANA JONES FOR THE DIGITAL AGE  PLEASE HELP ME IN WELCOMING THE NEW YORK TIMES BEST SELLING AUTHOR MULTIPLE TIMES OVER  THE MAN BEHIND THE TIM FERRISS SHOW  THE HUMAN GUINEA PIG HIMSELF  THIS IS EXACTLY WHAT YOUR READERS WOULD WANT   WHY DON'T YOU JUST PUBLISH IT  NEW GUESTS THAT PEOPLE HAVEN'T MET YET LIKE JACK DORSEY  BUT YOU DON'T DO NINETY MILES IN A TWENTY FOUR HOUR PERIODWITHOUT SOME INTENSE THING PUSHING YOU FORWARD   IF YOU HAD TO GUESS  IT'S THE PROMISE OF THATOR FILL IN THE BANK  JUST AN ELEGANT OR NON-OBVIOUS SOLUTION TO A LONGSTANDING PROBLEM   I'M LIKE  FOR MOST OF THEM  WHICH I FIRST LEARNED FROM A BOOK WHICH I WAS INTRODUCED TO BY CHRIS SACCA WHO'S A BILLIONAIRE INVESTOR IN THIS BOOK ODDLY ENOUGH  THAT'S MY DRUG OF CHOICE  THE OTHER THING   WHY AM I WILLING TO SUFFER   I'M WILLING TO SUFFER BECAUSE I GUESS MUCH LIKE YOU I FEEL LIKE I HAVE MY DEFICIENCIES  I HAVE PLENTY OF WEAKNESSES   TO GO TO THE EXTREMEACTUAL QUESTIONS THAT COINCIDED WITHCOINCIDED WITH EXACT POINTS THAT I CAN REMEMBER  THIS IS A QUESTION THAT I ASK MYSELF WHEN I HAD MY FIRST JOB OUT OF COLLEGE  WERE MAKING PHONE CALLS BETWEEN NINE AND FIVE  THOSE WERE THE OFFICE HOURS AND I SAID   WELL  I'M CLEARLY NOT DOING AN EFFECTIVE JOB MIMICKING THEM   WHAT IF I DID THE OPPOSITE FOR FORTY EIGHT HOURS  IT WAS JUST A HYPOTHESIS  WHAT WOULD I DO  PETER DIAMANDIS   CHAIRMAN OF THE X PRIZE  WHO'S REALLY GOOD AT THESE TYPES OF QUESTIONS  I MEAN HE'S ATTEMPTING TO SOLVE SOME OF THE BIGGEST PROBLEMS FACING HUMANITY IN VERY INNOVATIVE WAYS  HE'LL SAY  TO TEN X THE ECONOMICS OF YOUR BUSINESS  LITERALLY HE JUST SAYS   I DO NOT ACCEPT YOUR ANSWER   TRY AGAIN  NUMBER ONE IS THERE'S A TON OF MUNDANE STUFF THAT YOU'RE GONNA HAVE TO DO   LIKE THIS SET  MY WIFE AND I WERE HAND PAINTING IT  THAT'S SO BRILLIANT  EVEN IF YOU DON'T THINK IT'S GONNA WORK  SAY  GET INTO A BUILDING THAT THE BLUE TEAM IS SUPPOSED TO PROTECT  DEFEAT DEFENSES THAT THE BLUE TEAM HAS CREATED  INCREDIBLE ENGINEER ALSO  JUST LIKE WHAT IF I DID THE OPPOSITE FOR FORTY EIGHT HOURS  I'LL GIVE YOU ANOTHER QUESTION THAT I THINK YOU'LL REALLY LIKE  IT'S ONE OF THE SEVENTEEN  IN TERMS OF PATTERNS   WE WERE TALKING ABOUT SOME OF THE THINGS I'VE SPOTTED  MEDITATION OR JOURNALINGTHE QUESTION   JUST TO COME BACK TO THAT THAT I THOUGHT YOU MIGHT ENJOY IS   IS   AND THIS IS AN EXAMPLE OF TAKING SOMETHING FROM SOMEONE I DISAGREE WITH ON ALMOST EVERY LEVEL  NEWT GINGRICH  ONE OF THE QUESTIONS THAT NEWT WOULD ASK HIMSELF AND OTHERS IS ARE YOU HUNTING ANTELOPE OR ARE YOU HUNTING FIELD MICE AND THE STORY HE WOULD TELL IS THAT OF A LION IN THE SERENGETI   HE'S LIKE  IF YOU'RE ALWAYS CHASING FIELD MICE AS A LION  YOU'LL GET A SNACK  YOU MIGHT EVEN SURVIVE BUT YOU MIGHT END UP STARVING BECAUSE YOU'RE GETTING THESE LITTLE SCOOBY SNACKS   THAT'S NOT HIS WORDS   MINE  RIGHT LET'S TAKE A HARD RIGHT  THERE'S SOME INTERESTING STUFF IN HERE ABOUT CREATIVITY   WHAT ARE SOME OF THE MOST INTERESTING AND USEFUL LESSONS ABOUT CREATIVITY YOU PULLED FROM THE BOOK  YOU TALK TO RICK RUBIN   LET ME GIVE HIS EXAMPLE FIRST   WHEN HE HAS A MUSICIAN WHO'S STUCK  GREAT MUSICIAN BUT THEY'VE DEVELOPED PERFORMANCE ANXIETY ABOUT SONG WRITING FOR WHATEVER REASON  HE WILL SAY   DO YOU THINK YOU COULD GET ME ONE SENTENCE OR MAYBE TWO WORDS THAT YOU LIKE BY TOMORROW  THAT'S IT   TWO WORDS   CAN YOU DO THAT FOR ME  DID YOU KNOW THAT IBM   WHEN IT WAS THE EIGHT HUNDRED POUND GORILLA IT WAS AN UNDEFEATABLESALES FORCE  WE WANT THEM TO FEEL LIKE THEY'RE GONNA PASS THEIR QUOTA QUICKLY   WHICH THEY DID AND THEN THEY SHOT WELL PAST IT AND CLOBBERED THE COMPETITION  THE APPROACH  HEAR ME OUT  NUMBER ONE   HE IS A TRAINED JOURNALIST AND JOURNALISTS TEND TO HAVE WRITING BLOCK BEATEN OUT OF THEM BECAUSE THEIR BOSS IS LIKE  OH YOU CAN'T FIND THE RIGHT PROSE FOR YOUR FIVE HUNDRED WORD ARTICLE  GET IT IN BY FIVE O'CLOCK ASSHOLE  LOWER YOUR STANDARDS UNTIL YOU GET STARTED  IT'S LONG BUT IT'S WORTH THE READ  WHAT MAKES YOU ANGRY   JUST WRITE THAT  AND THAT WAS ALSO THE ADVICE THAT I WAS GIVEN BY WHITNEY CUMMINGS AND A FEW OTHER STAND UP COMEDIANS  HOW DO YOU DEVELOP MATERIAL   WHAT MAKES YOU ANGRY   WRITE ABOUT THAT  CAN BE VERY USEFUL FUEL   SO WHAT MAKES YOU ANGRY AND LET'S JUST SAY YOU'RE WRITING ABOUT SOMETHING THAT DOESN'T REQUIRE OR SEEM TO REQUIRE ANGER  THIS IS FROM DAN CARLIN  IT'S JUST INCREDIBLE   HARDCORE HISTORY  LATER ON HE HAD SUCH A DISTINCTIVE VOICE THAT PEOPLE STARTED COMPLIMENTING HIM AND HE'S LIKE  OKAY  COPYRIGHT YOUR FAULTS AND OF COURSE THERE ARE WEAKNESSES YOU SHOULD ADDRESS BUT THEN THERE ARE FLAWS THAT CAN BE CONVERTED INTO STRENGTHS  JUST BITCHING AND MOANING IS YOU GET THAT OUT OF YOUR SYSTEM FOR THE DAY SO YOU DON'T HAVE IT RICOCHETING AROUND YOUR HEAD LIKE A STRAY BULLET FOR THE REST OF YOUR WAKING HOURS INTERRUPTING EVERYTHING ELSE  YOU JUST TRAP IT   YOU FREEZE IT ON PAPER AND THAT PRACTICE HAS BEEN TREMENDOUSLY LIBERATING NOT ONLY FROM A WELL BEING STANDPOINT BUT FROM JUST FREEING UP MY CPU SO THAT I CAN FOCUS ON THINGS THAT ARE MORE IMPORTANT  NOW IN THE BOOK YOU ENCOURAGE PEOPLE TO BOUNCE AROUND   WHAT'S ONE THING THAT YOU HOPE NOBODY SKIPS  SOLD IT FOR I THINK TWENTY FOUR MILLION DOLLARS BUT HE AND SETH GODIN I THINK ARE TWO EXAMPLES OF PEOPLE WHO ARE VERY GOOD AT GENUINELY IN REAL LIFE FOLLOWING CONTRARIAN RULES THAT WORK EXCEPTIONALLY WELL  I'LL GIVE YOU A FEW  ONE IS  IF MORE INFORMATION WERE THE ANSWER   WE'D ALL BE BILLIONAIRES WITH SIX PACK ABS  THAT'S A GOOD ONE  HE COULDN'T DO THEM SEQUENTIALLY  WHICH ISTHE OTHER ONE THAT   FOR ME   WAS SO HELPFUL TO HEAR IS I THINK HE CALLS IT  FORTY THREE MINUTES   JUST WOULDN'T IMPROVE   FORTY THREE MINUTES  NO INSTEAD OF BIKE RIDING I'LL DO THIS OTHER THING   AND HE REALIZED AT ONE POINT  AT ONE POINT  THIS IS DEREK  HE GOES  OKAY  I ASKED HIM   WHAT IS YOUR SELF TALK WHEN YOU COME OUT OF THE GATE FOR A GOLD MEDAL RUN AT THE OLYMPICS  THAT WAS HOW HE TOOK THE PRESSURE OFF IN VERY   VERY HIGH PRESSURE SITUATIONS WAS TO SAY   WHO CARES  WHICH IS EFFECTIVE WHEN YOU PUT IN THE TRAINING  IF YOU PUT IN THE TRAINING YOU DON'T NEED TO STRESS IN THAT LAST MINUTE   THE OTHER THING I TOOK AWAY FROM SHAUN IS WHEN HE HAS A REALLY SERIOUS GOAL  LIKE A GOLD MEDAL AT SOCHI OR WHATEVER IT MIGHT BE  HE ALSO HAS A COMPLETELY ABSURD GOAL TO OFFSET HOW STRESS INDUCING THAT CAN BE  I MEAN FUCKING LOOK AT ME   I'M FROM LONG ISLAND  DON'T REALLY WEAR COLOGNE OR ANYTHING  WHICH I THINK IS VERY IMPORTANT  THE IMPACT THAT I WANT TO HAVE ON THE WORLD RIGHT NOW WOULD BE\n",
        "transcription_base": " Here are just a few of the seemingly unreal albeit entirely true highlights from his resume. He is a former MTV break dancer in Taiwan, the one-time national Chinese kickboxing champion, the first American to hold the Guinness World Record in Tango, a horseback archer, Princeton University guest lecturer, and angel investor who has racked up a serious string of entrepreneurial mega hits, including Uber, Facebook, Twitter, and Alibaba. He is an unparalleled self-experimenter, professional note taker, and would be ninth grade teacher, which has been downloaded more than 100 million times. He's been called the Oprah of audio and the Indiana Jones for the digital age. Please help me in welcoming the New York Times best-selling author multiple times over. The man behind the Tim Ferriss show, the human guinea pig himself. This is exactly what your readers would want, why don't you just publish it? new guests that people haven't met yet, like Jack Dorsey. But you don't do 90 miles in a 24-hour period without some intense thing pushing you forward. If you had to guess, it's the promise of that or fill in the blank. Just an elegant or non-obvious solution to a longstanding problem. I'm like, for most of them, which I first learned from a book, which I was introduced to by Chris Saka, who's a billionaire investor in this book, oddly enough, that's my drug of choice. The other thing, why am I willing to suffer? I'm willing to suffer because I guess much like you, I feel like I have my deficiencies, I have plenty of weaknesses. If you go to the extreme, actual questions that coincided with exact points that I can remember. This was a question that I asked myself when I had my first job out of college. We're making phone calls between 9 and 5. Those were the office hours. And I said, well, I'm clearly not doing an effective job mimicking them. What if I did the opposite for 48 hours? It was just a hypothesis. What would I do? Peter Demandis, chairman of the X Prize, who's really good at these types of questions. I mean, he's attempting to solve some of the biggest problems facing humanity in very innovative ways. He'll say, two 10X the economics of your business. Literally, he just says, I do not accept your answer try again. Number one is there's a ton of mundane stuff that you're going to have to do. like this that my wife and I were hand painting it. That's so brilliant. Even if you don't think it's gonna work, say, get into a building that the blue team is supposed to protect, defeat defenses that the blue team has created, incredible engineer also, just like what if I did the opposite for 48 hours? I'll give you another question that I think you'll really like, which is one of the 17. In terms of patterns, we were talking about some of the things I've spotted, meditation or journaling, the question just to come back to that that I thought you you might enjoy is, and this is an example of taking something from someone I disagree with on almost every level. Newt Gingrich, one of the questions that Newt would ask himself and others is, are you hunting antelope or are you hunting field mice? And the story he would tell is that of a lion in the Sarangetti is like, if you're always chasing field mice is a lion. You'll get a snack. You might even survive, but you might end up starving, because you're getting these little scubi snacks, and that's not his words mine. All right, let's take a hard right. There's some interesting stuff in here about creativity. What are some of the most interesting and useful lessons about creativity you've pulled from the book? You talk to Rick Rubens. Let me give his example first. When he has a musician who's stuck, great musician, but they've developed performance anxiety about songwriting for whatever reason. He will say, do you think you could get me one sentence or maybe two words that you like by tomorrow? That's it, two words. Can you do that for me? Did you know that IBM, when it was the 800 pound gorilla, it was an undefeatable salesforce? We want them to feel like they're going to pass their quote quickly, which they did, and then they shot well past it and clobbered the competition. the approach, hear me out. Number one, he is a trained journalist. And journalists tend to have writing block beaten out of them because their boss is like, oh, you can't find the right pros for your 500 word article. Get it in by 5 o'clock, asshole. Lower your standards until you get started. It's long, but it's worth the reads. What makes you angry? We're just right that. And that was also the advice that I was given by Whitney Cummings and a few other other stand-up comedians. How do you develop material? What makes you angry? Write about that. It can be very useful fuel. So what makes you angry? And let's just say, you're writing about something that doesn't require or seem to require anger. This is from Dan Karlin. It's just incredible. Hardcore history. Later on, he had such a distinctive voice that people started complimenting him. And he's like, okay, copyright your faults. And of course, there are weaknesses you should address, but then there are flaws that can be converted into strengths. Just bitching and moaning is you get that out of your system for the day. So you don't have it ricocheting around your head like a straight bullet for the rest of your waking hours interrupting everything else. You just trap it, you freeze it on paper. And that practice has been tremendously liberating, not only from a well-being standpoint, but from just freeing up my CPU so that I can focus on things that are more important. the book you encourage people to bounce around what's one thing that you hope nobody skips. Sold it for I think $24 million, but he and Seth Godin I think are two examples of people who are very good at genuinely in real life following contrarian rules that work exceptionally well. I'll give you a few. One is if more information were the answer we'd all be billionaires with six back abs. That's a good one. He couldn't do them sequentially, which is the other one that for For me, what's so helpful to hear is, I think he calls it 43 minutes. Just wouldn't improve 43 minutes. No, instead of bike riding, I'll do this other thing and he realized at one point, at one point, this is Derek, he goes, okay, I asked him, what is your self-talk when you come out of the gate for a gold medal run at the Olympics? That was how he took the pressure off in very, very high pressure situations, which is a who cares, which is effective when you put in the training. If you put in the training, you don't need to stress in that last minute. The other thing I took away from Sean is when he has a really serious goal, like a gold medal at Sochi or whatever it might be, he also has a completely absurd goal to offset how stress-inducing that can be. I mean, fucking look at me. From Long Island, I don't really wear a cologne or anything, which I think is very important. The impact that I want to have on the world right now would be...",
        "transcription_medium": " Here are just a few of the seemingly unreal, albeit entirely true, highlights from his resume. He is a former MTV breakdancer in Taiwan, the one-time national Chinese kickboxing champion, the first American to hold a Guinness World Record in tango, a horseback archer, Princeton University guest lecturer, and angel investor who has racked up a serious string of entrepreneurial mega hits including Uber, Facebook, Twitter, and Alibaba. He is an unparalleled self-experimenter, professional note-taker, and would-be ninth-grade teacher, which has been downloaded more than 100 million times. He's been called the Oprah of audio and the Indiana Jones for the digital age. Please help me in welcoming the New York Times bestselling author multiple times over, the man behind the Tim Ferriss show, the human guinea pig himself. This is exactly what your readers would want. Why don't you just publish it? new guests that people haven't met yet, like Jack Dorsey. But you don't do 90 miles in a 24 hour period without some intense thing pushing you forward, if you had to guess. It's the promise of that ore fell in the blank. Just an elegant or non-obvious solution to a long-standing problem. I'm like, for most of them, which I first learned from a book, which I was introduced to by Chris Saka, who's a billionaire investor in this book, oddly enough, that's my drug of choice. The other thing, why am I willing to suffer? I'm willing to suffer because, I guess much like you, I feel like I have my deficiencies. I have plenty of weaknesses. To go to the extreme, actual questions that coincided with exact points that I can remember. This was a question I asked myself when I had my first job out of college. We're making phone calls between nine and five. Those were the office hours. And I said, well, I'm clearly not doing an effective job mimicking them. What if I did the opposite for 48 hours? It was just a hypothesis. What would I do? Peter Diamandis, chairman of the XPRIZE, who's really good at these types of questions, I mean, he's attempting to solve some of the biggest problems facing humanity in very innovative ways. He'll say, to 10x the economics of your business. Literally, he just says, I do not accept your answer. Try again. Number one is there's a ton of mundane stuff that you're going to have to do, like this set. My wife and I were hand painting it. That's so brilliant. Even if you don't think it's going to work, say, get into a building that the blue team is supposed to protect, defeat defenses that the blue team has created, incredible engineer also. Just like what if I did the opposite for 48 hours? I'll give you another question that I think you'll really like, which is one of the 17. In terms of patterns, we were talking about some of the things I've spotted. Meditation or journaling, the question, just to come back to that, that I thought you might and joy is, and this is an example of taking something from someone I disagree with on almost every level. Newt Gingrich. One of the questions that Newt would ask himself and others is, are you hunting antelope or are you hunting field mice? And the story he would tell is that of a lion in the Serengeti. He's like, if you're always chasing field mice as a lion, you'll get a snack, you might might even survive, but you might end up starving, because you're getting these little Scooby snacks, and that's not his words, mine. All right, let's take a hard right. There's some interesting stuff in here about creativity. What are some of the most interesting and useful lessons about creativity you've pulled from the book? You talk to Rick Rubin. Let me give his example first. When he has a musician who's stuck, great musician, but they've developed performance anxiety songwriting for whatever reason. He will say, do you think you could get me one sentence or maybe two words that you like by tomorrow? That's it. Two words. Can you do that for me? Did you know that IBM, when it was the 800 pound gorilla, it was an undefeatable sales force? We want them to feel like they're going to pass their quota quickly, which they did and then they shot well past it and clobbered the competition. The approach, hear me out. Number one, he is a trained journalist, and journalists tend to have writing block beaten out of them because their boss is like, oh, you can't find the right prose for your 500 word article? Get it in by five o'clock, asshole. Lower your standards until you get started. It's long, but it's worth the reads. What makes you angry? We'll just write that. And that was also the advice that I was given by Whitney Cummings and a few other standup comedians. How do you develop material? What makes you angry? Write about that. very useful fuel. So what makes you angry? And let's just say you're writing about something that doesn't require or seem to require anger. This is from Dan Carlin. It's just incredible. Hardcore history. Later on, he had such a distinctive voice that people started complimenting him and he's like, okay, copyright your faults. And of course there are weaknesses you should address, but then there are flaws that can be converted into strengths. Just bitching and moaning is you get that out of your system for the day so you don't have it ricocheting around your head like a stray bullet for the rest of your waking hours interrupting everything else. You just trap it. You freeze it on paper. That practice has been tremendously liberating, not only from a well-being standpoint, but from just freeing up my CPU so that I can focus on things that are more important. Now in the book you encourage people to bounce around. What's one thing that you hope nobody skips? I sold it for I think $24 million, but he and Seth Godin I think are two examples of people who are very good at genuinely in real life following contrarian rules that work exceptionally well. I'll give you a few. One is if more information were the answer, we'd all be billionaires with six-pack abs. That's a good one. He couldn't do them sequentially, which is the other one that for me was so helpful to hear is, I think he calls it 43 minutes, just wouldn't improve, 43 minutes. No, instead of bike riding, I'll do this other thing. He realized at one point, at one point, this is Derek, he goes, okay. I asked him, what is your self-talk when you come out of the gate for a gold medal run at the Olympics? That was how he took the pressure off in very, very high pressure situations, which is to who cares, which is effective when you put in the training. If you put in the training, you don't need to stress in that last minute. The other thing I took away from Sean is when he has a really serious goal, like a gold medal at Sochi or whatever it might be, he also has a completely absurd goal to offset how stress-inducing that can be. I mean, fucking look at me, I'm from Long Island, I don't really wear a cologne or anything, which I think is very important. The impact that I wanna have on the world right now would be...",
        "transcription_large_v3": " Here are just a few of the seemingly unreal, albeit entirely true, highlights from his resume. He is a former MTV breakdancer in Taiwan, the one-time national Chinese kickboxing champion, the first American to hold a Guinness World Record in tango, a horseback archer, Princeton University guest lecturer, and angel investor who has racked up a serious string of entrepreneurial mega-hits, including Uber, Facebook, Twitter, and Alibaba. He is an unparalleled self-experimenter, professional note-taker, and would-be ninth-grade teacher, which has been downloaded more than 100 million times. He's been called the Oprah of audio and the Indiana Jones for the digital age. Please help me in welcoming the New York Times best-selling author multiple times over, the man behind the Tim Ferriss show, the human guinea pig himself. This is exactly what your readers would want. Why don't you just publish it? New guests that people haven't met yet, like Jack Dorsey. But you don't do 90 miles in a 24-hour period without some intense thing pushing you forward, if you had to guess. It's the promise of that or fill in the blank. Just an elegant or non-obvious solution to a long-standing problem. I'm like, for most of them, which I first learned from a book, which I was introduced to by Chris Saka, who's a billionaire investor in this book, oddly enough. That's my drug of choice. The other thing, why am I willing to suffer? I'm willing to suffer because, I guess much like you, I feel like I have my deficiencies. I have plenty of weaknesses. To go to the extreme, actual questions that coincided with exact points that I can remember. This is a question I asked myself when I had my first job out of college. We're making phone calls between 9 and 5. Those were the office hours. And I said, well, I'm clearly not doing an effective job mimicking them. What if I did the opposite for 48 hours? It was just a hypothesis. What would I do? Peter Diamandis, chairman of the XPRIZE, who's really good at these types of questions, I mean he's attempting to solve some of the biggest problems facing humanity in very innovative ways. He'll say, to 10x the economics of your business. Literally he just says, I do not accept your answer, try again. Number one is there's a ton of mundane stuff that you're going to have to do, like this set. My wife and I were hand painting it. That's so brilliant. Even if you don't think it's going to work, say, get into a building that the blue team is supposed to protect, defeat defenses that the blue team has created. Incredible engineer also. Just like, what if I did the opposite for 48 hours? I'll give you another question that I think you'll really like, which is one of the 17. In terms of patterns, we were talking about some of the things I've spotted. Meditation or journaling, the question, just to come back to that that I thought you might enjoy is, and this is an example of taking something from someone I disagree with on almost every level, Newt Gingrich. One of the questions that Newt would ask himself and others is, are you hunting antelope or are you hunting field mice? And the story he would tell is that of a lion in the Serengeti. He's like, if you're always chasing field mice as a lion, you'll get a snack, you might even survive, but you might end up starving because you're getting these little Scooby snacks. That's not his words, mine. All right, let's take a hard right. There's some interesting stuff in here about creativity. What are some of the most interesting and useful lessons about creativity you've pulled from the book? You talk to Rick Rubin. Let me give his example first. When he has a musician who's stuck, great musician, but they've developed performance anxiety about songwriting for whatever reason, he will say, do you think you could get me one sentence or maybe two words that you like by tomorrow? That's it. Two words. Can you do that for me? Did you know that IBM, when it was the 800 pound gorilla, it was an undefeatable sales force. We want them to feel like they're going to pass their quota quickly, which they did. And And then they shot well past it and clobbered the competition. The approach, hear me out. Number one, he is a trained journalist. And journalists tend to have writing block beaten out of them because their boss is like, oh, you can't find the right prose for your 500-word article? Get it in by 5 o'clock, asshole. Lower your standards until you get started. It's long, but it's worth the reads. What makes you angry? Or just write that. And that was also the advice that I was given by Whitney Cummings and a few other stand-up comedians. How do you develop material? What makes you angry? Write about that. Can be very useful fuel. So what makes you angry? And let's just say you're writing about something that doesn't require or seem to require anger. This is from Dan Carlin. It's just incredible. Hardcore history. Later on, he had such a distinctive voice that people started complimenting him and he's like, like, okay, copyright your faults. And of course there are weaknesses you should address, but then there are flaws that can be converted into strengths. Just bitching and moaning is you get that out of your system for the day. So you don't have it ricocheting around your head like a stray bullet for the rest of your waking hours, interrupting everything else. You just trap it, you freeze it on paper. And that practice has been tremendously liberating, not only from a well-being standpoint, point, but from just freeing up my CPU so that I can focus on things that are more important. Now, in the book you encourage people to bounce around. What's one thing that you hope nobody skips? Sold it for, I think, $24 million, but he and Seth Godin, I think, are two examples of people who are very good at genuinely, in real life, following contrarian rules that work exceptionally well. I'll give you a few. One is, if more information were the answer, we'd all be billionaires with six-pack abs. a good one. He couldn't do them sequentially, which is the other one that for me was so helpful to hear is, I think he calls it 43 minutes. Just wouldn't improve. 43 minutes. No, instead of bike riding, I'll do this other thing. And he realized at one point, at one point, this is Derek, he goes, okay. I asked him, what is your self-talk when you come out of the gate for a gold medal run at the Olympics? That was how he took the pressure off in very, very high pressure situations. I was to say, Who cares? Which is effective when you put in the training. If you put in the training, you don't need to stress in that last minute. The other thing I took away from Sean is when he has a really serious goal, like a gold medal at Sochi or whatever it might be, he also has a completely absurd goal to offset how stress-inducing that can be. I mean, fucking look at me. I'm from Long Island. I don't really wear a cologne or anything, which I think is very important. The impact that I want to have on the world right now would be"
    }
}