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[Assistant] He's your new left tackle for the black and gold. Also drafted in the second round to Vontree Sweat. People gonna say Q, he gonna fall real low. I'm telling you, if you're the Saints and you're in the second round, pick number 45 and to Vontree Sweat is sitting there, you take them. I know about the DWI, but I'm saying it's the black and gold. We can get that together. To Vontree Sweat, big time talent, too big to ignore. He fills in the,


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[Assistant] The reserve tackle position that we want to have, you know, with Malcolm Roach gone, imagine Tevantri sweat there with Brian Bersie.


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[Assistant] As rotational guys there. I mean, you would never be able to run on the saints. So I give you a defensive tackle of the future.


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[Assistant] What round with the fourth pick that I traded up to get one 11 up to MJ Devonshire.


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[Assistant] Cornerback, six feet tall, 200, 190 pounds, 95 pounds, something like that. Out of University of Pitt, six foot six wingspan, very.


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[Assistant] Uh, confident, big cornerback, played in a lot of really good games. He is, he has.


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[Assistant] Gets interceptions, deflections, plays with a high degree of confidence and


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[Assistant] The kid's no joke, man. He's a solid cornerback. It was good to get him, uh, at the fourth, at 111 in the fourth round. And what that does is.


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[Assistant] It gives us a cornerback of the future. Marshawn Lattimore dealt with injuries last year, Paulson Adipo was played up. Alante Taylor kind of, he's going to step his game up and then we play mostly three cornerbacks anyway. You need a cornerback, the fourth cornerback and have an MJ Devonshire as the fourth cornerback for, you know, listen, Coach Woods, Joe Woods will love this kid.


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[Assistant] Alright, and then outside of that, KT Levenston, the big offensive tackle.


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[Assistant] KT Leviston, he has some holes in his game that need to be fixed, but


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[Assistant] You got to look at your, your, uh, your depth chart, interiorly speaking. Look at what the Sinks got going on.


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[Assistant] And like we got guys like Nick sell to bury in the future.


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[Assistant] Landing y'all niggas play tackle or guard. Mark Evans done draft the guys there.


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[Assistant] So you have James Hurst on a one-year contract, so you need developmental, uh,


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[Assistant] Corner, I mean lineman to come in and help out in KT Levinston can play inside and even provide some.


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[Assistant] Uh, competition at the guard position and he also could play tackle. So you have that versatility as well.


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[Assistant] And then we talk about the next pick at the fifth round pick, the second of the fifth round picks, Mark Perry out of TCU. He's the safety of the future. He's a guy that eventually you'll pair next to a Jordan Howden.


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[Assistant] The saints just have JT gray and Jonathan Abrams as safeties. And this is a guy that you got one last year. You want to get another one.


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[Assistant] Uh, this year for the future. And I think Mark Perry didn't get to the combine for whatever reason, but he's one of these guys that you have to watch out for for TCU got mean game.


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[Assistant] And he's a smart coin, uh, safety. He can really help you man move forward. So Mark Perry at safety or my second fifth round pick to help out the black and gold. And then of course we get into the six round two, six round picks. I take wide receiver, Cornelius Johnson, six, three, six, four, two 12 runs a four, four, four.


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[Assistant] Wins all the contested catches. Awesome player has to work on his footwork. I give you that guy to your wide receiver room. And then of course we get.


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[Assistant] You get toward the back end of the mock draft, of the mock draft you have guys.


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[Assistant] That you are basically billing for special teams in depth. Javon Solomon, the FBS is top sack or 16 sacks, uh, 54 tackles. If I'm not mistaken, he gets back there. He makes plays and he has a duality where you can work with this guy. So I give you another pass rusher.


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[Assistant] That can really help you. 16 sacks ain't nothing to snare about. And then the following year you had four and a half sacks, so he kept getting better.


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[Assistant] Average almost 11 yards per catch. When he did, he had three touchdown catches.


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[Assistant] As well and it always really didn't use tip like that, but uhm, when they did.


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[Assistant] He showed some value for him. So this is my mock draft, my second to last mock draft family before.


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[Assistant] We get into the actual mod draft. So anyway.


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[Assistant] What do you guys think, man? That's my call on it, man. Y'all please feel free to chime in the chat in the comment section.


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[Assistant] In the, in the, in the chat, in the description section or the comment section below.


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[Assistant] Let me know how you feel about my picks, how you, are you familiar with some of these players?


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[Assistant] Tell me who you guys like and what you think the Saints will do in this upcoming draft, man. Anyway, that'll do it for me, man. I appreciate y'all for chiming in on this episode of the show. Shout out to.


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[Assistant] Uh, the New Orleans Pelicans, they played tonight, man. We'll have the live scoreboard up and a recap of the Pels versus the Thunder, uh, first round series. Let's get it. Let's hope our Pels get that W, man.


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[Assistant] If we can get through this series, there's a possibility that Zion would be coming back in the second round.


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[Assistant] So I mean, you know, we'll see how it all goes, man. Anything can happen. Just like on the fight last night with Garcia knocking.


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[Assistant] Uh, when you knock him, he knocked him down several times and ultimately, ultimately won the fight with Ryan Garcia. Shout out to him. Beating Devin Haney, beating Devin Haney up. He didn't get the belt because he didn't make weight.


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[Assistant] But anything can happen in the sports world, man. So this is my mock, my second to last mock. Y'all guys comment in the comment section below. Let me know how y'all feel.


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[Assistant] And I'ma holla at y'all on the next one. Much love and who that to you, baby.


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[Assistant] Right, the Pro Shop is the platform store where you can go and buy all the latest merch to support the platform.


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[Assistant] So I like, call my manager the next day and I'm like, okay, like, can I park somewhere else? I don't want to park by the sound trailer because they're going to see that I'm in a rental car. Sure. But then, so I didn't tell them. I showed up in my rental car and then I go and tell Adam and Blake. I'm like, you're not going to believe what I did last night. I totally...


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[Assistant] I think realizing, which it's funny you bring up the VMAs, I think the first VMAs of 2013...


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[Assistant] You know, kind of stop doing Hannah Montana, whatever is it saying, I'm not that, you know, I want you to know who I really am. But I love that that was me and is me and is a part of me. And I think I've allowed that.


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[Assistant] Childhood self to shine through a little bit more because I'm not trying to run away from it. I'm down to embrace it. And I think that's good for everyone should embrace who they used to be because it's made you who you are now.


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[Assistant] Actually zero. What?! Zero. No! Zero, I can't smoke before I go on stage, I get too scared.


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[Assistant] I thought about my, my puppy. I had a puppy that had died and was like my like number one and so I thought about my puppy the whole time.


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[Assistant] Thank you for having me. Come on. I had a great time. Would've been more fun if we hotboxed this thing.


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[Assistant] But I'm grown up, hey rich girls, well can you tell me why? You're so stuck up, relax all the time.


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[Assistant] Just won the Cota event, which is the Circuit of the Americas, and Gogo Logano's real life driver, Joey Logano, came in third. So that's really cool, pretty exciting to me, and we'll talk a little bit more how real life crosses over with the diecast in a little bit here, but yea guys, welcome back.


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[Assistant] To another Disney docket presentation, I am breaking from that massive schedule I posted in the about section of my channel because I was able to get Go Go Logano along with Ryan Inside Laney here.


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[Assistant] Today, and I didn't expect to get them for quite some time, so I had them much later on in the schedule. But since they're brand new, popular, I decided I'm just going to review them now and kind of take the place of some of the other reviews I had planned. But don't worry, I'll still get to everything that was listed there. So yeaah.


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[Assistant] Cars, universe, diecast universe, whatever you wanna call it. And these are the only ones, I guess, not the only ones, but for the most part, these were like,


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[Assistant] A grid like nine, three by three, and all nine of them were on it. In addition to these ones you had Luigi and Guido, Jackson Storm, and


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[Assistant] Who else do we have? Oh, of course, Carsten A's Dylan, who I just reviewed the other day. So yeaah.


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[Assistant] After this we'll be getting Danny Suarez, of course based on Daniel Suarez, and then two cars that we are a little unsure of, but they will be based on Eric Almerola and Kyle Busch. Most likely those are going to be Retread and Taco Mint respectively because


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[Assistant] Kyle Busch raced for like Eminem and all that, he's got some candy vibes going on, so it would make sense if he coincides with Taco Mint.


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[Assistant] That leads me into why I think they chose Joey Logano for Fiber Fuel, because his nickname is actually...


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[Assistant] Sliced bread, and if you can see here, there's like wheat on the side of gogo, and it's more evident on the


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[Assistant] Car's one stock car here. Brush curver. You can see all this wheat, which obviously is what's used to make bread. So I don't know. It's kind of a stretch, but I think it's cool. I'm going to make that connection because it makes me happy. It makes me think that Mattel put some more thought into this than just randomly selecting real life drivers to go with the sponsors. I don't know.


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[Assistant] Who knows, but yeaah. Love the package as always, and as I said in my review of Carson the other day, I wish to show, you know, an actual picture of the


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[Assistant] You know, blended into the background. So interesting graphic design choices. And what's also interesting is that they literally opted not to put Carsten A's Dylan on the back because if they did that, they'd probably have to add, you know, another sticker like on William Biref here.


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[Assistant] Correcting the name, so they probably were like, alright, to avoid any more stupid mistakes like that, we're just going to completely wipe him off the background altogether. And yea, that probably was the smart decision in the long run. But yea, there's nothing else interesting here on the package, so I'm going to be right back with him all opened up.


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[Assistant] I love this guy. I like the colors, the yellow and the red really jive together. And in general, you know, Karsten too.


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[Assistant] I don't know really what Pixar was thinking, but I'm very, very happy that Mattel is taking advantage of their miscues and releasing these missing sponsors.


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[Assistant] Designs, you know, however you want to call it. They didn't advance it through time. They didn't push.


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[Assistant] The fonts are very similar, the logo is very similar, they use similar.


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[Assistant] Concepts, similar, you know, just overall aesthetics. And while that's cool, I do feel like it's just a little bit...


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[Assistant] Now obviously, Mattel likely designed these graphics rather than Pixar.


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[Assistant] So that's kind of why this is what we're getting. Now don't get me wrong, they did a great job and I think they probably were being a little conservative. They didn't want to go nuts and, you know, change everything to a point where it's irrecognizable. They wanted to do something that fans would like and buy. Maybe it wouldn't be a home run for everybody, but


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[Assistant] You know, it was a conservative, safe approach. Like for me, you know, you go and you're tasked with


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[Assistant] But you know what? I don't have it over here. Darn it. I will put a picture on the screen. I'll try and make a point to put a picture on the screen there. They already did that for cars too. They have kind of a next gen fiber fuel logo. But if I were tasked with it, you know, maybe I just take the initials FF. Maybe I.


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[Assistant] Mattel took a very conservative approach in the graphics here. So we're going to go through these and take a look at what's going on.


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[Assistant] So GoGo's got a nice expression. I really haven't seen this on the next gen before. I guess it is.


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[Assistant] Identical for the most part to Karsten, although they look different to me. Green eyes vs brown eyes. That's cool.


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[Assistant] So there you go, you have Fiber Fuel, the logo. It's in the same font, but now it's in red instead of maroon. There you have the little wheat in between it too.


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[Assistant] The Pixar design fiber fuel next gen would utilize the wheat anymore. Maybe they would.


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[Assistant] Kind of modernized into a very simple clip art. It's kind of what they did for some of the other ones, you know, when you have like a logo or some piece of art like that.


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[Assistant] Pastel pale yellow, it's kind of like a banana tone.


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[Assistant] And it differentiates it from the rest of the body, which is a much more pure sparkly yellow.


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[Assistant] This guy are super duper clear. Piston cup, combustor, carbon, cyber, sanji. Those might be clearer than a typical, like look at here. This is Eric Breaker. From China.


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[Assistant] Maybe it's just because they were in white and these are in red, but whatever it was, these look so good. I'm very impressed.


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[Assistant] Now they changed his number from 56 to 22 and they did change the font for that but they kinda made it uniform for all the next gen NASCAR racers to this


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[Assistant] NASCAR looking font, it's a very real life looking font. I don't know, at least for these two they did. Like I'm pretty sure these, these numbers are from the same font.


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[Assistant] Buffer like Ryan and Silenie and Chase Rezlo, they kept their same fongs, pretty much.


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[Assistant] It's hard to tell if this one's the same font as well. It looks a little bit different. But either way,


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[Assistant] Arrow downward to indicate to the picker where to lift him up at. And here is the bottom. Made in Vietnam.


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[Assistant] Exhaust pipes, which are indented. You can see some white, pale wheat in the background. You have that ethanol green circle.


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[Assistant] That is a little bit different from the one on the hood there. And the classic slogan, I'm running regular, which is really cool that they actually kept the slogan on the next gen because they did not do that


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[Assistant] With any of the ones actually from the movie. So here it is on Brush Curber.


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[Assistant] I can never really tell what it said. I always thought that was like a nine. Never really understood it all, but somebody clarified that it's most definitely I'm running regular. Cause you're taking fiber fuel, right? And you can see it's also on the back there in red. He's got the rookie racing stripes, which look nice cause they're outlined in red.


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[Assistant] And then this bottom bumper part here is in that like pastel yellow again, so a nice color contrast, really good mix of everything going on here, you know, with the orangeish red, the yellow, and the banana yellow as I like to call it.


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[Assistant] Spoiler looks good too and of course you have the netting there on the windows too of course.


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[Assistant] Maybe they're just protecting the brains of the car, which is a little gross to think about. I don't know if I want to think about that just yet. But anyways, I do want to do a little bit more of an in-depth comparison here with Fiber Fuel Brush Curver.


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[Assistant] So yea, I can see they changed up the colors quite a bit, especially on the logo there. They made the wheat much fainter, which is probably a smart decision.


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[Assistant] Now this one is definitely my favorite. I really like it. I really do like the colors. Black rims versus now silver. This white stripe is gone entirely.


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[Assistant] I really don't like Shifty Drug, and of course we'll talk more about him in that review. I think the one they modernized the best though was Karsten, because they just really simplified everything with this black stripe there. And we'll see what happens with Retread and Taco Mint, but I might have been a little too harsh initially on these.


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[Assistant] Lightning McQueen's up top here and lastly, Igniter for Jackson Storm. So they're all pretty much in the same nature. Cut from the same cloth. You got the logo and you got the number and call it a day there.


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[Assistant] I like Jackson Storm's Pit Stop Barry the best so far, personally, but he is my least favorite from the series as a diecast.


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[Assistant] Now you guys might be wondering what's going on with this hauler. Well this semi cab here is actually the real cancelled prototype. I kid you not. This is real. The hauler, the trailer itself though is a custom from Jim Scavenger. But I'm super grateful to have like a real prototype of the Fiber Fuel Semi. Probably one of my most forgotten cancelled pieces just cause.


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[Assistant] I don't know, everybody thinks it's a custom. Sometimes I might even forget myself, but I love his expression and you can tell it matches the one at the Peterson Museum. And then we have Megan Shifter, who is the fiber fuel pity that Mattel released a couple years ago now.


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[Assistant] So she came with a tool chest. Obviously this all goes with brush curvers, so the logos don't really match.


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[Assistant] And then I have this custom crew chief from Faux Wheel Drive 7, which is also quite nice.


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[Assistant] I love the RPM Crew Chief that can lend its body to so many customs, like gas, burn, sidewall shine, and fiber fuel, of course.


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[Assistant] So yea guys, thank you for watching this review. I hope you enjoyed it. And let me know in the comment section below, who is your favorite NASCAR diecast so far and what do you think we'll be getting in the next wave? You know, are we going to actually get Retrend Taco Mint or are they going to pull a fast one on us and pull out Hostile Takeover Bank?


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[Assistant] I wouldn't be surprised, you just never know with Mattel. But yea guys, I'll see you next time. Bye now!


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[Assistant] Alright, so the first time I heard of you guys, first time I heard of you was through, uh, V-Files.


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[Assistant] That would get too boring for you. If you think of anything on the internet, like, it's there. Especially with video game shit, you know?


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[Assistant] Shit. So what do you guys know about Keith Ape? He opened a farm tonight. You ever hang out with any Korean people?


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[Assistant] What if he hits your line right now and he's like, yo, I need the feature.


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[Assistant] Do you think it worked? Were people convinced that the government was evil and the Christian church was evil?


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[Assistant] Right. Straight like that. I'm outclassing this conversation. I don't even know where to begin asking follow ups on this.


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[Assistant] Okay, well tell me this, where'd the name Devon Council come from? Alright, I'ma tell you this. And also, the only person who explained the rap name was Cyrax, just for the record. Because then we started talking about Mortal Kombat, and that was lit.


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[Assistant] Sarax seems like the one who can kinda, you know, hold it together, keep it smooth, keep


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[Assistant] So, you guys never had an altercation sexually with a teacher? That's good.


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[Assistant] Ed the Real, let's get your ass on the plane out here, let's like, we'll jug, finesse, and we'll do the podcast, you know? Fuckin' Ed. Shit. So, so what, what, like, uhm, what, alright, you know who the other person that put me under you guys was, uhm, well besides Young Wheezy, was Adam from Hammer and Everything. How did you guys end up getting on the show? How did he, uh, I don't know how he knew about you necessarily.


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[Assistant] You know what, I wanna give my followers to somebody that when I die like, yo, you could, you could have my Instagram, you could, you could have my, my follower base, you know, like I'll leave that in my will. That makes sense to me.


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[Assistant] Still waiting on the DM. Yeaah, still waiting on the DM. That's what's up. Caleb, is that, is that still filming?


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[Assistant] Yep, alright, just checking. Uh, yeaah, yeaah, yeaah. I mean Lil B, like, how would you explain, like, the influence that he's had on, like, the modern, underground rap culture?


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[Assistant] So I feel like it kinda gets a bad rap, uh, the rap media these days, they kinda try to, try to shit on them a little bit.


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[Assistant] But you got the plug right there, you got like, I see Twa go do a beat for somebody and then he'll be like, yo, but you gotta do a song with my fam, blah, blah, blah. That's kinda how these motherfuckers be working.


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[Assistant] That's what's up. I can see there's definitely some cafeteria high school tables out there where they're sitting around saying this is girls with pictures of Cy-Rex in their fucking notebook with a heart drawn around this shit, you know.


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[Assistant] It's real men wear pink. I agree. And for me after 25 years.


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[Assistant] This country is really, really support women's basketball and WNBA. I am looking forward to it has been investment made for a number of years. This 25 year cycle. We're about to see the fruits of that born out.


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[Assistant] No doubt. It does get tougher as it goes on. We set out last year and we had arguably the worst schedule for a team in NFL because I mean we were hammered every week. So this time coming out to get out the gate with Carolina and it's coming with the Jets next, we have a chance to ramp up here, right? Especially understanding all the circumstances that we're dealing with right now.


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[Assistant] Every month, I mean every month in Nebraska is really ramped up here and so we better get to early ones.


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[Assistant] And as we get to November, you know, that's a tough dog sled here now and then we could be dealing with a variety of quarterbacks playing here and then we still have to play with confidence because we struggled at times last year too.


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[Assistant] Let's go to the Houston game. How intriguing is that game, right? In Houston. If Watson is playing. If Watson is under center, right? Extra added firepower to that game. So, but that could set the tone for you for the final month here. It could be a very important game to the Browns.


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[Assistant] Maybe even five. Brad? So I'm, I'm to the far left of Bull on this one.


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[Assistant] I'm much more optimistic about the Braves if Watson is under center, right? Here's a guy coming off a year of non-playing.


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[Assistant] He's going to be out to prove a point. He's going to play at a high level. If they got him for 17 games, he I predict him to go 13 and 4, 12 and 5 at the worst with 13 and 4 is where I think they're going to settle. Now, if he's not on the center center, except for the last nine games, I got him going 10 and 7 because why unlike bull?


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[Assistant] I've got Mayfield under the center, right? Who is under the same pressure to prove himself to be a better player, right? So I can't see them going on the losing side. The Browns are in a win-win situation. They may not know it yet, but they're in a win-win situation.


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[Assistant] The quill Brad sellers here. So, uh, so welcome to the to the show, but I just was saying that early off off camera, right?


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[Assistant] Uh huh. When you lose money, you got a different mentality here.


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[Assistant] So you've got a young person in Mayfield who is hurting his feelings.


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[Assistant] Who is the, who is the person in the locker room that can talk sense to the young player to bring them back into the fold and say, let me understand. You want to leave here. The way do you leave here is come in here, do your job, show other people that you can play at a high level that gives you an avenue out of here. Who is that? Who is that person on the Browns team?


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[Assistant] See, I haven't gone 13 because I believe elite.


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[Assistant] Right, that said that, like hey, there ain't no big deal. Well, because get to the point where, you wanna win.


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[Assistant] Gotta be a pro. And if he can help me win, I gotta box the stuff out here, right? Come on in. That's why I asked him about the veteran because typically some veteran can get in somebody's ear and say, look, young fella, you're going about this the wrong way, right? Yeah. Bring you in here. You're not here long. Will he listen to that guy? Yeah, but here, let me tell you something. Yeah.


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[Assistant] There's a voice in every locker room that can get to anyone, right? You have to find that person, identify who that person is.


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[Assistant] And that's the person I remember as I get older, got older, long past the game. They're all my friends, but there's certain people along the way that you'll make the connection with.


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[Assistant] So Maurice was climbing out. He did a, uh, he did a speaking set for me and warns of one of the community terrific did a fabulous job. But let me just say what I joined the set for here because I was only interested in one thing, right? If we're going to do a show.


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[Assistant] We're going to talk about real things that real people talk about all the time.


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[Assistant] And we've not been afraid to touch on about anything because I want the inside track. You can't get that from the network. So it's only going to take they'll give you a 10 second slot here. That's right. You can expand upon expand upon your points here. Yeah, right. And so everybody that we've had on so far has had a chance and any any of us have had a chance to really explain.


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[Assistant] They're positioning here. That's what you're going to get here. And I think that's what people are starting to like.


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[Assistant] I give you a Cleveland take to use Cleveland sports, right? So we're all passionate about Cleveland sports, right? So I'm playing for the Chicago Bulls, right? So we fly into Cleveland to play the Cavaliers, obviously.


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[Assistant] And I would tell you that our teammates on the lane, Jordan included, would be like, oh lord, we're flying into Cleveland. So you know, only the two people on the team that defended Cleveland, although we were playing in Chicago,


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[Assistant] So Greg Bradsell is here. Let me ask you a question. You're going into your second year in this league now. You had a chance to understand what the league is all about and learn to become a pros pro. So as it relates to


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[Assistant] I'm not going to keep dwelling on Baker, but the fact that, uh, in the situation he's in, if you sit out, you lose money, right?


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[Assistant] And you're in the final year of a deal as a person coming into this league. Can you really rationalize sitting out and losing money?


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[Assistant] Let me ask you this here, going into the upcoming season here, uh, having a year under your belt now. How excited are you about this upcoming season and the opportunities and chances to do something special here in Cleveland?


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[Assistant] Who was the person that helped you along the way to make sure because as you're growing in confidence, right, you're here for a reason, right? They draft you into position because they see a skill set that you can bring to the table that's going to help this team.


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[Assistant] You have to grow into that player. Who is that person in the locker room that helps you as you're going, trying to grow into that player?


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[Assistant] And I'll, and I'll, and I'll leave, uh, Cheyenne sellers out of it, uh, because her time is coming three years from now, but what has happened over 25 years, they've taken time to grow the WNBA to what it is today. It's taken longer than probably they wanted to see, but you have now inspired a bunch of women and young women in this country to get better, right? You have created a product.


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[Assistant] What you now have doing is undermining your product because girls that are being taken, drafted in the first round and trying to make it should make a WNBA roster are getting waved because of the Sally Cat rules here.


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[Assistant] Uh, markets that should have, uh, teams and players that don't have markets. So now you're undermining the six. There's an expansion that's needed. And I know that the WNBA is talking about two. Adding two now. But it's not two.


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[Assistant] You need four, right? And let me just say the NBA, the NBA cannot walk away from the WNBA. It is on the verge of busting through. If you did not see the collegiate NCAA tournament for women, right? And the following that's out there. Oh, that's grown over


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[Assistant] Really? Yes. Oh, you go to a women's tournament, a girls tournament. It's by far by volume of people.


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[Assistant] Is in on the women's side. Wow. No kidding. So this is where it is, right? Yeah. So they have to catch up at the top. What's happening at the bottom. Yeah. And so I hopefully, you know, I like to see I've never won the Cleveland Rockers were here, right? I was a season ticket holder. Sure. I love to see it 25 years ago. I would like to see that return.


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[Assistant] The desire to have a WNBA team, that's where they're gonna go. Okay. Because they feel like that team's gonna support it.


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[Assistant] I started really enjoying to write when I was a student in primary school, in elementary school.


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[Assistant] And I, I love, for many, many, many, many years, actually until I started, until I started traveling full-time, I always used cartridge pens. And.


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[Assistant] There you, you loved the, the physical act of writing and you were writing, the thing you were writing was a piece of art. Literally.


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[Assistant] I wrote poetry primarily for myself although I certainly


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[Assistant] I was happy when, when my poetry was published in the school's newspaper and things like that. And I continued that habit, uhm, until the present day. You know, to, particularly to write poetry. And it, approach writing when I was


[User] Please transcribe this text

[Assistant] Well, Krishna Kanta Devi Dasi, a Gurudapuram's wife, she published a book on poetry and she includes some of my poems there. So I've also had some of my poems published, although I haven't published a book of poetry, um, per se.


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[Assistant] Communicate what I want to communicate, but it's the closest word that I can pick.


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[Assistant] To what writing poetry does for me as, as a person.


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[Assistant] On, on every level, I mean, I no longer write with cartridge pens. It took me...


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[Assistant] Years to transition to writing poetry on a computer. That was, it was, it was extremely difficult.


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[Assistant] But I, I think as a model of what spiritual life is, it was in the long run harmful. I think it was well intentioned and it was what was needed and it had some benefits, but one also needs time for introspection.


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[Assistant] It's a, it's a, it's a mirror. It's a, an expression of, of self.


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[Assistant] And anyway, in those early days, the only time that was unscheduled was after the Sunday feast. That was my only time that I didn't have a specific schedule. I'm sure I was expected to help clean up after the feast, but I didn't.


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[Assistant] You know, if anybody came and found me, they would have said, oh, come and sweep the floor. Come and wash the pots.


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[Assistant] And then I'd say more that there was a break when I joined the Hare Krishna movement because it wasn't so much part of what we were being taught to do, that


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[Assistant] I definitely had some years where my writing was much less. And again, it was almost entirely poetry where whatever, whatever.


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[Assistant] Unstructured time I had, I was spending primarily reading.


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[Assistant] I mean we were encouraged to write articles for Back to Godhead and I got a couple of articles published back at that time, but again it wasn't, it just wasn't what was going on.


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[Assistant] You know, nobody said, make sure you have some time to write every day, although she will probably said that, but that wasn't something coming from the devotees. It wasn't something talked about in the classes, um, and, and so forth.


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[Assistant] It's important to have some time for introspection. And it's important to have some, some time of quiet. And some time when you're not just running around. That, uh, busyness can be a kind of intoxication.


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[Assistant] Yes, yes, yes. Or, you know, it can be a form of procrastination. I mean, even technically, like,


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[Assistant] You know, there's something you really need to work on and instead you clean your house that doesn't need to be clean.


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[Assistant] So although we say an idle mind is a devil's workshop and one should not just be sitting around with nothing to do, some of what we should do for everybody should be a quietness and a reflection. And writing very much helps with that.


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[Assistant] I mean, in the last few years, I've gotten more, I've kept a diary, I guess, for about 20 years now. And...


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[Assistant] There's just so much evidence for that, that just sitting around thinking or talking to another person is often not as effective as writing.


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[Assistant] You know, I also in the last, I guess, two and a half years, I've been keeping a daily gratitude diary.


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[Assistant] I see a benefit on all levels for, for everybody.


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[Assistant] And what I can see is that she accomplishes through art, and what she's explained to me is that if she doesn't produce any art for a while, that her awareness of Krishna becomes impeded. That if she's regularly creating art,


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[Assistant] Her whole vision of Krishna in the world shifts for her. And for some people it's going to be creating music.


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[Assistant] The vast majority of the world didn't, I mean, it was only a few hundred years ago that books were almost non-existent. They were handwritten and there was no printing press.


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[Assistant] You can't give in charity if you don't also earn money.


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[Assistant] Or our community as the audience, or some good friends as the audience.


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[Assistant] So the primary purpose is to have


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[Assistant] A taste of a relationship with Krishna in everything that we do, regardless of our so-called audience.


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[Assistant] It's, it's always, and this is true, whether instead of writing, we're making music or we're planting flowers, which can again have the same or a similar function for people.


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[Assistant] Although I think writing has certain aspects of it that are particularly helpful. But our audience is always the Lord and our relationship.


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[Assistant] With the Lord. When I was writing the Learn to Read books, the children's books, of course my audience was the children.


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[Assistant] If you want to talk about children's books writing, we could get into that a bit. It might be a worthwhile topic, uh, for each of these books according to level. But what I was meditating on,


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[Assistant] And then in our movement, there was the other way of Vaishnava sages, it was called. Uh, Tamal Krishnamuraj wrote a novel.


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[Assistant] No, no, it wasn't an allegorical novel. Well that was in the mood of Nori Muni. That Nori Muni wrote his allegorical novel. So I was picking up from that. And then,


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[Assistant] The allegorical novel of the journey of the soul, which is again the parengema story, is, uh, it's also,


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[Assistant] So those are, and then of course programs progress, which was.


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[Assistant] A real classic, which is again an allegorical novel of the soul's journey to God. So there's,


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[Assistant] Within the allegorical novel category, the allegorical novel of the spiritual quest.


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[Assistant] Uh, well known and, and classics. So I was trying to follow in, in those, in those footsteps.


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[Assistant] I mean, the problem with an allegorical novel of a spiritual journey is that it tends not to be a page-turner kind of book. You know, it's not a whodunit.


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[Assistant] Because it's allegorical, it has many layers of meaning in addition to the apparent one. So again, it was a lot of fun to write.


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[Assistant] Especially if you put poetry to music. And if you think about, uh, our Shastra.


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[Assistant] The revelations and the introspections of, of saintly persons and putting it to music.


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[Assistant] Just prose with extra line breaks and still people send me samples of their poetry that's, if you took out the line breaks, it's just prose.


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[Assistant] Yes. Sorry, our body in our world. Our body in our world. Prabhupada says the whole world is full of Krishna's singing. The whole world is based on sound.


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[Assistant] And the sound is, is poetic.


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[Assistant] Are going through waves and pulses and beats and cadences.


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[Assistant] And the movements of the, of the earth itself are all in, in rhythms and harmonies that are, that are synchronized and have, are full of ornaments of various types


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[Assistant] The ultimate reality, of course, is the rasa dance.


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[Assistant] That both philosophical truths and rassa or pleasure has been communicated throughout the world is through poetry put to music or poetry associated with art.


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[Assistant] And often with artistic costumes. So Rupa Goswami has a whole section.


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[Assistant] In the Bhakti-Viswamrita Sindhu about the value of


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[Assistant] They're, they're together. Oh.


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[Assistant] Not what Prabhupada would call a dry speculator. You notice he uses the word dry.


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[Assistant] It often needs to be done primarily combined with music and perhaps also with dance and art.


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[Assistant] I mean, when I was growing up, my parents, especially my father, but my mother as well, used to regularly read to me from books of poetry.


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[Assistant] So songs are still one of the primary means of entertainment and communication on the planet. Now, the quality, I'm not very familiar with, with most modern songs. So it's difficult to say to what extent, you know, there's the ornaments of poetry and


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[Assistant] If poetry is done merely for the aesthetics of it, if that's the only thing that's done, then it becomes simply sensual. And although


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[Assistant] It's also necessary. People in general cannot live without some comma. That's not possible.


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[Assistant] And that's one of the roles of the Shudras in Varnashram. If there's no Shudras, there's no mundane Rasa in society.


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[Assistant] So we're not saying that people in general should give up all.


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[Assistant] Our idea as aspiring transcendentalists is that the aesthetic beauty should be an outflowing


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[Assistant] As you know, Rupa Goswami explains very early in Bhakti Uswami to Sindhu that the happiness of the senses and the happiness of liberation are included in the happiness of Bhakti.


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[Assistant] There's a statement, and I believe the sixth kanto of the Bhagavatam, that one should smell the prasadam. So there's...


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[Assistant] Doesn't negate the fact that it then includes everything else. So our writing should be properly ornamented.


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[Assistant] And just like in the Bhagavatam, in one of the injunctions.


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[Assistant] Uh, when, when Kasiapa is instructing DT is dog right of the house without ornaments.


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[Assistant] Of, of the ornamented lord, not sensuality separate from the lord.


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[Assistant] And we have, you know, the Hare Krishna mantra, which is the, the top most expression.


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[Assistant] So we have some devotees who've taken the Sanskrit and Bengali songs and verses and translated them into poeticized English. Perhaps that's been done in other languages as well.


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[Assistant] So I can go to a program in Turkey and I know all the songs.


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[Assistant] That's a very practical reason. Also, the original words of the Shastra and the Acharyas have power.


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[Assistant] There were these, uh, Bengali ladies singing Bhakti Vinod's Bengali songs. And I thought,


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[Assistant] Uh, so that can also be done. I mean, Protestant Christianity has, uh,


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[Assistant] Really made great strides by having musicians have poetry to music about Jesus and about Christianity.


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[Assistant] And I would say that, you know, the world is starting to turn from the written word to the visual and the audible.


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[Assistant] You know, more and more people are hearing their books instead of reading them or watching their books instead of reading.


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[Assistant] And this should be kept in mind too as writers if we're going to be writing for the public.


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[Assistant] You know, there'd be a drama on the Ramayan or a drama on the Mahabharata. So this concept that people have that the move away from reading towards video and towards audio.


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[Assistant] Is some sort of degradation. I kind of stretch my head about it and say well, before the printing press, that was the way that people read. It was, it was visual and audio.


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[Assistant] That our writing is going to be translated into somebody reading it. Or translated into a video.


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[Assistant] And of course one can write for that purpose directly.


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[Assistant] I mean, I was just listening to a lecture this morning where Srila Prabhupada was talking about something and he was saying,


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[Assistant] These are not stories. These are actual facts. Proud Blood often use the word stories as synonymous for fiction. Whereas, you know, generally stories can be, in English it can be either fiction or non-fiction. And I would hazard a guess that


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[Assistant] Of some politician or some movie star.


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[Assistant] You know, a lot of the non-fiction books that are on the market today have no relationship to truth whatsoever.


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[Assistant] The biographical story doesn't necessarily teach truth better than the fictional story, or the fictional story wouldn't be a staple of conveying truth eternally, which it is.


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[Assistant] All fiction is to some extent, uhm, if it's teaching truth, metaphorical. It's standing in for, for something that is historically factual.


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[Assistant] The fact that it's a story about something that didn't happen or that couldn't happen relaxes our...


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[Assistant] We are generally in a mood of defending our false ego and our pride and our social status, et cetera. Uhm, 24-7.


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[Assistant] Not to be aggressive against us.


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[Assistant] One can communicate very strong truths through fiction that are


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[Assistant] So, if I'm writing something that actually has happened,


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[Assistant] Non-fiction is not narrative. You have non-fiction that's explanatory and that has quite a different purpose.


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[Assistant] I mean, we also find that the majority of scripture, especially that's designed for the people of Kaloyuga,


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[Assistant] That the writing of like the Bodhgatam, the Chittanyacharyamita, it has a meter.


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[Assistant] It has, uh, external, internal rhyme. It has various poetic ornaments like consonants and, and assonants and.


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[Assistant] Personification and hyperbole. So it, it, there's parts of the Bhagavatam, of course, that are written in prose.


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[Assistant] But the majority is written in poetry, and that's true for most of the Vedas. It's written as poetry. The Ramayana is all written as poetry. But it's a poetic narrative.


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[Assistant] A cherry, cherry blossom trees or something. It's, it's telling, it's telling a, generally a, an historical narrative, a non-fictional story.


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[Assistant] And of course, when what you're describing are the pastimes of the Lord and the devotees, so Rupa Goswami says very clearly that one actually will experience or can experience the emotions and the rasa.


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[Assistant] Of those previous devotees by either seeing a drama or by reading poetry, which is the Shantstra.


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[Assistant] So as writers, what we want to do, we want our, we want ourselves to be experiencing also while we're writing and we want our, our readers or listeners or viewers to have that experience as well. That is really the entire purpose of the thing. And,


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[Assistant] That is possible. But generally our writing should be like that. And when the basis of our writing is poetry, then our prose will be also infused with that.


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[Assistant] The feel of poetry, the feel of motion and rhythm and ornamentation and beauty.


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[Assistant] Well, we'll be pervasive that the writing itself, the topic should not be dry.


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[Assistant] And he gives three levels of qualification because the regular principles are coming from the Shastra. So if you're going to practice, uh, Bhakti,


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[Assistant] So if your knowledge of the Shastra is that strong and your faith in the Shastra is that strong, then you have the highest qualification for taking up Bhakti based on the regulation of the scriptures. However, Rupa Goswami says that the only qualification for taking up Bhakti is a taste. That's all. So in addition to that,


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[Assistant] There's a friend of mine who drives a, an Uber and he's always playing kirtan in his car.


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[Assistant] So of course, some of the stimulus for having taste.


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[Assistant] Is definitely the descriptions of the Shastra and the descriptions of philosophy and one of the, uh, Anubhavas is discussing the Shastra.


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[Assistant] And reaching logical conclusions based on Shastra. Those are exhibitions of taste.


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[Assistant] But just convincing somebody intellectually, in my experience, is useless.


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[Assistant] If a person has no taste, the intellectual conviction doesn't translate into anything at all. And if a person has taste


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[Assistant] So certainly we want people to have faith and knowledge in the Shastra as a qualification for taking up bhakti, but we want to teach the philosophy mostly because the philosophy is also sweet and beautiful and, and full of poetry. The philosophy itself is, it's simply beauty and movement and again, rhythm.


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[Assistant] You know, where you teach mathematics and I never did get that high in mathematics.


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[Assistant] But those who are mathematicians, uh, like my good friend Rukmini, who's got a PhD in mathematics, and mathematics is also like that.


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[Assistant] It's full of rhythms, it's full of patterns, it's full of beauty, it's full of ornaments. You know, we think of mathematics as something dry, but it's not at all.


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[Assistant] I mean, that's probably useful in trying to organize what we write and what we put together, but I would say although it's useful, it has its uses, it's something like saying


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[Assistant] And some people have rare talents and some people have more commonly distributed talents.


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[Assistant] Just like there are so many people who are very good cooks.


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[Assistant] In fact, we might say it's more valuable than being an Olympic gymnast. Although each of them have their, their value in society. Everybody can write a gratitude note.


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[Assistant] It should be poetic in the sense that it is a beautiful expression of love. It doesn't necessarily have to be written in rhyme and meter and with literary ornaments.


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[Assistant] But to write something every day. I mean, I have a little app on my phone called, uh, presently, which is as simple as you could possibly have. It just gives you a place to write something every day.


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[Assistant] And there's a little inspirational quote or something just to give you a little, a little pat on the head.


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[Assistant] I'm grateful I got to take my mother to the store today when she needed it. You know, something that's specific. So everybody can do that. You don't have to have any particular talent to do that.


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[Assistant] And everybody can write some, uh, write something every day as what have they realized in Krishna conscious philosophy that day.


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[Assistant] And again, it can be, you know, we're talking a minute or two, right? A sentence, two sentences. It doesn't...


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[Assistant] And it should be poetic in the sense that it should be an outpouring of affection and love and appreciation. Not necessarily technically, but that's also part of the dance.


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[Assistant] The prophet says the aim of this Krishna consciousness movement is to join the pleasure dance of the Lord.


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[Assistant] And the whole world is full of Krishna's dancing. So when we write something like that, we are actually contributing to that dancing and singing of the Lord. We're adding our, our voice to it. And, and it can be something quite, quite simple. It doesn't have to be complicated. And again, it doesn't take much time. And doing that changes your whole perspective all day because you're thinking about it. What am I going to write today?


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[Assistant] One of the most interesting things I did in that regard, it was, there was a Facebook challenge, which I usually ignore.


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[Assistant] But it was the Facebook challenge of 10 days.


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[Assistant] Of writing about something you love, not people or animals. And, and then everyday challenge somebody else.


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[Assistant] So every day I'd be thinking, okay, I've got to post something today. This is one of the benefits of writing for others by the way.


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[Assistant] I was constantly looking for the positive in my life.


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[Assistant] How I was, my natural joy so much increased. How my life is full of things that I love. Because one can easily see one's life in another way.


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[Assistant] What do I love? What am I grateful for? How have I had some realization of Krishna?


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[Assistant] You know, on a material level, it can be, ah, I gotta do the laundry again too. Wow, I'm so grateful I have a...


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[Assistant] Enough clothes that I can wear some clothes and wash some clothes and have some clothes drying and I've got enough sets of clothes to, to have that. How, how grateful I am. And it can go to, oh wow, you know.


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[Assistant] You know, it can, it can lead to that. And again, if you know you're going to write something, okay, every day I've got to write something.


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[Assistant] Again, do I wanna share it with friends? Do I wanna share it with community? Do I wanna share it with the world? I think if we start out from the platform of


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[Assistant] It behooves us to try to develop some expertise in what we are doing. If you're planting tomatoes, my granddaughter's growing a garden, one of my granddaughters and


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[Assistant] Or should we develop some expertise? What goes with what?


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[Assistant] What you know, don't boil eggplants.


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[Assistant] Eggplants have to be cooked at a high temperature. You have to bake them or fry them. You don't boil them. Same with plantains.


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[Assistant] We should aim for some level of expertise. We might not develop enough expertise in writing that we're going to win some kind of award for it or.


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[Assistant] Yes, when having, having some guidance and especially getting some feedback.


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[Assistant] So having some guidance that can give you feedback.


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[Assistant] You know, writing is so much an expression of oneself that negative feedback is really hard to take.


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[Assistant] I remember we had a person who, uh, whose article


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[Assistant] We approved for publication and back to Godhead, but we wanted the author to change three sentences I believe in the article.


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[Assistant] And I finally, I ended up seeing this person in my travels and I said to this devotee, why haven't you resubmitted your corrected article? And the devotee said, well, you didn't like it. None of you liked it.


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[Assistant] And you ask them to change some things and they just say, oh nevermind, just don't even publish it then.


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[Assistant] Right? You just forget it. I withdraw it as a submission.


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[Assistant] And I usually just say, oh very, very nice. I don't usually give them any feedback because I know that most people are highly resistant.


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[Assistant] And you know, when I found, when I was getting feedback for Back to Guided articles that I had written, that often the editors wanted me to remove or amend the sentences that I loved the most. You know, the sentence I'd written is like, this sentence.


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[Assistant] But I also found, and this is quite interesting when you work with a good editor, is that, you know, the editor will point out to you,


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[Assistant] That the editor was responding to what they thought you said instead of what you actually intended to say.


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[Assistant] You know, honestly soliciting, solicitating honest feedback and especially from those more skilled in the craft and that's, that's true for everything that we do.


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[Assistant] And the voluntary expressions of that relationship and the automatic expressions of that relationship. When those come together as separate ingredients, they form masa.


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[Assistant] Go together well and some things don't go together well.


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[Assistant] Right, like you're not going to mix bitter melon and honey.


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[Assistant] And you're not gonna mix red cabbage and eggplant. Now certain things just don't mix. You're not gonna put chutney on top of your sweet rice. And if you mix things improperly, your taste


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[Assistant] And what's a, it's an improper mix depends on what the predominant mood is.


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[Assistant] You know, like, laughter and sorrow are an improper mix.


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[Assistant] So the, the main idea of feedback is that what we write needs to be full of russa.


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[Assistant] And so that means how we mix things, how we explain things, what goes with what should be producing a genuine taste of spiritual life.


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[Assistant] So that was some improper mixing, something that was inappropriate that then.


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[Assistant] On Amazon, I have two books that I've written myself. One is the great mantra for mystic meditation.


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[Assistant] It's a very simple book about, very simple, very short.


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[Assistant] And then there's the allegorical novel Essence Seekers, and I would ask, that's also available in Spanish?


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[Assistant] Uh, that's, that seems to be one of the best selling books.


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[Assistant] So that's a book with many, many contributing authors, uh, although I produced it and I contributed parts of it. And then there's Raghunatheskoswami's Manashiksha.


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[Assistant] So that has 120 black and white illustrations and 12 color pictures, all that were commissioned for that book.


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[Assistant] And that's Raghunathasko Swami's step-by-step guide to attaining spontaneous devotion with the commentary of Bhaktivinoda Thakur.


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[Assistant] And also commentary of contemporary Vaishnavas such as Jayadritya Swami, Dr. Gyanmaraj, Satyananda Maharaj, uh, myself. So that's Sriram Swami. So, eh.


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[Assistant] On audio platforms, but on my YouTube channel, you can get the audio book of Manasiksa.


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[Assistant] Uhm, actually I would like to say something about producing books for children before we end if that's alright.


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[Assistant] So that's a series of books to teach how to read English.


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[Assistant] And there's 42 color books and 41 activity books. And together it's a complete literacy.


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[Assistant] And we work with the Nelson Thorn's PM Publishing, a major publisher of literacy books. So it's very, very systematically done.


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[Assistant] Each book is following very, very rigid standards of what constitutes a particular level of difficulty in English reading.


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[Assistant] How many sentences per page, the relationship between text and picture.


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[Assistant] Uh, number of sentences in the story and the concepts of the story.


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[Assistant] Is that often the people producing books for children do, have not studied the leveling of books. So they just think, well, this is the children's book. And the problem is if your sentence structure


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[Assistant] There's this mismatch in most of the books I'm seeing that are produced for children. The authors have not taken the time to study how to produce books for people who are at different levels of reading and how to integrate all of those elements.


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[Assistant] You know, we buy the book, we spend money on the book, we have the book and the children are not, they're not interested to read it.


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[Assistant] Because it doesn't correspond to any particular place of where they're at or the use of very strange fonts, uhm.


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[Assistant] Very, you know, swirly fonts which are difficult.


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[Assistant] Putting fonts on a colored background, we see this very commonly.


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[Assistant] That the fonts or the writing is merged with the illustration in such a way that makes it more difficult to read. So.


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[Assistant] So when I met with, uh, Beverly Randall, who's written 800 children's books for Nelson Thorne's PM.


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[Assistant] And she was telling me, make sure it's a real story, make sure that all your stories have a beginning, middle and end, and make sure the children are always the heroes of the story. Don't have the adults be the heroes, while the children are the fools. Uh, the children like to see themselves as the, as heroes.


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[Assistant] Uh, so many children's books, and if you're producing activity books for children, again, study something about education. Study something about, you know, I've asked...


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[Assistant] Many devotees who advertise, I'm teaching this or that and I'll say, what is your pedagogy? And they don't even know what I'm talking about. So if you, when it's going to do like my what?


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[Assistant] It would be wise to spend some time understanding what are effective and what are ineffective teaching methods.


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[Assistant] And again, what are effective and ineffective teaching methods at different levels.


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[Assistant] And therefore, if you're, if you're simultaneously giving them things that are far too easy for them, along with things that are far too hard for them, there's, doesn't work. They won't meet it.


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[Assistant] While Bill met with the various factions, I split off to meet with women leaders of the peace movement.


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[Assistant] Because they were willing to work across the religious divide they had found common ground.


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[Assistant] At the Lamplighter Traditional Fish and Chips Restaurant, I met 65-year-old Joyce McCartan, a remarkable woman who had founded the Women's Information Drop-in Center in 1987 after her 17-year-old son was shot dead by Protestant gunmen.


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[Assistant] The nine women sitting around the table described how frightened and worried they were when their sons and husbands left the house, and how relieved they were when they arrived safely back home.


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[Assistant] It takes women to bring men to their senses, Joyce said.


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[Assistant] These women hoped that the ceasefire would continue and that the violence would end once and for all. They poured tea from ordinary stainless steel teapots, and when I remarked how well they kept the tea warm, Joyce insisted I take a pot to remember them by. I used that dented teapot every day in our small family kitchen at the White House. The next morning we flew to Ireland's capital, Dublin.


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[Assistant] I met up with Bill at the Bank of Ireland next to the College Green of Trinity University.


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[Assistant] Where we spent time with Bono and other members of the band U2.


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[Assistant] Bill and I have worked with Bono on the global issues he champions. Debt relief for poor countries and more resources to fight HIV AIDS.


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[Assistant] When we walked onto the stage constructed for Bill's speech, I gasped.


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[Assistant] There were probably 100,000 people jammed into the narrow streets and across the green to hear the American president speak.


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[Assistant] Bill exhorted the immense crowd to work for peace, saying that no conflict is too intractable to remain forever unresolved.


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[Assistant] After an address before the Irish parliament, known as the Dal, we hit the streets for some shopping and a visit to Cassidy's pub. Our advanced teams used genealogical information to track down any Cassidy who might be related to Bill, and they joined us inside for a pint of Guinness. I soon concluded that all the Irish are related in some way or another.


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[Assistant] Ireland invigorated and inspired me, and I wished we could bottle up the good feelings and take them back home.


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[Assistant] Bill's parting words in Belfast. May the Christmas spirit of peace and goodwill flourish and grow in you.


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[Assistant] Hadden penetrated Washington, where partisan battles continued into the holiday season.


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[Assistant] The government's authority to spend money expired again at midnight on December 16th.


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[Assistant] This time, there was a partial shutdown, a truly terrible hardship to impose on people, especially during the holidays. And before Congress recessed for its Christmas break on December 22nd, Gingrich Republicans added to the callousness by passing a radical welfare reform act.


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[Assistant] That if left to stand, would imperil millions of vulnerable women and children.


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[Assistant] Bill vetoed the Republican Welfare Bill as promised.


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[Assistant] One institution unaffected by the shutdown was the Senate Banking Committee, whose work was deemed essential.


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[Assistant] Undaunted by the facts, the DeMoto committee continued to probe my association with McDougal's savings and loan. Ken Starr's investigation was supposedly confidential, but his team was displaying a remarkable talent for calculated leaks to the media.


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[Assistant] In late 95, Dick Morris came to see me to deliver a bizarre message.


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[Assistant] Tell your sources, I said, to report to Starr's people that even though I have done nothing wrong, I am well aware that in the immortal words of Edward Bennett Williams, a prosecutor can indict a ham sandwich if he chooses.


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[Assistant] In the ruckus over budgets and shutdowns, an important development in the Whitewater investigation passed almost unnoticed.


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[Assistant] Findings of the Resolution Trust Corporation's report on Whitewater were finally made public just before Christmas.


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[Assistant] After examining 47 witnesses, compiling 200,000 documents and spending $3.6 million, the investigators found no evidence of misconduct on our part and no factual basis for any aspect of the Whitewater scandal.


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[Assistant] The report was minimally covered in the news media. Republicans dismissed the investigation by the Resolution Trust Corporation as too narrow and continued their hearings.


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[Assistant] Like in Miami, the thing about Miami is that they know about you, they show love and shit, but yea.


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[Assistant] Yeah, at 10 in the morning. You know. 10 in the morning, wake my ass up. Yo, yo, we got a master, man. We, we got to finish this, finish this. From 10, we'll work.


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[Assistant] Remember the first time I- the first time I met- like the first time I met him?


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[Assistant] I was like, yo, uh, I met some DJ called O.K. and O.K. was a big fan of him. So I'm like, yo, I just met him and I called him the next day and I'm like, yo, we're flying to LA to work with something, like to work with these big people.


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[Assistant] And then he's like, yeah, fuck it, let's do it. Okay. We went to LA and then he needed a studio to record at. And our homie Clip knew who he was. 275? Yeah, he's 275 too.


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[Assistant] What'd you say? Uh, they have it at a smoke shop next to my crib. He started out in Broward only. Right. And now he builds up.


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[Assistant] No, he didn't set up a successful tour.


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[Assistant] Yeah, this is the homies are, are popping.


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[Assistant] Let's see the tour I set up right now. Xavier Wolf, Young Seminary Baker.


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[Assistant] Yeah, that's awesome. Oh my god. Yo, in tour with Underachievers, we were getting drunk every day. Yeah. 45 days.


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[Assistant] Tweets and shit? Yea, it's like a bible. It's like predictions. It's like a bible. Yea.


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[Assistant] No. Of course I don't want you to get the impression I ever asked anybody.


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[Assistant] No, they don't. They just make out they like it because they're ashamed to admit they made a mistake.


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[Assistant] Glendale must be a mighty fancy animal.


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[Assistant] I never saw an eastern horse yet that was any good for roping.


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[Assistant] Gold City? We're playing there Thursday, Friday, and Saturday.


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[Assistant] Lots of folks have missed them. Me and Waco, we're driving to Gold City tomorrow.


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[Assistant] Well, this here being a rodeo town, uh, hotels are usually full.


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[Assistant] Say here, I'll get, I'll always drink by myself.


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[Assistant] Just showing off, that's all. Jealous.


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[Assistant] Anything that ties you down is no good. Like a steady job. Or if I owned a ranch or...


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[Assistant] Take if I owned a ranch. Could I go where I want to go when I want to? Or do?


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[Assistant] Take if instead of just Sammy, I own 20 horses. I'd be in the horse business. I don't like any business except the one I'm in.


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[Assistant] Living the way I like to. By myself.


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[Assistant] We gotta get to Gold City and fast. Come on, boy. Get in the trailer.


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[Assistant] No. Find her one, will you, Waco? I gotta get cleaned up.


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[Assistant] But I don't like them. I never ate them, that's why.


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[Assistant] I don't like them. I like steak.


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[Assistant] Maybe we oughta eat outside. More light out there.


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[Assistant] If I wanted to get hooked, I'd let you hook me. I don't know of nobody that


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[Assistant] She is asking, she is not able to articulate.


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[Assistant] For 20 years, he made the dreams of young people come true with his hugely popular Gimel Fix It program.


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[Assistant] I hope no slaves show up on this. Please turn the page.


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[Assistant] Chapter 11. Involving another journey and an antiquarian discovery.


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[Assistant] Recording Mr. Pickwick's determination to be present at an election and containing a manuscript of the old clergyman's.


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[Assistant] And an hour's breathing of its fresh and fragrant air on the ensuing morning completely recovered Mr. Pickwick from the effects of his late fatigue of body and anxiety of mind.


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[Assistant] That illustrious man had been separated from his friends and followers for two whole days.


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[Assistant] But still a cloud seemed to hang over his companions, which that great man could not but be sensible of, and was wholly at a loss to account for.


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[Assistant] There was a mysterious air about them both, as unusual as it was alarming. And how?


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[Assistant] Mr. Winkle, to whom the question was more peculiarly addressed, made no reply.


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[Assistant] He turned away his head and appeared absorbed in melancholy reflection.


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[Assistant] Snodgrass said Mr. Pickwick earnestly, how is our friend? He's not ill. No, replied Mr. Snodgrass.


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[Assistant] And a tear trembled on his sentimental eyelid like a raindrop on the window frame. No, he's not ill.


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[Assistant] Mr. Pickwick stopped and gazed on each of his friends in turn. Winkle.


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[Assistant] Snodgrass, said Mr. Pickwick. What does this mean? Where is our friend? What has happened? Speak, I conjure, I entreat. May I command you, speak. There was a solemnity.


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[Assistant] A dignity in Mr. Pickwick's manner not to be withstood. He is gone, said Mr. Snodgrass. Gone? Explained Mr. Pickwick. Gone? Gone, repeated Mr. Snodgrass. Where? Ejaculated Mr. Pickwick. We can only guess from that communication.


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[Assistant] Replied Mr. Snodgrass, taking a letter from his pocket and placing it in his friend's hand. Yesterday morning.


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[Assistant] When a letter was received from Mr. Waddle stating that Hugh would be home with his sister at night.


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[Assistant] Are placed far beyond the reach of many mortal frailties and weaknesses which ordinary people cannot overcome.


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[Assistant] Any letter addressed to me at the Leaven Bottle Cobham Kent will be forwarded, supposing I still exist.


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[Assistant] I hasten from the sight of that world which has become odious to me. Should I hasten from it altogether pity? Forgive me. Life.


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[Assistant] I can hardly believe that the manuscript is genuine, though it certainly is not in my friend's hand. However,


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[Assistant] Whether it be the genuine production of a maniac or founded upon the ravings of sun and happy being, which I think more probable, read it and judge for yourself.


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[Assistant] Mr. Pickwick received the manuscript and parted from the benevolent old gentleman with many expressions of goodwill and esteem.


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[Assistant] It was a more difficult task to take leave of the inmates of Manor Farm.


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[Assistant] The exchange of cordialities with their fine old host and Mr. Trundle were even more hearty and prolonged, and it was not until Mr. Snodgrass had been several times called for, and at last emerged from a dark passage, followed soon after by Emily,


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[Assistant] Whose bright eyes looked unusually dim, that the three friends were enabled to tear themselves from their friendly entertainers.


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[Assistant] The three friends set forward again in the afternoon to walk to Cobham. A delightful walk it was.


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[Assistant] The ivy and the moss crept in thick clusters over the old trees, and the soft green turf overspread the ground like a silken mat.


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[Assistant] They merged upon an open park with an ancient hall displaying the quaint and picturesque architecture of Elizabeth's time.


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[Assistant] I fancy their old attachment to this world would very soon return. I think so too.


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[Assistant] And having been directed to the Leatherne Bottle, a clean and commodious village ale house, the three travellers entered and at once inquired for a gentleman of the name of Tuckman.


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[Assistant] At the upper end of the room was a table with a white cloth upon it, well covered,


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[Assistant] With a roast fowl, bacon, ale, and etc.s. And at the table sat Mr. Topman.


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[Assistant] On the entrance of his friends, that gentleman laid down his knife and fork and with a mournful air advanced to meet them. I did not expect to see you here, he said as he grasped Mr. Pickwick's hand. It's very kind. Ah, said Mr. Pickwick.


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[Assistant] Sitting down and wiping from his forehead the perspiration which the walk had engendered. Finish your dinner and walk out with me. I wish to speak to you alone. Mr. Tupman did as he was desired.


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[Assistant] And Mr. Pickwick, having refreshed himself with a copious draught of ale, waited his friend's leisure. The dinner was quickly dispatched, and they walked out together.


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[Assistant] For half an hour, their forms might have been seen pacing the churchyard to and fro, while Mr. Pickwick was engaged in combating his companion's resolution.


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[Assistant] Any repetition of his arguments would be useless. For what language could convey to them that energy and force which their great originator's manner communicated? Whether Mr. Tupman was already tired of retirement?


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[Assistant] Or whether he was wholly unable to resist the eloquent appeal which was made to him matters not. He did not resist it at last.


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[Assistant] It mattered little to him, he said, where he dragged out the miserable remainder of his days.


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[Assistant] They shook hands and walked back to rejoin their companions.


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[Assistant] It was at this moment that Mr. Pickwick made that immortal discovery which has been the pride and boast of his friends and the envy of every antiquarian in this or any other country. They had passed the door of their inn and walked a little way down the village.


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[Assistant] Before they recollected the precise spot in which it stood. As they turned back,


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[Assistant] Mr. Pickwick's eye fell upon a small broken stone.


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[Assistant] Partially buried in the ground in front of a cottage door. He paused. This is very strange, said Mr Pickwick. What is strange, inquired Mr Tupman.


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[Assistant] This last was an ejaculation of irrepressible astonishment, occasioned by seeing Mr. Pickwick, in his enthusiasm for discovery, fall on his knees before the little stone and commence wiping the dust off it with his pocket handkerchief. There is an inscription here, said Mr. Pickwick. Is it possible? said Mr. Tupman. I can discern.


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[Assistant] Continued Mr. Pickwick, rubbing away with all his might and gazing intently through his spectacles, I can discern a cross, and a B, and then a T. This is important.


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[Assistant] Continued Mr. Pickwick, starting up. This is some very old inscription.


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[Assistant] Existing perhaps long before the ancient arms houses in this place. It must not be lost. He tapped at the cottage door. A labouring man opened it. Do you know how this stone came here, my friend? Inquired the benevolent Mr. Pickwick. No, I don't, sir, replied the man civilly.


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[Assistant] It was here long before I were born or any honest.


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[Assistant] Mr. Pickwick glanced triumphantly at his companion. You, you are not particularly attached to it, I guess, eh?


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[Assistant] Said Mr. Pickwick, tumbling with anxiety. You wouldn't mind selling it now. Ahh. But who'd buy it? Inquired the man.


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[Assistant] With an expression of face, which he probably meant to be very cunning.


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[Assistant] I'll give you ten shillings for it at once, said Mr. Pickwick, if you would take it up for me.


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[Assistant] The astonishment of the village may be easily imagined when the little stone, having been raised with one wrench of a spade, Mr. Pickwick, by dint of great personal exertion, bore it with his own hands to the inn, and after having carefully washed it, deposited it on the table.


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[Assistant] The exultation and joy of the Pickwickians knew no bounds. When their patience and assiduity, their washing and scraping were crowned with success. The stone was uneven and broken, and the letters were straggling and irregular.


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[Assistant] Sparkled with delight as he sat and gloated over the treasure he had discovered. He had attained one of the greatest objects of his ambition.


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[Assistant] The chairman of the Pickwick Club had discovered a strange and curious inscription of unquestionable antiquity, which had wholly escaped the observation of the many learned men who had preceded him.


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[Assistant] Tomorrow! exclaimed his admiring followers. Tomorrow!


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[Assistant] We will behold and minutely examine a scene so interesting to every Englishman. We will, was the animated cry of three voices. Mr. Pickwick looked round him.


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[Assistant] This proposition, like the other, was received with unanimous applause.


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[Assistant] Having himself deposited the important stone in a small deal box purchased from the landlady for the purpose, he placed himself in an armchair at the head of the table, and the evening was devoted to festivity and conversation.


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[Assistant] It was past eleven o'clock, a late hour for the little village of Cobham.


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[Assistant] When Mr. Pickwick retired to the bedroom which had been prepared for his reception.


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[Assistant] He threw open the lattice window and setting his light upon the table, fell into a train of meditation on the hurried events of the two preceding days.


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[Assistant] Mr. Pickwick was roused by the church clock striking twelve.


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[Assistant] The first stroke of the hour sounded solemnly in his ear.


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[Assistant] But when the bell ceased, the stillness seemed insupportable. He almost felt as if he had lost a companion. He was nervous and excited.


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[Assistant] Everyone has experienced that disagreeable state of mind in which a sensation of bodily weirdiness in vain contends against an inability to sleep.


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[Assistant] It was Mr. Pickwick's condition at this moment. He tossed first on one side and then on the other.


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[Assistant] And perseveringly closed his eyes as if to coax himself to slumber. It was of no use.


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[Assistant] Whether it was the unwonted exertion he had undergone, or the heat, or the brandy of water, or the strange bed, whatever it was, his thoughts kept reverting very uncomfortably to the grim pictures downstairs,


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[Assistant] After half an hour's tumbling about, he came to the unsatisfactory conclusion that it was of no use trying to sleep. So he got up and partially dressed himself.


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[Assistant] Anything he thought was better than lying there, fancying all kinds of horrors. He looked out of the window. It was very dark. He walked about the room. It was very lonely.


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[Assistant] When the clergyman's manuscript for the first time entered his head. It was a good thought. If it failed to interest him, it might send him to sleep.


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[Assistant] He took it from his coat pocket and drawing a small table towards his bedside, trimmed the light, put on his spectacles and composed himself to read. It was a strange handwriting and the paper was much soiled and blotted. The title gave him a sudden start too.


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[Assistant] Reflecting on the absurdity of giving way to such feelings, however, he trimmed the light again and read as follows. A madman's manuscript. Yes, a madman's.


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[Assistant] How that word would have struck to my heart many years ago. How it would have roused the terror that used to come upon me sometimes, sending the blood hissing and tingling through my veins till the cold dew of fear stood in large drops upon my skin and my knees knocked together with fright. I like it now though. It's a fine name.


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[Assistant] When I rushed from the sight of merriment or happiness to hide myself in some lonely place and spend the weary hours in watching the progress of the fever that was to consume my brain.


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[Assistant] But they are nothing to the restless nights and dreadful dreams I had at that time. It makes me cold to remember them. Large dusky forms with sly and jeering faces crouched in the corners of the room and bent over my bed at night, tempting me to madness.


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[Assistant] But that his grandfather had lived for years with his hands fettered to the ground to prevent his tearing himself to pieces. I knew they told the truth. I knew it well.


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[Assistant] I had found it out years before, though they had tried to keep it from me. Ha ha! I was too cunning for them madmen as they thought me. At last it came upon me.


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[Assistant] I could go out into the world now and laugh and shout with the best among them. I knew I was mad.


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[Assistant] Carpening a bright glittering knife was a madman with all the power and half the will to plunge it in his heart. Oh, it was a merry life. Riches became mine.


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[Assistant] And when I married the girl, I saw a smile of triumph play upon the faces of her needy relatives as they thought of their well-planned scheme and their fine prize. It was for me to smile.


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[Assistant] To smile, to laugh outright and tear my hair and roll up on the ground with shrieks of merriment. They little thought they had married her to a madman. Stay. If they had known it, would they have saved her? A sister's happiness against her husband's gold?


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[Assistant] In one thing I was deceived with all my cunning, if I had not been mad.


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[Assistant] I should have known that the girl would rather have been placed stiff and cold in a dull, leaden coffin.


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[Assistant] And that she had been sacrificed to me to relieve the poverty of the old white headed man and the haughty brothers. I don't remember forms or faces now.


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[Assistant] But I know the girl was beautiful. I know she was.


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[Assistant] But in the bright moonlight nights when I start up from my sleep, and all is quiet about me, I see


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[Assistant] Screaming down her back stirs with no earthly wind and eyes that fix their gaze on me and never wink or close.


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[Assistant] The blood chills at my heart as I write it down. That form is hers. The face is very pale, and the eyes are glassy bright, but I know them well. That figure never moves.


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[Assistant] It never frowns and mouths as others do that fill this place sometimes. But it is much more dreadful to me.


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[Assistant] Even than the spirits that tempted me many years ago.


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[Assistant] For nearly a year I saw the tears steal down the mournful cheeks and never knew the cause.


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[Assistant] I found it out at last though. They could not keep it from me long. She had never liked me. I had never thought she did.


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[Assistant] She despised my wealth and hated the splendour in which we lived. I had not expected that. She loved another. This I had never thought of.


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[Assistant] Strange feelings came over me and thoughts forced upon me by some secret power whirled round and round my brain. I did not hate her. Though I hated the boy she still wept for, I pitied. Yes, I pitied the wretched life to which her cold and selfish relations had doomed her. I knew that she could not live long.


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[Assistant] But the thought that before her death she might give birth to some ill-fated being, destined to hand down madness to its offspring, determined me. I resolved to kill her. For many weeks I thought of poison.


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[Assistant] Her face was buried in her hands. I withdrew them softly and they fell listlessly on her bosom. She had been weeping for the traces of the tears were still wet upon her cheek. Her face was calm and placid.


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[Assistant] And even as I looked upon it a tranquil smile lighted up her pale features. I laid my hand softly on her shoulder. She started. It was only a passing dream. I leaned forward again. She screamed and woke.


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[Assistant] The razor was in my hand, but I could not move. She made towards the door.


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[Assistant] Placed her on the bed. She lay bereft of animation for hours. And when life, look and speech returned, her senses had deserted her.