A/V Geeks 16mm Lunch 1-16-2026

[bell] Now, Kodak through photography brings you this edition of the Screen News Digest. Hello everybody. I'm Skip Alzheimer. Welcome to the AV Geeks Lunchtime streaming show where we watch old 16 mm films and talk about them. All right. So, I've got a scanner hooked up here. We're going to try to watch this film. I think it'll be okay, but we'll see. Um, this is Mission Possible Bike Safety. Enjoy. >> [music] [music] [music] >> Good morning, Jim. The children in the photographs are cenamed Dirty Larry and Careless Carol. These two love to ride their bikes, but they don't do anything right. If they are allowed to continue in their careless ways, our computer tells us that eventually someone will be hurt, possibly even killed. They are known to frequent a shopping center called the village. They are a menace to everyone and should be considered extremely dangerous. Your mission, should you choose to accept it, is to apprehend these two and retrain them in proper bicycle safety. It won't be easy, but that's why we're leaving it to you and your mission possible team. This communication will self-destruct in 5 seconds. Good luck, Jim. >> [music] [music] >> Hi Johnny. Hey team. What's happening? >> We have an assignment. Yeah. What you got? Some real losers don't know anything about safety or maintenance. We could really use your help. >> Sure. Just let me finish tightening up these brakes. >> Right. Meet us over at the Village Shopping Center. That's their hangout. We'll do. >> What's that? >> It sounds like sort of natural friction. It's real. Those kids don't even ride single files. >> Giant's got to get his hands on those bikes. Sounds like they're about to fall apart. No kidding, man. >> They don't even yield up to pedestrians. >> You crazy kids. This is a business area. No riding on the sidewalk. Darn kids. Now it's our chance. We've got to get those bikes back to headquarters. Move out. Hurry, man. Hurry. >> Got it. Hey, our bikes. We better call the police. >> Are they registered? >> What? >> Do you have a license plate? >> No. Do you know your serial numbers? >> Serial numbers? >> Do you know the number that's stamped on the frame somewhere? >> I never saw it. >> Yeah, me neither. Well, how do you expect the police to help you find it if you don't even know the serial numbers? >> Who can describe them? >> That doesn't always help. >> Hey, who are you anyway? >> My name is Nancy. >> Well, why don't you just be quiet? >> Okay, but I know where your bikes are. >> Yeah, >> they aren't stolen. Some guys just took them to fix them up for you. I'll show you. >> You have a bike? >> Yes. >> Well, come on. You can pump me. No, we have to walk. >> Why? >> It's not safe. That's why. >> What are you, some kind of cop? >> No, but I don't want to get into trouble. Besides, sitting on the fender messes up your bike. We can walk. >> Hey, what is this place anyway? Have a seat, please. Where's our bikes? You'll get them later. We want them now. You'll get them when you know enough to ride them safely. Now sit. >> Hit brain. >> Right. First of all, when you drive your bike in the street, you have to obey the laws of the road. Just like a car, >> you ride in the same direction the traffic is moving. On a two-way street, that means the right side. >> Read and obey all traffic signs and signals. A yellow light means stop if you can because the light is about to turn red. Red means stop and wait until it turns green. Green means go, but you better always check for cars first just to be safe. >> A flashing red light means stop until it's safe to go. Remember, the faster you're going, the longer it takes you to stop. >> A flashing yellow light means slow down and watch for cars before going any further. >> Always stop at stop signs and let other cars and pedestrians go before you. If it's a four-way stop with stop signs in all directions, stop and wait to take your turn to go. A yield sign means slow down or stop until traffic is clear and it's safe to go ahead. It's best to always stop for yield signs. Always read all traffic signs. They're there to tell you something for your safety. Like this one tells you that you [music] better get ready to move over. While this one tells you there's an intersection ahead, so watch out for cars on [music] the right and left. And this one sign means you can only travel in this direction on the street. >> If you see this bike route sign, it means this is a good street for bikes, but still watch out for cars. But these signs mean don't ride your bike here. They're for your safety, so you better obey them. >> And sometimes traffic signs are painted onto the street. If you're in a lane with arrows painted onto the pavement, that means you have to go in the direction that the arrow tells you. And like here, you'd have to turn left. And here, you could either go to the right or straight ahead. >> And solid yellow lines in the [music] street mean no passing. >> Bicycles must always yield to pedestrians. Just like cars, these are bicycle lanes. Sometimes they're marked for oneway travel and sometimes for going in both directions. If there's a bike lane on the street, you have to use it. And don't get out of your lane unless it ends or you're turning. Hey brain, turn on the lights. Hey you two, pay attention. We're doing this for you. Oh, we don't need it. Why are you hassling us anyway? >> Hassling you? Are you kidding me? You two drive like lunatics. I'll show you why we're hassling you. Hit it, brain. >> [crying] [gasps] >> Lank, are you all Hi. >> I'll have it fixed in a minute. >> We're doing this to save your necks. Now, hand signals. If you're going to turn left, what's the signal? No, the right turn signal is like this. Good. The left turn signal is like this. And anytime you're going to slow down or stop, do like this. >> Always use those signals so other drivers will know what you're going to do. >> Ready? Anytime, Jim. >> Hit it again, brain. >> When you come to an intersection, always obey the signs and signals. If there's no sign, the vehicle to the right always has the right of way. >> But since you're on a bicycle, you should always stop and make sure the cars see you before you go on. And when you come out of an alley or driveway, always stop to make sure traffic is clear before going into the street. >> When you make a right turn, stop first and make sure no cars are in the way. Then turn, staying in your lane. Be sure and give your stopping and turning signals. If you're on a one-way street, be sure you're in the right lane for a right turn and left lane for a left turn. If you have to change lanes, make sure no cars are coming and give a signal before trying to move over. Always remember those hand signals. >> But the safest way to turn left is to get off your bike and walk it across the street. If you have to turn left where there's no intersection, stop and wait for the traffic to clear and then walk your bike across the street. When passing a parked car, be careful of the car door suddenly opening. >> Watch out for dangerous obstacles along the curb that can throw you into traffic, such as drain sewers, loose stones, holes, and cracks. Never park your bike in a car parking space. It's best to always park in a bike rack and always lock it up. Even if you're only going to be a minute, remember, chain both wheels. And if there's no bike rack, chain it to something solid. But be careful so the chain won't damage anything or bother anybody. And park it out of the way of pedestrians. And be sure you know the serial number of your bike. That's important if someone steals your bike. [music] >> Don't forget the proper clothing. Always wear shoes when you ride, but don't wear long dresses. And if you wear white cuffs, be sure and clip them or tie them so they won't tear or get caught [music] in a sprocket. >> If you ride at night, wear light colored clothing so cars can see. Also, you must have a reflector on the rear fender. Reflective tape is good at night and allows drivers to see you better. >> And you must have a bright light on the front. >> Oh yeah. Don't ever try to carry something in your hand while you're trying to ride. That's what baskets are for. >> Remember, be careful and courteous. Obey the law and drive defensively. Wow. Fantastic. Okay, you two dig this. I fixed the brakes and from now on if they don't get on dry payment, you better have them fixed. I straighten out your wheel so they don't scrape anymore. You got to take these thing into a bicycle shop a couple times a year have them checked over. Your chains was real loose and dirty. Tighten them up, oiled them for you, put a kickstand on. So I don't want to see you guys laying them down anymore. That's how things get bent and dirty. And especially I don't want to see you jumping up and down on curbs, man. That is really bad. So, you guys got to learn how to check things out for yourself. Get on the bike. I want to check something out. See, your seat should be high enough so your knee only bends a little when you're low on the pedal. Yeah, that's good. Oh, another thing. I fixed your reflector cuz it's all broken. I put lights on your bike. You guys better learn how to check these things out for yourself, man. You know, >> we will. Thanks. >> Yeah. Thanks. >> Sure. >> Well, that's it. Can we go now? >> Sure. Just remember everything. >> Be sure to get those bikes registered, >> right? Be sure you do, man. That's real important stuff. Thanks again. >> Yeah. Thanks. [music] >> [music] >> Good work, T. >> OH, NO. >> HELP. HELP. >> THAT WAS GREAT. >> HELP. HELP. HELP. HELP. HELP. HELP. TURN OFF. HELP. HELP. Turn off. >> [laughter] >> Daddy. [music] [music] Oh. >> [music] [music] >> Wow. So close to that uh Mission Impossible theme. And I think that if it was uh taken to the courts or a jury um nowadays, it might not uh be distant enough because of it's still got the same vibe. Um, so there you go. All right. Uh, we're gonna watch Date for Dinner, and it's in two parts because the color changes radically uh after the first minute or so, and then we'll switch over to the the other version, which has better color. So, enjoy. [music] Hello. Is Linda there? Oh, is this Miss Taylor? Well, I'm Eddie Williams. Do you know where I can reach her? I've called three times and she hasn't been home. Central 6842. I've got it. Thanks a lot, Miss Taylor. Bye-bye. So Kathy, I told Mom if he isn't going to tell her who he is, I'm certainly not going to wait for whoever he is to call again. >> Hello. Hello. >> Oh, hi, Alinda. This is Eddie Williams. Boy, are you hard to get a hold of. Called you three times last week. >> I didn't know you were calling. You never left your name. >> Oh, I'm sorry. I wanted to know if you'd like to go out to dinner with me Saturday. >> Saturday? This Saturday? >> Well, yeah, that is if you're not busy. >> We could make it some other time. >> Oh, no. I'm not busy. I'd love to go. >> Swell. Pick you up about 7:00 then. >> I'll be ready. >> Fine. Goodbye. >> Bye. the phone ad. >> Yes, sir. >> But I've never been out on a dinner date before. I'm just scared to death. Why? You know, check rooms and waitresses and ordering and it's so complicated. I just know I'll do everything wrong and Eddie will never ask me to go. >> Silly. There's nothing to going out for dinner. >> Not for you. If I had an aunt who owned it, I'd know how to act, too. >> The restaurant's closed on Mondays. I'll ask Aunt Kate over tonight, and we'll ask her about all these things that are bothering you. Besides, the folks are going out, so this will be sort of fun. But come on over after dinner. [bell] >> I'll get it. There's Linda now. She's really upset about it, Aunt Kate. That's why I asked you to bring menus, >> Jerry. >> Oh, hi, Linda. >> Well, for heaven's sake. You staying home for a change? >> Well, I'm always home. You know that. >> And I know why you're here. Big date coming up, huh? >> Maybe. >> Maybe. Well, Aunt Kate and Kathy are in the dining room. And Kate, you remember my friend Linda Taylor? >> Well, yes. How do you do, Linda? I'm happy to see you. >> Thank you, Mrs. Jefferson. It's nice to see you again. >> I understand you have a big date Saturday. >> Yes, I do. >> And Kathy tells me you're a little upset. >> Well, >> oh, Linda, there's really no need to be upset over how you should act. May I ask you something? >> Sure, Mrs. Jefferson. >> Were you self-conscious when Jerry helped you with your coat? >> Golly, no. He always does when he's here. And because you're comfortable with him, you're not self-conscious. Isn't that right? >> Well, it threw me the first time he did it. >> Really, Jerry? Go on, Mrs. Jefferson. >> Well, there's the secret right there, Linda. The more often you do something, the easier it is. Now, what we're going to do is practice right here with you, Kathy, and Jerry. First, we'll set the table. I'll need your help. Kathy, you get the place mats. And Jerry, you get the menus. They're in the living room. Let's practice from the beginning now. This will be the hatch checkck stand. You take over there, Kathy. And Linda, you and Jerry put your coats on and enter from the kitchen. The gentleman holds the door for the girl and lets her precede him into the restaurant. They both go to the hatch stand where it is proper, if the girl desires, for her to check her coat, or she can keep her coat and drape it over her chair back after she is seated. You wait at the entrance of the dining room for the hostess to guide you to your table. The hostess goes first, then the girl, and the man follows. Usually, the hostess will indicate the chair that provides the most desirable view for the girl. Sit down slowly to give your escort a chance to slip your chair up to the table. If you're still too far away from the table, rise slightly so he can push the chair closer. Don't just plop in the chair and expect him to lift you and the chair to the table. He may not be a weightlifter. A restaurant will provide more silver than you usually find on your dinner table at home and is placed so you more or less work from the outside in toward your plate as the courses are served. There is usually a soup spoon, a coffee spoon, and a dessert spoon. Then a butter knife and knife to cut your meat. Now on the other side you have your salad fork and your regular fork. Naturally, you will carry a small purse that rests easily in your lap because you never put your purse on the table. You immediately unfold your table napkin, not all the way, just halfway so the fold is toward you. Then look at the menu. You will have ample time to study the menu, and you may ask about any dish that has a name. You menus are nothing to be confused about once you become familiar with them. Notice that there are two price lists, one for alak cart and one for tobble doat which is the complete dinner. The left side items which means you receive only the entree portion of the to do. The entree is the main course and alle cart includes only the main course, potatoes, salad, bread and butter and sometimes a vegetable. If you order alikart, the appetizer, coffee and dessert cost extra. The right side of the menu is for the tab do. This costs more. You will usually find several appetizers listed to choose from. Some of them you drink. Others will be served with their own spoons or cocktail forks with which to eat them. If there is no price beside it, that means the appetizer is included with the price of the dinner and you choose only one. If you choose one that has a price beside it, the cost of it will be added even to a complete dinner. After the appetizer, the waitress will bring soup. Soup dour, translated literally means soup of the day. And it's perfectly all right to ask, "What is the soup dour?" You might not want to order soup if it's a kind you don't care for. After choosing your entree or meat course, you will have a choice of salad dressings. So, make up your mind whether you want French oil and vinegar, garlic, or ropeford. Avoid using a knife to cut your salad. It's preferable to use a fork. You also have a choice of vegetables. And you will be asked how you want your potatoes, usually baked, whipped, French fried, or cottage fried. You cut one bite-sized portion of meat and finish eating it before cutting more. [music] If there is gravy left and you would like to eat it, you may do so by putting a small piece of bread down on the gravy and then eating it with your fork as if it were any other helping on your plate. Most people prefer to wait and have coffee with their dessert. When you've stirred the sugar and cream into your coffee, be sure to put the spoon on the saucer. It's bad manners to leave your spoon in the cup. The same rule applies after you have finished your dessert if it is the kind served in a sherbet dish which has its own serving plate like ice cream, fruit, or gelatin. Your escort will give your order to the waitress, and a well-trained waitress seldom, if ever, ask the girl a direct question. If she should, however, common courtesy demands that you answer her. >> You wanted oil and vinegar dressing on your salad? >> Yes. Our oil and vinegar has a little garlic in it. Will that be all right? >> Oh, well, I'll have the French dressing then. >> Two with French dressing. >> After the waitress takes your order, she leaves. In the meantime, you might like to have one of the rolls the waitress or bus boy brought when you first sat down. Always break off a small portion of the roll. butter and eat that before breaking off more. You never cut a roll with your knife. And if an accident occurs, it's not the end of the world. Anyone can have this happen. If you drop something, you just leave the item on the floor and let one of the restaurant employees pick it up later. In the meantime, your escort will wait until your waitress is within easy hearing distance to say, >> "Waitress." >> Yes, sir. We dropped a fork here. Could we have another one, please? >> Of course, sir. >> At no time does he raise his voice nor tap a glass with silverware to attract her attention. If he can't locate the waitress, the hostess will notice and come to help. When you finished your meal, you may blot your lips lightly with your napkin. Avoid staining the table napkin with lipstick. Do not refold the napkin. Simply place it unfolded beside your plate. Although a minimum of makeup repair is permitted at the table, your date probably would prefer confine all face fixing to the powder room, in which case you say, >> "Will you excuse me, please?" >> "Sure. Your escort will take care of the check, leaving a tip for the waitress equal to perhaps 15% of the bill. He does not tip the hatcheck girl until you retrieve your coats. Then he may leave 15 cents or so for each coat. That's all there is to it, Linda. Easy, isn't it? It's all in knowing how. >> I'll get it. It's not so difficult, Mrs. Jefferson. I think practicing this way is a good idea. And Jerry, I enjoyed the dinner. >> Well, you're sure a big eater. >> Oh, >> the phone call's for you, Linda. Me? Thank you. Excuse me. >> Okay, sis. Give me back my quarters. >> Hello. Eddie, how did you know I was home? Oh, well, wherever you want to go is all right with me. Oh, golly. I'd love to go. I'll be ready. Goodbye. Thank you, Kimber Kimberly Clark, for teaching us how to order in a restaurant. Um, very important. And you know who's going to teach you? Your parents? Nah, those uncouthe people. Uh, all right. Um, you'll recognize this guy. Enjoy. >> [music] >> Panning. [music] Panning. Panning. [music] Panning. Tilting down. [music] Zoom in to the title card. Basic television terms, a video dictionary. Got it. Okay. Hello, I'm Leonard Nemoy. If you know me, it's probably from the acting I do in front of television cameras, but this [music] time I'm going to be behind the camera and you're coming with me to see how television is produced. >> Number 11. Three. Get me Lynn. Please keep two over one preset. I'm doing it differently. Andrew text ready to >> black switch >> eyewitness news with Stan Gorman and Lyn Joiner with Wayne Walker with [music] sports mask. >> Let's say there are two kinds of television production. Big budget television and little budget television. Big budget television is the kind used for most broadcast [music] television with big studios, big cameras, and big crews. Little budget television is [music] little cameras, limited facilities, and small groups of people working [music] together. Little budget television is the kind of production used for education, industry, law enforcement, sales work, just about any field you can name. >> A lot of people are already working with television, so let's start by seeing who does what. >> [music] >> In big budget television, there are large crews starting with the producer. That's the person who supervises production, bringing people together and making it all happen. And you have writers and production assistants. Then there's the director who directs the camera people and chooses what to show on the screen. >> Sitting next to the director, you usually find a technical director who actually pushes the buttons and supervises the technical work. Out on the studio floor is the floor director who stands beside the camera and relays the director's instructions to the people in front of the camera. >> We may come out. Here we go to one. >> And then there are the engineers. >> Maybe knock the chaoma down a hair. Yeah. >> They set the lights. They run the cameras. >> Okay. >> They supervise the video or picture and the audio or sound. They run the videotape recorders and later they work with the producers staff to edit the video tape. >> Keep it way under. Still playing. >> Still playing. [clears throat] >> Sneak it in again. >> Little budget television has little crews. The equipment is designed so that almost anybody can operate it and so that production can be done by as few people as possible, maybe even one. But no matter which way you're producing your television, little or big, the steps you follow are the same, beginning with pre-production. [music] You may [music] start with a treatment, a short outline of your idea, describing it as you might see it on your television screen. Or you can start right [music] with a script which usually has picture directions on one side of the page and sound directions on the other. This is a story board, another kind of script. It has picture and sound directions and above them drawings which indicate the shots to be used. [music] >> [music] >> shots are described in different ways. The most common is apparent distance [music] between the camera and the subject. Here, for example, [music] is a long shot, a medium [music] shot, a medium closeup, [music] and a close-up. When you're actually directing television, however, you usually say wide shot [music] instead of long shot because it shows a wide angle of view. And this is usually called a tight shot instead of a close-up. Almost all television cameras are equipped with zoom lenses [music] that zoom in or tighten and zoom out or widen. Sometimes shots are identified by camera movement. This, for example, is a panning shot when the camera pans to the right or the left. A tilt shot when the camera tilts up or down. This is a dolly [music] shot when the camera dollies in towards the subject or dollies back [music] away from the subject. And this is a tracking shot when the camera tracks [music] or moves with the subject. Shots can also be identified by function. An establishing [music] shot, for example, is a shot which establishes the location or mood of a scene. An insert [music] shot is a shot made for inserting into previously taped material. Usually, it's a [music] closeup or a cutaway to graphics. And finally, shots may be [music] described by what they show. Here's one of the most often used shots in television. It's called a talking head shot, and it's a shot of a head talking. Okay, so if you've got your shots ready, your program or tape planned, it's time to [music] move to production. >> [music] [music] >> All production is either live or taped. Live is when the television program is seen [music] as it is being made. Taped is when a television program is recorded [music] for later or repeated viewing. All production is either studio production done in studio or location production done outside a studio in the real world. All production is either multiple [music] camera system or single camera system. In multiple camera system production, you have two or more cameras in operation at the same time. Preview monitors show what each camera [music] is seeing. If the cameras are in a studio, the preview monitors will be in a studio [music] control room. >> Pretty nice week. That's the weather. Have a nice evening, Andrew. >> I think I can live with that, Joel. Thank you very much. I do wish I knew the outcome of those three games coming up. >> [cheering] >> If the cameras are outside a studio on location, there may be a portable control room called a remote truck or a video van. The director and technical director will have a video switcher to cut from camera to camera. [cheering] >> [applause] [cheering] [cheering and applause] >> Single camera system production involves taping much as a movie is filmed, setting up one [music] shot at a time with planning for later editing together of shots. single [music] camera systems often use portable videotaping rigs. >> Roll tape. >> Do it. >> The big budget rigs are called minams and the small budget rigs are [music] called portaacks. Both are designed so that the camera can be handheld. Some systems [music] are so light that a single person can carry both the camera and the videotape recorder and a [music] microphone can be built into the camera so that production can become a oneperson operation. Another special system is the character generator. The character generator electronically generates numbers and letters. Of course, no matter where it comes from, all picture and sound ends up on vide tape. Videape records it and can play it back immediately after recording. Hi, I'm Peter Marshall, one of the hot ones here on channel 5 this season with a big variety show. Video tape comes in different sizes. The bigger the budget, the wider the tape, with 2 in being the [music] widest. And video tape comes in different containers, including open reel and video cassette. Videape is recorded and played back on videotape recorders or VTRs, which come in big budget sizes. and your convenient small budget sizes. Now, once you've planned, directed, shot, and recorded your tape, you're ready for post-prouction, which is a time when programs and tapes are edited. There are three kinds of video editing, real time, mechanical, and electronic. Realtime editing or instant editing is where you're working with a multiple camera [music] system and you edit the program just by switching from camera to camera while the action is happening. And videotaping it [music] as you go. Mechanical editing is where you actually physically splice two video tapes [music] together. [music] Very cheap, very primitive. Electronic [music] editing is where you electronically transfer your shots, copying them from one or more video tapes onto the [music] edited videape, the one on which the final program is being assembled. The place where [music] one shot is joined to another in television is called an edit. Assembly edits are edits where shots are added one after another to assemble a program. An insert edit is where one shot is inserted into the middle of another shot or shots. already on a tape. A switcher [music] is also called a special effects generator. Because television codes its [music] picture as an electronic signal, television pictures can be mixed [music] together much as sound is mixed. For example, you can just fade a shot away. This is usually called a fade to black or a fade out. If a shot begins as a blank screen and slowly appears, it's called a fade in. If the first shot is faded out and the second shot is faded in at the same time, it's called a dissolve. If two shots are kept on the screen at the same time, it's called a superimposition. [music] If an image or bit of graphics is superimposed, it is said to be supered or keyed. And this is a special kind of superimposition [music] called chroma keying. In chroma keying, two shots are combined [music] without overlapping in the frame. The special effects generator also produces trick transitions such as a crosswipe, a curtain wipe, an iris in, and an iris out. And here's a special effect you can do without a special effects generator. Just point your camera into the monitor that shows what the camera sees. and you get video feedback. [music] After editing, you may want to copy a television image on movie film. So, you use a special movie camera like this one to make a kinoscope or kiny filming it right off a television screen. Of course, it's easier to copy television with television. When you copy a video tape on another video tape, it's called duping or dubbing. An original video tape is called a master vide tape. A copy or dub of a master is called a second generation vide tape. A dub of a second generation vide tape is called a third generation vide tape and so on. The vide tape on which a program is finally assembled is called an edited master. [music] Now, if you have your program almost finished and you still have some money left in the budget, you usually add credits, [snorts] descriptions of who did what on the production. With a little budget, you [music] can tape them off a card. Or with a big budget, you tape them off a crawl like this. bew [music] [music] [music] And that, as we say in television, both big budget and small, is a wrap. I'm Leonard Nemoy. See you on the tube. Leonard. Uh, one of many films that I have featuring Leonard de Moy. um either narrating or being there in person. Uh so great. All right. Um Livingstone, I presume. Dr. Livingstone, I presume. Do you know where that came from? Do you want to know where it came from? Well, you don't have a choice because here's David Livingstone. Enjoy. GB instructional present David Livingston. Done. David Livingston was a great missionary and explorer. He was born in 1813 at Blantar, a village just north of Glasgow. Here in this house, which you can still see, Livingston lived until he was over 20. He was poor, and during the day he worked in a cotton factory, but his spare time was spent in study, for he had set his heart on becoming a doctor and a missionary. In 1840, he received his medical degree and soon after was sent by the London Missionary Society to a mission station in Africa. That was just over a hundred years ago when people called Africa the dark continent. Only the land round the coast was known. No man knew what lay inland, what great rivers or what great lakes. Even the missionaries had only reached as far as Kuraman near the dreadful Kalahari Desert. Livingston went by sea to Port Elizabeth and then by ox wagon to the mission station at Kuraman. If you could go to Kuraman today, you would find the mission station much the same as it was then. Some of the buildings are new, but the school where Livingston taught is still used and people still worship in the church where he preached. As we watch these scenes, it is not very hard to imagine that we have gone back to those days when Dr. Livingston, the new missionary, went about among the natives in their villages, learning to know them and their ways. He studied their customs and watched the dances which mean so much in their lives. He went to their homes and found out how they lived and how to approach them. He worked as a doctor among those stricken by Africa's many diseases and above all he taught them about Jesus Christ. For 11 years he lived this life at Kuraman and other stations. He grew to know and love the people whom he taught. But in the midst of his work his thoughts turned often to those unknown Africans who had never heard of Jesus. He felt that it was his duty to carry his message far in land to places where no white man had ever been. So one day he said farewell to his friends and with only a few natives and an ox wagon he set off into the unknown. One of the first places he came to was the great Kalahari Desert. A dreadful place with hardly any trees and spar toughs of grass struggling through the sand. Day after day they marched on, the hot sun beating down on them. Both men and oxmen were parched, for water was scarce, and the going was hard. The soft sand dragged at the wheels of the heavy wagon, and it was a constant struggle to keep it moving. But at last, they reached the other side. As they journeyed on, vultures were often to be seen feeding on dead animals. There were still uglier scenes to come. For some little while after, Livingston came across long lines of natives being driven like cattle to the coast. These natives had been sold as slaves to the Portuguese and Arabs in exchange for guns. Livingston was horrified and there and then made up his mind to find a way to stop this trade. A way of driving out the slavers occurred to him when he reached the upper Zambzi River. If he could find a way into central Africa from the coast, honest merchants might come to take the place of the slave traders. At Lignanti, he left his ox wagon and set out on foot to the west to find a way to the coast. The way was hard and full of dangers, but Livingston was brave, and his native carriers, who loved him well, would follow wherever he led. There were few roads, and often with only a compass to guide them, they had to hack away through the jungle. In such country they had to keep a keen lookout for snakes. There were swamps which had to be crossed. Here lived mosquitoes carrying malaria. Livingston and many of his natives caught the fever and were sometimes so ill that they had to be carried in litters or be helped along by their comrades. When they came to rivers, there were crocodiles to add to the difficulty and danger of every river crossing. In some parts the country teamed with lions. Once Livingston was attacked by them, and his left arm was so badly mauled that he was never properly able to use it again. But the most serious of all Livingston's problems was the state of the tribes. The further west he went, the more savage they became. And the reason was that there were more slave traders. Livingston found that wherever the slave trade flourished, the tribes were wild and savage. Livingston struggled on until he reached Loender, ill and exhausted. But the way west had been too difficult to be of use to traders, so he returned almost at once to Lignanti and tried the way east. On the way he made one of his greatest discoveries. As he followed the course of the Zambesi, he came to a huge waterfall. The river here nearly a mile broad suddenly seemed to disappear. and plunged out of sight with a roar into a gorge hundreds of feet below. This great waterfall he called the Victoria Falls after Queen Victoria. While he was exploring the country around the falls, he went in a canoe to an island called Cataract Island. This was a daring venture, for the island lay on the brink of the falls, and in his diary, Livingston wrote, "At one time we seemed to be going right into the Gulf." However, he and his men reached the island and landed safely to mark the occasion. Livingston did an unusual thing. He carved his name and the date, 1856, upon a tree. A few months later, he reached the sea again at the town of Kilamani, the first white man to have crossed the whole of Africa. But the Zambzi had proved no use as a way into Africa. It was full of dangerous rapids which made travel by boat impossible. In 1858, after a short rest in England, Livingston did try to reach the Victoria Falls by boat, but without success. But he would not be defeated. There still remained a great unknown area in which he felt sure the great rivers of central Africa began. If he was right, the Congo or the Nile might provide highways into the center of Africa. So in 1866 after another visit to England he returned to Africa to explore the region where the great rivers of the continent seemed to rise. From Zanzibar he went first to Lake Niata through land more wild and hostile than any he had yet known. Then on to Lake Tangana. But he was a sick man now. The strain of 15 years of exploring and of untiring efforts to help the African peoples were telling on him. But still he kept on though he was often too weak to walk. He was out of touch with the world outside and unaware that some native carriers who had deserted him spread rumors of his death. In February 1870, the Times published a letter stating that Dr. Livingston has been killed and burnt by natives. In Britain and in America, too, where Livingston was equally famous, plans were made to send out expeditions to find out the truth. An American newspaper sent a man as undaunted as Livingston himself. This was Henry M. Stanley, a famous traveler and journalist who marched for months through the jungle in search of the great missionary. But Livingston, unaware of the hunt for him, kept on the move, discovering fresh lakes and rivers, still seeking for the headwaters of the Nile. At last, hostile natives and increasing weakness forced him to retire to Eugiji on Lake Tanganika. Some days later, on November the 10th, 1871, Stanley reached Eugi, led there by reports that a white man was in those parts. Excitement swept the little town as his welle equipped party marched in, bringing help in the nick of time, for Livingston was at the end of his supplies and of his strength. It must have been a moving experience for both of them when they met, especially for Livingston, who had gone 5 years without seeing a white man. For a few seconds, neither could speak. Then Stanley stepped forward saying simply, "Dr. Livingston, I presume." Many, many days later, the good news of Livingston's safety reached England to the great relief of his family. Stanley's reports and Livingston's own dispatches soon followed. Livingston wrote, "The kindness was extreme and made my whole frame thrill with excitement and gratitude." He was soon strong enough to make a trip with Stanley by canoe to the northern end of Lake Tangana. He called this a pleasure trip compared to the weary trampling of all the rest of my work. At last the time came to say goodbye, for Livingston refused to return to England with Stanley, saying he must finish his work, must find the source of the Nile, must work to free Africa of the slave trade. We shall never know how great must have been the temptation to return. But the work remained unfinished. On May the 1st, 1873, his servants found him dead on his knees in an attitude of prayer. They buried his heart in the country to which he had given his life and carried his body faithfully for hundreds of miles to the coast, risking death upon the way. And so at last David Livingston of Blantire came back from his travels to be laid to rest in Westminster Abbey, one of the greatest men ever to work for Africa and her people. The good he did lived on and is a constant inspiration to the men who have come after him. So now you know, now you know the story. That's what we do here at AV Geeks. We let you know the story behind the story behind the early 20th century meme that shows up in cartoons and jokes and um now you know uh so I got a wonderful email from YouTube saying like oh we want to demonetize your channel. Uh, the reason being is that uh I'm showing stuff that I didn't create. And I'm like, duh. So, I have to record a video appeal to say, hey, like, yes, we don't make this stuff, but this is old stuff that we're showing and sharing, giving access to from our collection. Um, and getting ad revenue is a way to help us pay for this process because it's not cheap. Anyway, it's very very frustrating. Uh, this has happened one time before, but this was a long time ago, like probably 10 years ago. So, I don't know what's going on, but so I have to record an appeal video this uh weekend. Um, it's very frustrating. Now, will if ad revenue, if that monetization goes away, am I going to stop doing my show? Hell no. Like, I'm still going to do this because, you know, there's all these Britishmade Christian films that I love to share with you, and if I can't get ad revenue to show it, I might not show as many in a given period of time, but I will still show them. And likewise the other films that I have, the other thousands of films that I have that are not made by a British religious film company. Um, so anyways, I if there was something that you could do on my behalf, I would figure out a way to do it. But I at this point it's I'm responding to a robot and I don't know if somebody's going to watch what I'm doing, what my appeal what my appeal is actually going to be. Like I don't know. Like watch my show and you'll get it. [laughter] If you don't watch my show, you don't get it. I don't know. Maybe they just want to see if there's a human behind this, but who knows? It's It's frustrating. YouTube, as I know, as we've talked about, is this weird flitty um giant multi-billion dollar corporation that makes no sense. Um, so it is the nature of the beast. And so if we lose our ad uh monetization, I will have to probably bug you for more coffee and more Patreon subscriptions, etc. Um, which is annoying. It's annoying for you. It's annoying for me. I don't like asking for money, but um, it helps. It helps pay for stuff. So, uh, anyways, uh, yeah, not to burden you with annoying news, but there you go. Uh, we will see you on Monday. I hope everybody has a great weekend. Uh, love you guys so much. I'm happy that I was able to be here and show you a film from the scanner. Um, but we will see you, like I said, on Monday. Everybody have a great rest of your day. We'll see you soon.