This paper presents a novel periodic cellular structure made of re-entrant hexagon-shaped honeycombs and Miura origami geometry, which was manufactured using selective laser melting, SLM, and tested for its compression deformation and energy absorption characteristics under quasi-static load in three directions. The results show that this structure has balanced mechanical properties with the z-direction being the best bearing direction, and exhibits a three-dimensional Poisson's ratio effect during compression. A numerical investigation using ANS-YS-LSDYNA was conducted to provide an accurate simulation method, and predictive formulas for critical energy absorption indexes were derived based on theoretical analysis and validated with experimental results. This article was authored by Chishuin Li, Zudong Xi, and Feng Fan.


Good afternoon, good evening, good night, good whatever time it is, whatever you are. I'm Brian Hare, this is the live FSC show. Happy Wednesday, what today is if you're watching live or today or happy whatever day it is whenever you're watching. Before we get started, a little bit of housekeeping. Big excitement, we have a contest going on right now at, is it just Minerva.com or Nerva Beauty? MinervaBeauty.com. MinervaBeauty.com. All you gotta do, go to the website, the contest is right there, it's much easier than I'm making it sound. Click and enter and you can win a ring light, which is an awesome expense to have around. It makes Soso work look fantastic and Soso people look really hot. So go check them out, they are always looking after us. I mean, all of our stuff around here that you see and in the salon is beautiful and it's because of them. So go check them out, enter that contest. I believe it ends on the 10th. So there's only like a week left, so hurry up and do that. Oh, that is a week, look at me. No, I'm not. So go check that out. Let's see, today I am doing a fun class. I wanna see lots and lots of chatting because today I want to spend some time really us like getting to know each other, getting this back and forth. Matt's helping out, watching the chat, making sure that we see what's going on. I see what's going on. Hi, there's Matt. And so the normal thing for everyone who has a question, you're going to type Q so that we make sure that we see that there is a question that needs to be had. Everything else, you just chit chat, we'll just see the rest. So we'll figure out a letter for that at a later date. Okay, is there anything else? No, that's it. I hit it all. Ready to roll. Housekeeping's done. Now the fun begins. Yeah, now it's real fun. Okay, so hello. I was thinking about what I wanted to do for this class and this is something that I've seen for a while that I wanted to address. And luckily somebody had a question last week so I just get to say, oh, well, this was for you. And this is the scenario, it's a very real life scenario of having a client in the salon who's getting their roots touched up, whether it's a great coverage or they just get their roots done, whatever, it's your business. But they also need to refresh on the highlights. Now, something that I have seen that I wanted to address is they'll do the root retouch and then spend an hour putting highlights on and then they'll process those highlights and then watch that all out and then you've just got yourself just a big old mess. So what I wanted to do today was to show you in a scenario where you've got a root retouch, most color lines that I've ever worked with have like a 35 to 45 minute processing time. So in that window, we need to be able to apply some highlights to the right places so that they're gonna stand out having very limited processing time because there's some people that I highlight that their highlights will process in 20 minutes. And I'm talking about hand painting today. Just that's what today's thing is. But then there's some people that when you normally hand paint their highlights, it's gonna take like 30, 45 minutes for them to get that brightness that you normally would like them to be. So today's importance is gonna be where to put just a few highlights to get the biggest impact. I think that makes sense. How we doing? We're getting a lot of good mornings. Hello, everyone. A lot. Yeah, that's so exciting. I love that. All the way from Long Island and Spain and Pakistan, that's nuts, good morning. Hello. Cape Town, South Africa. I really wanna go there. I wanna see great white sharks jump out of the water and apparently that's where you gotta go. I'm pretty sure there's other places, but... But like that's the place. That's the place? Yeah, cause I hear they don't jump out of the water everywhere, but like off the tip of South Africa is where they go nuts. From what I understand, Maryland, if I'm wrong, correct me, otherwise I'm coming to crash on your couch so we can see great whites. Okay, so let's jump in. I foil them to your tint. Yeah, see that's cool. When I have the clients who do like a really, really heavily highlighted look, I will make that a separate visit because I am going to take time to put those highlights in and let them process however long they need to. Today is really just touching up their highlights when they're getting their roots touched up. That's kind of my point, my thought process behind today. So I have this lovely mannequin that I worked way too hard on last week because I was like, well, let me just darken her darker than I normally go with my mannequins because I wanna really show that pop of highlight and then discovered how much fun it is trying to hand paint highlights over a really dark and it was just a whole thing and just know that I love you and that this lasagna took a lot of work. This was a very fancy lasagna. Hi, mom. You always have to have a hi mom in there. It's just nice that it's actually to her, not just into the universe. Yeah, right. So yeah, so yeah, look how beautiful she is. We're gonna put the lasagna away for a minute and bring out noodles. So you see just lots of dimension with the depth. She's still going strong. She's getting bright, but we're calling her noodles. I've decided, because we've got noodles and lasagna. So a couple of things before we get started. Again, I'm talking off of a 35 to 45 minute processing time. So you've got your root color on. Now the clock starts ticking because after that processing time is up, you really do need to wash the color off because that's why the company has told you this is how long to process it for. If you go beyond that, things start getting unpredictable. You start over processing the hair. Things just become less reliable and that's why people come to us because we know what we're doing and we know how it's gonna turn out. So that's why I came up with this. So I'm gonna just pull her in. When I do my, in this scenario, rather than a typical just four quadrant root application, I'll do it off of wherever their part is because I'm going to be hand painting highlights. Again, she happens to be in the middle. So that's why I'm making sure that I say that. Wherever their part is is how I will do that root retouch so that I know exactly how the highlights are gonna lay once everything is all said and done. She's got her, what is it? Gen Z center part. I hope I let that go one day because I really just can't let it go. You really can't. Well it makes me mad. Just let people do what they want to do with their hair. Stop telling people they have to part it in the middle because kids today think it's cute. Not everyone looks good with that. I didn't even know it was a thing. Yeah. I should pay attention. On TikTok. That's how you know you're getting older. All the Gen Z, I'm older than you Matt. All the Gen Z kids are saying they're making fun of the millennial generation and saying you need to do center parts. You need to stop wearing skinny jeans. You need to let us just live. I did hear the skinny jean thing. I'm a little nervous about that. Did you listen? Yeah, I'm very committed to. It's all right. I'm not giving up my drop crotch pants ever. That's again why we're getting old. Well, because when I do get old, I can fit a diaper in these. So like I'm good to go for life. That's true. You got that. Okay. All right. So pretend we're gonna be visual. I was thinking about putting a root color on her so you didn't have to pretend but realize I didn't want to since I'm trying to like make her last as long as possible for fun sake.  So we're gonna pop back over to wherever you mix your color. We have a lovely color bar and I'll show on. I'm going with my real life stuff what I actually use all the time. Got palm Mitchell skylights, clay base, up to seven levels. Again, this is not a scenario where you're looking to, this isn't like a platinum card kind of scenario. This is a retouch, a refresh. So in real life, I'd be using 40 in pretend life. Right now I'm using 10 just cause I don't wanna, cause chances are I'm gonna go from this right to my first client and forget to wash off noodles here. So I don't want to over process her hair. And then Brian with that, with mixing that lightener, like you do it to a certain consistency, correct? I do. Like you're not measuring. No, I know that's not like how they would want it done, but. No, I think, I mean, I think with light, with lightener, a lot of companies do say, I mean they have a recommended amount, but I definitely think, especially with Balayage lightener, you need to mix it to your consistency that you like. I agree. Personally. And also, but you need to understand that what when you're mixing it to whatever consistency, you also need to be conscious about what to expect from that. I know some people that really like a wetter consistency and that's fine, but in this, excuse me, in this scenario, that might not work so well, just because I'm not going to be using anything in between my highlights. Like I typically don't use any Bollywrap or anything else in between when you've got the root retouch, just because that adds another level of unpredictability that I try to avoid. If I've got plastic wrap around while there's roots, I don't want to overheat the scalp. I don't want to run the risk that it's going to press a highlight into the roots because then you've got some chemical reactions happening. We want to do this clean. We want to do it neat. We want full control over what to expect from this. So I am mixing up to my preferred consistency of wet toothpaste right before it goes in your mouth. I got to find something less gross.  But like, tell me that that's not perfect. Like you know that exact visual because you brush your teeth hopefully every day your whole life. It is true. It's true. I'm thinking about it right now. Yeah, I mean it's better than coming up with something super obscure and now I have to like go out and buy some fancy mayonnaise because I talked about it and you need to see what the consistency is. Yeah. So you don't need a ton of products because you're not doing a ton of highlights. It's got a nice, it's thick. Like T-H-I-C-C thick, but not like too dry. I've, let's show you the, my little consistency. Mm-hmm. Let's see. There, you got your visual. How are we doing? Do we have any kind of questions or anything before I jump into this? So far, so just a question about how you feel about Provena Balayage Lightener. I don't know if you've used that. I feel like I have because I feel like I've tried to try everything and I've never, I have yet to find one I don't like. I know that there are certain ones that require some tweaking to get it how I'm used to working. Like the, what's the, I think Wella's has a different consistency, so I have to mix that a little different than I mix others, but I've yet to use one that I just don't like. Agreed. Provena has a way better description I think. Thick icing. All right. It's pretty good. I'm into that. Like the can of like Duncan Hines. Yeah, or like whipped. Yeah, like cream cheese. Let's get some red velvet cake. Hey also guys, just so you guys know, I'm gonna give away a tri-raiser at the end of the show today. So all you guys have to do is like and share with whatever platform we're on or tag us on Instagram. And then right in the chat that you liked and shared everything. And we're gonna give one away to one of you guys. That's awesome. Speaking of Instagram, do you see my adorable endorsement, Matt? No, I haven't been on Instagram yet. I got my grandmother to film telling everyone to tune in today and watch. No, that's hilarious. You gotta watch that. She wouldn't even watch it, but she's telling you to watch it. Okay. Good job listening. All right. All right. So the big importance of this is where you put them. I'm going for minimal amount of time, maximum amount of result. Maximum effort. No. Maximum effort. Maximum result. That's it. Okay. So one of the first places that I always like to make sure that I get a good highlight in there is going to be the bone right behind the ear. Let me turn her so you can see exactly where I'm talking about. The mannequin doesn't really have much of a bone, but that's the bone you know I'm talking about right there. You can feel it on yourself right now.  Do it. So that spot right there is super important because on anything from a bob to a long haircut that's a spot that frames the face. That gives you that little pocket right here so that when the hair is down, grab lasagna right here, when the hair is down, it's giving you that highlight that's sort of framing the neck, frames the face depending on the haircut, but it fills that in a little bit so it's not too too dark around the face. This one highlight does a lot of work because everyone sees all this, but I try to keep people, even if this is just a touch up, I don't want it super super light on top and super dark underneath. When I'm going for a more lived in natural kind of look, that's the look you're going for. Cool. Skip this highlight. But I like this sort of just natural, hand-painted like grown in, mature kind of look. So that's where we're going to start because it's in the back of the head. It's typically going to be darker because it's in the back of the head. So with this, I'll go ahead and move this hair out of my way, which would be much easier with the root re-touch. You know, hair gets pretty malleable so you can just slide it right out of your way. So I'm going to make that neater. All right, so I'm just going to grab this whole little triangle behind the ear here. I'm going to do a good size section because again, this highlight's working a lot. And then just grab some a lightener. And then again, just let the hair take the lightener off the brush. You can go as close to your color as you can, the color on the root. And then just come right down through the hair. This is going to be a really important time to pay attention to your application consistency because you're only going to be letting this process for a little while. You're going to really need to make sure that you're setting yourself up for success. So you're really going to want to make sure that your highlight is applied nice and generously thick so that it can create that perfect little environment for you to get the maximum amount of lift in the least amount of time. So Brian, I think one thing that's gonna for sure come up is when you have that touch up on, right? Where are you painting that highlight and how can it blend? And if you, like, you're going pretty close. I'm going close because she doesn't have any actually thing on there. Yeah. But if she has something on. I did pick up a tip that's a very unofficial tip. If your person has a warmer color going on, most, not all, this is not an official tip again, most colors over the course of your application will dry out enough that if your highlight touches it, it's not gonna be the end of the world because you're not incubating in a foil so you're not gonna get a ton of crazy chemical reaction that's gonna give you unpredictability but if lightener just happens to touch where you've got that root retouch, if anything it'll just break that up a little bit and give you even a little bit more transition but I can pretty much guarantee you it's gonna be on the warm side. So if somebody's going for an ashier look maybe try to keep them from meeting each other but I typically deal with more warmth than not so it usually is okay. So you'll go right to the root or you'll go right to the touch up. I'll go right to the touch up. Or sometimes into it a little bit. Yes. Okay. That's also why I'll start in the back because that gives the front time to dry out enough that maybe I can even get it a little bit closer to the root. All right, so after you get my hard working behind the ear highlight, the next one that I really like to hit is gonna be in the crown at the, your parietal ridge from the front here where it dips down to create that little crown for you in the back, that round. We're gonna do two highlights right up at the top of that because that's gonna give us a nice drape. It's gonna hit a spot that the sun would see. It's an important spot in Balayage anyway because it's what starts to separate the top of the head from the bottom of the head. So this is just gonna frame that beautifully and give you a nice little pop. Let me just get it nice and sectioned for you. So Patty was asking, would you do this different if you were retouching more than 50% gray hair with a lot of outgrowth? I mean, the only time that, no, I would do this on everybody. Yeah. Like if I, you know, when people were coming back from lockdown and maybe they had long roots, I'm not trying to cover over that much root. I would go up to it and let the gray coverage color do what it's gotta do.  If you're dealing with a much longer regrowth, I might just do the highlight on a separate visit. Yeah, because again, predictability is what we need to be doing here. And that's where, so I preach this all the time, but you gotta, like people are so committed to doing everything in one visit and there's a lot of places, other types of businesses that you go to that it would never happen in one visit. Like things, you gotta do multiple times. Like, so you gotta think about like, if somebody doesn't come back that often, if they're not coming back every four weeks, then maybe their highlight visit is not the same day as their touch up visit, you know? Or just, you gotta schedule things out that way. So if somebody's got super long regrowth, then book them differently than, and maybe in two visits instead of the one. Right, we really need to focus on, if you wanna be results driven, then you need to understand that that doesn't have to be the results of one day. I mean, we're all results driven, that's our job is to give people what they're looking for, but you need to be realistic about the fact that maybe that can't happen in one day. Rome wasn't built in a day. And the quality of their hair is gonna be better if you take your time with it and you don't try to push things. Absolutely. You know, that's definitely something that I've learned the most over doing hair for so long, is that hair, if you take your time, obviously the hair's gonna have better results. So you should book and spend a little extra time on it.  Because they're gonna know that you care more. You gotta be open and explain. Like I'll tell people, like it's so funny. I say it's because I'm an educator, but really it's so that they know, my clients know and understand why I do everything that I do. Like I would go over this and explain a little bit of what I'm saying with you guys of why I'm doing this, why you're only gonna get so many highlights. Well, because you only have a half hour to process them. So I wanna make sure that they're really good highlights. Before it comes up, in a scenario, maybe where somebody does have really long regrowth, if you wanna do something, maybe foils would be a better option for you. Like pop a couple foils in with a low developer and then do your really long, it's like a color correction at that point, if you're doing really long root color. So a couple of people are saying that they wish you would have applied the root color. So I think if we just throw a little bit of that conditioner just to showcase a close up of what your highlight would look like up against that root color, I think it'll help people visually. What happened to being visual people? No, I get it. Let me see.  Yeah, would you do them separate sometimes? I think we kinda talked about that a little bit, but. In one day? Yeah, if you have that kind of time. If you have that kind of time, yeah. I have no problem with doing it same day. I'm just saying it might need to be a separate process. Yeah. So it's like basically booking two appointments for your client. So if they wanna do it in one day and they're willing to pay for two appointments, then that's how that would work. Otherwise, they might pay for their touch up or some highlights and then do their touch up in a couple weeks or something like that just to break it up a little bit. Right. So once you get to this part of the head, anyway, this is where you're going to need to make your own call. Like look at their haircut, look at how the hair is laying, like back up just a little bit. Yep. Hope. I just want you to like keep a visual in mind. Look at what we've done, look at where these highlights are gonna be. What gaps do we need to fill in to make this look refreshed? We need a little bit coming down the center here because we've got these two important curves of the skull but now I need something just to keep this fresh as well. I think I can probably get that squared away with one V-shape section. So that's what I'm gonna do. Let me make sure you can see me. Yeah, keep that open, there you go. Good. Got all that color on the roots.   Right at the roots. Wait, this is hilarious because I think Sandy just logged in. She's like, Matt? Question mark. She thinks, oh I'm not Matt. Yeah. Surprise. Matt got a face lift. Turned into Brian. A face lift. That's what happened? That's the only difference between us. It's just a face lift. That's all I need. All right, so you see I'm taking this right up to the line. Can you see that I'm taking it right up to the line? It's overhead. Let me get, are you under it? Yeah. Ish. Here, go a little. Move a little bit. That's a good shot. Boom, get in there. Get into it. I'll just keep applying. So I've gone right up to the line. I knocked at the door. Is that giving the visual that is making people happy? Yeah, I think that's a good, it makes the most sense. And you just gotta blur that line at the, because I do, most of my clients get a touch up with highlights put over top of it. And I think you have to like, you just have to blur that line a little bit. I try to keep it to a point. Like instead of like a big fat, here starts a highlight. When I'm doing a root retouch, I will shrink it so that they come to little bits of points so that it's less defined. Like the name of the game here is touching up, that's not gonna be a big super defined band of a highlight. So you know, that's where I've got it real thick in through the main part of the highlight, like icing. And then if you see, if you watched last week's video, the Balayage 101, it's got like where I did less saturation. So I'll get a little bit left, left right there, which is gonna give you your transition from roots to highlights. Oh, I do. So Matthew asked if I use a processing cap, no. That's where, but your question is right. Like when it dries, it stops lifting. So what I'll do here is just make sure you've got tons of saturation because you don't want it to dry out because you're leaving it out in the open. I don't like to put a cap or anything over when there's a root color because it just gets a little wonky. So just make sure you have lots and lots of saturation so that when the outside of this dries, the inside of it still has a highlight that's processing. Cool. All right, do you want me to put the conditioner on the roots of the front or are we good with that and just keep going? Put it on there. I think so. Well, now you just get to, now we have an impromptu class of me doing a root reach out. Here's why. Because if we don't put the root retouch on there, then no one's gonna get that. For the next five years, seven years, I get to hear comments on the internet about how you didn't. Why is there a root retouch? Yeah, and I'm going to wake up hating me. Hating you every day. So you have to. So this is another informal tip from me to you. On the money spot, wherever that is on your guest, I like to, I might even do like a little bit less. Like I might not go all the way out with it because I know I'm gonna try to get really close with that highlight. That's up to you. That's your call, but that's a spot that I always like to make sure is really light. So it might help by not darkening it before you intend to lighten it. Well, we're good. Don't call skateboard. It's our secret. Really? It's not a real client. They wouldn't care. I understand. That's why it's funny. If somebody's calling it not the money piece, the flirty piece. Ooh, flirty. I like that. What else does anybody call it? Jennifer Aniston piece, Sarah Jessica Parker piece. I called it for years. Where do you do hair, Brian? People wanna know? I do hair in a cute little river town called New Hope in Pennsylvania. Like kind of a suburb of Philly. I don't know what constitutes suburb, like how far out you can go. Yeah. Cause I live in Philadelphia, but I drive out here to this beautiful little getaway in the country. So long gratitude. Did I say the name? Yeah, you can say the name. Now that they're coming to see you. Yeah, bring it in. Let's go. Desan, I watched a few of your lives. This is a great way to learn. Well, there you go. Well, I'm glad you like it. We like doing it. It's fun. I like the interaction. I wonder if I can. I wanna chat more, ask more questions. What do you wanna know? My mom's on here. What do you wanna know from my mom? Yeah. Just a cute little, it's so funny. I'm like actually concerned with making it nice and neat. Just can't stop myself. Here's a good question. Oh, the signature piece. That's good. Do you think saturation is the key with freehand highlights? Yes. So if you go back and watch my Balayage 101 video, it's one of the main components because you can get your sectioning right. You can put it in the most perfect spots, but if you don't have your saturation down, then it's not going to lift and you're not gonna get the highlight that you're expecting.  And I don't like that. So yeah, saturation, the consistency of your product is huge because saturation is huge. The whole reason behind that, the reason I say that is because like we said a minute ago, your hand-painted lightener is going to dry out. So you wanna make sure that there's enough saturation and enough product on there so that when the outside of it dries out, there's still plenty inside of that little shell of a dome that's still moist and processing. Almost done. This conditioner smells really good. Okay, gorgeous. It's actually, I'll put you while ginger blow out. Yeah, it is. Yeah. Oh, then no blow out. Yeah, it's not. I knew it smells familiar. Okay. So, oh, this was what I wanted to show a second ago when we did that. So when you look at the back and the side now, you can see that for a quick impromptu, let's just freshen this up. That's gonna give us a noticeable coverage. Just gonna have these highlights down running through the lengths. It's gonna frame the face and then this is going to handle this area in the back from looking too dark after a root retouch. So now I'm gonna move into around the face. The only thing that's gonna change about this is your guest's hair. Like on your guest is this front panel going to be a much bigger panel. If they have a large head like me or a Funko Pop doll, then you might wanna incorporate something because I'm only gonna apply a couple of highlights on the hairline, but if you don't wanna leave a space that's huge right here, you might need to come back and hit some more on the round of the head. But that's not an issue with this girl. Kel has like a great comment. What's that? Just read it. What's up, Kel? I'm so glad you're here, Kel. Well, first of all, that food looks delicious on that profile picture. Yeah, I'm not putting anything in between because we are making sure that there's enough elevation so that when I put this down, gravity's not going to take it and smash anything underneath it. Therefore, there's no real need to separate it. Also, when you have actual color at the root, it's gonna give it a little bit more foundation so that when I hold it out, apply this highlight and then let go, the base color at the root's gonna just make the hair stick out a little bit more so that it won't create too much pressure on the hair underneath it. So first things first, Makayla, thank you so much for jumping in and answering people's questions. I like when people help us out, letting people know, because a lot of people have repeat questions and they're just getting involved in the class, so it's nice that people step up. Now, she's asking if you used a 3D balayage comb or any of those highlighting combs before. It's funny, I was checking my mail crazy over the last couple of days because I really wanted to have it by today, but I don't. It still has not come. I did order some just because I wanna try them. I work so much with Lightner in the salon. If this is, I mean, it could be one of those simple tools that could mean so much and get you so much faster. So I am going to try one. I just have not yet received it. Cool. All right, so I've got this nice big, this whole section by the face. Like you wanna be quick and effective. So I'm just gonna do a nice little V. Your root retouch is dripping. I'm just kidding. It's because I use Clear Developer, so that's what happens. Oh, nice. Here we go. Just a nice, strong, make sure you got lots and lots of saturation in there. Because again, now we have even less time than we did when we applied the ones in the back because this is, you know, we're within a 35-minute window here. Generally, I can get these highlights on in 10 minutes. So I'll just set my timer for, you know, 30 minutes. And that way, that puts enough time for them to process, but not so much time that I'm worried about over-processing the base color. So generally, I'll hit sideburns, temple, and then the money or signature or whatever. Whatever you like. So in that section, I handled the sideburn section with a V, so now I'm gonna come up to the temple section. I don't think I need another V. I think I'm just gonna do one line here because, you know, we're going off of the head here. Going off of what we have to work with. And I think what will make this particular situation work really well is one good, strong highlight, right? There. Yeah, and if you V that section, you're gonna have two highlights kind of clumped together, too. Since we are doing bolder, stronger highlights, because we want just a few highlights to do a lot of work, think about how close they are and how that's gonna look. If I V that, it would literally be right next to that heavy highlight. So then you're gonna start having really, really strong blonde around the face, but you can go that hard everywhere else so it might not be a really good color story overall. Let's talk about, so Heather's asking, do you prefer to work with thicker or thinner hair? I have very thin hair and find it's hard to get that dimension and depth that I want. You wanna talk about that a little bit?  I get what sits down in the chair. Yeah, I like working with all. I have some guests that I do this on that have really thick hair, but then I also have guests that have really fine hair.  So the things that you have to worry about with that, the things that you take into account with that, maybe we'll do a whole class on it, but just as a quick answer, elevation is probably your biggest thing when you're dealing with really fine hair. Watch your section to make sure that it's big enough to hold a highlight and make sure your elevation is maybe a little bit more than you would normally do. I don't do, I don't balayage fine hair if I don't have stuff to put in between because the weight of that will win out and it will start to smash on the hair underneath. So when you're dealing with fine hair, put something in between whatever it is, whatever you're preferred in between thing is. I like balayrap. Just because you lose a lot of the predictability when you're dealing with really fine hair and balayage if you're not careful. Two things that's so funny because you use balayrap more than anyone I've ever met in my life and you still haven't used it yet. Like you've talked about it for three classes and you haven't used it. So I'm sure it's coming. Well the other ones I would have used it on. This one is the one I don't use it on. Now that we got like our whole shipment of 95,000 rolls in I'm teaching the class that I wouldn't use it on. And then the other thing with fine hair for me I think less is more too with your highlighting because you wouldn't put the same amount. Like when you talk about depth, Heather I think depth comes from what's missing from the highlight. So when you highlight if you do too many highlights you're gonna lose it in fine hair. Yeah I like it rather than a thousand small foils on fine hair I would rather do few big highlights. Yeah I could call. So as I'm up on my last section of this side so now you're up to the part wherever that may be this is where I'm real big on bringing that highlight to a point because this is a retouch so you've got other existing dimension in there probably. You're probably not needing to go right to the root with this because we're just freshening up it's a balayage look you can't cause there's color there there's a million reasons but I do make sure that I bring them to points. So however many highlights you choose to do along the part bring them to points and I like to bricklay and stagger them on either side of the part. So when you're on the first side of the part keep that in mind. Think about where you're gonna put highlights when you're on the other side of the part in a few minutes. So for one for the money one for the show there goes extra hair. Normally my guests would not be quite so high up I have this mannequin head a little high. So if it looks like I'm on my toes a little bit to get over the top because I like to pull this section back when I apply because that does a really cool trick of making sure that they'll see it when they pull their hair back and then it thins itself out greatly when the hair is worn down. So back highlight down skinnier highlight. Good view there. Hey, all right actually to get this side I gotta come around. Are we doing a similar thing on the other side? Yeah, I'm just doing the same thing. Okay. So this would be a good time if you guys have questions to post them in the chat because Brian's gonna kind of repeat on this side so we can answer some of your questions as we go through it. And now I can see the screen too. Yeah. So if you have a question type Q put in your question and we will go through them and remember that if you go to MinervaBeauty.com you can win a ring light. We're doing that giveaway. If you guys don't know what a ring light is yesterday in my live Brian I literally brought over a ring light and then showed what I look like with and without one. And ring lights are the best. It really is.  As soon as you have one, you get it. Sandy's asking what OG stands for. You can say original. Olive Garden. Olive Garden. Yeah. Basically means the original. The people that have been around for a long time. Yeah. And can help with any kind of, that can help us catch questions and answers and stuff that, cause there's a lot. Yeah. There's a lot of responsibility in the OG status here. Matt, when do you go live? I go live on Monday, Tuesdays and Fridays. I mean he's live right now. And I'm live right now. And Brian's live Wednesdays and Danielle is live Thursdays. So I got hump day. Someone asking about, yes, we're doing highlights off of a root color. Which one? Debbie. Debbie. A bigger screen than I do over there. Yeah, I can see things much larger. Someone asked about product. Again, use whatever you're comfortable with. I am using Skylights from Paul Mitchell. It is their clay based balayage lightener. I like the clay base because I like that I can get the predictability that I like by applying a nice, strong highlight. Making sure that my consistency is thick. My saturation is thick. That way when it dries on the outside, it's still gonna lighten on the inside for the however long you leave this on. Today it would be on for the half hour that it takes for the gray coverage roots to process. So Tyler, how do you enter for the ring light again? So if you go right here, let me just show you. Metta. Just put you in the corner, right? Yep, look at you down there. Everyone puts baby in the corner. So if you go to MinervaBeauty.com, here's their website. You can purchase beautiful furniture. Look at all the stuff that they have now that like our salon's done. Look at how it's exactly like our brown chairs. Look at all the, but look at the like furniture and stuff. It's gold and white. Yeah. Now that Christina spray painted everything gold. Yeah, so it's beautiful. So right here on the front page, you hit enter now and that'll take you to the page and it gives you all the instructions. Basically all you have to do is put in your email address, your Instagram handle, and then go follow MinervaBeauty on Instagram, which is actually pretty awesome. Will this take us to the page, hopefully? Yeah, like look at the inspiration photos for just, you know, things that you can do to your salon. When we look at like the pandemic and all of that stuff, you know, everybody's kind of got to up their game a little bit just from a clean standpoint. So just, you know, get a new chair for 300 bucks and a new mirror and clean and a ring light. And you're good to go. So that's how you enter Tyler. So much easier to do when I'm not doing hair, right? Yeah. Can't wait till one day I just produce shows. What's your website name? FreeSalonEducation.com Heck yeah. And so Tara, we are seeing, I am seeing your questions. I saw, you had a lot of questions about the 3D comb, I don't know anything about it. And Brian's waiting for his order to come in. So as soon as all that comes in, we'll decide whether we're gonna do a class on it or not. Yeah, I mean, I'll play with it a little bit. And I don't know that there needs to be something focused around it. Yeah, I think it's more just a tool to help execute things faster. Like I know how to do a weave. I know how to do a slice. I don't need a tool for it. But I'm looking forward to seeing if there is a tool that can help me execute it faster. Yeah. And if it's like amazing and you're, and Brian's using it on every client in the salon, then we'll definitely showcase it in the class for sure. You know, that's kind of how, how this works. Don't worry, I am not trying to keep anything from you. I am an open book. I will tell you everything. I'll tell you too much. Sweet. All right. So, real quick with the overhead again, would you mind? Got it. So on the left side, remember I did just one pointed highlight. So over here, I did a V of points with that one falling in the middle, looking at where the hair comes from. I don't want it to line up, just me personally. I'm not looking for a look of mirrored banding. If that's what you're going for, then do it. But that's not what I wanted. So I have it a little staggered so that the highlights will come down like this and have a little bit more of just a natural, casual lightened. And then I've got the nice, strong signature, money frame, Sarah Jessica Parker, antenna, bleach pieces. That's what I'm going to call them. So here's your noodles. I'll give her a quick one around so you can just again get that visual. That, let's see, how many highlights was that? Two, four, five, six, seven, eight, nine, 10, 11, like around between 10 and 15 hand-painted pieces, depending on how you would count as strand versus a V. But we've gotten them, we put them in just the right places so that when this is done and it's processed and blown out, now I put the noodles in the oven and then there's lasagna. You get it. For the new people, that's noodles and lasagna. Like a cooking show. So she's someone, this is very much what it looks like when somebody's in the salon. They've had highlights before, this isn't our first time, but I just needed to freshen it up. Would you just hit overhead one more time? Yep. So you can kind of see, I hope that's not too dark, but how I've got, they're pretty close to the root, all these highlights, but it's enough that it breaks up. The typical root retouch so that it's, you don't have to wait for a day where you just do tons and tons of highlights. This will hold them over. It adds money to your ticket. I don't, typically I go in and just, you work out with the management, what a handful of highlights would cost. I do not charge as much as I would for like a partial highlight or anything because this really is meant to be just a quick add on service. It shouldn't add any extra time. I typically, this is only going to take whatever time their processing time is, so maybe take that into consideration if you're someone who double books, but yeah, this I can still just keep going right through handful of highlights. And there we go, what's going on? Oh my God, we're talking about Olive Garden? Yeah. It's so funny. Tour of Italy. Fun fact, I got fired from Olive Garden because my hair color said, we'll let me just change that. Went home, shaved it, wicked bald to make them feel even more uncomfortable because all I had was red and blonde highlights, but they were like, you can't have that. And I was like, fine, then let me just do this. And then they're like, okay, I guess that's not against any rules. And then they made it. Fun fact, I'm pretty sure Brian's been fired from every job except this one. The day is still young. Every time Brian's live on the internet, I find out that he was fired from another job and he's worked here for eight years now. I also like didn't know that I was fired from so many places. He's like, no, I was never fired. But I don't consider fired if I came right back. I've been fired for hair color thrice, but never permanently. It was like the one restaurant in Philly, actually. I was working at a diner and I had bleach blonde hair and I gave myself pink tips and they fired me. And so this is a family restaurant. And I was like, okay, I'll dye it dark. So I specifically went and bought blue, black, feria. And when I put it on my head, I just let it drip all down my face. And then went back to work that night with like these tiger stripe stains. And I was like, is this better? They were like, I guess. And he's made it here eight years, guys. Yeah, eight years. It's amazing. He's never done anything like that here. Well, you're allowed to be yourself. Maybe that's why. It's because you're not firing me because I have blonde highlights. All right, Brian, you need to go home. All right, so let's see. Toning, that's one thing I didn't really hit on. Yes, you can tone, of course. If that's something that their color requires, absolutely. I've noticed, again, the kinds of people, like the gray coverage, typically they're going a little darker. So if they're going a little darker, their highlights tend to be a little warmer. So I don't always have to tone. Like my client that's coming in tonight, her gray coverage is a level nine. So when I hand paint her highlights, they lift clean enough that I don't need to tone. Again, it's just, it's your call. I don't always do anything. I do when a situation calls for it. Sweet. Oh, Matthew, I hope you get the ring light. I hope everyone gets it. I'm not gonna say it. I'm not picking favorites. I'm my favorite. All right, we catch. Dude, I catch enough. Is there anybody else that was trying to throw one in? Thank you. Vibba? You think that's Vibba? Where? Vibba? On the chat. Look on the screen. Oh, she thinks you're funny, man. I know. She said guys. I'm funny. You're funny, Brian. I am. Karen says. Thank you, Karen. All right. Well, the other thing that I wanna know before next week. If anybody, other than just using the, is my color close to my natural? This is my natural. Oh, except for the highlights on the end. Yeah, this dark, that's all me. I used to lie to myself and say I was a level six because I just wanna face the truth that I'm a hardcore for. Yeah, if anybody has any ideas or anything, like shoot us some suggestions also, because I love coming up with stuff, but I also love giving you what you want. So if you have any ideas, I'm all about helping out and sweet tackling issues that you may have in your day-to-day life in the salon. So thank you so much. Is there anything else before we rock it out of here? I think that's it. See some more of this pretty lately. I'll do some, while the music plays, I'll do some full rotations for you. Here's a little, so a couple of things. The app. Wrong way. There you go. There you go. Download the FSC Now app. All these classes, Brian's classes, my classes, they're all on there. As well as us. Tutorials. We're on there too. Yeah, and you can follow us on there. We have a community-based thing. You can share your work and upload your pictures. Soon enough, there'll be live functionality coming in a couple of weeks. Everybody can go live on there and do classes whenever they want to. I'm super excited for some things that are coming up with that. So make sure you go download it and then set your notifications up so that you know when the new one comes out. It's cool. Don't worry, it doesn't spam you hard. It won't be annoying.  Go check this out. Yeah, the only thing that you get sent is education. So, you're good. So you'll be fine. That's pretty much it. Brian, next week, what's our focus? Right now, I'm thinking we're gonna be going with a foil-balayage combo for a nice, bright, but also lived-in natural look. Like that very just chill, I woke up like this. Let's come out of COVID with really cool-looking hair. Hair that takes a lot of effort, but looks like it doesn't. Yeah. That kind of thing. Yeah, I'm excited for it. It's gonna be good. Yeah, check us out. There's my Instagram. It's really my everything. But Instagram's what I use the most. Yeah, so yeah, hit us up. Thanks for watching. The app is free, yes. Yes, the app is free. The app is free. And so I'm gonna roll a video about some new furniture that's at Minerva. So you guys can watch that, and then we'll be right back to close this thing out with some music and we'll film the final result. Brian will spoof, spoof, spoof, spoof that up with some spiff, is that a thing? I mean, she's pretty spiffed. All right, here's the Minerva. Some new stuff available at Minerva. We'll be right back. The Minerva Beauty Designer Series is our premier collection of salon and spa furnishings custom-built right here in the United States. This collection is as luxurious in design as it is in quality, and features modern, streamlined, and minimally-styled salon furniture that can be personalized by the customer. With a wide variety of colors and finishes to choose from, customers are able to customize the body, drawer pulls, toe kick, countertop, and other features on designer series items. The Minerva Designer Series truly stands out above the rest with its long-lasting top-of-the-line quality. This premier collection of salon and spa furnishings feature a durable core construction, contractor-grade laminate exterior, and melamine interior. Many of the stations from the series also include a protective stainless aluminum finish on the interior of the shallow top drawer and have an optional appliance holder insert. With the Minerva Designer Series, we provide premium salon equipment designs for our customers to style and truly make their own. Thank you so much for watching us. Hope you guys had a good time with the broadcast.


And so after two days of intense talks and hopefully many connections made, we're heading towards the end of this year's open source strategy forum. First off, let me send a huge thank you to our sponsors, GitLab, IBM, Red Hat, Tidelift, and TradeWeb. You've been fundamental to put this event together and this experience, so thank you. Secondly, let me take a second to thank again our wonderful speakers. In my experience, it's not often that the conference brings together such a diverse lineup of speakers, ranging from senior executives to engineers across the industry, from financial institutions, buy side, sell side, fintech firms, open source leading tech companies, and regulators, a new addition to our community. I truly hope the audience has found the content interesting and most importantly, we hope that you've provided, that we could provide many concrete examples of how open source can improve this industry, and beyond that, making an lasting impact in areas like diversity, financial inclusion, sustainability, and climate. I truly hope this conference, very much like last year, can help you find ways to spark into action by participating, providing us feedback, and continuing helping amplify the message that this industry is long overdue a better model of collaboration. And this is not just because the industry will benefit from it, sorry, but as I've read James and Joe's downstream of the financial system, we hope they can get an advantage down the line. As I like to say, open source in financial services is a positive sum game, because the reality is that there's an immediate opportunity here, whether you represent a bank looking for new efficiencies, a fintech looking for an effective go-to-market strategy through open source commercialization, or a regulator looking for more transparency in the implementation and enforcement process. And finally, last but not least, if you are an individual contributor, contributing to FinNOS might well be your opportunity to land a pretty well-compensated job in this industry that is so much need for talent. Our community needs experienced open source leaders, so we hope you'll join and help us continue to grow this movement. Every commit, issue, pull request, any kind of feedback, or even a tweet or a blog post in our community blog helps. Everyone is welcome in our community, whether you live wherever you live in this world, new world of remote working. So I truly hope this can become a level playing field for any contributors, regardless of race, gender, provenance. As you've heard yesterday from Ali, we still have a lot of work to do in diversity, but it's important to get started now in this time of social reckoning, and more selfishly, because it makes us stronger as a community. On this note, let me get to my favorite part of the conference, awarding our community for that incredible participation last year. And since unfortunately, I won't be able to shake your hands in person this year, we decided to go for a more, you know, Academy Award type field. Like last year, we're awarding contributors in three categories. The new camera award, the contributor that joined our community this year that made most contributions, our top contributor award, and our leading the PAC award, which is for our lead maintainers in, again, not just leading their project, but helping us grow our community. So without further ado, let me introduce our first winner. She's been instrumental to E-PAM contribution of glue in Q3 of 2020. And it's amazing to see how she was pivotal to glue by raising over 80 pull requests and more than 70 commits. All of this were accepted by the glue lead maintainer. So she really has accelerated E-PAM's contribution to Finals. I'm happy to announce that the new camera award goes to Ingrid Brukhoff from E-PAM. Congratulations, Ingrid, for making yourself known to the wider Finals community. And thank you. Thank you. This award means a lot to me. I'm delighted to accept it, not only for me personally, but on behalf of the E-PAM glue team. That's Panos Sakondakis, Yasin Fingerov, Roman Semko, and Vladimir Nachik. Everybody involved in the project plays their part. And the E-PAM culture is supportive in encouraging us to use our initiatives and giving 100%. Being members of the Finals community is a great source of inspiration. We're committed to contribute, participate, and bring value, both personally and as team E-PAM. Thank you, Finos, for this recognition. Thank you. Well, thank you, Ingrid, for your passion and the contributions to our community. Next up is the very sought-after top contributor award. He's a maintainer of the Morpher project that was recently contributed by Morgan Stanley. Morpher has made a big impact within the Finals community through being a focused project throughout the year, and by joining our Finals events, our whole community calls. His hard work and determination were reflected through the contribution of over 64 requests, almost 200 commits, several issues, and so many issues merged in our community in the Morpher project. So I'm really happy to announce that the top contributor award for 2020 goes to Attila Midehali of Morgan Stanley. Well done, Attila. Thank you so much for your contributions. So first of all, I would like to thank Finos for creating this award. I think it's a great way to encourage people to contribute, and so I would like to encourage everyone to contribute to Morpher, but I have to warn you, there are some potential side effects. You might become very passionate and start decorating your walls using the Morpher logo, or maybe buy bicycles that go with it, or maybe some clothing. So be careful. On a more serious note though, I would like to thank everyone at Morgan Stanley, especially Stephen Goldbaum, who is a co-creator of Morpher, who made it possible to open source Morpher, and then also Finos for helping us move Morpher into the organization. So thank you again. This is very much appreciated, very unexpected, and incredibly exciting. So thanks. Attila, thank you so much. That was great. Thank you. And we look forward to growing Morpher in the foundation. So I think that's a good, a good impact award. In early 2020, not only Deutsche Bank contributed walls as a real mature project into Finos, but they also contributed the winning team. With an outstanding 131 pull requests, 377 commits, 61 issues, and 137 merges, contributed to wallets. He has demonstrated what it takes to be a Finos lead maintainer. He probably is all over the code, but walls makes full use of the GitHub issues, milestones for project delivery, running the project in a truly open fashion. So I'm really delighted to announce that the leading the PAC award this year goes to David Watkins from Deutsche Bank. Well done, David, for paving the way for others to follow. Hi. Excuse the lockdown here. Thank you very much for the Finos leading the PAC award. It's a great honour, great thrill, very unexpected. It's very nice to be recognised for the work that we have put into walls over the past years. And a big thank you to my colleagues at Deutsche Bank and elsewhere for helping make walls a success. And we look forward to seeing where this open source journey will take us over the next few years. Thank you, David. It's amazing to have you in our community. Finally, I want to send a shout out to the whole Finos team which together with the fantastic Linux Foundation event team has been the true engine between, sorry, behind the success of this conference and the growth of our community in the last years. I am truly humbled every day to be working with such an amazing group of people, their passion. As you might imagine, it took some quite relentless and painstaking hard work to get this industry to move into open source so swiftly. So I wanted to call out to all of them for their amazing work and I wanted to quickly introduce them to you so that hopefully you can remain in touch and you know how to engage better with the Finos community. So, you've seen already Tasha Ellison, our COO. Please make sure that you continue reaching out to her. Next up, Rob Underwood, our Chief Development Officer. Thank you, Rob, for all you do every day. I want to then call out Aitana Miohl. She's our Manager for Strategic Initiatives and co-lead the OpenRectic Initiative with Tasha Ellison.  I want to then call out James McLeod, our Director of Community.  And I want to call out Gris, Aaron Griswold, our Marketing Manager for keeping us in the news, in the social, out there every single time. So, thank you. And finally, my fellow Italian and good friend Maurizio Pilitu, our Director of Infrastructure. He keeps our lights on and our projects lights on every day. So, thank you so much, folks. I really am grateful and thankful to have you as part of this journey. And finally, this year we joined up with the Linux Foundation, as you know. It's been a truly remarkable experience even though, unfortunately, due to this pandemic, we haven't been able to rebuild imperson ties over the last six months, but it's been a huge pleasure. You guys are fantastic. Thank you so much. And with that, we are wrapping this conference. I hope that all the attendees have enjoyed the content and I really hope, as I said before, that this is just the beginning. Enjoy the rest of your day and wherever you are, please stay safe. On behalf of the whole Phoenix team and community, we can't wait to see you joining our community and next year at this event. Thank you.


Slingshot is a new algorithm designed to accurately infer cell lineages and pseudo-times from noisy single-cell gene expression data. The algorithm combines the stability of existing techniques with the ability to identify multiple branching trajectories, making it particularly useful for analyzing complex communities of heterogeneous cells. This article was offered by Kelly Street, Davide Rishow, Russell B. Fletcher, and others.


What's up internet! Today, we're reviewing the Deep Cool Macube 110 in green. Sa mata ko, mukha siyang green, pero isang kasama namin sa shop dito, sabi niya blue. So parang na gula ako para ba to yung what color is this dress meme that came out a few years ago. In fairness, yung exterior niya green, pero interior niya blue. So yung overall effect may pagkaakwa marine yung dateng. We usually carry in the shop the Macube 310P and basically the 110 is its smaller brother. The 110 is an M80X case but it's a bit large for its size for an M80X case. But that extra room allows you better compatibility with a lot of different parts. So to start, you can have 6 120mm fans in the case or 4 140mm fans. The max GPU length is 320mm which is quite long although some of the larger cards nowadays yung mga 3000 series sometimes stretch slightly past 330mm so you do need to check. For AIOs, this thing can fit a maximum 280mm rad which is quite impressive for an M80X case. If air cooling is your thing, the 110 can fit a CPU cooler with a height of 163mm and that is quite good because that already puts it in the range of the big boys like Be Quiet's Dark Rock Pro 4 which is a max height of 163mm and Noctua's NHD 15 which is a max height of 165mm.  The texture of the case, the thickness of the metal, everything inside it feels premium. On the aesthetic of the case, if you're a long time fan of the channel, you know na palagay kung sinasabitin ko sa mga case, kailangan ma-inlove ka. It's the component you see the most of your computer so you need to be turned on to turn it on. And as I mentioned in my video on how to pick cases, ako personally, I like a more aggressive approach or design to cases. The 110 has a very austere or european style aesthetic, very clean lines. If green and blue is not really your thing, then the 110 also comes in black, whites, and pink. To sum it up, this case usually retails for around $30,000 and for that price, you get a very good case with excellent airflow, easy to build in, and good quality build. And if you get it in green, it will definitely stand out. Actually, the color sort of reminds me of bubble gum or the old iMacs. Yung unang labas na mga iMac, they came in these very bright, cheery colors. And the Macube 110 in green reminds me of that. Bagay na bagay siya actually for a 10-year-old kid or someone with a fun personality. Na-imagined ko na yung interior design yung room niya, very colorful. And then the 110 in green or pink would be the perfect accent piece. So yes, the lines are clean but the color really makes it stand out a bit, puts a bit more fun into the equation, makes it pop a bit more. If you're looking for a decently priced case with excellent airflow, cheeky color, and ease of build, then the 110 is right up your alley. Thanks for watching. And thank you to our top fans, Christian Espinoza, John Ruben Ocha, ITX Addict, Richard Ongkinko, Asher Gape Anima Mundi, Ian Meru, and Liam Magnaye. To be honest, guys, di ko panagastos yung membership money but we're already thinking about getting studio lights or maybe a wireless mic. So your support would really go a long way to improving the quality of the channel. Thank you so much.


Today's throwback, Royal Niger Company, the company which became Nigeria and refused to die for a long while. The Royal Niger Company was a mercantile company chartered by the British government in the 19th century. It was formed in 1879 as the United African Company and renamed to National African Company in 1881 and to Royal Niger Company in 1886. In 1929 the company became part of the United Africa Company which came under the control of Unilever during the 1930s and continued to exist as the subsidiary of Unilever until 1987 when it was absorbed into the parent company. The company existed for a comparatively short time 1879 to 1900 but was instrumental in the formation of colonial Nigeria as it enabled the British Empire to establish control over the lower Niger against the German competition led by Bismarck during the 1890s In 1900 the company controlled territories became the Southern Nigeria Protectorate which was in turn united with the Northern Nigeria Protectorate to form the Colonial Protectorate of Nigeria in 1914 which eventually gained independence within the same borders as Nigeria in 1960. Richard Lander first explored the area of Nigeria as the servant of Uklupton in 1830. He returned to the river with his brother John in 1832. He returned again without his brother to establish a trading post for the African Steamship Company at the confluence of the Niger and Benway rivers in Lokoja. The expedition failed with 40 of the 49 members dying of fever or wounds from native attacks. One of the survivors, Magregolet, subsequently remained in Britain but directed and funded expeditions to the country until his death in 1861. He opposed the failed Niger expedition of 1841 but the success of the plate's first mission in 1854 led to annual trips under Benki and the 1857 foundation of Lokoja and the Niger-Beneway Conference. There were no voyages for the three years following Nate's death but the establishment of the West African Company was soon followed by several other firms. The competition reduced prices to the point that profits were minimal. Arriving in the region in 1877, George Goldie argued for the amalgamation of the surviving British firms into a single monopolistic charter company. A method contemporary supposed had been buried with the ultimate failure of the East India Company following the Sepoy Rebellion. By 1879, he had helped combine James Crowther's WAC, David McIntoch's Central African Company and the William C's brothers James Pinoch's firms into a single United African Company. He then acted as a combined firms agent in the territory. Almost immediately, the firms saw renewed competition as two French firms, the French Equatorial African Association and the Senegal Company. And another English one, the Liverpool and Manchester Trading Company began establishing posts on the river as well, a native attack on the U.S.'s outpost. At Onitsha in 1879 was the post with Epp from HMS Pawnia but the Glaston administration subsequently denied Goldie's attempt to procure a government charter in 1881 on the grounds that the international rivalry might occasion unnecessary conflict and that the United Firm was under-capitalized for the experience of genuine colonial administration. Goldie first began addressing the administration's concerns by increasing the company's capitalization to one million pounds. He then managed to corral to 100,000 pounds. He then managed to corral one million pounds in investment in a new concern. The National African Company, which brought up the UAC and its interest in 1882, the death of Leon Gambetta, the same year the price companies of their support within the French government and the strong subsidies it had been providing them. Goldie's cash flush, LAC was then able to maintain 30 trading posts along the river and ruin its competition in a two-year price. By October 1884, all three had permitted him to buy out their interest in the region and the NAC's January report for 1885 was able to quote its remained alone in undisputed commercial possession of the Niger-Bienway region. This monopoly permitted Britain to resist French and German calls to internationalize trade on the Niger River during the negotiations at the 1885 Berlin Conference on African Colonization. Goldie himself attended the meetings and successfully argued for including the region of the NAC's operations within the British sphere of interest. Plegis from him and the British diplomat staff filtered or in any case non-discriminated tariff rates would be resplated in the territory where dead letters. The NAC's over 400 treaties with local leaders obliged the natives to trade solely with or through the company's agents. LAC's tariff and license fees were eliminated competing firms from the area. The mainly deceptive or tricky and treacherous terms of these private contracts were made into general treaties by the British consuls whose own treaties were expressly incorporated there. Similarly, Wenking Jajal Wopobo organized his own trading network and even began running his own shipments of Pamor to Britain. He was leered onto a British warship, was kidnapped and shipped into exile on St. Vincent on charges of treaty-breaking and obstructing commerce. Deceptive treaties extending British control over the tribes of the Cameroons however, Britain was willing to recognize the German colony that absorbed the area in 1885 as a check of French activity in the Upper Congo and the Bangui watersheds. The scruples of the British government being overcome, a charter was at length granted July 1886. The national African company becoming the Royal Niger company chartered and limited, normally shortened to Royal Niger company with Lord Aberdea as governor and Goldie as vice-governor. It was however evidently impossible for a chartered company to hold his own against the state-supported protectorates of France and Germany. And in consequence, his charter was revoked in 1899 and on January 1, 1900, the Royal Niger company transferred its territories to the British government for the sum of £865,000. The seated territory together with the small Niger coast protectorate already under imperial control was formed into the two protectorates of northern and southern Nigeria. The company changed its name to the Niger company, limited and in 1929 became part of the United Africa Company, the famous USC. The United Africa Company came under the control of Unilever in the 1930s and continued to exist as a subsidiary of Unilever until 1987 when it was absorbed into the parent company in conclusion. Yesterday, I was there before yesterday and today's historical toolbox have shown how Nigeria came into being as somebody's entrepreneurial vision and as a business which has worth the many socio-economic and political millions. How well can your enterprise vision stand the test of time and changing business climate? And that's it on the show for tonight. I am Bola Haoba. Have a good night.