Well thank you for coming today. I'd like to welcome Marnah Murray. She's here to talk about Edward Curtis and a man of vision and focus who photographed about 80 Native American tribes. Let's welcome her to West View Meadows. Great Julie, thank you. And I hope I can coordinate all the different technologies here. Good afternoon and welcome on this mid-spring day that still feels like winter but promises of a better weekend. This afternoon I present a program on Edward Curtis. At the turn of the 20th century he photographed and documented the lives of the North American tribes. In 2018, 150 years since his birth, there will be exhibits, lectures and more. For this presentation I have two focuses. One on vision and one on focus. Both of those critical to Curtis's character and his accomplishments. The session will be divided into three parts, each followed by a brief opportunity for questions. First general introduction and information, then his photographs and finally more on his legacy. The middle segment will be primarily the photographs, emphasizing particularly portrait as 40% of his published work in the 20 volume set of the North American Indian is in that format. There will also be some images of humans' subjects in non-portrait format. Further there are four other major categories, landscapes, architecture, livelihoods and artifacts of the North American Indian. Although I recognize that the current nomenclature is Native American, I am going to be somewhat retrospective in using the terms that Curtis did, North American Indian, Indian or the specific tribe to which he refers. Here you will see Curtis's focus on the Indian, the clear visual definition of his subjects. In the process you will also be engaged in the vision that he saw, the faces, the landscapes and the articles of those North American Indians. The final segment will focus on the legacy of his work and how, after decades of lapse, interest has been renewed and comes forward in ever-enriching ways, discussion, exhibits and opportunities. Let's begin. And in doing so, I will share with you my personal journey and introduction to Curtis. About 15 years ago I was living in the Pacific Northwest in the furthest corner and my goal was to reach the westernmost part of the continental U.S. on Solstice to take in the longest day of the year. And that's, I guess you can't see, this place right here, Nea Bay. As I stayed overnight in Port Angeles, I left early in the morning and at the drive through Espresso stand asked the barista how long it would take to get to Nea Bay. When she responded a couple of hours, I concluded she had not had her caffeine fixed yet because surely 50 miles could not take two hours. So I set out on this long, craggy, coastal road and it was marked at 15 miles an hour, curves at five. And indeed, two hours later, I arrived at Nea Bay. I found the McCaw Maiden diner. I went in for breakfast and I observed two interesting photographs near the cashier. Portraits of young women looking strikingly similar in their pose and attire. I inquired. The answer was that the one on the left was why some famous photographer 100 years ago and the one on the right was by the subject's granddaughter at the same age. I stared at them, studied them. Yes, for quite a while. The expressions were similar. Facial features strikingly so. But that famous photographer one had such depth and quality, it was profound. It really captured me. I needed to know who that photographer was. Let me share with you Edward Curtis' photograph of the McCaw Maiden. Unfortunately, I cannot show you the comparison because when I returned a couple of years ago, the diner was gone and no one knew what had become of the photographs. After that, I spent some time in the library and learned more about Curtis, this photographer of 100 years ago.  His portraits offer deep character studies in just the first glance and his landscapes were breathtaking. I also lived in the southwest and there I learned of Canyon Deschets, another well-known image by Curtis. This site is near Chin Lee on the Navajo reservation. This amazing photograph represents another group of his subjects, the landscapes. Here is his image with the magnitude of the land, sandstone spires coming hundreds of feet off the valley floor, and a few men on horseback crossing with dogs in tow. To me, this image provokes thoughts of the insignificance of man compared to the grandeur of nature. As I began to recognize more of Curtis's work, I laughed to think I had seen others as well. When one of my brothers built a home in LaMoyle County, he displayed a print of Bears Belly in his main hallway. I expect for them, my brother and many others, this photograph represents strength and masculinity. Look at the scars on Bears Belly's chest, all from flesh wounds induced as a part of this man's journey. His bear coat was needed for his role as a medicine man. You've seen a few images of Curtis, it's time to know more about him. For me that opportunity came when a friend recommended this biography, Short Nights of the Shadow Catcher by Timothy Egan. And I began my more serious study of Curtis. Curtis was born in 1868 in Wisconsin, and his family moved to Minnesota when he was young. His father, a Civil War veteran, was in poor health as a result of his war service, and he worked only as a traveling preacher. Edward often joined him, going deep in the wilderness, developing survival skills and being a great outdoorsman. His fascination with photography also began at an early age, and using a lens that his father brought back from the war and instructions from Wilson's photographic magazine, he crafted a rudimentary camera. At 17 he became an apprentice to a photographer in St. Paul, but within a couple of years the family's path changed with a move to Puget Sound in the Northwest. Edward and his father went first. Months later, after they established a homestead, fish, cut timber, and planted fruit trees, the rest of the family arrived, mother, brother, and sister. Within three days of their arrival, Johnson Curtis died, and all of the family's responsibilities fell to Edward.  He also married and began a family of his own. Regarding photography, Curtis bought into a studio in Seattle. Eventually, he established his own studio. His portraits were remarkable. It was the place for Seattle's society to have their portrait taken. People often commented that he captured the essence of a person. But for Curtis, his interest saw beyond the fancy studio, down to the shores of Puget Sound, where he found the daughter of Chief Seattle, old, craggy, and living within the city limits that barred natives. Princess Angeline sat for Curtis. These photographs and a couple of others won him prizes and attentions in the world of photography. Consider for a moment a photographer at the turn of the 20th century. It included a huge, heavy camera, 50 pounds or more, on a tripod with glass plates and an image that was upside down and backwards to the photographer. The thought that Curtis could connect with a subject to gain the essence of that person and then compose a photograph while looking upside down and backwards speaks to his focus on the task. Next came the time-consuming chemical process of developing the images. These photographs in composition, technique, and result were not the quickie selfies of today's cell phones. Curtis also photographed landscapes and sought sites that had never been photographed. Mount Rainier was one of those. Its year-round ice cap, socked-in fog, lake deep in the center, and volcanic essence provided ample opportunity for unusual and interesting photographs. His survival skills served him well in achieving the photographs. And on one occasion, Curtis was there when a storm blew in, obscuring everything. He could hear voices asking for help. Lost and ill-prepared were a group of scientists from the East Coast. Among them was George Bird Grinnell, founder of the Audubon Society and C. Hart Merriam of the National Geographic Society. Curtis came to their rescue and thus began his friendship and association with these experts. The following year, Curtis served as the official photographer of the Harriman Expedition to Alaska that included men of science, zoologists, geologists, botanists, and more. Here was Curtis with his sixth grade education, exposed to and enjoying the intellectual life of university professors, writers, and leaders like John Muir, John Burroughs, and Gifford Pinchott. This experience proved a floating university education for Curtis himself. In 1900, Bird Grinnell invited Curtis to join him on a trip to visit the tribes in Montana. As Curtis continued to photograph, Grinnell asked if he had considered putting them together in a book for an exhibition. Curtis had taken portraits and sold them individually, but this trip led to his conviction that he needed to document the lives and cultures of these tribes. Like others of his time, Curtis saw this race, this way of life, vanishing. He wanted to capture it and document it before it was lost. Let's consider for a moment his words of his vision. His aim to picture all of Indian life and environment, they are young and old with their habitations and industries, ceremonies, games, and everyday customs. These immense goals were best expressed in his words to Grinnell. I want to make them lives forever. It is such a big dream. I can't see it all. Curtis spent about five years using his own resources, but began to realize that he could not do this project alone. Through connections with his friends and acquaintances that now included President Theodore Roosevelt, he began making inquiries and seeking funding. Here is Curtis' portrait of Roosevelt. Roosevelt suggested that Curtis approached J.P. Morgan, a philanthropist and financier for support. Although Morgan, also a portrait by Curtis, turned him down, Curtis offered to show Morgan some of the photographs, including this one of Mosa. With her facial markings and ornamentation of her tribe, Curtis' captions compares her to a fawn in the forest questioning the strange thing of civilization seen for the first time. Morgan changed his mind and supported the project, but required Curtis to sell subscriptions. Their arrangement included $15,000 each year for five years to support the field work and production. Curtis received no salary nor compensation. The project would produce 20 volumes that Curtis would sell by subscription for a total of $3,000. Subscribers were to include wealthy industrialists, museums and libraries.  Active production of the volumes began in 1907. However, it slowed during the teens when the type of printing material was not available. The death of J.P. Morgan in 1913 impacted the progress as well, and as did the First World War. Ultimately, Morgan's heirs continued to support the field work. A display of the works helps to understand how expansive this undertaking was. It covered 30 years and more than 80 tribes of vast territory west of the Mississippi and Missouri rivers into Mexico, through the plains in western U.S., coastal Canada and into the Arctic. Here is a representation of those 20 volumes with accompanying portfolios. It is helpful to remember that each volume contains a few hundred pages and each accompanying portfolio more than 30 photo breviors. Let's pause here and take a few questions. Where is the largest collection in Vermont? I don't know that there's a collection in Vermont. There is a collection of full set at Dartmouth. I'll speak of that later in the legacy, but that is the nearest. There's a partial collection in Montreal. I'm struck by the breadth of the territory. It makes me wonder, did he have a team that went with him? How was this organized actually in the future? The question is, did he have a team to go with him? The answer is yes, there were many. He had translators, he had field interviewers. He worked with many different tribes and had to work with many languages as a result of that. He also worked with Hodge, the primary editor. He worked with musicians when you see later some of the musical things that were included. The group of people that worked with him was very large and changed over the years, of course. He, people both in photography and in the field work, in the ethnology. He was required to sell them to libraries. Was that an easy task? Were people interested at that time? Anne's asking about the subscription and his requirement to sell them. Was it an easy task? It was not an easy task, particularly not for him. Someone with his artistic temperament did not do well at the business side of things. We'll see more of that later. However, you also suggested that was there an interest. Indeed, there was an interest during this time. There was a great deal being written about the indigenous populations and a good deal of interest. And many people at the time felt that this race, this culture would vanish. So that sense of documenting and preserving in that way. Did he keep his Seattle studio while he was engaged in this? A little more of that later. The question is about did he maintain his Seattle studio? I would have to say that his wife maintained his Seattle studio. He did a little of it. He spent a great deal of time in the field work and used a lot of the studio to produce the documents and the materials. But he was less active in the studio himself. Other questions? Obviously, he couldn't do this all continuously. Over the 30 years, he had to maintain his life and stuff. Was there any formula that he had? How long he would have to work and back out in the field? Did he maintain the whole family? Brian's question is, how did he do this work? Did he do it continuously? Indeed not. One of the things I'll be able to tell you about later is a huge gap in time around the First World War when there was virtually no field work being done. But there were other times, there were diaries and documentation from him in the 1906, 1907 just before the first publication of the first two or three volumes where he and a staff were working virtually 20 hours a day going to the post office once a week and day in and day out to prepare the documents. So intense periods of work and then huge gaps and many returns to the various tribes in various areas. Other questions or shall we move on? Let's go. So now we'll talk about the subjects of his photography and moving on to the remarkable images that he produced. Viewing the selection we will look at both his focus on the faces of the people, young, old, saddened or cheerful. A composite of this work also sees the vision that Curtis had in documenting this receding culture in all aspects. Regarding the images, in the brain in 1992 thesis studied all 2226 images that are available in the North American Indian both the text and the portfolios. They are categorized into five major groups the portraits and including some non-portrait human subjects, landscapes, architecture, livelihood and artifacts. Let's begin with portraits. What is a portrait? The commonly accepted definition is that a portrait is a representation of a person in which the face and his expression are predominant. The intent is to display a likeness, a personality, even a mood. It is not a snapshot but a composed image of a person in a still position. A portrait often shows a person looking directly to gain the most engagement with the viewer. Many portraits are face only. Some are head and shoulders of three quarters. Most are of a single subject. Others might be full body and more than one subject. Approximately 40% of the images in the North American Indian are portraits.  More men than women, more adults than seniors and certainly more than children or infants. First let's see one of the famous chiefs, Geronimo. While a common perception of this Apache leader is about his wars first against Mexico and then the US, Curtis tells us this portrait of the historical old Apache was made in March 1905. The picture was taken the day before the inauguration of President Roosevelt. Geronimo being one of the warriors who took part in the inaugural parade at Washington. He appreciated the honor of being one of those chosen for this occasion and the catching of his features while this old warrior was in a retrospective mood was most fortunate. Retrospective was not always the mood of the chief. Let's look at a few other images. Here is Bull Chief. We see his pursed lips, his eyes defiant, resolute. Curtis tells more about him in the text, especially speaking to his bravery. Bull Chief never led a war party from camp but four times took detachments that were turning back and each time came back with undisputed honor. Three times he dismounted in battle and alone held the enemy at bay. Next Chief Garfield, a more neutral stance, his amazing headdress and ornamentation are predominant. And finally Chief Joseph. Curtis's long caption speaks of Chief Joseph's heroic efforts to resist the greed of white settlers but is the chief's own words that define his legacy.  From where the sun now stands I will fight no more forever. So in their various postures from retrospective, defiant, neutral to sadness the chiefs convey a good deal of their life experiences in his portraits. A look at the young and adult man tells us something about them. Some quite serious, even somber, like this Navajo medicine man. In contrast, the Pagan dandy offers the very definition of dandy showing his devotion to style, neatness, fashion and dress and appearance. It offers a certain air of cool and hip, remarkable hairstyle, facial enhancements and ornamentation as well as his decorative garments. In contrast, the intense seriousness of the Zuni governor of the Southwest tribe. In review, the young and adult men, medicine man, dandy and governor. If we can offer another view into the lives of the indigenous tribes, these three portraits of women show different expressions. Pima woman, Pima matron, most often during this era, person sat for portraits and did not smile. Pima matron is atypical in that regard. The Suquamish woman seems almost too somber for a portrait. But again, Curtis's purpose was to convey the losses of these people and it comes across in portraits such as this. Wisham girl may seemingly have a smirk or could just be the whale bone ornamentation through her nose. This personal dormant exceeds even what we might see in downtown Montpelier today. So looking at the three women, the Pima matron, the Suquamish woman and the Wisham girl, another way to look at women is to look at them through their lifespan. Here is the Hopi girl. An important feature here is referred to as the squashed blossom hairstyle indicating a young woman of marriageable age. Curtis's caption tells us more. Soft, regular features are characteristic of Hopi young women and no small part of mother's time is used to be devoted to dressing the hair of her unmarried daughters. Mother and child, Lakota or Titansu, this is an interesting portrait of two individuals. The mother in deep contemplation, while Curtis captures the piercing gaze of the infant. And finally, old woman in mourning. While Curtis offers no caption, nor is there more in the text, it is widely recognized that the lifespan for women is typically greater than that for men and thus in old age women are often mourning the loss of their mates. Women through their lifespan are young women, mothers and widows. Children are less frequently photographed by Curtis. It is no surprise considering that childhood is less than two decades and adulthood the remainder. Nonetheless, children are captivating subjects for images. Let's begin with the youngest, an Apache babe. I guess this precious one didn't know that it was a formal portrait, a need for seriousness. The Comanche girl has a more serious look. Although Curtis offers no special words on this photograph, it is placed in the pages describing the mythology of the tribe, what better way to illustrate the stories and beliefs of people than those told to children.  In the early morning, this boy, as if springing from the earth itself, came into the author's desert camp. Indeed, he seemed a part of the very desert. His eyes bespeak all of curiosity, all of wonder of his primitive mind, striving to grasp the meaning of the strange things around him. And then Mojave Childs. The photograph is embedded in the text about the Mojave's beliefs about their origins. And although it's a photograph of a child, there is a certain steadfast gaze that feels almost adult-like. In summary, the children, the babe, the Comanche girl, the son of the desert and the Mojave Childs. I can't finish this section without a favorite, a family portrait. It's rare, there are not many. This shows both smiles and a bit of skepticism, perhaps the most so from the youngest member of the family. This is from the 20th and final volume, and Curtis is concluding work with his hazardous trip to the Arctic. Let's turn to the human subjects, not in the portrait format. Some interesting depictions for sure. First is vanishing grace. It is dark and often difficult to discern the faces and positions of these few riders headed into the abyss. This is the first photograph in the portfolios and says much of Curtis and others in their view of the fate of the tribes. Another dark and ominous one is watching for the signal, Nez Perce, a striking image taking with limited light. And another, perhaps in contrast to the first, is one called Out of the Darkness and seemingly Out of the Same Deep Canyon Wall. In summary, three dramatic photographs with human subjects. Vanishing grace, Out of the Darkness, and Waiting for the Signal. The next three are the daily activities that surround food, obtaining and preparing it. First is Macaw Wheeler, and again this is from the area on Mia Bay. And one on the preparation of food is called Pounding the Fish. And a rather noted photograph here is the Peaky Maker, preparing a type of grilled bread. A summary of these three life-sustaining activities. The Wheeler, Pounding the Fish, and the Peaky Maker. Before I leave this segment, I want to offer three favorites. First, Waiting in the Forest. Curtis tells us, at dusk, young man closely wrapped in white cotton sheets may be seen standing motionless in the shadow of the trees, each one alert for the opportunity to steal a meeting with his sweetheart. Waiting in the Forest. Watching the dancers brings us back to the Southwest and shows the squash blossom hairstyle of the young women of marriageable age. And in contrast to that joyful occasion, this one is called Heavy Load, Sue, depicting the harsh realities of obtaining warmth in the winter. Some favorites. Waiting in the Forest. Watching the dancers and heavy load. But let's move on to landscapes. The immense landscape, Curtis often includes the human subject. To me, it's the contrast of man and nature and how little we might mean. Like Kenyon Deschets, Kenyon Del Marto shows the immensity of the steep cliffs and the diminutive human figures. Sunset on Puget Sound shows a higher horizontal line and a more prominent image of the vessel and its occupants. Badlands, again, the rising mountains. In summary, the landscapes. Kenyon Del Marto, on Puget Sound and in the Badlands. Moving on to architecture. The native dwellings appealed to Curtis and he provided many traditional types. Popular culture may most identify the Teebies like these of the Teton area of northern Montana. But also see the centuries-old adobe of the southwest. Of this one in particular, Curtis provides a great deal of information as he saw it change over a few decades. From the 1880s, when it rose to the height of six well-defined stories, in 1903, when the photograph here reproduced was made, there were five stories. In 1910, a single apartment was four stories from the ground, but in 1919, the room was demolished and Curtis did note the hemispherical oven of the Spanish provenance on the roof. You can see there in the lower corner. And finally, a structure of wood and frame as seen in the Pacific Northwest. In describing this structure, its purpose and production, Curtis says the longitudinal and circular flutes on the columns are laboriously produced by a means of a small hand adds of primitive form. In summary, the three architectures. Teebie of the Plains, Adobe of the Southwest and Frame of the Pacific Northwest. The livelihoods were important and the tribes documented and they were documented by Curtis. Here are some of the iconic occupations and images. First, a medicine man, highly revered by the tribes. This one working with his herbs. Remember, too, that Bear's Belly was a medicine man. Next, a weaver of the sheep herder tribes of the Southwest. In speaking of this Navajo blanket loom, Curtis tells us during the summer they are erected outdoors under an improvised shelter as in this case beneath a tree. The simplicity of the loom and its products are clearly shown pictured in the early morning light under a cottonwood. Finally, a potter creating functional and decorative artifacts. This potter appears so involved in the work that it is hard to see where the clay ends and the human begins. The iconic livelihoods, the medicine man, the weaver, the potter. Artifacts represent the final segment of photographic images. First, a sand painting so careful in its construction. Curtis tells us that this is one of four elaborate dry paintings or sand altars employed in the rights of the Mountain Chat, a Navajo medicine ceremony of nine days duration. And typically the sand paintings lasted no longer than that. Here are highly decorative baskets from a tribe in the southwestern part of California. And pottery from an area of New Mexico. Curtis tells us a great deal about this particular pottery. The polished black vessel on the left represent a recent revival under the stimulus of commercial encouragement, but of an ancient phase of potter's art for it answers the description of blackware observed by Coronado's chronicles centuries before. So the three artifacts, the sand painting, the baskets, the pottery. Curtis achieved his vision of creating a record of the Spanish race. Although his portraits are most recognized and represent a large portion of his body of work, he photographed, recorded and documented many aspects of the lives of the North American Indian. The places where they lived, from desert to mountain to ocean side, how they lived, tipi, adobe or wood frame, their activities to sustain themselves and the products they made for both artistic and practical purposes. Yes, Curtis viewed it all and shared that vision for generations to come. So I'll pause here for a few questions. In your research, did you get a sense of what his entree was to various tribes, what his story was and how he gained the trust of the people that he thought of? Yes, just this question has to do with how did Curtis gain access to the tribes? What kinds of efforts did he make? And I can say his first method was patience. He took a great deal of time doing it. He took a great deal of time when he moved into an area where the tribes were with his field workers engaging them first and he would lay back. He would not be particularly engaged. He would wait for them to come forward. When you look at his portraits, you see someone willing to be engaged with a photographer and it's because of the time and the trust that he built up with the tribes. One of the interesting things I read was when the tribes were particularly closed about their mythology, their beliefs about origins, their religious practices because they were being discounted at this point. They were not allowed to have any of their sun dances, snake dances, these things. So Curtis' technique to get more information is he would be speaking with them and make the claims of some other tribe he had just heard that he knew would be in contrast to that one and they would stand to correct him. Yeah, still. The photos all have kind of similar field, seabed atones and almost like paintings. Was that a necessity throughout his career or was that a choice? This question is about the artistic picture-like, artistic framing of the photographs and asking if that was a choice, the sepia images. Indeed, he's often characterized as a pictoralist looking to other kinds of artists mostly of portraits or landscapes in oil or watercolor. Definitely it is what Curtis preferred. It has brought about some criticism but that is the method in which he worked and what he preferred in terms of the images. I think what he gives us are gorgeous images. Did Curtis leave any commentary about the printing of the medicine man that you showed a dozen slides or so back with, he's put a halo around the subject. Oh, I- Tom's question is, was there, that there's a halo effect around the medicine man was this intentional? I don't know, I think this is a great observation. It's something that I haven't heard. I see that he's wearing a band around his head, so there's one thing that can emphasize it but then behind it the specific kind of lighting. And I don't know, he certainly was a photographer of high skill and technique so he was able to do some things with lighting. He only used natural light and his temporary teepee lighting studios had like a sunroof or something so he could bring in the light. He photographed in daylight often in near darkness and sometimes in brilliant sunlight. Any questions? On the architecture, I was curious about the one that he did in the Adobe concept. What was his hope? You know, I don't remember, let's see if we can go up to that. Her question is the, oh I think it's gone back, on the Adobe's, if it was Hopi. I don't remember but it is definitely the southwestern part of the U.S. I can look that up. Other questions? Let me move on then to legacy. So we'll pick up where the final publication of the North American Indian ended or left off in 1930. Provide a little more about Curtis' personal life, his dedication to the task and focus on completing it because it interfered in many ways in his life. As mentioned earlier, he was less interested in a Seattle studio and more in the field work of the North American Indian. He was not paid for his efforts for this opus magnum. Left back at the studio to handle the day-to-day work was his wife managing the studio and doing the best to raise four children. Although in the early years the family often accompanied him to the various remote tribal sites, this was not so as the project progressed. Let's look at how the project progressed and conclude with this impression over time covering these major points. The 1930s, the sale of the materials, 52, the death of Curtis, 70s, the finding of the materials, the 60s and 70s and increased interest, and now the major exhibitions. The agreement with Morgan was a five-year effort and a $75,000 investment with the accompanying sales of 500 subscriptions at $3,000 each. To be candid, neither worked out that way. It seems that 200 and some original sets were sold by subscription, either through Curtis or some of the corporation that continued the effort. The five-year window was up even before Morgan's death, but the work was not completed. While taking no compensation for himself, Curtis was careful to pay individuals for taking photographs, for interpreting, for editors and others in the production of this work. When printing materials were unattainable and the field work was at a standstill due to funds, Curtis used his photographing skills to do other things. First was the Indian picture opera that used dissolving lantern slides with background music and lectures by Curtis in an effort to raise more funds for the publications. Next he created a motion picture in the land of the headhunters. This was shown in New York, Washington, D.C. and Seattle. Curtis never made a commercial success of either of those. The difficulties through the war years, Curtis's financial failings and his divorce left many volumes to be completed. The 11th volume was published in 1916 and the 12th in 1924, so as you suggested, a pretty big gap of time for some activities. But a man with a vision and focused on his task, Curtis spent the 1920s relocating his photography studio to Los Angeles, working as a still photographer and camera operator in the film industry to make ends meet and to complete this task. His harrowing final trip to the Arctic was done in 1927 and this led away to the final publications of the last two volumes in 1930. After the completion of the volumes, Curtis experienced a near total collapse. After a couple of years in rehab and recuperating, he returned to a greater level of activity and interest. He had many health issues and continued to experience personal financial challenges. He sold his interests in the North American Indian and the remainder of the completed sets and miscellaneous volumes. All portfolios, prints, as well as copper and glass plates were now owned by Morgan. Eventually in 1935, with virtually no activity and limited interest, at this point the interest in the Native American population had diminished. All those materials were sold to the Charles Laureate Company, a rare book dealer in Boston, for $1,000. Laureate offered them for sale for a number of years. This is one of the images. But after his death, the depression, and less interest in indigenous populations, the Ovis Magnum remained in reference libraries, not often referenced. Curtis died in 1952, much forgotten. His New York Times obituary acknowledged that he was an internationally known authority on the history of the North American Indian, and mentioned that he was widely known as a photographer. In the 1960s and 70s, with the civil rights and Native rights movements, this brought more attention to the tribes. Similarly, anthropologists rediscovered Curtis' work. As the interest in the North American Indian increased, so did the interest in his work. The American Heritage Book of Indians, published in 1961, with an introduction by President Kennedy, featured some of Curtis' photographs. A 1974 article was titled, Edward Curtis and His Splendid Indians. And again, we see Bear's belly. Major exhibitions of his photographs were presented at the Morgan Library Museum in 71, Philadelphia Art Museum in 72, and University of California in 76. His work was also featured in several anthology of Native American photography. In the 1970s, the Santa Fe, New Mexico photographer and filmmaker, Carl Kernberg, searched for Curtis' original materials. With two other investors, he purchased almost 285,000 photographures, and the copper plates from the Charles Laureate Company. The plates were later purchased by another investor, Mark Zaplan, also of Santa Fe. Ownership remained there until 82 when they were sold to a California group, led by an Apple executive. A number of collectors have been instrumental in gathering original prints and reproducing materials. Lois Flurry began her interest when she originally saw Curtis' photographs and lived in Texas. She moved to Seattle and started Flurry & Company in 1981. The company has offered original prints and other artifacts over the years. Christopher Cardoso, an art curator and photographer in Minneapolis, is an acknowledged authority on Curtis. He authored nine monographs on Curtis, as well as creating and curating more than 100 one-person Curtis exhibits in over 40 countries. Having collected Curtis' work for four decades, Cardoso has created the world's largest and most broad-ranging Curtis collection. Here, he is now offering a republication of the original 20-volume set. With increased interest, there's been an increased value in the 20-volume set. The most recent one was sold at a Christie's auction in 2012. Although the estimated value was a million to a million and a half, the set sold for 2.8 million U.S. dollars. The originals are now most often in rare collections and archives. Viewing typically requires special appointments and even specific authorization regarding purpose. However, the volumes are more generally available to the public. With funding from the Library of Congress, Northwestern University digitized a set of the 20 volumes and company portfolios in 2004 to reproduce an online and easy-to-access version of the North American Indian. The Northwestern site offers table of contents and titles or portfolios, while the Library of Congress's effort joined to offer browsing and searching features. Another aspect less known was Curtis's effort to document language, both in written form and with phonetic interpretation and by sound recording. Curtis and his crew used wax cylinders to collect more than 10,000 recordings of language, music, and tribal lore and histories of those 80-plus tribes. Of Curtis's wax cylinders, only 276 are known to survive and they are all held at the archives of traditional music at the Indiana University. These sound recordings now help tribes to rediscover the sounds of their native tongues. Could Curtis ever have known his vision could reach this far forward into another century and back to provide connections for the natives to their own spoken language? For Vermont, nearby locations of the 20 volumes begins at Dartmouth College as the closest. The location there is the Rainier Special Collections Library, right in front of the Baker Known Library, better known. Another source for a partial collection is at the McCord Library and McCord Museum in Montreal and in that collection is an interesting and yet unsolved mystery. Let me share with you what I've learned of the acquisition. We must begin with Hader Reed, born in Upper Canada in the middle of the 19th century. He worked for the Canadian Department of Interior's Indian agent and commissioner in Western Canada in the 1880s. During this era, he acquired many artifacts in Indian memorabilia. He later lived in Ottawa and Montreal. However, his work for the Canadian Pacific Railroad brought him across the country from Quebec City to Vancouver during the early 20th century. One can only speculate that it was during this time when the first volumes of the North American Indian had been published that it had the opportunity to acquire the partial set that he did. Hader Reed married Kate Armour Lottery. They had one son, Gordon Reed. Gordon's widow made a gift to the McCord Museum, or its predecessor, the Red Path, of seven of the eight volumes and the eight portfolios during the early 1960s. Their daughter, the lone descendant, Kate Reed, spoke fondly of her childhood memories of large boxes of beautiful photographs, what a wonderful gift that all of these courtesans' originals were given to the museum. A major exhibit at McCord was held in 2012. Interestingly, the partial set is number 115 and has a printed dedication. It says, this monumental work in 20 volumes by Edward S. Curtis is a gift to the Rainier Club of Seattle through the kindness of James A. Moore, April 1911. So why is a set dedicated to a club in Seattle located across the border and continent in Montreal? One simple determination is that in 1911, eight volumes had been published, so it is not surprising that that's the limit of what Hader Reed had acquired. James A. Moore was a developer and leader in Seattle in the early 20th century. His Moore Theater, which continues today, is one of the sites that showed Curtis's 1914 film. The Rainier Club served as a gentleman's club and residence in the early 20th century. Curtis often resided there in between his travels and his separation from his family. The Rainier Club, like others of its ilk, suffered financial hardship during the Depression. Interestingly, neither James Moore nor the Rainier Club are listed as subscribers to the North American Indian, either in Curtis's personal papers at the University of Washington, nor in those held by the Morton Library in New York City. It remains a mystery for another day. Fast forward to today. In honor of the 150th anniversary of Curtis's birth, there will be many exhibits. By December 2018, more than 20 museums, native culture centers, libraries and other organizations in Seattle and across the Pacific Northwest will stage exhibits and events connected to the images that Curtis made of native people and connect those to explore their relevance today. For a few moments, let's think back to the work of Edward Curtis. His vision to see and document a passing way of life has lived by the indigenous populations of North America. His focus on the faces, the landscapes, and the aspects of their lives, as well as his steadfast vision and commitment to the task over a 30-year period of time, which took a great personal toll on him. The full appreciation of his life's work is just now coming into view 150 years since his birth. I thank you for your time. I hope you've enjoyed this journey. We'll take a few other questions. Where's the closest exhibit from here coming going on this year? I think Wisconsin there. I think there's one near his birthplace, Whitewater, Wisconsin. I can find it and get it to you, and that won't be until fall. Most of these, so many of these, are in the Pacific Northwest. Brian? Brian's asking about what happened to Curtis, what was his collapse after he finished this work. All I've read of it is that he spent about two years in a rehabilitation center in Denver. By then, he was living in Los Angeles, but he had a physical and mental collapse. There were writings from him at that time saying that he can't do anything. He's physically incapacitated. Obviously, he pushed the limits of the human body to do all the things he did. That last trip to the Arctic, they almost sank the ship numbers of times. They left much too late into the season when the ice was coming in. There were all kinds of things. I don't know that there was any specific diagnosis, and in 1930, I don't know if there would be one. You mentioned that his wife took care of the studio in Sierra. Was she involved in the photography at all? The question is about his wife and her participation in the studio. I don't see any documentation of her as a photographer. She certainly did a great deal of the work. She had a tremendously difficult divorce in which by court, she was granted the studio and all of the materials. However, Curtis and his children, who had been raised by her, supported him and went and destroyed many of the materials. Some of the sad stories connected to all of this. You mentioned someone in Minneapolis, who's going to write an interest. Is there anything on display in Minneapolis? Your question is about what is in Minneapolis and is there anything on display? I don't know that there's anything right there. Christopher Cardozo has a studio there. He has a huge online. I've shown that. It's easy to find. I saw an exhibit that he put together about a year and a half ago in Palm Springs. He has a gorgeous book called 100 Masterpieces. It's the 100 photographs that he's selected as his personal favorites of Curtis. Those are what he's been exhibiting around the world in these various locations. The last time I communicated with him, I didn't get the impression there was anything there to be seen because I had the same thought of what's there. Is the Alaska journey documented in a way that's accessible to... Okay. Will's asking about the Alaska journey and I assume you mean the Harriman expedition. The Arctic one. Oh, his final Arctic. There are some documentation of his Arctic. I think certainly it's captured in that biography, Short Nights of the Shadow Catcher. I think there's more in Gidley's books about his field work because that would be included. That's as much as I can think of right at the spot. Yes, Brian? You must have kept journals. I mean, obviously, some of the applications kind of magnitude to this project. Is that one of the things that was probably destroyed when he had his separation this morning? You're asking about his journals and his documentation. I don't know that he was a particularly good journalist. There are some commentaries. There's one long correspondence between him and a librarian at the Washington State Historical Library that happened in the 1940s, I believe, and that actually is available through the Seattle Public Library. In terms of his project, when I was at the Morgan Library in New York looking at those documents, I would say that he was a very bad accountant. When he would put in things for his bills, it would be X activity, X amount. So an artist at heart? Very much an artist at heart. I've looked at lots of materials and supporting documentation. His wouldn't have qualified in most regards. Anything else? Is the Morgan Library... I'm sorry? Not that I've found. I haven't communicated with them recently, but that's a very good question. They certainly should. The other place that has had exhibits, and again, I don't know that they're planning any, is the Wadsworth-Anthonium in Hartford, and that's because J.P. Morgan was actually from Hartford, and he supported that Anthonium and Museum. I was down there a couple of years ago, and they have preserved their sets beautifully. It's incredible to see different original sets and the conditions they're in. So at this point, his work has been scattered in a few different places, where it's being stored again. It's not all in one place. Cordosa's got a whole bunch of them. Right, right. The question is, where is his work? I would say they're... Definitely, I've found probably 50 large museums, libraries, reference libraries, but to see those works, you have to make appointments. It's a huge requirement. Handling is difficult, and you have to have a specific purpose often. But I can't say enough about the online digitized version at Northwestern University. Those are all there. That's primarily where I obtain the images that I use, and it's a wonderful way to see them. And most often, actually, when I'm looking, I have that up and online, and then I'm looking at the actual books, because if I want to find something quickly, I do the search on the computer and then find where it is in the book to look. Well, I think we should conclude. We promise to give back the facility and time for them to set up for the next thing. But thank you all. I hope you've enjoyed it. Leave your comment cards up here, if any of you are willing. Be very eager to hear what you can say.


ther countries and just very briefly two other points to stress picking up what Michael Clancy has just said and it's about certainty and continuity that remembering that where we are preserving hierarchies which were in place in terms of how we understood applied and interpreted the law prior to the withdrawal that it does provide certainty and continuity for members of the public to maintain that apparatus in a sensible way and lastly just to perhaps also say in terms of thinking about these topics going forward just to stress again what many have said that it's important to not think of EU law and of retained EU law as some sort of monolith it covers such a wide subject area and a very wide range of different sources and ways of that legislation having come into being thank you Professor Armstrong just one very quick point I think Kirsty said earlier about legislatures being able to make modifications at their leisure as circumstances evolve one thing I think we'll need to look out for in this EU retained law bill is whether is there is more automaticity of the sunsetting of retained EU law which would then mean that legislatures at different levels would have to think very carefully about what we'd want to put in place to replace any of those retained EU law rules that would automatically fall away now I don't know whether this is or is not going to be a feature of the bill but if it is a feature it will require action by legislatures and therefore will require of course engagement by committees in what would replace those rules in future thank you very much can I thank Professor Locke for joining us as our advisers want it and everyone else who's contributed to panels we will be considering a draft report covering all five roundtables that we've had on the these areas and that will be available after summer recess before we finish can I thank members for their constructive consensual approach to the committee's work over the past year it's been demanding productive as well and rewarding and I thank you all for your support both for parliamentary staff and our advisers as well and I wish everyone a good recess and a special good wishes and congratulations to a colleague Moriskolton who's not with us today so enjoy the summer and on that note I close this meeting


What is this? The new Quest Pro! Wow! So what do you do with it? Let's get into the metaverse. Got it! Here it is. In the box, we have the headset. Beautiful. Is it comfortable? It is. What else do we have? Charging pad for the headset and the controllers. Then we have two controllers. What else do we have here? Cover for the lenses. Awesome. We missed something here. Oh, yeah, we did. Charger. Two charging cables. Instructions. Manual. I can't wait to get in the VR.


$539 in one day. What video is that? Just off AdSense alone in 2020, I have essentially doubled my salary. What is going on everybody? Welcome back to the channel. For those of you who are new around here, my name is Michael, aka Dr. Chlini, and I am a diagnostic and interventional radiologist in the great state of New Jersey. No longer New York. I got that right finally. On today's video, I wanted to keep the finance theme rolling and talk more about money. And apparently you are very interested in what I have to say about medicine and how it pertains to finance and all that stuff. So on today's video, we're going to talk about money and specifically how I made over $100,000 while in residency. Let's go. Let me come a little closer for this, since we're talking about money and so many people are interested in this. So how did I make six figures while in residency when if you saw my last video, when I talked about how much money I make during residency or made during residency, because luckily I don't make that salary anymore. But you may be asked yourself, Michael, how did you make over $100,000 in residency when your salary was in the 50 to $60,000 range? And here's how. The short answer is my wife. I got married. I married someone who has a high salary. My wife's a physician assistant, waiting to her channel here. All you have to do is just marry a successful woman and make over $100,000 a year. Life is good. It doesn't matter what you make during residency, she'll take care of you. Obviously I'm just joking, somewhat. Yeah, it wasn't easy when we obviously got married.  So it's like extra nice. But anyways, so how did I make $100,000 plus during residency? And the short answer is I just did other things outside of residency. And I think that's the hardest thing for people to realize because residency is the most demanding thing you could possibly think of. It occupies all of your time. Like you're working 80 plus hours a week, every single week. You did maximum four weeks of vacation a year. Most of the time it's around three weeks of vacation. That's what I got during my residency and had a few like scattered holidays here and there. But that's not really that much considering how long you're working for and how many years you do this. I think I said in my video I was making somewhere between 55 and low $60,000 per year. So as you can see, I had to make at least $40,000 plus a year to bump over the sixth video mark. It wasn't that easy to be honest with you. Before I go any further, I'll touch on that a little bit because you spend about 80 to 100 hours a week working in residency, obviously depending on your specialty, but also there's something people don't realize. After you finish your daily hard work routines, the long hours in the hospital, you have to come home and study because no one's gonna teach you this stuff. And eventually you get tested on your entire specialty during your board examination, which I took during my third year of residency. But nonetheless, you have to kind of, and Geron is calling me. She must have heard me talking about her. Anyways, so what people don't realize is that you have to take time outside of those long hours in the hospital and actually study and learn a lot about your specialty because you can only learn so much while you're working and working those long hours. You obviously sponge up everything and soak it all in, but you do have to reiterate and read more in depth on some topics because being a doctor is hard as it turns out. Who would have guessed? What I'm trying to do that is you have minimal time outside of residency to do literally anything else besides sleep. And the only thing you wanna do outside of residency is sleep. But if you are crazy like me and wanna do things outside of medicine and prepare for your future, then there are other avenues to make more money. So how did I then make over $40,000 a year to get me over that six-figure mark during residency? Let's go to the computer. All right, so I'm willing to bet by now that many of you probably know how I made the extra income is via YouTube and that is exactly right. So before I get into them, they've rewind and tell you how I started this. So I actually started Instagram first, developed a following on Instagram and many people like Antonio WebMD started to get me involved in the YouTube space, told me I should dabble in it and eventually I tried it and ended up enjoying it and here we are today. So I think that was back in like 2018 or something when I started this channel and it kind of has slowly taken off from there. But the reason I started it was because, A, I love the creative nature of it and it really fulfills that creative outlook that I'm looking for, that I don't get in my normal day-to-day job but it also allows you the opportunities to do crazy things you never do otherwise and you also make a pretty good living off of it and it's a nice supplemental way of making money, especially while you're in residency. Again, yes, I made like 55, $60,000 which isn't a bad salary but it's not that good of a salary for someone who has so many years post-high school education and is working so many hours per week. I think I did on my video, it came out to like $10 an hour or $8, whatever it was which is less than minimum wage and for a physician working less than minimum wage, it's not that good of a salary. And before I get into the actual numbers on my YouTube channel, I'm gonna show you like 2019, 2020 income. I just wanna put a disclaimer out there. I'm not showing you this information because I wanna brag about it.  I'm just buying Lamborghinis all over the place. I'm showing you this because you can do it too. While in residency, you can have other means of income. It doesn't have to be YouTube, doesn't have to be Instagram. It could be TikTok, which is taken off like crazy. It can be other things outside of social media whether it be investing or even working another job. I don't know. My point is you still have time regardless of how much you are working to do other things. When I first started this, as I'll show you, I wasn't making any money, but I knew, I'm watching these people like David Dobrik out there who are making like hundreds of thousands of dollars per month way more than a physician would. And I was like, well, I might as well try because I don't really have anything to lose. If I don't become successful on YouTube, I just continue being a doctor. But if I do, it's a nice supplement to my career. And that way I don't have all my eggs in one basket, which is so important. And that's like the number one thing I can possibly get through your head. Don't put all your eggs in one basket. Your job is no longer a safety net. You have to have a plan B and even a plan C sometimes. So let's go ahead and get into my metrics or my YouTube analytics. And I'll show you a little bit about what I made when I first started YouTube and what I made last year. That way I can prove to you all that I made over six figures in residency. So this is my 2019 data, which I'll show you right here. Oh, I actually started YouTube in 2019, allegedly. I thought I started it before that, but oh, you know what? I did start it. I started in like September of 2018, but I wasn't monetized yet because you have to get like 4,000 watch hours. You have to have 1,000 subscribers and it takes a little bit to get monetized. So I didn't get monetized until the beginning of 2019, which is why I'll show you my 2019 income first. So as you can see here, so I started making a whopping $2.17 per day here. And it bumped up a little bit, five, seven ended up in the $20 range and not till about March putting out good content. Did I hit the $90 in one day mark? And I don't know what video that, oh, that was Dr. Verse PA video I did with Adriana. Link up here to her channel. And that drove me a little bit. I also made another video of my unusual path to med school where I talked about my non-traditional path into med school and that bumped me up a little bit too in the 90 plus dollars a day. So I'm almost at $100 a day mark, but it doesn't last because the thing with YouTube is it ebbs and flows, these big masses swings up and these big masses swings down and then it'll just kind of even out of her time. So you'll see all throughout March and May, June, I was making around, you know, $20, $30 a day mostly in September, so a year after I started by the way. And that is, I just want to reiterate this, the consistency here is key. This is a year after I started YouTube of constantly every single week putting out content. And that's amidst being in residency by the way. So it's hard enough for just a YouTuber who doesn't have a full-time job. Now imagine how much I was working and then also putting out content as well. And I want to kind of like prove to people that you can do it as well. That's the whole point of this video. This wasn't anything specific that I was doing, it's just, I just did it. So then you can see here in the end of like September, I started making like $70 plus dollars a day. This video popped off to $123 a day, what video was that? My 80 hour work week in residency, no wait. My 96 hour call shift in residency, that video has like, I think over a million views now, though that has taken off and then I'm up in the $50, $80 range, you know, here. Couple of hundreds here and there and I bumped up to $213 in a day. What video was that? What was my Asheville travel vlog? That's the video that popped me over the edge in November, 2019, or whatever. So you can see this big ebb and flow here. So this big downturn directly after that and you're in the $50 to $60 range. But you can see though, starting the $20 day range and now I'm into the $40, $50, $60 range here at the end of 2019. And with that all being said, my grand total for 2019 was a whopping $14,849.20. This is just the YouTube AdSense revenue. So this does not include my sponsorships, my sponsor videos, my affiliate links, all that stuff. At this point, I think I crossed the $100,000 year mark with just this year alone, but then I'll show you how much I improved the following year. All right, so now let's get into the 2020 year here. So 2020, we started off with a bane here. We're like $50 and nothing anymore. We're bumping up into the $100 day range. We dropped down in the 70, blah, blah, blah. Then we had a few pretty boss days, $268 a day. And then let's see, what was this big spike here? $539 in one day, what video was that? That had to be not the gaming mouse. I don't know what video that was. Why was it so high that day? I don't know what video was so successful. It was how I made a face mask video. That video just popped off for some reason and it got taken up by Men's Health Magazine and was in a few other different spots. It was just good timing for that. I saw a video, I made the mask and it was during the Pandy Wandy and it did really well. So I made $539 in one day off of that, which was crazy. And then obviously it crashed pretty severely the next day because you can't really maintain that without pumping out that kind of content. And then it was pretty solid in the hundreds per day. So I was making $100 to $200 a day for pretty much the entire part of 2020, which is pretty cool. But this is a little unique because most people were at home during this time because that was during the pandemic and a lot of people were watching content. A lot of people were watching YouTube because they had nothing else to do. So this was a little rare, but still it was a pretty good year and pretty consistent. You'll see how much it increased compared to 2019, which was like $14,000. So this is my 2020 total of AdSense. And in 2020, I made $51,259.25. So just off AdSense alone in 2020, I have essentially doubled my salary. So you can see that I was making just as much almost as my residency job as a physician that has taken me 10 plus years to get there as I was with my 10 hour a week job on YouTube that I was doing super part time. And I was almost making the same thing as being a physician. That's crazy. So obviously this year I made over six figures. And again, this only includes my YouTube ad revenue. It does not include my sponsorships, all my sponsor videos, affiliate links, all that other stuff. I may make another video on all my sponsorships and how much money I make on YouTube. Let me know in the comments below if you want that and I'll think about it. That's getting a little personal, but we'll think about it. And I'm already showing you my YouTube ad revenue here. Might as well just go crazy with it. So you can see how much more I advanced in 2020 compared to 2019. And almost, what is that? 300% plus in a year's time. So I essentially tripled my previous year return on just Google ad revenue, which is pretty crazy. And again, I just want to show you that this is what happens when you consistently put in the work. I didn't stop making content this whole entire year. And keep in mind, I was still in residency working long hours. And I was also studying for boards a lot of these times for six months, mind you. And I was still trying to crank out videos. I don't know, maybe I was crazy. I think the pandemic helped a lot because I couldn't go out and travel or do other things. But here we are today. So I'm not going to show you this year because we still have a few months left of 2021 and I don't want to give away any secrets. But nonetheless, hope you all enjoyed this video. Hopefully it inspired you all to go out there and get another job doing whatever it is, just not having all your eggs in one basket as a physician. Set yourself up for success. Do things consistently and eventually they will pay off like this has so far. So let me know in the comments below if you enjoyed this type of video. And if you have any questions, I'll just leave them in the comments below. I think this video is getting a little long now. So I'll go ahead and end it here and make sure you follow me on TikTok and Instagram up here. And I'll see you all on the next video. Bye.


CHAPTER XXV of TWO THOUSAND MILES BELOW by Charles Willard Diffen. This LibriVox recording is in the public domain. SMITTY. Scarcely more than a vault in the solid rock, the room where Rosson lay. He had seen it for an instant when the priest, after tying his hands behind him, had hurled him viciously into the room. He had but one entrance, though up high on one wall was a crack some two feet in width that admitted fresh air, a little room, only some twenty feet square, but he would not suffocate. The priest did not intend that he should die, not yet. He saw one of the giant yellow workers bring a big metal plate. He put it before the doorway. Then, by the red glow, he knew that they had sealed him in. I got fee-e-all, he thought. I did that much to help. That may put a crimp in their plans. Check the invasion up above. But Gore didn't do, as I told him, or it didn't work. The twenty-four hours must have gone by. Then even in that thought he found happiness. That means Loa is safe, he told himself. The shaft is clear. She's on her way back right now. He pictured the Janna falling swiftly through that dark shaft. He saw in his mind the beautiful figure of the girl, lithe and slender, standing at the controls. About him was a silence like that of the grave.  It was some time before he knew that. With that throbbing other faint sounds were mingled. They came from the wall beside him, sharp tappings muffled by distance, the faintest whispering echo of rock striking upon rock. Tap, tap, tap, a longer pause, tap. They were making dots and dashes that blurred with the beating in his own brain. In that dreadful silence he strained every nerve in an agony of listening. There was nothing more. He had been roughly handled by the savages. His whole body was bruised and aching, his thoughts hazy and blurred. Woosy, he told himself. Guests the old bean must have got a bad crack. Hearing things mustn't do that. Again he tried to picture the girl, speeding on toward that inner world. Was she thinking of him? Surely she was. They could hear her calling his name. Dean, she was saying. Dean-san. The words were repeated, an agonized ghostly whisper repeated again. Dean-san. Oh, Dean-san. Before he knew that the sound was coming from overhead. Then a light flashed once in the little room, and he saw her face looking down. She was beside him an instant later. Dean-san, she was saying. Did you think that I really would leave you? She was pressing her lips to his. Uncovering her light, she worked frenziedly at the metal cords that bound his wrists, pausing only to repeat her caresses, and at last he was free. I reached the Janna, she told him, in hurried whispers, and then I came up. Their great room, where the pathway to the light begins, was deserted. With a cord I pulled the lever, and the Janna vanished. I could not leave it for them to use. Then I followed. I knew by the sounds where they were taking you. And now, what can we do, Dean-san? Where can we go? It was real. Loa was there beside him. He had her in his arms. His bruised, bleeding arms, whose hurts he no longer felt. And then, through his mind, flashed the question. If this was real, what of the other? The wrappings he had heard. Perhaps it hadn't been a dream. He lifted a fragment of rock, and crashed it against the wall from which the wrappings apparently had come. Laboriously, he spelled out his name, remembering the dots and dashes from earlier flying days when planes had been equipped with key-senders.  Then he heard it. The answer came from a quicker hand. Rosson, this is Smitty. But Smitty was dead. What could it mean? Slowly Rosson pounded out the letters of his question. Where are you? The answer dispelled his last doubt, as to the reality of what he had heard. It was Smitty. Others were with him, for Smitty said we, and they were prisoners, sealed up in a living tomb. But where? Smitty did not know. He knew only that they were in a big room where the rocks had been shattered, and molten gold spilled on the floor. There was a hole in the roof, but too small to get through. A round hole, about eight inches in diameter. And at that Rosson interrupted to tap out a single word. Coming, he said, and turned toward Loa in the light. The girl had found a metal rope in her wanderings. She had used it to let herself down into the cave. And now it was she who helped Dean to pull his bruised body up and into the narrow crack. Loa had clung to the flamethrower. They found it where she had left it above. The tapping rocks she could not understand, but she knew Dean had a definite plan in mind when he whispered, The room where you first found me. Do you remember? Do you know the way? I will always remember, she said simply, and yes, I know the way. Rosson caught glimpses now and again of that broad thoroughfare along which he had once traveled, a prisoner of the Mole-men. But Loa knew other, and seldom used passages that roughly paralleled it, and then after a time Rosson himself knew in what direction they must go. He knew, too, that they had followed a circular route, and that the room in which he had been sealed was not a great way from the place in which Smitty was a prisoner. Yet this had been his only way to reach it. When they came to a sudden sharp turn he realized that they were close. Beyond that bend would be the branching lateral tunnel that led to Smitty's prison. The main runway had been deserted by the Reds. Stopping often to listen, starting at times in the side passages at some fancied alarm, they had met with no opposition. But now, from beyond the angling passage came the familiar shrillness of the Mole-men's voices. Again, the two concealed themselves, but no one approached. It's a guard we hear, Rosson whispered. They're guarding that entrance where we must go. They're taking no chances on Smitty's escaping. Then he crept to the point where the passage turned, the flamethrower ready in his hand. He drew back. For the moment it seemed to him physically impossible to turn this weapon upon them. They were savages true, but it seemed horrible to slash living bodies with a weapon like this. Then he thought of the devastation those same weapons had wrought among the people of his own world. His momentary hesitation vanished. With one spring he leaped into the open where a hundred feet away red bodies were massed, and the air above was quivering with the green jets of their weapons. His own flamethrower he had turned to a tiny point of light, and now it roared forth in fury as he swung it forward. They had no time even to aim their weapons or to turn them on. They were stampeded by the astounding attack, and still Rosson sickened as he saw them fall. There were some who, panic-stricken, dropped their cylinders and leaped for safety in a narrow branching way. Rosson knew he should have killed them, knew it in the instant that they vanished. But that momentary uncontrollable revulsion within him had stayed his hand. He rushed forward now, Loa still bravely at his side, passed the fallen bodies through the choking odor of burned flesh. Grabbing up one of the weapons that had been dropped, he thrust it into her hands and said, Wait here, stand them off if they come back. Then he was rushing up the side corridor, toward a room where once, in a far distant past, he himself had been confined. The flamethrower lighted the way. It showed him the metal plate and the smooth, glassy rock that had been melted around its edge. He pounded on the metal and shouted Smitty's name. Voices answered from within, voices almost unintelligible for the wonder and unbelief and joy that made them a confusion of wordless shouts. Then he stepped back and turned the blast of his weapon upon the rock at the edge of the plate. The metal sheet moved at last. Its top swinging slowly outward. Its base was held by the gummy, hardening rock. Then it broke free and crashed to the floor, and the light of Dean's weapon showed through the black opening upon the blanched faces of men, whose eyes were still wide in disbelief. Though they were looking at one of their own kind, it must have taken them a moment to realize that the naked body, clad only in a golden loincloth, and the hands that held one of the fearful green-flamed weapons were those of a human. Then one of them broke from the others, sprang heedlessly across the still-glowing plate and threw his arms about the barbaric figure. Dean, he choked, Dean, is it really you? You're alive? And Rawson's voice, too, was husky as he said. Smitty, I thought you were gone. The radio said they had got you, old man. The other khaki-clad bodies, a dozen of them, were crowding through the hot portal, and Rawson came suddenly to himself. Quick, he shouted, they'll be after us in a second. Follow me. Lola was waiting. Her own flamethrower spat a little jet of green. It was the only light. Rawson saw here, she had gathered up the other weapons, and it turned them off, so that even their little light would not blind her as she kept watched down the dark passage. Do we want them? Dean shouted to the others, and Smitty echoed the question. Do we want them, Colonel? Colonel Culver, his face almost unrecognizable under its smears of powder stains and blood, snapped a quick answer. No, we outranged them with our rifles. Their only flamethrowers, not ray projectors. Wait it, run like the devil. Rawson snatched Lola's weapon and threw it with the others. It would be hard going ahead. She must not be uselessly burdened. But he kept his own. Then, with his one free hand, he swept her up till she was racing beside him, as they led the way. I should have kept the fire-weapon the girl protested. I, too, can fight. Rawson speaking between breaths reassured her. Too heavy. The guns will protect us. Behind them a man's voice cried out once, a single, hoarse scream of agony. Then the rock wall took the sharp crackle of rifle fire, and threw the sound into crashing, thundering echoes. CHAPTER XXVI A girl whose creamy body was strangely unsoiled by smoke or grime, whose jeweled breast-plates flashed in the light of her torch, while the loose wrapping about her waist whipped against her as she ran. Then Rawson, naked but for the golden loincloth running beside her. Then Smitty and ten others in the khaki uniform of the service. It was all that was left of the fifty who had dared the depths. And now all of them were harried and driven like helpless animals in the burrows and runways of that underworld. But not entirely helpless. Colonel Culver had been right. Their rifles outranged the flamethrowers. Then Rawson, looking past that first burst of rifle fire, saw the one flame that had reached them whip upward as its owner fell. Others of the Reds came crowding in after, and the jets of their weapons made little areas of light as they crashed to the floor. Then Colonel Culver took charge of the retreat. Ahead of them and behind them was impenetrable darkness. Only the nearby walls were illuminated by the torch that Loa had been forced to turn on. And out of that darkness at any moment might come devastating flames. Culver detailed two men as a rear guard, and two others to run ahead a few paces in advance. At intervals of a minute or two their rifles would crack, and the echoes would be pierced by the whining scream of ricochets as their bullets glanced from the walls. We may not need them up ahead, Culver shouted to Rawson. I don't understand it. The place seems deserted. There were plenty of them here before. They've got something else to think of, Rawson shouted and reply. I killed Fee-E-All. He was their leader. But they're after us now. They'll be running through other passages, cutting in ahead of us. The tunnel turned and bent upward. For a full half-mile they ran straight in a stiff climb. In gasping breaths, Colonel Culver shouted hoarsely, won't it ever turn?  Then Smitty's voice outshouted his with a note of hope. We're almost there. I remember this place. There's where we mount at the searchlight. They've ripped everything out. Up ahead one turn to the right, then a quarter-mile, then a turn toward the crater. That runs straight for a mile, but there's a field-gun at the bottom of the volcano. We'll be safe when we're on that last stretch. Ahead of them, the rifles of the two who had ran in advance, crashed out in a fury of fire as green glow appeared. But this time the flame did not die, and Rawson, staring with hot, wide-open eyes, saw that the ribbon of green swept transversely across the tunnel. He could hardly stand when he came to a stop. Beside him, Loa was swaying with weariness. The walls echoed only the horse panting breath of the men. Then they crept slowly forward, where the passage went steadily up. Loa's light was out. She had slipped the cap on the torch at the first sight of that green. They stopped but ten feet short of the deadly blaze. From a narrow rift in the left wall it strained outward, the rock at the edges of that crack turning to red at its touch. It beat upon the opposite wall, where already the stone was melting to throw over them a white glare and the glow of heat. And like a shimmering, silken barrier, whose touch could mean only instant death, it reached across the wide tunnel at the height of a man's waist, and moved slowly up and down. The heaviest armor plate ever rolled could have formed no more impenetrable a barrier. "'And we almost made it,' said Smitty slowly. "'Look, beyond there, another hundred feet. There's the bend in the tunnel, a sharp turn, and we almost got around.' Rosson reached for Loa's light. In the wall, where the flame was striking, only a dozen steps back he had seen another dark mouth, a ragged crack in the rock. He sprang to the entrance. It might be there was another way around. His first glance told the story, for he saw the walls draw together again, not a hundred feet off. A blind alley he groaned. One of the two, who had been their advanced guard, snapped his rifle to his shoulder. He was aiming at the glowing crack where the green light was issuing. A ricochet he growled. It may go on in and mess him up. But there was no whine of a glancing bullet that followed his shot. The softened wall had cushioned the impact. Another man sprang beside him. He was shouting at the top of his voice, while one hand reached into a bag that hung at his waist. "'Get back, everyone,' he said, "'if I miss.'" He did not finish the sentence, but pulled the pin from a hand-grenade, then took careful aim and threw. It went high, thrown there purposely. He had not dared aim it into the flame. But it struck the crevice fairly, and they heard it rattle on the inside. The next instant brought the crack and roar of its explosion. Like a winking signal light the green barrier vanished. Where it had been was only blackness and the dye and glow of molten rock. Then a hundred feet beyond, up close to the roof, the bend of the tunnel turned red. It seemed the bursting in the flame. Far back of them, down the long sloping way where they had come, shrill voices were screaming. And still there was no green flame to account for that tunnel and flaming red. Rossen stood motionless. Loa and the others beside him seemed likewise petrified, until the voice of Culver jarred them into action. "'The ray,' he shouted.  Quick, jump into that cave!' They had all retreated through fear of the grenade. They were opposite the black place into which Rossen had looked. Loa was close beside Dean.  Then he was one of a crowding, stumbling mass of men who followed after, and their going was lighted by a terrible torch of flame. One man had stood apart from the others, farther across the wide corridor. This khaki-clad body flashed suddenly to incandescence, then fell to the floor. And inside the cave where the walls came abruptly together to cut off any further retreat, Colonel Culver spoke softly. One more gone, he said. That was Oakley. Well, he never knew what it was that hit him. And it looks as if we'll all get the same. Through it all Rossen had clung to his flamethrower, unconsciously his hand had held fast to the bent handle of the cylindrical weapon. Now he set it down slowly upon the floor, then straightened his aching body laboriously. Loa's light was still gleaming. He saw her eyes searching for his, half in terror, half in wonderment. Strange men with strange, thundering weapons. He knew she was wondering if they still dared hope. Wondering if these warriors of Rossen's race might be able to work further magic. Dean put one arm tenderly about her and drew her close, and his other hand came the rest upon Smitty's shoulder. It's the end, dear, he told the girl softly. It's the end of our journey. You've been so dear and so brave. Pretty tough to lose out when we'd almost fought clear. Then the Smitty. Loa came back to save me, refused to go when she could have got away and been safe. Immediately the air was sipheling. The tunnel beyond the mouth of the cave was hot, though only at its end, where the invisible ray struck the rock surface squarely. Was there red, glowing heat? Rossen suddenly saw none of it. He was seeing in his mind the world up above, his own world of great, free, sunlit spaces. Suddenly he was hungry for some closer link, no matter how slight, to bind him to that world. What day is it, he asked? Have you kept track of time? Smitty looked at him, wonderingly. Yes, he said, then added. Oh, I see. You want to know what day this is when we die. It's the twentieth, Dean. He looked at the watch on his wrist. Just two o'clock, the afternoon of the twentieth. Within him Rossen felt a dull resentment. He was being denied even this last trifling solace. You're wrong, he said sharply. You slipped up on your count. It doesn't make any real difference, Smitty said. But Rossen went on. We left the inner world on the nineteenth. At noon on the twentieth Gore was to cut loose the flamethrowers, melt a hole in the floor of the ocean. But it didn't work. I had hoped I could wipe out the Mole-men, turn a solid stream of water down a shaft for over six hundred miles. It would have gone through the zone of fire, come flooding up into the Mole-men's world, and spread out all over down deep where it's hot. It would have hit the lake of fire. All that. I don't know what you're talking about, Dean. Smitty's voice was intentionally soothing. He knew Rossen was talking wildly. But I know I am right on the time. We've kept track of it every hour since. Rossen's talk had sounded like insanity, the Smitty's ears. He would have gone on, but he didn't want to see Dean Rossen go out like that. But now he stopped. The rock was quivering beneath his feet. And now Rossen, with a wild, wordless cry, threw himself toward the flamethrower on the floor. His voice rose to what was almost a scream. It worked, he shouted, in a delirium of joy. It's the end of the Brutes. Then in words which the others could not comprehend, but which somehow fired them with his own emotion. Gore has cut it loose. Water millions of tons of it. The zone of fire, steam. He threw himself flat on the floor, as close to the hot mouth of the cave as he dared go. And the green flame of his weapon ripped outward and up as he aimed it. From the passage where it sloped downward toward the source of the heat ray, the sound of shrill whistling voices had swelled louder. The whole tunnel now glowed green from the flames of an advancing horde. They were bringing their ray projector with them, Rossen knew. Not that its beam was visible, but the white, dazzling glow from the end wall where the tunnel turned was still there. Shoot above me, Rossen shouted. Don't stick your guns out into that ray. But aim as straight down the tunnel as you can. Keep him busy. Keep him from coming too close. His head he heard the beginning of rifle fire as the men crowded close to aim at the opposite wall at as flat an angle as they could. The air grew shrill with a sound of ricochets as the bullets glanced. But still the enemy came on, as their screeching voices told. His own weapon was aimed up above. The roof of the tunnel was rough and broken. He directed the flame against the top of the great black granite block. In one place it was fractured. If he could cut it off above, make it fall to the steeply slanting floor. He worked the full force of the blast methodically along the line he had chosen. The air of the tunnel had been blowing gently, but now it came in sharp gusts that whipped in through the mouth of the cave, while it brought an unending growl and roar, like distant gunfire, from deep within the earth. The breeze had swelled to a steady blast when the rock crashed down. But that's no use, Culver had shouted, when the deafening sound of its fall had ceased. They'll melt it in a second with their ray. Even as he spoke, the great mass of granite softened and rolled downward as the enemy shot their ray on its lower side. The heat of it struck blastingly into the entrance to their retreat. It still rossed and kept on, sawing doggedly with the weapon of flame at the other great blocks above. Now the distant thunder grew hugely in volume, and again the rocks trembled beneath them. The wind in the tunnel grew suddenly to a wild blast. It brought to them from a thousand other passages the shrill, demoniac shrieking of air that was torn and ripped on projecting ledges of rock. The sound of voices that screamed in terror and the echo of running feet in mad flight down the tunnel. The mass of stone that had been melting under the invisible ray cooled to red then to black. Outside the tunnel, now a place of roaring winds was lighted only by the single flame of Dean's weapon. They've gone, Culver shouted, the rays off, get outside. Now we'll run for it. And with the others, rawson sprang to his feet and leaped out into the tunnel, which was no longer a place of death. He heard the sound of their hurrying feet and a voice that cried, Look out for the turn, the rocks hot, but he did not look after them. He was standing squarely, bracing himself in the blast of air, still directing the flame upon a block that hung stubbornly and would not let go. He knew that Loa alone stood near. He heard other feet, someone was returning. Then Smitty was upon him, almost jarring him from his careful pose.  Don't you know they'll be after us again? Rawson sprang as the big rock let go. It too crashed deathenly upon the floor and rolled sluggishly downward beside the high hummock of glass that the first rock had become. They balked hugely in the passage. They were eight or ten feet high, reaching across from one wall to the other. Above them was still a space of four feet. Rawson estimated it carefully while he looked at the ceiling above. Then he shook off Smitty's hand that was dragging at him and returned to the attack. For now, above the top of the barricade he had built, white ribbons of vapor were streaming. He had to shout to his utmost to make Smitty here above the shrill shriek of the blast. "'Steam,' he screamed in the Smitty's ear, live steam. We could never make it. Before we got to the top we'd be cooked to a pulp. I've got to block it, got to seal it off.' A whole section of the ceiling tore loose as he spoke, and the wind raised its voice like the scream of a wounded animal, or the cry of an overwhelmed and stricken people as it tore through the space that remained. It whipped the molten drops as they fell, and made them a deadly rain. Rawson, saring through the clouds of hot steam that now wrapped him about, called the Smitty to take Lowe to safety, and kept the flame where it should be, until at length the last aperture was closed, the last gap in the wall filled in, and even after that Rawson kept the flame still plain above that wall till he had melted rock and more rock that flowed down to make the barrier a single heavy solid mass. Steam was coming now from the narrow cleft where the green light had flashed out to bar their way, but that was simple, and he sealed the gap shut with his flame. He was gasping. The radiant heat from that molten mass had been torture that his naked body could never have borne but for the desperate necessity that drove him. Smitty and Lowe were again beside him. Now he choked we can go, but if there are any cross passages I'll have to block them too. There aren't, said Smitty, and at it, I thought you were crazy. You saved us all, Dean. We never could have made it to the top. That steam was getting hot, hot as if it had come right out of hell. It did, said Rawson. Then the flamethrower fell from his nervous hand. He was swaying. His knees were trembling with weakness when Smitty and Lowe, on either side, took his burned arms tenderly and helped him on where the others had gone. Colonel Culver and a rescue party met them half way. The Colonel had seen his men safely to the bottom of the volcanic pit. Others had run from their station beside a field gun to meet them. Then Culver had called for volunteers and had gone back. And now there were plenty of willing arms to help. The big lift, with its platforms of metal plates, awaited them at the tunnel's end. There was room on it now for all who were left. There was no crowding of men's bodies as there had been on the downward passage. Rawson was stretched on the floor plates, whose touch was cool to his tortured body.  She bent above him, whispering brokenly, Dean Sahn, my dear, my own Dean Sahn. We live, Dean Sahn. I can scarcely believe it, but I know that we live, for I still have you. But Dean was able to stand when that journey was done. First though there were men who placed him carefully on a stretcher and carried him, when he commanded, to the crater's outer rim. On the ashy floor of the crater a big transport was waiting with idling motors. But Dean would not let them put him inside. He wanted to look out across the world, to see it in reality, as he had seen it in his own mind, when all hope was gone. He wanted to look out once more across Tauna Basin and let his eyes rest upon country he had known. Lowe and Smitty walked beside him, as the first aid men carried him toward that distant rim. The rocks there were cleft. It was the place where he had first seen the inside of the crater's cup. There he had them put him down, and with the help of Lowe and Smitty he got slowly to his feet. While they lifted him he wondered at the sound in this desert world where no sound should be. A terrific rushing, an endless roar, and then his eyes found the clouds of steam. Below him was the basin, the tangled wreckage of his camp, and there where the derrick had stood was a tall plume of white. It did not begin close to the ground. Superheated steam, until it cools and condenses to water vapor, is invisible, but a hundred feet above the sand. And from there on up, two thousand feet sheer into the air, was a straight shaft of vapor, rolling up for another thousand feet into billowing clouds that the afternoon sun turned to glorious white. Power, gas-browson, power, and it will be like that indefinitely. Then he laughed weakly. I had to go down there to do it, to make Erickson richer. But it was worth it. In there the ocean will slowly subside. Where and his people will find their lost lands. The column of water in the shaft will hold the back pressure of steam, and here I have Loa, and that's all, but that's enough. He put one arm, still with the bandages of the first-aidman, about the girl. I hope you'll be happy, dear, he said softly, and turned back. But Smitty barred the way. That isn't all, said Smitty, jubilantly. You see, Dean, Erickson fired you. Erickson thought you had run out on him. Instead of backing you up, he quit. So I bought them all out. Whatever is there, Dean, and it's worth more millions than I dare to think about you own half of. Now, get back on that stretcher. Just because you saved all our necks up here on top of the earth, you mustn't think that you can keep an army ship waiting all day. CHAPTER XXVI RECORDING by Richard Kilmer, Rio Medina, Texas END OF TWO THOUSAND MILES BELOW by Charles Willard Diffen


you know, if you want to perform well in front of millions, then you have to be willing to put in millions of reps when no one else is watching, which is how we define the unseen hours. And that that actually I stole from my friend Drew Hanlon, who's an MBA skills coach, who he's the one that came up with the term unseen hours. And I conveniently borrowed that and I use it everywhere because I really believe that success in anything, even the success of your podcast is predicated on the due diligence and the research that you do on each guest before the mics go hot. Very true. And that's the unseen hours. And that's what a lot of people, they don't see. I mean, I don't know that anything would make me more sick to my stomach than for someone to see me doing something that is not in alignment with what I preach from stage or what I put in my books. And I don't hold myself to a standard of perfection. I'm fallible. I make mistakes. I have lapses in judgment. But generally speaking, the fact that I'm putting this content out there, I want to hold myself to that.


How can we create a class in Python? In order to do that, we're gonna use the class keyword and after it, we're gonna type the name of our class. For example, let's create a variable inside our class. And now let's create an instance of our class. I'm gonna say my instance equals my class. Okay, now I'm gonna call this variable from our class. I'm gonna say my instance dot my variable.


Hello, Claude and Jeff, we're with you on the flight deck. Okay, we're getting ready to work on some DSO A-2 sequences here on the flight deck. Thank you, Claude. In the tether is the yellow material. I'll hold it against my shirt, hopefully you can see it there. This is Kevlar. Kevlar is one of the strongest materials that we have. It has very good state. At least 8 minutes 45 seconds on the satellite till the ZOE. A few words also about the international nature of this mission, because we have several space agencies that are contributing to this mission and of course we have a Latin American involvement that is very significant to the CPCG. As far as the space agencies are concerned, we obviously have NASA and the Italian Space Agency which are dominant in the tether satellite program. We have also ESO that in a way lends to astronauts on this mission. I must say that ESO astronauts and speaking also from Russia are very grateful. Nice cinematography. Great to see you all together there. You've got a downlink of the flight deck. You're smiling a lot up there. I got you loud and clear, Andy. How are you doing? We're just... Give us one and we'll try to join up about... Hey Kelly, we're back with you. We'll lie to you there for a couple minutes. We're over top of Tampa, so we'll be right over top of you guys looking down on you here in a couple minutes. We also have an exciting time to get strapped into a vehicle down there at KSC especially when you're just close to launch. Best wishes to you. Here's your new filters. And we see them. We've got the serial number. The Amazon River of Brazil, clearly visible with the sun glint off of the water. Columbia continues its south-easterly track across Brazil. And the Brazilian coastline on the east coast of the country falling away beneath Columbia, the altitude of the orbiter, 176 statute miles looking toward the south, toward Rio de Janeiro. And at Columbia approaching an orbital sunset looking back toward the west, the orbiter is tracking across the southern tip of Africa as it looks back now across the Atlantic Ocean. A myriad of colors of the Earth's atmosphere, a thin layer. As Columbia itself is now in darkness looking back across the direction from which it came.


Hey, what's good y'all should boy down from the down showing France and guess what you already know We back for another k-pop reaction. Sure. You know, so real quick. Just let you know This past week, you know saying your boy You know appreciated Thank you Wow So listen anyway anyway Other than that, no, that's why we haven't dropped any videos celebration of the birthdays We have some dope dancing venison. Hopefully one day we can showcase that to y'all on a blog but moving forward We have straight kids Dunderous dance practice. It's been a minute since we did straight kids, but we back at it again and Hey, you know how they do So we'll go ahead and get into that right now. Let's get started in three two one See what we got y'all That's about like the room. Oh Yes, I just want to see what's going to be clean Hey, I like that hand work Hey, hold on you got a patch on this Oh, hold up. Okay. Okay. Okay. Wow nasty. Yeah. Sorry. You didn't really see reaction This one of the choreography that you got to pay attention to There's a lot of little stuff There's a lot of little stuff It's like the top half of the body is not It's at the same as the feet. Yes, so it's like it's a lot going on my observation that they got more sliding More sliding to your spots. It's bouncing. Yeah, it got the bouncing But they real sliding and it's like you could just tell like everything just real flat Like everything just like boom bobbing and stopping and just going forward They kind of like you said they keep in the bounce. That's what I'm notice I'm really mostly watching the footwork more than I'm watching the upper body right now I'm kind of focusing on that. So Let's get back to it. Yes, sir Clay lines. Yeah That thread is nasty That's dope. We have in my functions. It's all good. Y'all Hey, we back Oh, that's clean Hey It's very soft but very big. That was so Smooth they like transits. We don't go here finish this video I'm done. I'm already done. Wow. Wow. Okay. Here we go y'all We barely halfway through Up front more with the cameras. I'm gonna see that in the music video You see that little roll they be having with the Watching the feet man. It's the feet for me right now. Okay Okay.  It's nasty It's nasty. Oh my god, man. Let's keep going So dope. I was okay buck. That was buck. It's not easy jumping on somebody then keep the choreography keep going Because you can fall real easy. They're so clean man. It's ridiculous Yo, I like it. I like it a lot. I like it. I'm with it I'm with it. You get that Um, I think this was like, uh It was simple but not simple Here's the thing. They didn't have a lot of big movements. Right a lot of small movements. I just Settle stuff, but they made out where it was a lot of footwork Clean lines clean transitions. Yeah, just Just normal straight kid stuff. They code. Yeah.   Um, I know there was a few Uh requests for more NCT seen that and um, I know there were some other ones But other than that, we're gonna get those knocked out. That's not a problem at all. But let's see y'all. Um, we appreciate y'all so much Um, thank you for continuing to strive with us as we get to 10 000 subscribers Um, it's one subscriber at a time and uh, we hope to get these video out More and more and more just for y'all, but appreciate your patience and everything like that. Thank you very much. Absolutely subscribe Please subscribe ring that bell. Please ring the bell show love in the comments as always, please It helps the algorithm so much And also news Our instagram for the don show is coming Okay So it's on the way We're just trying to make sure everything else is ready what we got for y'all coming this winter But right now we try to knock out the fall, but we have the don show instagram for k-pop reactions That will be on instagram. Okay, so All right, y'all we out of here Peace Gryffindor