now for the thrilling adventures of lightning gym in order to put down a serious indian uprising to the west government troops had been ordered out of virtually every military outpost in the vast territory of arizona the town of nesbitt was one of those to find itself without military protection the last troop of cavalry is leaving and at the doorway to slater's palace a gambling hall we find big Jake Slater and his right hand man Ed Carlisle Slater is thinking that go at the last bunch up there won't be no more troops in this territory for a long while yeah I guess you're right and what does that mean to you mean I don't know nothing more and losing some trade to me it means there ain't gonna be no more law and order in these airplanes yeah what's that got to do with us plenty Ed I'm gonna make my own law I'm gonna take over this town of nesbitt by the time I'm through with it will be big Jake Slater's town well that sounds like a pretty big order Jake ain't no order too big for me I'm gonna make a fortune out of this place and if you're smart you'll spring along with me I'm gonna get you elected sheriff from now on it's gonna be just too bad for anybody that don't like to do what big Jake Slater said several months later we find lightning Jim and what he lost and riding the trail to Yuma their route takes them through nesbitt and as they get to within a few miles of this town quite he suddenly rains in his horse a vitamin a light under what's up buddy what's matter look over there don't in a goalie there down in what oh I see you mean that spoke you are a show looks funny go on to the order buddy something plays in mighty bad over there say we better see what's up come on thunder come on in trouble down there buddy your but from the very fire seems to be going I don't think we'll be much help to not but we'll have to see you there in a minute now just over this rise there that is you'll be eliminated there he had much left in advance horse that's burned right to the ground yeah look why did lay near the corral seem you're just a man on the ground yeah it looks to me like he's either dead or badly hurt come on both under for him hold on boy give me the canteen quick you're a bit how are you your partner try some of this come on now yeah let me hold your head now better hold his mouth open buddy yeah I got it yeah I don't think this much you slightly he's shut the pieces yeah you're only getting back oh yeah yeah yeah who done this partner who done this to you oh Slater slaters work no take it easy now partner take it easy we're with you no no Steve go on buddy your poor fella said you think he was trying to tell us that a jigger by the name of Slater down there yeah that's what I make out of it yeah but what is the paradise mean and who says Steve I'll come later buddy but we got to give this poor Jasper a decent barrier and then we're going to make it our business to answer them questions get the man or men responsible and we're going to start the minute we hit nest but there's the tone of this bit like yeah and there's the answer to one of the questions we've been wondering about now we know what he meant but paradise your paradise is the hotel in town well are we going right over there and get started as soon as we take care of all the money I wonder where they live with the buses you'll be just down the street ways are never very far where whitey looks like we're doing all right and getting questions answered yo yo see I see that too yeah Slater's palace well sort of jigger wants the gambling hole in this man that ain't all these one in here either take a look at the livery stable over there to the right you'll be a minute Slater's livery stable well it looks like we're bumping into that jigger there where we go yeah and before we leave here we'll be bumping into him plenty more why didn't the minute we get the horses left down and fear that want you to go over to the palace well you want me to scot the Rhonda yeah see what you can find out get into a card game if you can yeah I'm gonna I'm going over the paradise look with this Steve between the two of us we could have a pretty fair idea what's going on in there can I do for you well maybe you can tell me if there's an ombre around you but the name of Steve Steve yeah that's my head Steve Norton what do you ask you don't happen to know a rancher with a small place a miles west of town do you why my brother Ted's gotta play what's the matter stranger why you asking all them questions is there something wrong with Ted I'm afraid there is an order what is it what's happened to him the talk up man Norton I'm afraid your brother's dead kill up in this place burned to the ground and killed here in this place burnt that's right Norton but Slater's work he's the one that done it Slater murdered Ted I'll get that yellow livid skunk for that I'll get with it's a last thing on that night and hold on that ain't going to get you nowhere he's pulled his last killing around these parts are blown to bits of dirty murder and stop it later be taken care of all right but I'm the one that'll do it you what do you got to do with it I happen to be Jim Whipple United States Marshall Jim Whipple yeah then then you must be late than Jim I've been called that yes now get off this war pass for a minute and listen to me you're certain that Slater killed Ted and so am I but before we can take any action we've got to have proof I don't need no proof Slater swore he'd get Ted when he found he couldn't buy that water whole property from him and he did ever since the troops left Nesbitt he's been running things as he pleased stealing rustling murdering well he's all washed up now because I'm going to get there you'll get him all right but you'll do it by helping me Norton I'm telling you straight that I ain't leaving Nesbitt until I get your brother's murder and Slater's gang is broken up now do you want to do things my way or we'll have to lock you up to keep you out of trouble all right Marshall I'll string along with you good first answer a couple of questions your brother said something about gold being gone you know what he meant well he must have been talking about some dust we pan out of the quick we were going to use it to buy cattle and finish paying for the hotel here I see now tell me how do you stand with the law Biden citizens in town well most of them are my friends I reckon fine I want you to contact all the men you can trust tell them to be ready for action at any time meanwhile I'm going over to Slater's pallet Norton you don't have to worry about a thing I'm gonna smoke Slater out if I open in pronto parts open gentlemen who's saying well that leaves you and me stranger how many cards one card it is there you are I am taking three I opened the pot and I'm betting $20 dollars back then I can just make it out for you I am holding three years as partner count on one two three I'm afraid that beat me if I have to quit oh hello let me add in here stand in there hello buddy yeah too bad better luck next time what about you stranger want to sit in no don't reckon so when I play cards I like to get a run for my money maybe I didn't hear you're right stranger you were saying I said I like to get a run for my money and that's hard to do when the dealer pulls the third ace from the bottom of the deck you're saying that I cheated I am go over your gun no dirty liar I reckon that'll teach your lesson dealer with that bullet through your hand you won't find it's the key that card to get keep your eyes on the rest of them on this buddy don't let them start nothing you'll I get them covered all right give or get more about what's going on here I was just eating that card shop over there that it don't pay to cheat not when I'm around but they're talking about 10 spot this smart stranger tried to tell me I was cheating Jake you're what for your gun and a bigger to it huh yeah he did and who are you stranger button in here and call one of my dealers for chasing one of your dealers and I take it you are later now I'm Slater all right I'm still waiting for an answer who are you my name is Whipple Jim Whipple I happen to be a United States Mars Mars yeah well why didn't you say so in the first place I reckon if you call 10 spots you had a reason for it that's what you're through now look here you're through pay off when I get finished talking to the marshal here now get leave that money on the table all right Slater all right right grateful to your Marshal for showing him up to me I run an hour out here yeah then you won't mind my debt you did taking the money lost huh no sure or not pick it up partner don't you worry how long you're expect to be around these parts Marshal oh I'll be hanging around for a while I reckon well it's good if it's anything you want just call on me place is yours while you're in town thanks later I might take you up on that come on buddy let's get back to the hotel you are madly so that's lightning Jim gonna stay in town for a while I think I'll have some plans for him hey ten spots come here I just forget that talk about being fired and get it Carl I'll over here right away I've got something for him to do him are you sure you heard me yet lightning Jim's and then what are we hanging around for we've got to get out of here leave this gold mine just because a lawman walked into town don't be crazy we're gonna get rid of him but how are we gonna do that you're the sheriff you're going to the paradise and I get talking to him huh then somebody's gonna come in and tell you thieves is breaking into the bank all right I got you so far okay now you get the marshal to go with you and when you get to the bank see that he goes in the front door and you go in the bank you got it yeah but what's all this gotta do we'll get rid of him because when he gets inside that bank he's got to be met by a reception committee made up of a couple of my best guns oh so that's yeah that's it marshal's gonna stay in there for a while all right a permanent little home on the proper cemetery hill if it was Jim's idea that gets later moving he succeeded all right but is he prepared for a trap like the one being planned for him the thrilling second part of the adventures of lightning Jim will follow immediately and now for part two of lightning Jim springs a trap lightning Jim and whitey on their way to Yuma Arizona and to the town of nested they learned that big Jake Slater has been running the town with a free hand since government troops had been withdrawn from the territory Jim enlists the aid of Steve Norton the brother of a man they believe was murdered by Slater Slater learns that Jim is in town and immediately plots with Ed Carlyle the sheriff and his right hand man that trapped him in a fake bank robbery and kill him we now find him early that same evening talking to Steve Norton in the paradise hotel tell me Steve did you contact them men like I told you I sure did lightning I got 20 of them that are with us to a man right from the time ain't far off and we'll be meeting them but what's your plan lightning what are you expecting to do I'm waiting for Slater to make the first move Steve oh but he's like a copperhead he told it Steve someone's coming well howdy Jim howdy howdy Carlyle I take it you're lightning Jim sent you yeah I'm Carlyle Ed Carlyle sheriff of the town here that noise yes I just heard you was visiting him so I came in to make you welcome might be fine of you I want you to know that you can take things easy while you're here I made a blessed thing for you to do Ed Carlyle those hobby handy what's the hurry Ken's pup what's on your mind I was just passing the bank chef and I happen to see a couple of hombres going in going into the bank at this hour of the night that's right it's funny to me so so I would have to you front of thanks I had a check into that right away how about it why don't you want to come along sure do sheriff let's get started oh there you are 20 plenty feeling water for you and what are you there I was hoping to find you here at the stables it's like I'm afraid he's walking into a trap over the bank it was in the whole tour never mind at all Steve let's get over there fast yeah yeah that way here he heard lightning by galley the people it this way buddy around the back come on we really got to get there in time we got to okay there's the rear door of the bank that is here he was just going to shoot lightning lightning or you're all right it's right the lightning baby it won't hear me Steve let me see buddy yeah it's all right just been creased oh are you sure yeah positive see he's coming around um what is it what happened lately nothing I'm sure glad to see you why did you do it lightning will I get to my feet why yeah yeah I helped you you didn't you know there was a trap sure I knew it was a trap that's why I went that I was trying to get evidence on Slater thought maybe I'd be able to get a prisoner that would talk what happened when you went in for two of them I managed to get both when Carlisle come in the back way Carlisle well who's that Sheriff and Nesbitt Wattie the murder and skunk he slayed his right hand man the sheriff yeah we'll have a chance to get a bead on him he's shot next thing I knew the two of you was standing over me well then he he's the shot just as he was going to finish the job and that's putting him yeah it sounds like one of them still alive let's take a look at him see how mad he's had this shot in the shoulder that's all unconscious though let me get him to a dock let me see it Wattie well the buckskin pulled careful filled with gold dust must have dropped out of his pocket when he fell his initials on it too looked like the letters t n t n yeah lighten that poke was my brothers then let us stand for Ted North sure about that Steve positive all the gold dust we had was in pokes with them initials burned on them and it looks like we're closing in check the mother to hombres will you see if they're live they got any them folks on my show well like yeah do you mean that you think that Carlisle and the order you just did the killing at Northam's right no don't worry but I think they'll lead us to the one that did the mother to have folks like this one and my spring in this trap get us plenty of good yes I don't get that like you'll see in a little while Wattie how about it Steve any luck they're both dead lighten you were right both of them had a poker dust on them with the same initial that's fine Steve I want you to round up all them friends of yours see that they get over to Slater's Palace pronto we're going to bring Sheriff Carlisle here to trial yeah but what good is that going to do yours? Slater still on here don't worry about that Wattie time we get through Slater'll be hung for murder lightning Jim held Sheriff Carlisle prisoner and then set his trial for the murder of Ned Norton big Jake Slater appeared in court with ten of his best gunslingers ready to take things in his own hands if the trial went against Carlisle at a word from Slater the gunmen were to draw thus affecting the escape of Carlisle the trial opens with lightning Jim telling his story well judge I went along with him to investigate when I got inside I was ambushed by two gunslingers I managed to get both of them but just then Carlisle came in the back door and blazed away at me my deputy Whitey Larson coming in just in time to stop him from killing me all right so quiet please and what would you tell his story Larson? you have your bet judge just a minute just a minute doubt the defendant got a chance to tell his part of the story here he does Slater just as soon as the marshal gets to present any evidence against him your head Larson well when I went through the back door into the bank I saw Carlisle there drawing a big lightning Jim I told him to drop his gun buddy wouldn't do it so I had to shoot him through the shoulder I guess that's about all hmm that's enough you're sure he was going to shoot the marshal Larson? sure you bet give us Steve Northam can tell you the same thing give us right there with me you know that's right judge we went into the bank together and I saw the same thing if Whitey hadn't been so fast on the trigger Carlisle got the marshal's sure quiet back now Carlisle what did you get to say in your own defense well that's what I told the marshal before in the darkness I made a mistake and I thought he was one of the robbers so I shot at him sure it's tough when a man gets shot and brought him to court when he's just trying to do his duty hey I knew there'd be some simple reason to explain it judge Carlisle's got a perfect record here in there but he couldn't have done nothing like that couldn't he Slater judge we got evidence here that shows he's committed murder before if you don't keep quiet I'll clear the courtroom what are you talking about marshal I never wanted nobody in my life oh you see this poke the gold dust Carlisle and what about it it dropped out of your pocket when you fell in the bank well whatever it is having a poker dust don't mean you're committed a murder and he's he's right marshal it doesn't mean a thing it does this time judge that poker does belong to Ted Norton yes you all know for now what happened to him and you've got to keep quiet there you'll have to keep quiet or get out natural that's a pretty strong statement you just made can you prove it I sure can this poke and the ones we found on the two men I got in a bank have all got Ted Norton's initials burned on them yeah and every bit of gold that said and I planned was putting them pokes I can identify every one of them I didn't kill him I didn't if he's guilty the judge will see that he gets what he deserves let's give him a chance to talk thanks mushroom all right Carlisle let him you get to say judge them pokes don't belong to me say they gave to us to kill the marshal when we got him in the bank I could go good we're trying to save his own skin by accusing me when the bandit Carlisle can you prove your statement you better I can prove it the rest of the gold he stole from Norton after he killed him is in the strong box and he's off hold on later hold on it is wrong there ain't nothing for you to get excited about judge how about having what he'd check on that strong box it's a good idea Marshall will you do it larsen do you get there where you're standing right there Marshall your current takes too far just cause you're a law man don't give you no right to step into this town right the way you please all I'm doing later is getting to the bottom of a killing well you've got to it Carlisle and there's no good reason to drag me out of the mess I'm going to get out of here all right man you know what to do all right Steve now don't look like your little plan will work Slater we got 20 men in this room and that means 40 guns drawn and ready all right you umbrist get over there against the wall you too Slater get over there with the rest of your gang and pass couple of you men start getting them guns away from that bunch I had to step in that way judge but as long as I'm arrested Slater for murder and the rest of his crew for aiden the criminal I guess it's legal enough it's legal enough for this court Marshall hey oh my god thank you I'll worry about that Slater that's fine whitey well judge I reckon the case is complete yeah thanks to you Marshall it is tomorrow we'll elect a new sheriff and sentence these men properly it's to me like law and order going to return to the town and as much for good and so ends another thrilling adventure in the lives of United States Marshal lightning Jim Whipple and his equally famous deputy whitey Larson


What's up guys? Thanks for stepping back by the channel today. We've got a special little thing going on We're gonna do a new style segment for you guys today I know you guys are used to me showing you my snap-on toolbox and a lot of my snap-on tools But a lot of different companies and myself have gone on to Amazon quite often and we are looking for tools that are both cost-effective And that actually get the job done So in working with a couple of different companies and some of the stuff that I've purchased myself off at Amazon We're going to be doing an Amazon tool review day might do this every you know month or so But I've picked up four or five tools from Amazon over the last month or two And we're gonna do a review on those and through those different sites They're gonna give us some of their discount codes that I can help you guys out on as well. Stay tuned I know I love tools and I know you guys love tools So today we're doing more tools, but we're doing ones that we can get a more affordable price range We love our snap-on always always love our snap-on But we've got some stuff that will do the job and the stuff that I use on the job That we can get at a better price and they're on Amazon Amazon as everyone knows is like the big conglomerate.  I'll admit it. I'll be the first one to say that I love the two-day shipping and the stuff comes right to my door. I'm lazy. Well, that's just the way it is So I got five things that I've gotten off Amazon in the last, you know A couple weeks to a month might have seen once or one or two of these on a previous video But I wanted to go in depth a little bit more on it and where and how I got them So the first thing I come to is gonna be my Lyle tool It is a part number six four nine seven zero. It is the battery drain tester How it works these two leads you disconnect the negative battery post off of a battery Connect one to the battery one to the cable have it sitting there And then that will complete the circuit in the off mode just how it is Anybody's ever tested for a battery drain They know that the worst thing that we can do especially to our meters that are hooked up to them is then Connect the battery back down with our clamp and it actually spikes the battery system up so high if anything's on or The doors open it'll blow the fuse in our meter, which is like a $30 fuse anymore, of course So this will reduce the risk of doing that connect these and it connects the circuit already with the cable ends These are plugged into your meter on the amperage and the ground ports Then all you have to do is flip the one switch and then it will put that amperage from The vehicle going through this back into the vehicle to going through the amperage portion of your meter Without having that amperage spike and without having to wait that extra Two to five minutes for everything in the vehicle to go to sleep Saves you time saves you the headache of accidentally blowing fuses on your meters This one also does have two inline fuses. They're just 10 amp small blade fuses Saves your meter saves you headaches. It's really good This tool is $22 and 12 cents on Amazon. I will put the link to all of these down below when I post the video Great tool you guys should get that one Next one is going to be a set of relay puller pliers Anybody who's ever pulled a relay out of the fuse box knows the headache of this one These are by ABN and how they work is they've got really tiny We'll get you a little close up here They've got little tiny fingers that are able to get in between the relays and the fuses So if you try to use Just say a normal set of pliers as compared to these The normal set of pliers are like four times as thick and they don't get in between them If there's a bunch of relays that are piled all together It will not get in between those relays to be able to get them out This will fit in between all the tiny little, you know They're really closely packed together relays to be able to pull those relays out. It fits Probably 90% of the relays that there are if some of the you know weird shaped one or the giant ones that won't fit but they will do the job and They'll save you from having to have headaches breaking relays breaking fuses We're trying to get a regular set of pliers Especially if they're melted in there, you got a PDC issue. This will help to get those out These are also available again on Amazon for $13 and 19 cents Amazon Prime as well Amazon Horror 2-day shipping Good tool to have make sure you get that one. Next one is my Wilton hammer. I've gone through one of these before I didn't break it but It was stolen. So go on. I've got this one. It is a four pound 12 inch hammer these things have their dedicated Unbreakable handle and if you guys see any of their marketing videos They run these things over with semis with giant trucks They try to break hacks on them and they don't break you'll never break a Wilton hammer If you do send me the video because it really needs to be on YouTube We'll have to see that one But this one is like I said the four pound hammer with a 12 inch handle This one is available on Amazon Prime as well for $37 and 61 cents If you're gonna have a really good hammer in your box, it should be one of these Wilton hammers They're heavy-duty pieces of machinery. So there's that one Next one is going to be by a company called handyman. They've got magnetic wristbands There are a couple of different ones that we've got a little bit smaller ones and a little bit bigger ones But the guys who do especially like transmission or dash work You've got a million little screws that you have to pull out all these little screws there You know if I'm doing a valve body, they're all different sizes So I need to keep track of them this thing will go along on my wrist or my arm and just velcros right into place and it has magnets all the way around at least three-fourths of this wristband these magnets are Very strong able to hold pliers able to hold really heavy things and they're sectioned off There's there's magnets and then there's a divider section magnets divider section around here So you can keep them separate from everything as well So if you've got that valve body that has 32 screws and they're two different sizes I'll keep the one size here and the one sizes right here as I'm going on these do have a really good nice protective coating So even if you get transmission fluid or something like that on them, they clean off really well. They seem to work amazing They hold up over time So over on the Amazon by handyman their magnetic wristbands you can get the larger one pack This one is nine dollars and ninety nine cents is also Amazon Prime and then you got a two pack They're a little bit smaller They I mean they'll still fit on my arm But they're just they've got a little bit less surface area to work with on them but also the same high quality amount and These are fourteen dollars and ninety nine cents with Amazon Prime as well This company was nice enough to throw me a deal for you guys Also, they're going to give us 20% off these items for the one pack the larger band This one is going to be 20% off with code 6h l jc m 6l I know that's a lot of stuff to remember But I will put it down in the description also along with the link for it and then the two pack also Original price is 1499. They're going to give you 20% off. Also the code on that one is in two OHP UBF I will put that one down in the description below Really great for doing dash jobs or anything where you have a whole bunch of screws that you're having to work with Last one on the list is going to be a company from a company called top dawn They have their art to battery, which is their battery tester kit Guys who are in shops, you know that the bigger battery testers that we have usually run on the low side of like 7 to 800 dollars Those battery testers they do awesome. They do a whole lot of things. They're really quick about what they do But they cost a lot of freaking money So I would like to have one where I can just go out and test a battery real fast and not have to worry about it So this is going to be the one to do that This one it runs for fifty three dollars and ninety nine cents with Amazon prime the company said they're also going to be giving me a Discount code for this one. I'll put that down in the description when I get to get it They have not given it to me quite yet, but they will do it. I'm going to give this one a test real quick I'll show you guys how well this one works on an actual battery So I've got me a 2015 Chevy conversion van to work with to test this one out The clamps are a really nice size. They've got a lot of good spring pressure They're smaller side so they're able to fit on the smaller side post batteries the screws that are on those So we'll hook those up respectively positive to positive Negative to negative and then it will turn on. We will hit the okay button English because we're English and It's going to ask you whether you're testing it in the vehicle or out of the vehicle We have it hooked up. So it is in the vehicle. I have not charged this battery yet So you can choose before or after you charge the battery Regular flooded it does a GM. It does spiral, you know all the different kinds of batteries It's able to test those hit okay on the regular flooded cold cranky amps We're going to test it at that. This one is rated at 770 cold cranky amps put that one in there Hit that it says testing and It's going to give us a whole readout of a whole lot of different things We have the state of health is 97 percent state of a charge is only 38 percent So that's why it says good, but the battery does need recharged test it at 12 point two two volts at 690 amps So this thing gives you a whole lot of information does it very quick for a really cheap price I know our mid-tronics tester here in the shop cost us right around $795 to get which is kind of insane. So this one at the price of $53.99 on Amazon is really awesome. It's really good to be able to have in your car You know you get your buddy. Hey, I got a junk battery. Let's see if we need that one tested This will test it really quick for you. It's really easy to use you could hand it to somebody so here you could figure it out It's easy to use like I said, I will be getting a coupon code from them It'll be at least 10% off and I'll put it down in the description when I get that one So there's the top-down battery tester That's all the tools and reviews I've got for you today guys I appreciate you stopping by the channel things have been super busy and definitely on the uphill swing for us We've been doing a really awesome job trying to get you guys some awesome content We've gone with a couple of companies that have been able to help bring us things like this to show you I've been working a whole lot of my Duramax trucks.  It's gonna be an amazing build We're gonna be doing stuff with truck master on the 15th of September We've got that truck meet up in Michigan if you guys haven't heard about that one And you would like to be in that or like to come and see us there check out truck masters channel up here He's got the information. It's gonna be September 15th up in Michigan If you guys haven't checked me out over on Instagram yet my following is growing quite a bit there So go check me out there. I've got an Instagram page I've got a Facebook page as well over at Rust Belt Mechanic or the Rust Belt Mechanic on Facebook pretty easy to find in those aspects if you guys ever want to send me any questions or Ask me to review something for you something that I have you can either get a hold of me on Instagram Or you can email me at the rust belt mechanic at gmail.com Last week I did the video on the top five household tools I also said I was doing a giveaway for one of the air pumps that I debuted in one of those and I went through the comments. I really liked what you guys had to say in those My favorite one is gonna have to go to Don Clark. You had the right mix of tools and Little bit of comedy in with it too. So send me your information over on Instagram or email that to me And I will get that sent out to you for being the winner of it as well We're almost to three thousand subscribers big. Thank you to all of my subscribers I never thought this channel was gonna get to something that big It's something that's humbling and it's something that it really makes me enjoy what I'm doing and helping you guys out Showing you guys these cool videos Thanks again for tuning in today guys. I appreciate what you do as always you stay awesome tune in for the next one


And we'll also give the faculty member a chair. This is very special for me this evening because today we're recognizing Katherine Fisk becoming a Chancellor Professor of Law. Katherine is at a very distinguished academic career. She graduated from Princeton University, where she was summing up law. She then went to University of California Berkeley School of Law, where she graduated with a point of a coin. She then clerked for the United States Court of Appeals in the Ninth Circuit, Judge William Norris. Then she worked in Washington, DC, doing labor and employment law for the firm of Rogovan, UD, and Schollett. She then worked with the United States Department of Justice and the Civil Vision and Pellet Section. For those of your law students here, you'll also appreciate that her office made at the time was none other than a Gantt software. Katherine began her teaching career in 1991 at the University of Wisconsin. She also received an LLM degree from there. She then went, was on the faculty at Loyola Law School for many years, she was a professor of law. She joined the faculty at the University of Southern California as a professor of law, before then going to Duke Law School, where she also had an endowed share. She was the Douglas Maddox professor of law. She's written a number of books, her most recent book, Working Knowledge. It's one of two very prestigious prizes. It won the John Phillips Reed Prize. And it also won the Griswold Middleton Prize, both from Historical Associations. She's written many articles here at the Law School. She teaches legal profession and labor law, unlike when you teach an employment law and civil procedure for many years to come. It's only fitting that since this is a chancellor's chair, we're fortunate enough today to have the chancellor here to give it to her and say a few words. And it's a tremendous pleasure also to get you to introduce you to Michael Drake. For those of you who don't know the history of this law school, the simple reality is there would not be a law school at the University of California, Irvine, but it wasn't from Michael Drake. People who've been working in this community for years to create a law school, but it was only when Michael came here as chancellor that he was able to pull all the pieces together and get approval from the Regents of the University of California to have a law school. When it was his vision from the outset, it was to be a top 20 law school by every measure. I remember my very first conversation with him, my interviewer's office, who said, it's all about where you get on the track. That's where he has words, and he wanted us to be on the track at the top in the beginning. And he's made committed to that vision from the outset, providing the support and resources to make us a great law school from the outset. I can also tell you that he is a terrific classroom teacher, as Michael and I had co-taught a class for the last three years, most recently about three hours ago. Wonderful to see him interact with the undergraduates and see that in addition to being a terrific administrator, he's a wonderful being with the students. So let me turn it over to Michael, who will unveil the chair and say a few words. I thank you very much for the kind words, and I was very impressed with the accuracy and focus of your introduction on professionalism. So let me just say that it's great to see so many people here today, and so many who support the school, so many students, it's a great beginning. And the thing that we focused on from the very beginning were the people who were gonna come here and make it happen. And everyone knows that great universities are built around faculty, and attracting the very best faculty in the country to come and start this new adventure with us was our first order of business. And so we were so excited when we found that we were gonna be able to bring Catholic this to us. We have the chairs, Chancellor's chairs that we present to the most luminous faculty on campus, and the Law School is richly endowed with several Chancellor's Professors. I would also say that in addition to the work that Professor Fisk does in the Law School that she's taught undergraduates as well, and the dual or a double friend of being able to be a teacher in the professional world, but also to be involved in the broader university community is something that really makes this a special place. One of the things that we hoped to avoid in our Law School, which has been one of the characteristics of many other distinguished Law Schools is a separation between the Law School and the rest of the campus. The Law School of Catholic Attending, I know someone I know well who attended, didn't ever go much beyond the wall, would have been, I guess, the sort of northern wall of the Law School which would have been the southern wall of the campus, and for the three years that she lived there, and I had a son who was in Law School that never really got to the general campus as well, and so we, in the beginning, wanted to make sure that we had professors who were professors of law and something else, and the end would be a connection with the broader campus community because among our pillars, the pillars of one which we founded the school, and we wanted this to be an interdisciplinary enterprise that would raise a level of scholarship on the campus generally, and so we appreciate it so much when someone of Professor Fisk's broad experience teaches all the way unto undergraduate students to help bring them into this goal as well. So we're really, really pleased with that. I'll say finally that each of our professors has some particular area of specialty within the law, and I have to whisper this, I guess, but on a few occasions the campus finds itself wrestling with interesting issues that happen, they fall within the broad area of expertise of some of our special talent, and so I've had the privilege of being able to call captain late at night and say, what do you think about this? I don't know, forget what I call it. I do not provide legal advice. Yeah, I think about things that a neighbor could do. So it's been wonderful to have a colleague and a personal advisor, a professor for undergraduate students and a leader in the legal profession nationally join us, and so I'd like to say that we are now officially investing you in this particular position. There, did you see the chair get out of there? I mean, wait, look, why don't we just together? Oh, all right. One, two, three. Absolutely wonderful to be in a room with colleagues, friends, and students from many parts of my life. It really is such a special moment. The lecture that I'm about to give, which is some ideas for the book that I am starting to write, is a collaborative effort in the very best sense of the word. A lot of the people who make this work possible are in this room, including Diana Sahar, who gets me every book or anything that I ever ask for, students who've done research for me, people who've been sources of ideas and inspiration to numerous to count. So thank you all very much for coming to listen to what I have to say. Because I felt like this was such a weedy thing and because I was getting one of them, and this is not one of the libraries. Well, actually, this is the library's chair and because Tyce graciously let it out and the premise is just to show it off. And I'm so excited about actually having one of my own. But I wanted to actually sort of write a lecture so that I would be maximally articulate and be able to give to you some of the richness of some of my ideas, so here we have it. The legal regimes governing employment and intellectual property provide that firms own and control the intellectual property produced by their employees. As I explain in my book, employers in 1800 had almost no rights to employee generated IP. By 1930, the rules were diametrically the opposite. Corporations owned almost everything. Now we consider it unremarkable that corporations are, as a matter of law, the authors and inventors of many of the texts and technologies, the images and ideas that surround us. Yet we still imagine and experience the labor of creation as deeply human and individual, even when it is collaborative. Though corporations own the intellectual property and employee ideas, as employees, we still claim credit. Moreover, other employers and consumers still want to know who wrote that Super Bowl ad or who invented what parts of the iPod. Yet neither employment law nor intellectual property law speaks to this desire. Where creation is collaborative, but labor markets value individual creativity, the challenges in balancing individual and collective attribution are considerable and the stakes are high. Individual and collaborative creation demands attention even as corporate IP rights and employment contracts have occluded lawyers' view of them. Regardless of the dirt of what Roscoe Pound would call the law in the books, in workplaces, a set of social practices identified particular people with ideas. Although lawyers might not initially recognize these practices as law, a law in action does govern the allocation of credit for creating work. Today I will explore the law norms of attribution among Hollywood screenwriters and in a Madison Avenue advertising agency. These are two industries which value and attribute creativity, but which adopted contrasting practices about it. I will focus mainly on the 1940s and 1950s, a period when both industries were in transition away from being dominated by vertically integrated, pyramidally structured, and bureaucratically managed corporations. Men and women in both industries made a great deal of money writing. They were for companies which knew as one 1950s ad executive put it, that the company's most valuable assets wrote down the elevator every night. They were the knowledge economy before that concept passed from vogue to cliché. Writers in Hollywood, unlike writers on Madison Avenue, belonged to a labor union, and they were pretty militant unionists. Their union, the Writers' Guild of America, created the screen credit system. Film and TV writing thus is unique in American letters in having a worker-controlled process for deciding the meaning of authorship and for compensating workers based on the union's own credit determinations. In advertising, by contrast, there were no unions. There was also no formal system of attribution. Work was attributed to individuals, of course, in private for purposes that served the interests of the agencies and in the trade as a matter of the kind of common knowledge that defines community. My central argument today is that the contrast between Hollywood and Madison Avenue suggests that a strong system of employee collective representation leads to greater reliance on binding, transparent, and democratically created legal norms mediating creation, ownership, private attribution, and public recognition. By focusing on attribution and collective bargaining as crucial features of 20th century authorship, I have to confess I am swimming as the scholarly stream in both legal and literary studies. Scholars have tended to focus on the relationship between copyright law and an individual literary artistic model of creation associated with modernism in the arts and literature. This scholarly focus on authors and owners has been incondensurate with the relatively small percentage of 20th century creative people whose efforts were rewarded through copyright ownership. Once we realize that much modern creativity is exercised in an employment setting where salaried creators sign away their rights and their work as a condition of hire, sign away, in effect, their very status as authors, we can see that attribution of work rather than ownership of the intellectual property represented in it defines the modern connection between creators and their work. I hope to dispel the impression that ownership is authorship by showing that copyright is not the only place. Perhaps with all due respect to my beloved colleague Tony Rees, not even the most important place to study the role of law in shaping the nature of creative work in the modern period. Modern authorship, I argue, is only partly defined by soul creation and individual rights and incentives, just as significantly, authorship is constituted by social and legal processes of recognition, processes that pertain to both individuals and firms. Before delving into the details about Hollywood and Madison Avenue, let me suggest five ways in which attribution of work matters to workers and to employers. Attribution rewards creators and thus provides a motivation for innovation. In many instances, there is intellectual property ownership as one of the principal psychic and economic rewards of innovation. Second, attribution disciplines creators by providing a mechanism to connect shoddy or undesirable work to individual people. Third, attribution brands, products which enhances their value. Particularly in the case of mass produced consumer goods, attribution gives a social meaning to everyday objects, as in the designer label on clothes. Attribution mediates the relationship between vast corporations and consumers, serving as a mark of authenticity in a world in which commercialization of culture makes everything or threatens to make it uh-huh, phony. Attribution in the form of a byline of a respectable journalist at a respectable news source, and propaganda in mass political culture. Fourth, attribution creates human capital by linking people to their work product and thus evidencing their knowledge and ability. And fifth, attribution humanizes work, linking consumers to real people who would otherwise be anonymous inputs into production. In all five of these aspects, attribution has a value distinct from the value of intellectual property or human capital to which it is attached. The commodity value of attribution is entirely informational. It tells consumers, current and prospective employers, creators, and the world at large about products and their creators. The commodity value of attribution is dissipated if the right to it is transferred because the information that it conveys is lost. Hence, whether attribution customs are formalized, as you will see they are in Hollywood, or remain informal as in the case of advertising, there is a limit to the tolerance for inaccuracies. Come with me now to consider the law and norms of attribution in two central institutions of modern culture in the 1940s and 50s. First, Madison Avenue and then the Hollywood Riders Guild. In 1957, Howard Cole, who was a senior executive of the J. Walter Thompson Company, which was then the largest advertising agency in the United States, sent a memo to members of the New York office of the firm. The memo was part of a decades-long series of company efforts to bring professionalism and efficiency to the management of the creativity involved in advertising. J. Walter Thompson, or JWT as the firm had come to be known and is still known, prided itself on having modernized the business of advertising during the 1920s and 30s. All agencies pride themselves on having invented modern communication, but JWT particularly prides itself on having invented the modern management of the conditions of production of modern communication. I kid you not. JWT, an account representative was in charge of relations with the client and coordinating the work of the writers, artists, to design and advertisement. And if you watch Mad Men, which is the only TV show I do watch, he sort of glues all of that, but that's really the drama in the show. Cole's memo warned that the tendency of these account representatives, quote, to use creative people and specialists in daily and regular contact work with our clients, does not serve the best interest of the client and can be dangerous to the well-being of the company. He said it would undermine the company's ability to present clients with, quote, our completely objective viewpoint. The representative, he said, should be a buffer between the client and the agency. In addition, he continued, the fine work of a creative man or a specialist can, on occasion, be rendered ineffective or unusable because of personality problems. That's Interoffice Memo's story. He said, that's Interoffice Memo's speak. Moreover, contact with clients, he said, could reduce both, quote, the time creative people and specialists have available for actually producing and working on the problem and the number of problems creative people and specialists could work on, which would, in turn, opiate their ability to bring a broad experience and the invaluable stimulation that comes from working on a variety of problems. In other words, he wanted them to specialize. And this is really important. He said, the account representative, would, quote, reduce his value to that of a messenger boy if he places on others the major responsibility in presenting the agency's work. As this memo illustrates, JWT executives insisted that the key to success in the world of advertising was the wise management of creativity by assimilating the manufacturer of ideas, texts, images and sounds into the dominant system for manufacturing and manufacturing cars. Cole's memo embraced three aspects of mid-20th century management theory. First, to be a professional, even in the world of writing and design, was to remove the idiosyncrasies of personality and individual point of view from the work process and product. Second, efficient workplace management demanded a sharp division of labor between creativity and management. And third, the success of the firm depended upon managers maintaining control of creative workers. Cole's memo exerted just this type of managerial control even in the course of describing it. Now, while Howard Cole was urging the creative people to be kept away from client meetings, other JWT executives were advocating just the opposite. They feared that bureaucratic management of the creative process was alienating creative labor. One sided a writer's complaint that he had been reduced to working while others had complained about feeling lost in a large firm where they turned out ideas, artwork, or text and stuck them in the outbox on their desks each day. Worried that bureaucratic employment practices could not easily be reconciled with individual creativity, one executive proposed that especially talented staff were deserving of greater publicity while another proposed that the public recognition of creative staff could reduce alienation and improve the company's reputation for creativity. Bill Day, a JWT executive who eventually left to form his own agency which I think quite famous, urged the firm, quote, to stress individual progress, individual cultivation of individual talents very much more than we have been stressing them. According to his view, creative work could not be assimilated into the managerial model of manufacturing. At JWT as it turned out, the anonymity model carried the day. Although those in the industry know which agency has which count and which agency is responsible for which major campaign and creative directors receive awards for the work of their team at annual awards banquets that look a lot like the Academy Awards actually, the public generally does not know who produced which ad. It is a labor market that operates on an entirely informal set of attribution norms. The agency executives cared a great deal about who did which ad and they were constantly looking out for new talent. But the process by which ads were attributed to people and by which talent was assessed based on attribution remained informal and very much in the control of managers. Like other ad agencies, JWT competed for clients on the reputation of its human capital. They promoted the firm as having transformed advertising from 19th century to a modern profession through the particular talent of the staff in applying science to marketing and modernism to art and design. The modernization and professionalization of advertising as they saw it primarily entailed hiring Yale graduates as writers and university professors to conduct market research and then managed them as if they were factory workers. For all the talk about modernization JWT was quite relaxed at least by today's standards and the agency did not even claim ownership of the firm. In the days when the agency wrote and produced radio programs for its clients to sponsor the show's writer might own the script even though he or she was technically a JWT employee. Those of our students who are refugees from Hollywood would recognize how unusual the firm was. The agency did not use written contracts for its employees. It relied on corporate culture and Hollywood would recognize how unusual that would be today. Composers of music for radio programs sometimes retained the rights to the music and JWT licensed the songs under the ASCAP system just as a broadcaster would have. In some of the shows it produced for clients and sponsors in the early days of TV JWT hired writers without a written contract and simply assumed that it owned the scripts as works made for hire. Just as the agency did not uniformly insist on the property side of authorship it was inconsistent about attribution. Generally the company leaders preferred anonymity. One executive said about Stanley Resor who was the company's long-time head that he would quote, never let anyone have credit for even an ad. It was a company job. The whole thing was company, not one person. Similarly Walter Lord who was a copywriter for the firm before he published I don't remember in 1955 who was a popular book said the Thompson Company deliberately clouded the matter as to who was responsible for a particular ad. Mr. Resor believed so firmly in the team idea that an individual was never known as the person who wrote such and such an ad. Keep yourself out if you want to get your idea across as the cardinal rule. There was supposed to be no hierarchy just collective achievement through individual creative effort and spirited collaboration. That's why we depreciated titles. We didn't have labels or titles. We didn't sign our names individually to projects. We signed our work J.W. Thompson. The contrast between the company's general policy of non-attribution and the culture of attribution that had emerged in radio, film and television became apparent when J.W.T. produced radio and TV programs for its clients. As one executive later recalled as you look back at the credits for writing, directing and producing these and other J.W.T. shows another striking thing stands out. The credits look like a roster of J.W.T. radio department talent. In those days J.W.T. wrote all the material their stars used on the air. The stars might be getting $5,000 to $7,500 a week and the writers and directors might be getting that much a year but no credits on the air or in the trades. Ours was an anonymous society and our only accolade after a particularly fine show, one which wrote New Ground, was an Orchid which we would find on our desks the morning after from J.W.T. Vice President John Reaver. Privately and within the world of ad agencies, J.W.T. did attribute work both to itself as a firm in the case of ads that were nominated for awards and to individual employees. Attribution however to the strategy of bureaucratic rationality. The business of managing creative talented required processes for spotting and nurturing talent which in turn required tracking the work of individuals. dossiers of employees accomplishments were used for example to set their salaries as one memo put it as nearly as possible in proportion to individual contributions. These same dossiers were used to match the talents of individual employees to the demands of particular clients and campaigns. Other mid-20th century tenets of bureaucratic management insisted that the organization had to present a human face to its employees. The company Newsletter which was published weekly or bi-weekly for decades in which I confessed to have read every single issue of routinely profiled individual employees and often attributed slogans, ideas or other aspects of ad campaigns to them. In addition to background and development and particularly successful campaigns was recounted in the newsletter like the successful Uncola campaign for 7 Up in the early 1970s or the this is a funny one she's lovely, she's engaged she uses POMS campaign of the 1940s which was actually created by the women's department at JDFJ they had a whole separate women's department which the women insisted on with their good ideas and they were credited with being far more effective than the men at bringing sex appeal into advertising. Company lore sometimes lionized the past accomplishments of particular company leaders as a way of dignifying the firm and inspiring younger employees but it was all ad hoc and discretionary with upper management. Come with me now across the country to Hollywood. Creativity is valued just as much, compensation and prestige are just as great as agency, job security is just as scarce and work is equally collaborative. Even screenwriting the most solitary and individualist of the some of the more high-profile contributions to emotion picture is collaborative yet in contrast to advertising authorship of films is very publicly attributed. In Hollywood writers belong to a union and that has made all the difference. In 1942 after two decades of struggle screenwriters finally secured their first collective bargaining agreement with the studios. That minimum basic agreement as it is called stated as the current one still states quote credits for screen authorship shall be given only pursuant to the terms of and in the manner prescribed in the contract and in the screen credits manual which is drafted by the writer's guild and adopted by a vote of guild members. Credit determinations are both thoroughly and substantively complex. They consume a significant amount of the time of the guild's professional staff. In addition the union has elaborate processes for studying and evaluating its credit rules. Standing committees of members debate the rules, member preferences are polled, meetings of the entire membership are called to debate the proposed changes and all members vote. Although individual hiring contracts for writers supplement the basic agreement on scores of issues and tend to be quite lengthy and detailed, on screen credit they are very short. Credit will be determined according to the collective agreement. Credit and forms of compensation tied to it that is separated rights and residuals which are complicated but they're sometimes quite valuable, are the one area for which writers cannot negotiate individual deals. Even hiring contracts for writers on projects not covered by the union agreement often stipulate credits per the writer's skill. Writers work very hard to achieve this state of dominance in determining writing credits. The credit determination process has changed relatively little all things considered since the union took it over from the studios in 1942. When the film is in post-production the studio makes a tentative determination of writing credits and sends notice of its determination to the guild and to all writers involved in writing the film. If no writer objects the credits are as determined by the studio. If any participating writer objects the guild arbitrates. The arbitration consists of three guild member writers reading all the literary materials whatever the original material was and every version of the script including the final shooting script and determining which writers made the most significant contributions to the film. In evaluating the significance of contribution arbitration committees consider four aspects of a script plot, characters, scenes, and dialogue and then they write up a little opinion each individually and send it back to the guild. Writer control of the credits has been encountered a serious threat from 1947 until about 1960 during the era when studios blacklisted suspected communists. Blacklist operated in significant part through the denial of screen credit.  Some blacklisted writers as we now know continue to be hired but they wrote under false or borrowed names or indeed under no name at all. The 1957 film Friendly Persuasion which won the Palme d'Or Actan and was nominated for a Best Screenplay Academy Award was credited to no writer because the studio believed the writer was a communist. After a series of anguished membership meetings intensifying among union members and unsuccessful court challenges in which the writer's guild actually hired Thurman Arnold the writer's guild eventually acquiesced in the studio's blacklist and agreed to a modification of the collective agreement that allowed the studio to deny screen credit to some writers. And this is the interesting part I discovered while I was digging through the files. While conceding the power of the producers to deny credit to communists and those who refused to testify about it, the guild insisted on its continuing power to control credits. It considered the orderly operation of its credit process so important that it conducted credit arbitration at the request of blacklisted writers whom the guild knew would never be given credit by the studios. The guild conducted a credit arbitration whenever a writer who had been employed on a picture challenged the denial of credit and it made no exception for blacklisted writers. Of course because the arbitration process is now and always was anonymous the arbiters did not know they might be deciding to award credit to a blacklisted writer. When the arbiters finished the guild's longtime credits administrator would simply translate the arbitrator's decision which is written as writer A should receive whichever kind of credit screenplay by credit for example into the usual form letter that the guild was always used stating in a few sentences that the arbitration committee had decided whom should be given what form of writing credit and the studios ignored the guild's determination when the writer was a communist as the guild knew that the studio would but the wheels of the guild's credit determination process cranked on. The stack of the credit arbitration machinery continued even when it was futile is what paved the way for the guild to regain power over credits when the blacklist began to fall apart around 1960. To make a long story short when a few producers began to buck the practice of denying credit to writers the guild's ongoing process for determining screen credit was right there as it had been all along. The long books once more became the law in action. Before during and after the blacklist period the union's reliance on law is no accident. Legal processes and legal rules enable the union to make difficult and extremely high stakes choices about which of its members will get the considerable financial rewards of credit in an environment in which all participants know that authorship is collective but credit determinations are individual and are limited and always have been limited to two people a maximum of two or two teams of two absent waiver. A democratic process for adopting the rules and a regularized process for applying them protect the union as an institution as well as the writers as individuals and the very limited judicial review of guild's administration of the system reinforces the guild's tendency toward legalism in administering credit under the labor law duty of fair representation which is a legal doctrine. The guild's determination is final and the guild will not be subject to damages for making errors in attributing films so long as its determinations are not arbitrary discriminatory and in bad faith and the guild has won every single lawsuit in which a writer who was denied credit has alleged that the decision was arbitrary discriminatory or in bad faith. This is a substantial financial incentive for the guild to use a process with all the trappings of the rule of law. The guild's management of credit enables it to play a unique and little understood role as a labor market intermediary. First it facilitates the assessment of talent in a fascinating market in which people switch jobs all the time and production companies spring up and disappear for each movie or a couple of movies. Credit on a project enables the writer who is once hired to get hired again. In addition residuals which is a form of profit sharing that turns on screen credits not a share of copyright royalties it's actually a different form of profit sharing. Compensates writers during periods of slack employment thus keeping their human capital in the industry once they achieve a certain level of success. These two functions of credit along with a bunch of other things that I have time to explain here may explain why the writer's guild survives even though there is a huge surplus of labor in Hollywood that might be willing to work non-union and why disgruntled writers do not join forces with producers to break the union and drive down labor costs which as we know has happened in so many other areas of American industry. Through control of screen credit and the compensation that turns on it the writer's guild has created a system of private intellectual property rights that is in my view as important as copyright to the operation of both labor and product markets in Hollywood. It is a unique system of private ordering that underlies a multi-billion dollar industry and it is a system that has operated for decades with virtually no judicial or legislative intervention. Having given you a brief description of attribution norms and processes in these two industries let me now share with you some of my ideas about the challenges and rewards of this work and I promise I'm almost done. When I first began working on this I thought my principal problem was that I wanted to write a legal history about something that was not law. I had surveyed attribution practices in a number of industries including speech writing, journalism, law, engineering and software development and I was troubled that such an important issue for employees and for firms seemed to be handled without any obvious deliberation and without transparency and without any law. I first turned to Hollywood because I was concerned that as a legal scholar I better go find myself some law to study and it was helped that the writer's guild dig around in their files for weeks. But now I think the principal problem of the project may also be its principal virtue. It is a unique opportunity to make intelligible a set of practices in which law is made that is quite distinct from our usual understanding about the making of law. Of course the problem is many of the recognized scholarly practices of legal historians don't fit what I'm going to do. This is not a project in which I'm telling the story of a legal institution like judicial review or a core doctrinal category like contributory negligence nor is it really an intellectual history of a legal concept situating it in social, religious, political or economic thought. It is not to show how law played some significant role in shaping society such as how early 19th century tort law facilitated capitalism or to show the social causes of legal phenomena such as the impact of the 19th century capitalism on the rise of the limited liability corporation. It is not even like the work of so many eminent social, cultural or legal historians that use legal sources to uncover phenomena that haven't been thought of as legal, such as the way in which legal processes came to define the meaning of race. It is rather a study of non-legal sources to uncover a phenomenon that hasn't been, but should be thought of as legal. Other historians and social scientists have, of course, found law in the tapestry of the customs of community. I'm not the first person to try this. This has been done for mining rights in Gold Rush, California and Bob Ellison's famous work on cattle ranchers and his more recent work on the household and in studies of the practices of 19th century whalers competing over a single whale. What is unique about we will write about that. It's actually really interesting. What is unique about this project is the contrast between the set of attribution practices that developed in a top-down organization like an ad agency and those that employees developed for themselves through their union. The fact that Hollywood writers were unionized and had lawyers meant they built a democratic system with a fair amount of process. So let me conclude. I don't think there is anything inherent in the distinction between movies on the one hand and advertising on the other that meant that one necessarily was going to be signed and credited and the other would not be. Ads could have had signatures in the way that paintings, photographs, or newspaper articles do. And indeed, many recognized artists worked for ad agencies. Edward Steichen, a famous 20th century photographer, worked for J.L.U.T. for a period of time and he signed his work when it was in a gallery and not when it was in an ad. Movies could be credited just to companies or just to directors or producers which is what the directors and producers do if they can go away with it. The authory attributions in motion pictures and TV are, in my view, a result of the power that writers had in Hollywood and the fact that production companies came to see writer control and writer credit as beneficial to them. The power of writers and the institutional capacity to translate their intuition about the importance of attribution into a system of law did not come just from Hollywood writer's education or talent. For Madison Avenue writers had plenty of both because he was fundamentally the same kind of people doing this work in this period. It came from their union. We hear lots of talk today about private systems of rules and norms that constrain conduct such as codes of conduct governing corporate ethics or environmental protection or the internet or international labor standards. It is important to remember I think as we evaluate these private and soft law systems that it takes sturdy and democratic institutions to translate high minded ideals into meaningful constraints on opportunistic behavior. In Hollywood at least a union did that. And that might be something to remember as we contemplate what role privatized regimes of rules can play now and in the future. Thank you.


just one more definition to keep going. So a linear transformation t which maps from c to the n to c to the n is called a Euclidean isometry if x Hermitian x equals tx Hermitian tx for all x in c to the n. So basically an isometry is something that preserves length the length of a vector. So it's a transformation any transformation that preserves the length of a vector is called an isometry and if it preserves the Euclidean length or the length measured through the Euclidean norm then we call it a Euclidean isometry. So basically from the previous result we then have that a complex square matrix u in c to the n cross n is a Euclidean isometry if and only if it is unitary. This is exactly the same as the statement a is equivalent to g. One other remark about these unitary matrices is that if u and v are unitary matrices u, their product is unitary.  So this is the same as v Hermitian v which is equal to the identity matrix. So u v is an identity. So take products of unity matrices how many of our products you take they will all be unitary. Another remark related remark is that if x1 to xk is an orthonormal set and u is a unitary matrix then u x1 through u xk is also an orthonormal set.  Okay, so now let's continue on with unitary equivalence. So I mean all this was kind of the prelude to get to unitary equivalence. So basically for a unitary matrix we know now that u Hermitian equals u inverse for a unitary matrix. So that means that if I take the mapping from A to u Hermitian Au this is a similarity transform, u is unitary. Okay, so by similarity transform what I mean is our definition S inverse AS where S is an invertible matrix. So it satisfies that definition. So this mapping from A to u Hermitian Au is in fact a similarity transform, but it's a special similarity transform. It's a transform where the matrix involved in the transform that the matrix S in our previous definition is a unitary matrix and that's why we call it a unitary similarity or a unitary equivalence. So the similarity A to u Hermitian Au for unitary u is, so now the leads to the definition that B in C to the n cross n is unitary equivalent to A in C to the n cross n. If there exists a unitary, we're going in circles a bit here, but matrix u in C to the n cross n such that B equals u Hermitian Au. Okay, so I mean going by the fact that similarity transform is an equivalence relation, you can also show that unitary equivalence is also an equivalence relation. So it's not a misnomer, it is called that for a reason. So that means that it is reflexive, any A is unitary equivalent to itself, it is symmetric, A unitary equivalent to B implies B unitary equivalent to A and it's transitive, that is A unitary equivalent to B and B unitary equivalent to C implies A is unitary equivalent to C. Okay, so you should show that just to convince yourself it's true, we have the following theorem. If A and B are unitary equivalent, the sum of the squares of all the entries of A is the same as the sum of all the squares of all the entries of B. So intuitively, this should be obvious, but just to see why this is true, summation ij equal to 1 to n mod aij square is the same as trace of A Hermitian A. If you look at the entries that arise when you're trying to compute trace of A Hermitian A, it's exactly the same as this double summation ij equal to 1 to n mod of aij square. Now, if B is U Hermitian Au, then trace of B Hermitian B is equal to trace of, I'm just going to substitute for B.  So I'm just substituting for B as U Hermitian Au and U U Hermitian is the identity matrix. So I'm left with trace of U Hermitian trace of U Hermitian A Hermitian Au, which is equal to trace of A Hermitian E. Why is this last step true? In the trace, you can exchange the terms in the product. You can't exchange.  Is that what you're saying? This is not correct. So one of the things about the trace is that you can, you can cyclically permute the terms. Equal to trace of B A, we can use that. And trace of A B equals trace of B A, which means that you are actually cyclically permuting. You can't just pick two matrices and exchange the order.  That's not correct. But you can shift this matrix all the way out here. That is okay. So I can write this as U U Hermitian A Hermitian A and that is equal to, this is equal to the identity matrix. So this is equal to the trace of A Hermitian A. So now you have one more exercise to show, which is that if I have trace of A B C, then it is equal to the trace of C A B, which is equal to trace of B C A. So you need to show this.  So since it's a similarity transform, we know that the eigenvalues of a matrix remain invariant to similarity transforms. And the trace is nothing but the sum of the eigenvalues. So basically, trace is similarity invariant. And so this must be not true. So that's a slightly simpler way to maybe think about it, given what we know so far. So trace is similarity invariant. U Hermitian A Hermitian AU is a similarity transform on A Hermitian A. Okay, so that's about this. I think we are almost out of time today.


I am constantly being perceived as a teacher either to be exalted or rejected, but I do not accept either perception for myself. I will teach with you and live with you if you will think with me, but my goal will always be to absolve you, finally, from the need for a teacher.  I could not understand their importance to you if I had not once been tempted to believe in them myself. When you are afraid, be still and know that God is real and you are his beloved Son in whom he is well pleased. In this world, you need not have tribulation because I have overcome the world. That is why you should be of good cheer. Nothing you do or think or wish or make is necessary to establish your worth, is established by God. If you are willing to renounce the role of guardian of your thought system and open it to me, I will correct it very gently and lead you back to God. The reason you need my help is because you have denied your own guide and therefore need guidance. It is to separate the true from the false so truth can break through the barriers the ego has set up and can shine into your mind. Against our united strength, the ego cannot prevail. There is a kind of experience so different from anything the ego can offer that you will never want to cover or hide it again. It is necessary to repeat that your belief in darkness and hiding is why the light cannot enter. The Bible gives many references to the immeasurable gifts which are for you, but for which you must ask. Let us ask the Father in my name to keep you mindful of his love for you and yours for him. He has never failed to answer this request because it asks only for what he has already willed. Those who call truly are always answered. Thou shalt have no gods before him because there are none. The kingdom is perfectly united and perfectly protected and the ego will not prevail against it. Amen.