What's going on everyone Sam here with late sports cards rippin 22 bum and chrome baseball sapphire edition 10 box full case break number 10 Random team style. There's a look again at your random results as always find those on the website under the results tab as well as the Lincoln Chat it's good luck everybody got 10 box Tuesday baseball coming up next. Thank you all again for that Do appreciate it gonna be fun bunch of spots coming in for tomorrow still have a couple breaks left tonight So that flawless left side serial numbers as well as We've got 10 bucks Tuesday basketball 10 bucks Tuesday basketball It's gonna be a good time right there box of 2012 13. I'm back in there I don't see that very often potentially Kobe Bryant on card autos as well as other legends big rookies Kawaii Clay Thompson Damian Lillard Bradley Biel Jimmy Butler is in there Clay Thompson a lot of other guys in there too woman chrome sapphire First of Drew Baker and sees our freedom Ranging cone coming out to the ice almost time Purple George Springer 11 of 25 nice one there for the blue jays You just do all party Freeman and William Burgoy at first the air is first and One been Joe Darius first That is gonna be a Starling Marta 16 of 99 on the tilt the Mets Starling Marta Junior Harry Ford, there's a Jayrod rookie nice one there Then sir goes mine and a wander rookie really good pack very solid pack Jeremy paying your rookie at East Leonard boba shut And Mackenzie Gore rookie as well pretty solid overall. I would say two exclusive sapphire parallels per box That was a really good box actually a really good box Yes, that fire could be pretty heat if you can get like a big first or a big rookie Color is always huge Aaron judge and you're about on how it's looking for the pad crashes one of ones Reds to five all that good stuff. That's gonna be a yellow or no gold to 50 Drew Baker 24 of 50 Probably a yellow. I guess no it is yellow because the golds are 15 So that's a yellow to 50 Drew Baker first for the Rays and Jonathan may he a first with the cardinals Alex the hey suits to the Christian Maccaro nice one there for the Mets Very solid that'll work Jason Cheerio Joe Ryan rookie and you're in confidant Retembers Brian Acuna first Rodolfo Castro in reverse of compos. I forgot all about that one until right now Orange so that is just chiseled 58 of 75 for the Marlins. Congrats Miami on the chisel and Bill and Carlson Sapphire Oh, yeah, I'm at McLean. That's gonna be a rookie for the Rays Shane bars 23 of 99 on the teal boss and Show hey, that's up there with Funkadelic. Oh, yeah Max Scherzer Edison Paulino first one been show and Victor Acosta See how he went from 140 to like 66 Two of them are us on our own computers Ampt it's Brian South Freilich breaking stuff, you know Bulpie, I'm Jay Melendez rookie Comically large hammer or an anvil a wax There's Paul Goldschmidt Carson Williams rookie won. Yep us. No baby gromp yet Brad. Nope. Nope. What's up, Brad? No, baby gromp There's rookie for the Pirates O'Neill Cruz 46 of 99 on the Oh, yeah, no Kensi Noel and Aaron Ashby new Rizz King. Yeah orange Yentree Rojas first to 75 nice one there for the Padres First of Willie Vasquez A rookie O'Neill Cruz variation in 99 this time congrats for the Pirates to O'Neill Cruz one variation Very solid congrats Pittsburgh Louise Mesa Brera first Samuel Zavala first Livy Dunn even hang on the baby gromp.  He's fun man. He was like last year's Ellie De La Cruz Hello, Sab Redugo Ellie De La Cruz and Rizz Runs the Contreras is Max Scherzer to 99 for the Mets on the teal yeti capi yeti no capi Orange Jose Miranda rookie to 75 nice one there for the Twins jaren Duran and Samuel Munoz. Yeah, I'll be ripping random teams like tomorrow. Sab. Yes, sir. Yes, sir Josh Lowe Jake Berger Alexis Hernandez hers me need for me Torkelson Last Alex Thomas Bobby wit and Lonnie white nice path there with the wit Sab with a spot in random team. Let's go, Sab.  Donnie can floss and Sean. I'll hit the gritty Yeah, that is for the Tigers hobby bias the 75 nice secondary color match there for the Tigers Joey Weimer God, I would pay for that man First of all, I'd pay to see Donnie attempt to floss And then you hitting the gritty would be hilarious purple It's gonna be for the A's Pedro Pineda 14 of 25 I just won there for Oakland and Daniel Vasquez Daniel Quava rookie Gavin sheets and Yasser Mercedes. Yes, sir Mercedes wildly hitting the goodie while opening packs He's what are we hitting the goodie What are we hitting the goodie wait now? Such a great What are we quitting? say a Suzuki and Christian Hernandez There's also this Like he looks like he's like 12 at like a high school football game on the bleachers and he's just like I'm not gonna hit the gritty He's just like yelling at somebody. It's so fun. I gotta find that. It's so funny That's gonna be a teal Ellie De La Cruz to 99 nice one there congrats reds woman chrome at wiggly field This JD Martinez and Jonathan Mejia first Jason Shuri. Oh first and Christian Piccaro first second Christian Chrithian Piccaro Yeah, nice hit for the reds right there for sure Ryan Acuna, you're Lynn confidant. Come on You're out of here. Yeah, I'm your own. I don't know what you did with it. That's trash Pinkish you There's a lube up to 75 orange Yeah, why'd you have Donny Creative in that Matt McLean first nice and Dylan Carlson 21 to go guys 21 to go grab your spots Again 12 13. I'm act in there as well. Hey, thank you there Alan Alan took a spot. We're down to 20 to go now Thank you, Alan. Appreciate you, buddy Let's go Alan James Triantos first rookie of Brandon March and Oscar Colas Tackling like a security guard yellow to 50 show. Hey, oh, Tony 30 of 50 for the angels. Congrats. L.A. Nice. Oh, Tony I did they destroyed that guy The doll Bruhan Jordan Walker and Marcus Simeon and Vlad A. Guerrero, Jr. Nicola Dolo rookie woman Diaz Elliott the Ramos Elliot the Ramos Colton Couser chilled 99 10 of 99 for the Orioles That's when they're Baltimore, Errol Vera and Jose Miranda thought of the champagne bottle like a chant That's very true. Very true Chris Yankeel Fernandez first and base Very nice Robert taking the bears in select model again guys if you are subscribed to the SMS newsletter There's a 10% discount code 10% discount code If you are subscribed to our SMS newsletter, I'll be a first That is a first for the Dodger Samuel Munoz three of five Big time hit there for LA. That's Edward PR. Congrats, buddy He's like one of my favorite guys in this entire product in terms of future talent same a Munoz Hell yeah, dude three of five on the red That's nasty nasty nasty nasty Munoz Joey Weimer back to back to back breaks with big heads now Brian de la Cruz Joey Vado India and Daniel Vasquez first Security guards have been waiting like for 20 years to tackle someone honestly. He's on more about so I Asked my dad. I was like do you consider yourself kind of the same as like Something that you'd ring and he goes yes, son. I'm more about This my child Yeah, well, it's like a prospect card still why Oh, it was yeah, yeah 22. It's just like a regular prospect card though. Yeah Yeah That is gonna be orange. No, I'll be March 8 to 75 for the marriage That is you're sorry Garcia to 99 teal for the Phillies. Oh, I know I'm way past How Raleigh believe believe you me You know the worst part of that was to I thought about that I came up with that These right I thought about that before I like on my way to work one day Last week, I thought of that entire thing. I was like, ah, that's funny Rare roads. I'm gonna say that I'm shreem now.  Oh, it's still Man, that really stinks and don't do it. You I saw a smile on your face when I said that Oh There's J Allen wants so does well Shane ma George Valera Blaze Jordan and a hundred green rookie. There's teal. I was in Paulino to 99 nice one there for the Red Sox Very solid prospect Mr. Edison Paul, you know and Zach Beaton for me. There's a wonder rookie Uh Gabriel Arias and Francisco Albright. I think that might be the variation. Yeah, I think that's the variation of wonder I believe So very nice Either that or the other one we called Variations DJ Abrams rookie and james wood on the back Got a yellow mookie bats 14 of 50 nice one for the Dodgers Big chain Willie Fannis first and Nelson Velasquez first. All right, we're on to our last box everybody. Good luck 22 bowman chrome sapphire I always look for the frown over there empty O'Neill cruise Francisco Alvarez because it's not even red Yeah Shane buzz James wood and Francisco lindo steaming kwan and Kyle talker Here's your link again for 10 bucks Tuesday. Wanting to go 10 bucks Tuesday basket ball 22 Let's get that filled on up. There'll be PCA one bin show William Brigoya Again, 2012 13 iMac in there cj abrams brison sta and victor acosta Hassell denser guzman tatis That's eddie's Leonard. There's a wander. So yeah that last wander that we pulled was the variation case uh You were wondering It's going to be a teal. Yeti cappy 22 of 99 no cappy For the marlins nice one there and louis rod rigas for the But a good wit car you got a wit rookie in there, which is pretty solid Any of the rookies sell pretty well in this actually. All right, so we've got Uh, you need cappy that is eddison paulina yosemura garcia colton causer ellie daylock cruise max scherzer O'Neill cruise variation o'Neill cruise base Shane buzz and starling marty. So those were all 99 oranges to 75 and well v marty Lou bob we've got jose maranda javier vayas yendri rojas and jash chisel We've got yellows to 75 mookie bets shohei otani and a first of drew baker We've got herples to 25 pager panada as well as george springer and then a red to five We've got first of samuel munios three of five for the dodgers That is going to do it for the break guys. Thanks again for the fill up next. We've got 10 bucks tuesday baseball


So yeah, just to echo Amir from earlier on, thank you very much everyone for inviting me back. This is my third year at TiteCon. It doesn't get any easier, especially with a crowd like this. So yeah, what I was finding quite interesting, I mean it's been great to listen to the talk so far. And just to introduce myself, I'm Gabriel. I come from the graphic design course in Bristol. We're not a type design course, but we obviously teach typography. We've got a philosophy, a kind of approach to a lot of the work that we do and a lot of the teaching that we do, which is about teaching content, not type. So there's a big kind of focus that we have on this whole idea of what's the content? Where is it coming from? What's the context? What are you trying to say with it? How are you trying to communicate? But this project that I'm going to talk today about, I mean it's quite interesting again that over the last three years when I've done my talks, I think one thing that connects a lot of the talks themselves is this idea of the importance of history, because last year I was speaking about a monogram project that we do in the second year. So I guess second year for the U.S.'s sophomores, is it sophomores? It's a freshman sophomore. So this is a second year project that I'm going to talk about. And this is a module that I run called Type and Print, and there's four major projects. And we start from very short projects, and we end up with quite a large project at the end. So this primarily is the first project that we or that the students work on, and this is a two-day project. So in effect what they do is that they design their outcome in one day, and then they print the outcome. So it's a screen printed project that they produce. Now for a room like this where there's loads of educators, I think a lot of the things that you're going to see, I mean last year I probably had maybe about 70% of student work, 30% not. I think this year it's kind of reversed. So you're going to see a lot of images that are going to be familiar to you. But I think what's important for this project for me when I was starting to think about what did I want to talk about, was again the importance of history, but also this notion of style. Where does style come from? Why do things last? Why do they continue? Why are they still relevant? I think the talk that we had last night, I think it was by Nadine. She was bringing a lot of things to do with politics, and whether you agreed with it or not, I think it was really nice to come out and actually realize that design, typography, type design, everything is associated and connected to the idea of us living in the world and us communicating. So I think the notion of where a lot of design stems from, where it comes from, the things that I enjoy teaching, is the idea of how did our industry begin? Where did it come from? Where are its roots? Because in a sense, by knowing the past, you obviously know the present and you can look to the future. So I think there's been lots of really interesting things that I've heard about today, and it's been nice to see that there's a lot of common threads that kind of happen throughout the talk. So again, you're going to see some familiar images that you've seen maybe a few times already this morning today. So this quote I think sums up to a certain degree what I'm talking about, but I think it sums up a lot more about the process. And I think there's something that's very relevant about this today, because we're obviously living in a world where, I mean, I've got two very young children. I'm sure lots of people have got children here, and the battle, the constant battle that we've got about getting them away from the screen, and the idea that we're just bombarded with information constantly, constantly. I mean, obviously Marshall McLuhan spoke a lot about this, you know, the idea of, you know, this bombardment of content and information, how do we filter these things out? But I think this idea of perfection is achieved not when there is nothing left to add, but when there is nothing left to remove. I think this idea of limitation, but not necessarily limitation about simplification. I think there's something really at the heart here about in the age that we live now, and I think one of the reasons why something like the Swiss style, and this is what I'm going to talk about today, you know, has lasted and is so relevant, is primarily because I think we're constantly looking for something to be simplified. I think a lot of times we are very bombarded. We've got a lot of chaos going on, and I think this whole idea of simplifying down, you see it in lots of different forms of art.  You know, the idea of trying to get to the root and the core and the element of thing. And I think this is why, in a sense, you know, the Swiss style, you know, beginning very early with new typography and, you know, developing further on to the international style is this idea of this notion of simplification. So starting off with this notion of grids, I mean, grids have been around or the idea of grids or this imposition of structure I think has been around for a very long time, but it's something that's all around us.  There is a constant structure that we're living and we're inhabiting, which is this idea of making sense of the world, composing the world, thinking about how we kind of keep these things at bay, the chaos at bay, and that can be, you know, sometimes this, you know, the discussion between nature and the way that we're constantly trying to keep those things at bay, you know, the imposing chaos from around us. City planning, this, if anyone recognizes it, this is Seattle. So again, you know, the way that cities are planned and structured is this idea of, you know, grid systems. So, you know, on top of that as well, you've got digital interfaces, and again, you know, the idea that these things develop and continue to kind of, you know, be relevant in the context of what we see. So I wanted to talk about the idea of the Swiss style, and it's the most popularized in the sense that when people talk about, you know, grids and they talk about Joseph Miller-Brockman and they talk about Helvetica or, you know, there's something within that idea that Swiss style is very prevalent. It's still around. It's still very popular. People can love it or hate it. I kind of, I love it, but at the same time, you know, when people talk to me about, you know, the type of house that I would want to live in, the type of house that I live in, I don't live in a mid-century modern property, although I love it. I think there's something about this idea that these things can coexist and you see the beauty inherent in these things. And I think when I'm teaching this project to the students and we're talking about the relevance of particular styles and certain things that have been, you know, become popularized and they become a movement in a sense, is again, it's relevance. What has it got to say? Why is it important? Not to copy, not to imitate, not to just appropriate, but to understand what is this relevance? What is the relevance of a particular movement? So this idea of, you know, why I think the Swiss style has stood the test of time and I think why I think it's relevant also is that it's always been this idea and the ability to simplify and clearly and effectively communicate a message with as little clutter as possible. So when you think about the birth of this movement, the late 19th century and early 20th century was a hotbed of radical thinking about arts function and purpose and rapidly changing political, social, industrial and economic landscape that began with the arts and crafts movement, as a result of the impact of machine production redefine the social role of the artist and their relationship to industry. So we start off with futurism which strongly rejected traditional forms and embraced the energy and dynamism of modern technology and embraced typographic innovation. So you see this idea of the notion of expressive type and the idea of this connecting back to what you're trying to say is as important as the way that you say it as well. You've got the influence of data which was devoted to destroying the old attitudes to art and rooted in poetic language that looked to liberate the written word. So again this idea of how the page is being liberated and this notion that you still see within Dati, you've got the idea of a structure, you've got the idea of an imposed grid, you've got the idea of a formal structure especially if you look at Ritual Hasenbeck down at the bottom right is this idea that there is an organized structure, there is an organized imposition but it's still liberated in the sense of size and dynamics and hierarchy and all those types of things that are bringing these elements into the mix. So you've got De Steele, the influence of De Steele and they advocated pure abstraction and universality by reproduction to the essentials of form and color. They simplified visual compositions to vertical and horizontal using only black, white and primary colors. A pursuit of beauty and harmony hinted at a more mystical belief in ideal geometric forms. You've got this composition, you've got this idea of composing, you've got the idea of structure but you've got the idea of color and the dynamism that comes from a very architectural form and structure to the page. Constructivism obviously equally played a big part in the development of a style and a movement that then developed into the Swiss style. So ideologically founded to make art socially useful with the aim to integrate art and society so that art would disappear, by pure color and geometric form based on science and rationality. And again you can go back to what I was saying before about the arts and crafts movement which is about the purpose, design as purpose. So it's obviously, I mean it's quite important to remember that the term and the notion graphic design was still not around. I mean it was in its infancy this idea of how you could merge the idea of art and commerce and how these two things could coexist at the same time. And lastly obviously you've got Bauhaus. So this movement emphasized purity of geometry, absence of ornamentation in the motto form follows function to facilitate a style that could be applied to all design problems. So all of this combines into what was termed at the time as new typography and you've got some key players in new typography but it was forged by an eclectic group of European artists, designers and educators keen to solidify a coherent philosophy instead of principles for the future. So here you've got some of the main players there. Again I think it's worth noting and I should have said this at the top that like most of the arts and I think when you look at the root of it it's generally a boys club. I think there's a lot of, as I was doing a lot of the research and when I've been doing research and I've been very interested in this area about the women that really were part and parcel of these whole movements. It's very difficult sometimes to find historical information where they were, what they were doing, how they were doing it, how much influence they had. But I think again this is the nature about how it's important even when we teach is this idea that it's not just about what the history is but it's about how people are changing the future and how they're thinking about that a movement could exist in the past but where are they taking it on further from there. So this idea and just going back a step when you've got these artists you had the Dutch artist and poet Theo van der Speur who moved to Weimar from Holland to teach at the Bauhaus. You had the Russian designer Elisitsky. You had Hungarian painter Laszlo Maholyanagi or Naj, as Amir rightly said and German typographer Jan Tyschold. You had other players, you had other people involved but I think these as far as I can tell are very key in solidifying an idea and some underlying principles and core ideologies that would be developed further. And I think this also moves to the three, seven of publications which would bring together work by these early pioneers and help to spread the core principles of new typography. So you've got this, I struggle, can anyone help me? Die Kunststismen, yeah, which was published in 1924 and this is the artisms, that's what it's translated as. And it was a design collaboration between Elisitsky and Hans Arp. The book used revolutionary layer techniques that demonstrated the earliest application of new typography. Elisitsky moved to Switzerland in 1924 and further spread the progressive message with work with Möhrs alongside Kurt Schmidt. So again, this move from one place to the other in terms of spreading the good word as it were. You've got the new typography which most people will be familiar with and this promoted elementalism, suprematism, constructivism and a mastery of elemental arrangement with regularity. So this was the rejection of unnecessary decoration and conscious use of geometric forms. So again, following his arrest in Germany, Tischold fled to Switzerland in 1933. And then you also had Gepfes-Selter-Blick which is the termed as the captivated gaze which was published in 1930 in Stuttgart but sponsored by the Swiss workbunds advertising designer circle and it was a major influence and collection of modernist principles of the new typography and design which led to the Swiss style. So the book included examples of three Swiss design pioneers, Max Bill, Walter Ciliacs and Otto Baumberger. So in a way, again, you know this whole idea of new typography it couldn't be separated from its political and social ideology and many artists and designers at the time needed to defend their ideas at a time of growing intolerance and rising fascist regimes but they were keen to stress that although this new approach was rooted in revolutionary Russia new typography was not communist, it was rather functional and objective. So again, you have the idea of the move by many of the key members of Switzerland as both educators and practitioners alongside Swiss neutrality during wartime meant that this new ideology could develop and flourish. So the work by a few key Swiss born designers would establish some of the main tropes used by later masters and demonstrated the stereotypical reductionism of 1950s and 1960s corporate variation of the Swiss style. So you have Theo Ballmer, you've got Walter Ciliacs there, Otto Baumberger and Herbert Matter. Again, what you'll see with Otto Baumberger and he's considered the founder of a particular visual approach which is the Sachlichkeit, which is the objectivity or this idea that, you know, this developed in the Sachplatt which was the object poster, which is again reductionism but the idea of pure symbolic notions of what a design ultimately could do. So it's stripping away everything to the bare essentials. So in a sense, this idea of what they become or what this notion of Swiss design becomes is, you know, they were masters of eloquent economy. So when you kind of fast forward and you start looking at the Swiss pioneers themselves, you know, all of these will be familiar to you. Carl Gersner, Emma Ruder, Carla Vivarelli, Max Bill, Haz Newberg, Richard P. Loos, Muller Brockman and Armin Hoffman as well. But these ideas, and again this comes back to the teaching in terms of looking at themes, the common themes that they, you know, the Swiss style actually was promulgated and, you know, developing at that time. So you've got the notion of the asymmetrical design. You've got the idea of this balance and harmony between shape, image, you've got the sans serif typefaces. Again, love them or loathe them. They're around. They're still around. They work for a very particular reason. The notion of negative space. And I think there's something really there about this harmony about the idea of subtraction, you know, being able to visualize something that isn't there to create something through the imagination. The notion of mathematical precision. So again, we talk about this and we talk to the students a lot about the idea of the grid and why it's important. And a lot of them are very resistant to the notion of the grid to begin with. But it's not about this resistance or acceptance. It's just about the learning. It's understanding how things can serve you. You don't have to be inhabited by them or inhibited. Or also take those things as this is a premise that you've got to use throughout the rest of your career or your design. Don't be hampered by the idea of being drawn into a specific style. But see how you can use all these different elements within your design. And, you know, see the value as well. So the use of photographs in geometric shapes in favor of hand-drawn illustration. Use of the diagonal. Radical shifts in scale and contrast. We're talking here about size and type and color. Stark symbolism as well. So again, these are things that are meant to be or working on a very specific level to become iconic in our own minds. That there's less needs to be said because there's a common understanding. So they become very universal. And I think equally this is why this is an international style, which then took that step on from the Swiss style and developed further. I think that's what makes it relevant. So I also think this is important that Stephen Heller mentioned this. And he said Hoffman's, his arm and Hoffman's posters collectively epitomize mid-century modernism because they touch the soul of their times. And a lot of people wouldn't necessarily say that the Swiss style, international style, Helvetica in itself is soulful. But I would disagree. It's not just about working, which is not just its speed. It's not just about the idea of the efficiency at the sake of complexity. But it's this notion of complex simplicity, which I think is really important. So the international style, you know, obviously Swiss then starts to inform a lot of the movement around Europe mainly but starts to go to other parts of the world, where you've got them Crow, you've got Oval Asia, you've got Eduardo Munoz Bachs in Cuba, quite well-famed for a lot of the post-revolution film posters that he created, but you could see a real underlying principle there as well. Shigeo Fukuda from Japan, Massimo Vignelli obviously, Spin in the UK, you'll see a lot of this stuff around as well, Experimental Jet Set, which in some sense they spoke about this at A-type I was this idea that, you know, they feel to a certain degree responsible for the amount of work that they're doing, keeping that mantle going, but I think what they're trying to do is to find their own voice within this as well and see where this idea can move further. My name is Wendy in France as well, but you can see that there's a lot of, you know, kind of design within there as well, that you can step back and you can go back 1890 years to see where the Bauhaus influences as well. So yeah, this idea of complex simplicity, symbolic summation, and iconic intervention, so we always talk to the students about the idea that rules can be broken, but never ignored, so always look at the idea of how this structure can work to your favour. So the project itself, we give them a specific grid to work with, they produce a screen printed A32 colour spot colour typographic poster, they're giving it point sizes to use, which is based on the Fibonacci number system, typefaces to use, they choose 5 or 6, and they're orthographic shapes and patterns of shading. Again, we emphasise the idea that the grid system is an aid, not a guarantee, it permits a number of possible uses and each designer can look for a solution appropriate to his personal style, but one must learn how to use the grid, it is an art that requires practice, and again, this kind of idea of practice and repetition is important, but equally about the speed of the students working. So this is just to finish up with a few examples of the students' work, so this again is work that was done in two days, they design them one day, they're only given the content in the workshop and they've had a lot of lectures, discussions workshop groups, looking at the Swiss style, international style, looking at all the things that we've just discussed, but they basically have this in the back of their mind when they go into their initial InDesign workshop to start working, so they do quite a lot of sketches very quickly in that 8 or 9 hours, but they come out with something that they then do the Folex colour separations, this was from 3 years ago when they were working on the Underground 150 project, so we link in every year with an anniversary, so also what we do is we link in with the organization doing that so we can get the logo, but we also get their approval to be able to work up the posters and then we do an exhibition with them and what's really been nice about a few of these projects as well with the link-ups that we've done is that they then end up printing some of these posters that they really like and they feel as part of their celebration and they'll sell them within their stores themselves, so that's really good for the students as well, the idea of the relevance of the work, that this is stuff that isn't just kept within the university, there's some practical output, so you can see here this use of circles, there's very common themes and tropes that run throughout the work, the idea of squares, but also perspective, so they have to think thematically about what is the content that they're working with, what is iconic, what's recognizable, what would really work in that sense, so you've got the idea of these are common ideas of the light, because that's the year of light that's the year of light, that's the year of light, diagonals, circles again, that's the year of light, that's what we did last year with the students so these are abstract forms and again what they're working a lot with moiré patterns, the idea of abstract shapes and this was this year's with Shakespeare 400 so this is some of the work and there's some of the posters in the back it's just if you want to get closer to see the screen printing process, because obviously screen printing has got a whole inherent aspect to it, and again some of these overlays and the notion of duality and just to finish up with William Shakespeare, which I think is appropriate the 400th year, his birth, I fill up a place which may be better when I've made it empty, thank you


Live from New York City, it's theCUBE. Covering Lenovo Transform 2.0, brought to you by Lenovo. Welcome back to theCUBE's live coverage of Lenovo Transform. I'm your host, Rebecca Knight, along with my co-host Stu Miniman. We're joined by Madhu Matta. He is the VP and GM, high-performance computing and artificial intelligence at Lenovo. And Dr. Daniel Brunner, the CTO of Sinet at University of Toronto. Thanks so much for coming on the show. Thank you for having us. Our pleasure. So before the cameras were rolling, you were talking about the Lenovo mission in this area to use the power of super computing to help solve some of society's most pressing challenges and that is climate change and curing cancer. Can you talk a little bit, tell our viewers a little bit about what you do and how you see your mission? Yeah, so our tagline is basically solving humanity's greatest challenges. And as we're also now the number one super computer provider in the world, as measured by the rankings of the top 500. And that comes with a lot of responsibility. And we believe that, one, we take that responsibility very seriously. But more importantly, we work with some of the largest research institutions, universities all over the world as they do research on this amazing research whether it's particle physics, like you saw this morning, whether it's cancer research, whether it's climate modeling, I mean, we're sitting here in New York City and our headquarters is in Raleigh, right in the path of Hurricane Florence. So the ability to predict the next tsunami, the ability to predict the next hurricane is absolutely critical to get early warning signs and a lot of survival depends on that. So we work with these institutions, jointly develop custom solutions to ensure that all this research, one is powered and secondly, works seamlessly and all their researchers have access to this infrastructure 24-7. So Danny, tell us a little bit about SINET too. Tell us what you do and then I want to hear how you work together. And no relation with SINET, I've been assured, right? No, not at all. It is also no relationship with another network that's called the same, but doesn't matter. So SINET is an organization that's basically the University of Toronto and the Associated Research Hospitals. And we happen to run Canada's largest supercomputer, where one of a number of computer sites around Canada that are tasked with providing resources and support, like support is the most important, to academia in Canada. So all academics from all the different universities in the country, they come and use our systems. And from University of Toronto, they can also go and use the other systems. It doesn't matter. Our mission is, as I said, okay, we provide a system or a number of systems. We run them, but we really are about helping the researchers do their research. And we're all scientists. So all the guys that work with me, we're all scientists, initially. We turn to computers because that was the way we do the research. You cannot do astrophysics other than computationally, observationally and computationally, but nothing else. Climate science is the same story. You have so much data and so much modeling to do that you need a very large computer that, of course, very good algorithms and very careful physics modeling for an extremely complex system, but ultimately needs a lot of horsepower to be able to even do a single simulation. So what I was showing with Madhu at the booth earlier was results of a simulation that was done just prior us going into production with our Lenovo system, where people were doing ocean circulation calculations. The ocean is obviously part of the big earth system, which is part of the climate system as well. But they took a small patch of the ocean, a few kilometers in size in each direction, but did it at very, very high resolution, even vertically going down to the bottom of the ocean so that the topography of the ocean floor can be taken into account. And that allows you to see at a much smaller scale the onset of tides, the onset of microtides that allow water to mix, the cold water from the bottom and the hot water from the top. The mixing of nutrients, how life goes on, the whole cycle is super important. Now that, of course, then gets coupled with the atmosphere and with the ice and with the radiation from the sun and all that stuff. We run our, that calculation was run by a group from, the main guy was from JPL in California. And he was running on 48,000 cores, single runs at 48,000 cores for about two to three weeks and produced a petabyte of data, which is still being analyzed. So that's the kind of calculation that's been enabled. It's enabled by a system the size of the one we have. It was not possible to do that in Canada before this system. I tell you, both when I lived on the vendor side and as an analyst, talking to labs and universities is you'll love geeking out because first of all, you always have a need for newer, faster things because the example you just gave is like, oh wait, if I can get the next generation chipset, if the network can get me improved, you can take that petabyte of data and process it so much faster. If I could only get more money to buy a bigger one. We've talked to the people at CERN and JPL and things like that and it's like, this is where most companies, it's like, yeah, it's a little bit better and it might make things a little better and make things nice. But no, this is critical to move along in the research. So talk a little bit more about kind of the infrastructure and what you look for and how that connects to the research and how you help close that gap over time. Before we go, I just want to also highlight a point that Danny made on solving Humanities Gator's Challenges, which is our motto. He talked about the data analysis that he just did where they are looking at the surface of the ocean as well as going down, what is it, 264 vertical layers underneath the ocean to analyze that much of data, to start looking at marine life and protecting marine life. As they start to understand that level of vertical depth, they can start to figure out the nutrients value and other contents that are in that water to be able to start protecting marine life. There again, another humanities greatest challenge right there that has given you life. Nothing happens in isolation, it's only interconnected. So, you know, when you finally got a grant, you're able to buy a computer. How do you buy the computer that's going to give you the most bang for your buck? The best computer to do the science that we're all tasked with doing. So it's tough, right? So you need to, we don't fancy ourselves as computer architects. We engage the computer companies who really know about architecture to help us do. So the way we did our procurement was, okay vendors, we have a set pot of money. We're willing to spend every last penny of this money. You give us the biggest and the baddest for our money. Now it has to have a certain set of characteristics. You have to be able to solve a number of benchmarks. So some sample calculations that we provided. So the ones that give you the best performance, that's a bonus. It also has to be able to do it with the least amount of power. So we don't have to heat up the world and pay through the nose with power. And those are objective criteria that anybody can understand. But then there's also the other criteria. So how well will it run? How is it architected? How balanced is it? Did we get the IO subsystem for all the storage that was the one that actually meets the criteria? What other extras do we have that will help us make the system run in a much smoother way and for a wide variety of disciplines? Because we run the biologists together with the physicists and the engineers and the humanitarians. Humanities people. Everybody uses a system. So to make a long story short, the proposal that we got from Lenovo won the bid, both in terms of what we got in terms of hardware and also the way it was put together, which was quite innovative, yeah. So I want to hear about, so you said give us the biggest about us. We're willing to empty our coffers for this. So then does, where do you go from there? How closely do you work with Sinet? How does the relationship evolve and do you work together to innovate and kind of keep going? So I see it as a, it's not a segment or a division. I see high performance computing as a practice. And with any practice, it's many pieces that come together. You have a conductor, you have the orchestra, but at the end of the day, the delivery of that many systems is the concept. That's the way to look at it. So to deliver this, our practice starts with multiple teams, one's a benchmarking team that understands the application that Dr. Gruner and Sinet will be running because they need to tune to the application, the performance of the cluster. The second team is a set of solution architects that are deep engineers that understand our portfolio. Those two work together to say, against this application, let's build, like he said, the biggest, baddest, best performing solution for that particular application. So those two teams work together. Then we have the third team that kicks in once we win the business, which is coming onsite to deploy, manage, and install. And when Dr. Gruner talks about the infrastructure, it's a combination of hardware and software that all comes together. And the software is open source-based that we built ourselves because we just felt there weren't the right tools in the industry to manage this level of infrastructure at that scale. So all this comes together to essentially rack and roll onto their site. Now, let me just add to that. It's not like we went to RFP in a vacuum. We had already talked to the vendors, right? We always do.  With Lenovo, at least the team, as we know it now, used to be the IBM team, the X-Systems team, who built our previous system. So a lot of these guys were already known to us and we've always interacted very well with them. So they were already aware of our thinking, where we were going, and that we're also open to suggestions for things that are non-conventional. Now, this can backfire, okay? So some data centers are very square. They will only prescribe what they want. We were not prescriptive at all. We said, give us ideas about what can make this work better. So these are the intangibles in a procurement process. Oh, you also have to believe in the team. If you don't know the team or if you don't know their track record, then that's a no-no, right? Or it takes points away. So we brought innovations like Dragonfly, which is, Dr. Derek can talk about that, as well as we brought in, for the first time, Accelerol, which is a software-defined storage vendor. And it was a small part of the bid, but still. We were able to flex muscles and be more creative versus just a standard. All right, so my understanding, you've been using water cooling for about a decade now. Maybe you can give us a little bit about your experiences, how it's matured over time, and then Maddo will talk to us and bring us up to speed on Project Neptune. Okay, so our first procurement, about 10 years ago. Again, that was the model we came up with. We, after years of racking our brains, we could not decide how to build a data center and what computers to buy. It was like a chicken and egg process. So we ended up saying, okay, this is what we're going to do. Here's the money. Here is our total cost of operation that we can support. So that included the power bill, the water, the maintenance, the whole works. So much can be used for infrastructure and the rest is for the operational part. And we said to the vendors, you guys do the work. We want, again, the biggest and the baddest that we can operate within this budget. So obviously it has to be energy efficient among other things. We couldn't design a data center and then put in the systems that we didn't know existed or vice versa. So that's how it started. So the initial design was built by IBM and they designed the data center for us to use water cooling for everything. And they put rear doors, rear door heat exchangers on the racks as a means of avoiding the use of just blowing air and trying to contain the air, which A is less efficient, the air, and is also much more difficult. You can flow water very efficiently. So you open the door of one of these racks and it's hot air coming out. But you take the heat right there in situ. You remove it through a radiator. It's just like your car radiator. It works very well. Now it would be nice if we could do even better by doing the hot water cooling and all that. But we're not in a university environment. We're in a strip mall out in the boonies. So we couldn't reuse the heat. Now places like LRZ, they're reusing the heat produced by the computers to heat their buildings. Or if we're by a hospital that always needs hot water then we could have done it. But it's really interesting how the option of that design is that we ended up with the most efficient data center. Certainly in Canada and one of the most efficient in North America 10 years ago. Our PUE was 1.16, that was the design point. And this is not with direct water cooling to the chip. Right, right. All right, so bring us up to feed Project Neptune in general. So Neptune, as the name suggests, is the name of the God of the Sea. And we chose that to brand our entire suite of liquid cooling products. And liquid cooling products is end to end in the sense that it's not just hardware, but it's also software. And the other key part of Neptune is a lot of these, in fact most of these products were built not in a vacuum, but designed and built in conjunction with key partners like Barcelona Supercomputer, LRZ in Germany and Munich. So these were real life customers working with us jointly to design these products. So Neptune essentially allows you, very simplistically put, it's an entire suite of hardware and software that allows you to run very high performance processes at a level of power and cooling utilization that's much, much, like it's like using a much lower processor. So it dissipates that much heat. The other key part is we're using, you know, the normal way of cooling anything is one chilled water. We don't use chilled water. So you save the money of chillers. We use ambient temperature up to 50 degrees, 90% efficiency, 50 degree goes in, 60 degree comes out. It's really amazing, the entire suite of stuff. It's 50 Celsius, not Fahrenheit. It's Celsius, correct. And he talked about, Dr. Gruner talked about Finet with the rear door heat exchanger. You actually got to stand in front of it to feel the magic of this, right? As geeky as that is. You open the door and it's this hot 60, 65 degree C air. You close the door, it's this cool 20 degree air that's coming up. So the costs of running a data center drop dramatically with either the rear door heat exchanger or direct to node product which is we just got released the SC650 or we have something called the thermal transfer module which replaces a normal heat sink. Where for an air cool, we bring water cool goodness to an air cool product. Danny, I wonder if you can give us the final word. Just the climate science in general. How's the community doing? Any technological things that are holding us back right now or anything that excites you about the research right now? Technologies, technology holds you back by virtue of the size of the calculations that you need to do. But there's also physics that hold you back. Because doing the actual modeling is very different. And you have to be able to believe that the physics models actually work. Now this is one of the interesting things that Dick Peltier who happens to be our scientific director and he's also one of the top climate scientists in the world. He's proven through some of his calculations that the models are actually pretty good. So the models were designed for current conditions with current data so that they would reproduce the evolution of the climate that we can measure today. Now what about climate that started happening 10,000 years ago? The climate was going on. It's been going on forever and ever. There's been glaciers, there's been all these events. Well it turns out that it has been recorded in history that there are some oscillations in temperature and other quantities that happen about every 1,000 years. And nobody had been able to prove why they would happen. So it turns out that the same models that we use for climate calculations today, if you take them back and do what's called paleoclimate so you start with approximating the conditions that happened 10,000 years ago and then you move it forward. These things reproduce those oscillations exactly. So it's very encouraging that the climate models actually make sense. So we're not talking in a vacuum. We're not predicting the end of the world just because these calculations are right. They're correct. They're predicting that the temperature of the earth is climbing. And it's true, we're seeing it. But it will continue unless we do something. So it's extremely interesting. Now he's applying, he's beginning to apply those results of the paleoclimate to studies with our anthropologists and archeologists. We're trying to understand the events that happened in the Levant in the Middle East thousands of years ago and correlate them with climate events. Now, is that cool or what? It's very cool. Solving humanity's greatest challenge again. He just added global warming to it. You have a fun job, you have a fun job. And it's all the interdisciplinarity that now has been made possible before we couldn't do this. 10 years ago we couldn't run those calculations. Now we can. So it's really cool. Great. Well, Madhu, Danny, thank you so much for coming on the show. It was really fun talking to you. Thanks. I'm Rebecca Knight for Stu Miniman. We will have more from the Lenovo Transform just after this.


Everyone, full room. I can really feel the anticipation in the air as this Slush 100 pitching competition gets closer to its end. Now it's time for the final stage talk of this Slush. So some last-minute advice for all the founders in the audience by Ilk. Thanks for so much for joining us today. Thanks for having me. Yeah, so let's start with the importance of mentoring and advice for startups and how all that actually comes together here at Slush. So what's your take? Why are you and all of our other speakers actually here? What makes you to take the time to do this? Well, personally, I get so much out of this. These are a few days at Slush. They are all basically the highlight of my year. It's almost like this escape or a bubble of its own.  And always when I can step out from this bubble, next week I know that I'm going to be full of new ideas and just inspiration. Yeah, so same for you as an experienced founder as for many of the real estate founders here. I'd be curious to know, what would you say to those that are maybe too shy or maybe too finished to approach experienced founders like yourself for advice? And actually, who are the best people to give advice for early founders? Well, I guess my advice about getting advice would be actually quite simple. And that would be that listen to everybody, but be sure to decide yourself. And I think one of the most dangerous thing to do, actually, is to blindly follow the advice from, say, quote unquote, successful people. And the reason is that, at least I can speak for myself is that I mean, obviously I've worked very hard to give all of our people and the team, but the fact is that we've been also incredibly, incredibly lucky. And if I give advice, I think that piece of advice is only applicable to the things that we've done. But maybe it's not because of the stuff that we did that we became successful.  So therefore, it gets really, really dangerous if you can blindly follow advice from other people who have been successful. And of course, they have strong opinions. But maybe that advice is only applicable to their own situation. And maybe it's not even that. Maybe it's just because I simply got lucky. So again, listen to everybody, but do decide yourself. Nobody knows your business better than what you do. Yeah, that is definitely true. So you clearly talk with many founders throughout your career. And what do you think? What is the number one thing that you see founders struggle with again and again? Well, how I think about it is what I see happen quite often is that people oftentimes, they kind of found companies together with their friends. And I think I would actually advise against that. And I think it's dangerous because if you think about the kind of your friends, I mean, oftentimes you are friends with those people because you like them and you like them because you're kind of like minded and you sort of agree on things often. But that's usually, at least in my mind, that's almost the opposite of what makes a great team. Because in my experience, what makes a great team is that you have a very diverse set of people with different personalities, different points of view, which of course means that when you're trying to reach a decision, oftentimes those different points of view are in conflict in each other. And there's even tension and even heated arguments oftentimes. But the fact that you have that, it means that all the information is sort of on the table. And therefore, when you have all the information, then you can actually make ultimately the best decision. So in my mind, what's kind of common, the common nominator about the best teams is that despite these differences in the team members and despite these differences in perspectives, then they can have a like a rational discussion. And at the end of the discussion, they will agree on a common goal. And then sort of like, at the point, then they agree on that common goal. Then the sort of discussion stops and then the execution begins and then everybody aligns like behind that goal. But it's that kind of diversity of kind of perspectives that is important. And oftentimes if you do found companies with your best friends, you just don't have that by definition. Yeah, that makes a lot of sense. How about then you yourself, what do you think has been the biggest mistake you've made in your founding journey? Well, talking about mistakes, I don't know where to begin. I mean, I make mistakes all the time. But maybe like thinking about this, like maybe the more recent mistakes that I've done is that they all, they have something to do with this thing that obviously like as I said, we've been lucky and we've been very successful. And then I think the more successful you've been in the past, the harder it sort of gets to be that you can repeat that success. And at least in our industry and games, that to me actually is the ultimate thing that it's the thing is not to be successful. The thing is to like try to somehow continue to be successful and repeat it and to get even better. But it becomes surprisingly hard. Like when you've had that past success and oftentimes you sort of start to view things like through the lens of your past successes rather than like looking forward and having that open mind. And I've certainly been a victim of that. And it requires like your constant attention trying to like have that open mind. And forget about the past and focus on the future. Yeah, makes a lot of sense. Well, we are currently here in the middle of the Slash 100 pitching competition and one company will come out as a winner. However, there has been 99 excellent founders, excellent startups joining the company. What would you, what advice would you give to those the ones who don't end up as a winner? Well, I would tell them that it doesn't matter. No, I think the thing about these competitions is that it really isn't about the outcome. It's about the process and about everything that you learn when you're gonna go through that process. So to those 99 companies who don't walk away with a price, you know, I'm sure that they've gotten a lot of value, you know, from this competition, you've gotten a lot of feedback. Hopefully they've made a lot of connections and all of those are like incredibly valuable.  Yeah, so the competition is just like a one step in the journey, but the long journey matters more. Yeah, for sure.   And I say that we've all, we've all respected the judges and the panels, but it's just hard, hard to predict successes. And I, in my experience, like, actually, we outlier successes, the biggest successes, like, what's kind of common about those is that none of those were obvious, like from a start, none of those were obvious at this stage that these companies are in. Yeah, that is definitely true. How about then the one company that will come out as a winner, top tip for them?  It's time to celebrate. I'm sure, you know, that company and all of us, all of us companies have, of course, worked very hard. So, you know, take this day and moment and enjoy it, but then tomorrow get back to work, you know, get super laser focused on your product, get focused on your customers and, you know, solving the problems of your customers and that type of thing. And again, as I said, you know, it's not about these past successes and stuff like that, it's about the future. And this, you know, and again, even at Supercell, like, I mean, since we became successful, when all of a sudden we magically start to win all kinds of awards, but I've actually felt that, you know, those awards, like, we probably even shouldn't have those at the office, actually, because I mean, it's, they just don't matter. I mean, the past doesn't matter at all.  You should be focused on the future. Yeah, past doesn't define the future. Yes, and then maybe briefly about what founders can take away from Slush. So, there has been 20,000 pre-booked meetings happening, a lot of side events, connections created, but this is just sort of a starting point. What advice would you give for founders for utilizing where the connections that they made here at Slush? Well, it's not rocket science.  And rather than like, you know, trying to like, you know, I mean, obviously meet tens and tens and tens, if not hundreds of people. So you can't obviously like develop deep relationships with all of those people. So you figure out who likely are gonna be most valuable and then focus on them. Yeah, makes a lot of sense. Something that I guess many of us are waiting eagerly is the legendary Slush after-party that will kick off straight after the main event ends actually quite soon. So would you have any fun after-party anecdotes or networking tips for our early-stage founders?  I believe it's from the Slush 2012, maybe, when it was still at the old cable factory and for some reason, we Slush after-party like ran out of drinks. And that happened to be, that party happened to be sponsored by Supercell at the time and it was a big alert, like, oh my God, like we are running out of drinks. And of course, it's a big problem. And Supercell at the time was still a pretty tiny company like maybe, I don't know, 50 plus employees or so. And what we did is that we mobilized, like basically we employees and Supercell and said we had the party. And then asked them to buy whatever you can from the grocery stores nearby. But then the problem was that we, I think, because we have a really, had and still have a very constrict chief financial officer who had given credit cards only to a very few people. So maybe we had five or six credit cards and people were running around Helsinki and trying to buy whatever they could to serve us first the Slush after-party. So that comes to mind. Fun memory. Really fun memory. Yes, maybe as a final question, I'd like to hear, like you've seen many Slushes. I believe that you actually participated the very first one in 2008. What has changed and what has stayed similar? Well, it's easier to start like what has stayed the same and that's clearly the better. It is actually like today, I think it's almost exactly how it was in 2008, maybe slightly less Slushy and more cold but pretty much the same. But then I think everything else is different, like very, very different. I feel that in 2008 when Slush started, it was a lot about putting the Finnish entrepreneurship on the tech entrepreneurship on the map. And then over the years it has evolved and especially like when Miki took over, it evolved into a celebration of entrepreneurship in its own and European entrepreneurship and just became a bigger thing. So that's clear, it's very, very different. Yeah, I definitely share the feeling. Like for me as well, Slush is about escaping your everyday life and just like celebrating entrepreneurship and enjoying the company of like-minded people. Thank you so much for Ilka for joining us today and can't wait to see the results of this Slush 100 startup competition. Thank you very much.


with the speed of light, the cloud of dust and the hearty high old silver, the lone ranger. With his faithful Indian companion, Tonto, the masked writer of the planes led the fight for law and order in the early western United States. The stories of his strength and courage, his daring and resourcefulness have come down to us through the generations. And nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the great horse, Silver. The lone ranger rides again. Come on, Silver! Faster, boy, faster! Come, Silver! The grim gray walls of the territorial prison rose starkly above the swirling mists of a dark night. The fog crawled thickly into the prison yard and settled over it like a heavy blanket. It was a perfect night for a jailbreak. And the guards on the walls peered tensely into the mists and held their rifles in readiness. But, alert as they were, the heavy breathing and stealthy movements of two men below them went unnoticed. For dressed in the rough clothes of convicts, these men were digging a tunnel underground, scraping the earth with hand-shaped tin but a flickering light of a candle and transporting the loose dirt out of their way in a wooden crate. This is as far ahead as we can only be. Are you sure? You saw me pace the distance, didn't you? 49 paces, Marcel, to here. This last crate of dirt we dug makes 50. 49 paces from Marcel to the wall. Maybe you ought to dig ahead some more, Red. Nothing doing. My back's almost breaking from all the digging we've been doing. I'm busting out of this who's god. But, Red, we have... It's but a flippie. Well, yeah, I figure we're three feet outside the wall. From now on, we tunnel straight up. Just as you say. Take this crate of dirt back and dump it. Then give me a hand here. We're heading for the wide open spaces. The guards don't suspect a thing. That you, Tom? Fierce. The fog is so thick I can't see more than 10 feet in front of me. I don't know what ever made me become a prison guard anyway, Wally. Standing in a cold and wet ain't exactly my idea of fun. Well, I need it. I reckon we'll be relieved for a long, though. I hope so. A cup of coffee'd be mighty good right now. I don't remember... What's the matter? I don't know. I thought I heard something. There it is again. I heard it, too. Tom, look outside the wall. There's a hole in the ground. Oh, wonderful. Oh, it's a tunnel. See, there's somebody coming out of it. It's a jailbreak. Come on. There's two of them.  We've got you covered. You got us, Fred. Look out, Tommy's throwing a knife. Tom. Grab his gun, Libby. I got it. Blast you. You killed him. I'll show you. Hold him. Out of here, Libby. Quick. Stop. This fog can't see a thing. I've got to get him for what they did to Tom. I can't run another step, Fred.  We can't stay here. They'll be coming after us. We can't help it. I've got to stop him. Get my breath. And hold out until we get to the top of this ridge. He'll have to give me a hand. All right. Must be pretty near daylight. Letting you know. The fog's lifting. We're spotted in these jail clothes. We're finished. Maybe we can change him for other outfits somewhere. Oh, you've got to. Got to get another gun, too. Sure, you're heading in that direction of Ben Weatherly's ranch. Yeah. Even in the fog, I recognize some landmarks.  Deep Valley's where we're aiming. So are our old partners retiring when he's stolen riches, huh? If he'd stuck by us in that stage, hold up, we might never have been caught. He ran out on us. Yeah. All the gold we risked our necks for went with him. How long ago was it? I've lost track of time. Ten years. Ben's been living off the fate of the land. Living off money that belongs to you and me. Well, we've rotted in jail. Well, now we're free, and we're getting it back. We'll talk about that when we get there. Hey, look. What do you say? Lights. Must be a town down below. I'm going a mile away, gentlemen. Listen. How? They're on a trail. Start moving fast. Maybe we can reach the town and hide there. In town, Lem Hopkins had opened his store early to check over some newly arrived stock. Well, let me see now. That's ten new harness, two dozen blankets, six bolts of calico, bad dog, lawn natset. He's forgot to bring the charler back again. He'd forget his head if them big ears of his didn't flap in his face to remind him of it. Suddenly, he heard soft footfalls. Who is it? Coming to the light where I can see you. Howdy. What can I... Crooks from the jail? Move and we'll drill you. What do you want? Clothes, and we want them fast. In they are, right on the right. All right, grab yourself an outfit, Libby. I'll keep this umber in my gun safety. 20 in a minute. They're fancy chute knives you got in that case, Mr. That's right. They're best in the county, some of them. You don't say. I'll just help myself to a pair of six guns. Give me one of them gun belts and the ammunition for these irons. It's all gone if I will.  Speak when you're spoken to. Now get moving. I'll take over, Red. Don't pick yourself a new outfit.  Mr. Hounds. Yeah, they found our trail again. Scrap them clothes quick. We got to get out of here. Take care of the old man. Russell, the cash out of that drawer pop and hand it over. It's under you. It's even pole catch. You've taken all you're going to get from me. I won't give you... That's a solid tongue you've got. Tuck it away if you want to keep it. Why are you... Get the cash. Libby. Yeah? Two horses are hitched out back. I can see them from this window. You must have been born under a lucky star, Red. That's the best break we've had yet. With them coy uses under us, them hounds can bark their heads off. They'll never lay a nose on us. Hurry up. They're getting close. I'm finished. Get the cash and let's high-tail it. Step lively, Pop. shove that cash across the counter if you want to stay perpendicular. You, horny snakes. I told you before I wasn't going to give you...  Take more than hounds to catch them now. They stole horses for their getaway. Sheriff. Sheriff. Hold on a time where the sheriff's coming now. Lem, where are you? Hurt guns over here, Sheriff. Lem, he's been shot. Jailbirds. Change clothes. Took two of my prized guns. Stole cash. I'll get them, Lem. I'll get them a turn in my star. One of them. Take a look at him, Tunnel. Masked and in Indian. Where'd they come from? I don't know. Who in Tarnation are you two anyway? That's not important, Sheriff. The thing that matters is to catch the murderers. It's easier said than done, mister. They're both strangers to me. One outlaw, walk with limp. Are you sure, Tunnel? Ah, me look at ground in back where outlaws mount horses. Fine prints. One man takes shorter stride with one foot than the other. I see. The engine's right. Who are you? Prison guard. I've trailed them jailbirds all the way from the territorial prison and then they escaped on horses. Horses? One of them's mine. I had them hitched right out and back here. Those low-down horse thieves. Who are the outlaws? Red Travis and Limpie Rawlings. Ah. Limpie outlaw who walk with short stride. Yeah. Hey, I remember them, too. They're the ones that held up the overland stage along with Ben Weatherly about 10 years ago. Robbed it at $30,000 in gold. You mean Ben Weatherly, the rancher who lives in Deep Valley? That's the one. I reckon that was long before you became a prison guard. Yeah. Ben Weatherly. Well, he's the richest rancher in the valley. Yeah. You're right. But every cent he's made is an honest penny. Ben got away with the gold when his pards were caught, but he didn't keep it. Gave the whole $30,000 back to the Overland Express. Oh? The way laying that stage was his first and last crooked job. He's been on the square ever since. Come on, fellow. We catch crook plenty quick. Hey, hey, hold up there. I want to ask you a few questions. Sure, if we're going to Deep Valley to visit Ben Weatherly's ranch. You're going nowhere. Do I say so?  Meanwhile, red and limpy, the outlaws they sought, rained their mounts up before Ben Weatherly's ranch. They eased their guns in their holsters and walked up the path to the ranch house. Good morning. I... Oh, did you come to see my father? Yeah. We came to see your father. What backwards and don't worry. Guns, your... your outlaws. Who is it, Betty? I... I don't know. I'm expecting an limpy. Oh, ain't that touching. After all these years, he remembers this limpy. He'll remember us even more before we go. Dad, who... who are these men? We're old, uh, business partners. Your pa's miss. Ain't that so, Ben? Why, uh... I don't know. You don't seem very glad to see us, Ben. Of course he is, limpy. He's been hoping we'd show up for ten years now. So he can make us a tidy little present of $30,000. Dad, I... I don't understand. We're here to collect, Ben. Pronto. You're too late. Ten years too late. I returned the gold to the Overland Express Company. The people who owned it. Even a half would think of a better story than one.  It's true, I tell you. Sure. The Overland Express was so overflowing with gratitude they rewarded you with this expensive ranch. In a couple of thousand head of steers we saw grazing on your land when we rode up. This ranch represents my own money. I made it honestly. Not a cent of it came from the gold we stole. Oh, Dad. He talks like he believes it, limpy. Yeah. We should have had more sense than to take a greenhorn like him along for the job we did. We had to pick one with an honest streak. Maybe so. But if we don't get the 30,000 one way, we'll get it another. What do you mean? Red. Somebody coming. See what is. Three horsemen. Masked man. An engine and a kid. What? Right in the white horse. That's him, all right. Who? The Lone Ranger. He's on our trail. The Lone? What do we do? I'll show you. neutral, come here. Take them guns from the wall and stand here at the windows. When I give the word, we'll give that mask. I'll embrace the hottest reception you ever got. All four of us. And don't get any funny notions with them guns. Remember, I'm standing behind you. All right, let them have it. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. As guns blazed from the windows of Ben Weatherly's ranch house, the Lone Ranger, Tonto and Dan quickly rained up behind a clump of boulders when he led them from a gunfire. Oh, who's there? Oh, that was a tight squeeze. Outlaw, wait for us. Almost catch us and open. I sure I've thrown a lot of lead for just two of them. Four people are shooting, Dan. That's right. Four. But who else would shoot at us beside the convicts? Ben Weatherly and someone else are apparently being forced to shoot. The bullets are always aimed at the dirt. Gosh, that's so icy now. We've got to get in that house. Yeah, you've got plan. Oh, that exactly. Take care of Silver Tonto. I'm going to see how close I can get by crawling through this tall grass. Meanwhile, in the ranch house, Red and Limpy and the two prisoners, Ben Weatherly and his daughter Betty, kept up their fire. All right, you two, put down them guns. Tie the girl's hands with that curtain cord, Libby. No, no. Stay still, you. You hit my daughter again.  What are you going to do with her? We've got $30,000 coming to us, Ben. I mean to see that we get it. I don't understand. We're taking the girl with us. Kidnapping. That's it. We're holding her for ransom. $30,000 worth. And we're giving you till midnight to pay up. I can't possibly get that much money by midnight. Get better. This is the last you'll see of your daughter. Oh, Dave. You fiend. Careful, Ben. I've got an itch and trigger finger. Where shall I bring the money? Our old hideout. Crick Cave. Make sure you come along. Yeah. One word to the Lone Ranger, the sheriff, and we'll riddle the girl. I understand. That's fine. This will make sure you do. Dave! What's that for, Red? To cover your getaway with the girl. I don't say anything. Come some more slugs out this window with me. I aim for the Lone Ranger to keep his distance as long as possible. I'm listening. That masked gunbrake's got a horse that runs like the wind. We left Ben to tell him where we were heading for. The Lone Ranger would overtake us before we got there. I still don't get... The Lone Ranger doesn't know me, and I figure he doesn't know Ben. I aim to make sure you and the girl get to the hideout by posing as Ben and stalling him off. I got you. All right, help me drag Ben into the next room. Now, hightail him with the girl out the back way. You'll find horses in a corral. Be waiting for you at the hideout, Fred. Yeah, I'll cover your getaway by fixing the Lone Ranger's attention in front here. I had to shoot. The outlaw threatened to kill me if I didn't. Oh. I thought they were still here, and they were standing behind me. I see. They must have escaped out the back. Betty. Betty, they've taken her with them. They kidnapped her. Betty? My daughter. I'm Ben Wutherley. This is my ranch. You all right? Yes, Dan. Be right. Soon as you can stop. Bring your horses around back. I want to have a look. Those escaped this way, taking a girl with them. Ah. They're girls' tracks. Yeah, and they're the prints of the one that walks with the lamp. See, he takes a shorter stride with one foot than with the other. Ah. That's right, Dan. The tracks of the second outlaw are missing. Golly, that's so. What do you suppose happened? Here, here were girl and limpy mount horses. But only two horses. We not see trail a second bandit anywhere. He didn't make any tracks, Tonto. What you mean? There isn't time to explain. Follow the trail if by limpy and the girl, both of you. I'll join you later. Uh-huh. You ready, Dan? You bet. Get him up, scoundrel! Back there, boy. Returning to the ranch halls, the lone rangers believed that the man he had talked to was the second outlaw was confirmed by the latter's absence. A glance at the hitching rail showed that he had escaped, and one of the horses the convicts had stolen. Suddenly, the masked man heard a groan. Help! Here, drink this water. You're Ben Weatherly? Yes, I am. You're a masked man. I'm not an outlaw. Yes, I know you're not. I heard Red talking about you.  I want to help you. No. I don't want your help. I understand. Your daughter's in danger. You think I know? That's why I mustn't endanger her more by asking for help. I want my daughter returned to me alive. I see. No, I've got to raise a ransom money. How much? $30,000 by midnight. Can you raise it? I don't know. Where are you to take the money? Creek Cave. Creek Cave, huh? I know that place. I've got to raise the cash.  Ben, if you'll trust me, I can save your daughter whether you raise the ransom money or not. I don't know what to say. What's more, I think I can trap the outlaws. What do you say, Ben? All right, I'll do it. I don't know what it is, but something about you makes me feel it'll be safer to trust you. What do you want me to do? Are you strong enough to ride a town and see the sheriff? Yeah. Get him to round up a few men and bring some blasting powder to Creek Cave tonight. I'll meet you on the trail. Blasting powder? What are you planning to do? Never mind that now. Arrange to be near the cave at 11 o'clock. I sappy. Good. Adios. Oh, what it is. But that mask man's got me believing that Betty's as good as saved already. Late that afternoon, the hoof prints which Tonto and Dan were trailing swerved toward the bank of a creek and then ran parallel until they suddenly branched off along a narrow ravine which ended in a slope. At the bottom of the slope was an opening just big enough to admit a man crawling on his hands and knees which marked the mouth of a cave. Tonto quickly do rain and in a moment Dan followed suit. Oh, Scott, hold that. What is it, Tonto? Why are we stopping? We leave horses and clump of trees here. Go ahead on foot. On foot? Well, we don't know how much further the trail will take us. Trail not go far now. Olympian girl going cave. You mean that hole on the slope is the mouth of a cave? That creek cave. Tonto know it. It's plenty big inside but entrance plenty small. Golly, it doesn't look much larger than a a gopher hole. You come. You really think Olympian Betty are inside the cave? Hoof prints make tracks by ravine. You look. Yeah, you're right. We're leading right up to the hole in the slope. Shhh, better we talk and whisper now. Yeah. Right here at the entrance. Golly, what do you think we have? Face them hands. It's the outlaw, the other one. Thought you were plenty smart trailing Olympian a girl here, huh? Well, now that you're here I'd be plum sorry if you miss seeing them. Start crawling into that cave. Let me brought a couple of gifts. The injured and the kids. They're like this cozy. They'll have to make them right at home, Ray. Yeah. I aim to make this one visit. They won't forget. Night lay like a heavy pall over the valley.  Sitting watchfully near the small slit which marked the entrance was red and sitting with their hands tied were Betty, Tonto and Dan. What time is it, Limpie? 11. One hour between us and $30,000. What if he don't come? You come. He's crazy about his daughter. Ben wouldn't let a measly 30,000 stand between Betty and sudden death. You fiends. I hope he doesn't come.  Let her talk, Limpie. It don't mean anything. Yeah, it does to me. Ain't so sure. Ben ain't planning to trick us.  As long as we've got the girl he'll squeeze his bank account dry. My father hasn't got $30,000. We know different. Don't give up, Betty. The Lone Ranger will see your dad through. That's right. You hear that, Limpie? They think the Lone Ranger's going to turn him loose. Maybe they're right. If the engine in the kid trail was here, the masked man can do it, too. What if he does? He won't make a move when he knows we're holding his two-side kicks. He'll be in the same boat with Ben. Yeah, you don't know him.  Take it easy, Limpie. You've got a case of nerves. Red. Yeah? What's that noise outside? Sounds like a bird. That's just what it is, Limpie. A bird. Yes, sir. Jumper, you're trying to make things out what they ain't. Meanwhile, in a grove of trees not far from the cave, the Lone Ranger conferred with Ben, the sheriff, the prison guard, and the posse. The plain fact is we got them two convicts holed up. Ain't that right? Yeah, there isn't, but one way on a creek cave. That's the way in. Well, then I say let's rush them pole cats before they know what hit them. You can't do that, sheriff. Why not? The entrance is too narrow. A man here would enter that cave alive. That's right. Red and Limpie would pick us all off. Any attack on the cave would mean certain death for Betty, Toto and Dan. What makes you think the injured and the boy are in the cave? I found their horses tethered near here. They weren't prisoners. They'd be here helping to rescue Betty. That's got me stumped. If we don't rescue them for midnight, they'll die anyway. I have a plan. Well, let's hear it. You brought the blasting powder? Yeah, just like Ben here told me to. But of all the food... Now, listen. Quickly, the Lone Ranger described his plan, and the men divided into two groups to carry it out. The first group dug a hole in the bank, which barred the creek water from coursing through the narrow ravine and planted blasting powder. The second group dug a hole in the slope which formed the back of the cave and filled it with blasting powder, too. Then, at a word from the masked man, the first explosion was set off. And the creek water rushed through the narrow ravine straight for the mouth of the cave. Look, the water's almost filled the ravines. Heading to the cave. Betty, it should be trapped. They'll all be drowned. Well, they won't, Ben. Coursing swiftly through the narrow ravine, the creek water rapidly lapped at the rocky slopes until it almost filled the basin. Readily finding an outlet in the tunnel which led to the creek cave, the water rushed through it and into the cavern. Water's rushing through the tunnel. Come on, let's get ready for it. Listen. Muffled shouts came from the cave as the water plunged through the tunnel and rapidly filled the cavern. Desperately keeping afloat, the outlaws, Betty, Tonto and Dan suddenly saw the roof of the cave but a few inches from them, with the water fast filling the gap. That's Betty. Let me go to her. Let me go to her. Let me go. Lie in the powder. Just as it seemed as if Betty, Tonto, Dan and the two outlaws would be drowned by the rushing torrent. The lone ranger admitted to the cave. The second explosion ran a gap in the back of the cavern. The suddenly released creek water carried the outlaws and their prisoners through the gap as if on the crest of a wave. I got a pair of bracelets for you that'll fit my defiance. Don't make them over either of you. I might forget myself and drill you for a knife in town. Betty. Betty. Are you all right? Oh, Dan, yes, I'm all right. I'm fine. I'll get these ropes off you. I'll attend to these two.  Oh, gosh, no. Tonto and I rode the wave together. We get along fine. What happened? I'll tell you what happened. The masked man saw there was only one way to get you murder and pull cats out of that cave without risking the lives of your prisoners.  Was it the lone ranger's idea? Right. I'll sail away! I've just heard it's a copyrighted feature of the Lone Ranger Incorporated.