I last gave this talk or parts of this talk in Puerto Rico in 2003 at PMG and that's why I have the title because at the time the news that I had about some of these topics was actually somewhat depressing and difficult and actually for the last, let's see what I'm bad at math, the last 13 years until the most recent revision of NFPA 40 which I'll get into what that is, there really was a problematic aspect to taking care of your cellulose nitrate film but I'll let me let me go back and talk about cellulose nitrate the first film this is a bit of a quick reprise of what has already been covered very well by some of our other speakers this morning but it's interesting so Fernanda this beginning date of any photographic process is always so exciting because you have to put a date down so then people disagree with you or they use different dates so I was in a bit of a panic when she said 1887 what do you mean 1887 so this is because I clearly chose the Kodak introduction date of the flexible film not the more rigid film that she described but it can just be careful with your dates but that's why I have 1989 and then 1950s because as I'll get into a little bit later there's a time period where it's getting phased out you can particularly you have a lot of dates that are sort of Kodak related to the US and I'll make a call for people's information about film use in their parts of the world because I think we're clearly finding in pockets of our collections that nitrates continue to use well past that 1951 date that we commonly use but I'll get into that but why use it I mean it's actually a really great material it's strong it's transparent it's durable I think it was relatively inexpensive to make particularly compared to acetate and but it did have some issues and its biggest one is that it is it is a hazardous material and I don't want to make I don't want to overly dramatize this but it is a it is a technically a hazardous material it is a class 4.1 flammable solid in the United States which is important for a lot of things it means it's not explosive and it means it's not in the spontaneous combustion class so people will make both of those statements and it's technically not correct it's a class 4.1 flammable solid so it is unusual for a cultural material to be a hazardous material but it is it is what we have and you really do have to be mindful of safety first there were discussions of fires in various repositories the clinic the Cleveland Clinic fire in particular people do die in these fires that it's a serious issue but people dying other kinds of fires to libraries and archives have lots of paper lots of buildings have parking garages underneath them with actually explosive fuel in all of the cars and people don't get in a panic about that but when you say that their cellulose nitrate in your institution and people don't know about it they get excited in a kind of irrational way so part of what I'm trying to explain to you is some of the basics and to because you will know after the basics probably more than anybody else in that building on this topic and you need to be confident in what you know and you need to be a good advocate for these materials because in fact they're quite quite good materials if you take care of them properly this is a nitrate negative it's from FSA from about 1942 from not that far away I couldn't find a Tucson or Arizona nitrate negative I was irritated about that this is as close as I could get it was safety related and it was from Las Vegas so it was pretty close so yeah so just fire I mean it's it can this is where there were some National Bureau of Standards the predecessor to NIST did some tests on behalf of a lot of the archival community in the 40s they were burning hundreds of pounds of film and it does have explosive like qualities because it burns so quickly it generates a lot of gas and it can find in enclosure or space it will actually create so much pressure that it will cause problems that are like explosions but it's really more about the way in which it it burns not in the way in which it actually is as a material and that's why it's that 4.1 but it's not something to be trifled with in 2003 and I know some people will be disappointed because they'll expect some really cool video of fire we didn't have YouTube so just go to YouTube lots of cellulose nitrate examples and but to my eye they're a little sad they're really about sort of destruction for the sake of destruction and it makes me sad I didn't want to show them but if you want to see a fire cinema Paradiso has an example of cellulose nitrate fire from a projector and Inglourious Bastards has a whole part where it's a very critical part to the plot which I won't get into but if you want to know about nitrate fire those are good places to see them so this is for acetate film but you can really apply it to nitrate film as well and in a broad sense and that it has this these plastics have this unusual material or quality where most things just deteriorate at this nice gradual slope it just goes like this but these have its autocatalytic component where it feeds on itself after a period of time and the deterioration really takes off so with both of these plastics it's important to just know where you are so that was one of the things John Lee was talking about are you near this point are you after it are you before it and then do things like cold storage to slow that down so you're advancing on this curve is just as slowly as you can so it's interesting to consider there are aspects to film deterioration that do have a quality of patina mirroring is one of them so I would say that one of the goals I would I would posit is that we're just trying to make things slowly deteriorate sort of the way paintings do or good quality papers do not happen where they're unusable in your career so cold storage does that and it keeps things from doing this this is where gradually the gelatin gets tacky it breaks down because of the nitric acid that's generated and enclosures and other things stick to it gets stuck to itself in a film can it does this turns into hockey pucks and other kinds of nasty things and it's quite true that by the time you get to this point this material is considerably more flammable than when it's in good condition so you'll often see in the literature that it can burn spontaneously in conditions as low as say 120 degrees that's if it's in that condition in very poor condition like this for many many days generally speaking good quality film even film probably in this state has a flash point of about 300 Fahrenheit degrees which is is you know most storage environments aren't 300 degrees and likely to get it 300 degrees so you know paper has a flash point of somewhere between 400 and 600 degrees so in and of itself as long as you don't catch it on fire it's a pretty safe material but that's the that's the kicker because when it catches on fire it generates its own oxygen and it's very difficult to put it out once it starts and so that's why it burns so quickly it generates that kind of explosive gas quality or it's it spreads very quickly it's very hard to put out so the key thing is like with all of our cultural property we actually don't want it to catch on fire so let's just try hard to make sure it doesn't catch on fire and I think when you go through the literature on why cellulose nitrate fires happen they really happen because people aren't doing a good job of taking care of them you do a good job of taking care of them and you know sort of the parameters which I'll go into you really don't have an unmanageable level of risk we have a very extensive amount of material at the Library of Congress we have close to a quarter million nitrate negatives of different vintages as early as the very early days of film these are from Arnold Gentha and views of San Francisco before the earthquake these are in very good condition by the way survey them from time to time we have also during FSA farm security administration we have a lot of material this isn't from FSA per se but it's from that same time period this is in a set of prints and negatives from Ansel Adams of the Manzanar internment camps and he gave them to the library expressly so that we had a record and we were holding it of what happened he was he didn't think it was a good idea to have done it and I think the negatives are a critical part of that story it's that he had finished prints and negatives he wanted us to have the evidence of this he didn't want it just to be prints he wanted us to also have the negatives so getting into that we have a we have an archive of printing practice we have evidence of these different materials and so some of these are acetate some of them are nitrate and then we have iconic images this is probably one of our most iconic photographic images at the library migrant mother which is from farm security administration and is a nitrate negative so this was always something interesting when you were looking at it in FBA 40 because they would say well generally people are copying their film and and and disposing of the nitrate and that's just not our practice with still picture film for sure we're not we're not going to get rid of this not going to get rid of this we're probably not even going to get rid of this I mean this is critically important documentation of baseball but it's on nitrate but we have a huge you know all of our repositories of nitrate have have examples like this I had dates there and one of the things to keep in mind is that we as I mentioned before you know this 1951 date is kind of thrown out there as a very broad date but in fact codex publication from 1979 outlines for their materials in the U.S. other dates that for different classes of material and this is actually quite helpful if you're you're trying to determine things where you don't have good edge markings or other ways of identifying it if you have a good date or somewhat reliable date this can be a helpful this can be a helpful thing now some of this is in a frequently asked questions type of format of article about cellulose nitrate that's in I think topics 8 I need to revise all of this as we'll get to you'll see there's been significant changes so I'll be revising all of this and it'll probably be in the next topics and it'll have a lot of this information that you'll see in the slides so so we have a lot of nitrate at the library and during my time there we've actually built new nitrate vaults we're one of the few places that have recently built a nitrate vault the others being the National Archives of Canada slightly after ours the film archive at UCLA and the MoMA film the excuse me the MoMA film vault so this is a very very large facility it has 124 rooms like this 118 of them are for motion picture film and six of them are for still picture film which gives you a sense of the scale of this but this is a hallway it goes all the way down here and then it turns and goes down this way about as far so it's right you can see this is a picture of the where motion picture campuses in suburb sort of far remote suburban Virginia from Washington DC that this is an overhead view this is this courtyard here so you can see that this this number of this hallway is about as long as this building is wide it's big so we have we have a lot of nitrate film and because we have so much motion picture film we've always historically incorporated the still picture film into that broader care one of our challenges when we were designing this is that a lot of work went into building these compartments this is this is the kind of material or kind of approach that's explicitly described in NFPA 40 but we created our own set of cabinets because at the time NFPA 40 didn't really outline what to do with still picture film particularly well and so we created a new set of compartments that follow the same rules as motion picture film that take into account the fact that you need to store film on edge typically in sleeves you don't want to put it in a film can I think it's one of the reasons why anecdotally we have nitrate still picture film in good condition because the paper sleeve that's typically in is actually I think beneficial to it and being in a metal can and I'm not so sure it's such a good idea so there was some discussion early on well why can't I just take all my film like this and just put it in film cans and I was just like I'm not gonna that I'm just not gonna do that that's not a good practice but that's that's where there's elements of the standard that were so film oriented motion picture film oriented that it made it kind of difficult there's a lot of education so the reason I'm talking about this is that as a fire standard NFPA 40 is typically cited in most building codes in the United States and actually it's a frequently cited standard outside of the United States to buy other governments other national entities there's some rules about transporting it and there's some rules about disposing of it and I'll go over these pretty quickly and again some of this is is is in the topics article and will be in the revised one so NFPA 40 just had a revision in 2016 and that's that's where there's a lot of really good news and so I'm just gonna briefly update you on some important things some of this is the same as the previous one but if you have nitrate material you really should be familiar with NFPA 4016 it's not particularly expensive it's about $46 and you can download it pretty quickly but it applies to everyone whether you have still picture film motion picture film the original standard for decades of time only covered motion picture film so you're sort of in that you didn't have much helpful guidance on the still picture side so it includes both and it also now has language it's a little more helpful that really describes that you can have things in permanent storage which is helpful because there is this notion of well if this is so dangerous and so problematic why don't you just copy it and and get rid of it and for all sorts of reasons that's not a good idea and what not likely to happen so it's nice to have the standard explain it that way the standard also has a peculiar aspect to it that it's it describes itself as a retroactive standard so a lot of standards will be that like with say you're building in your house that your house gets built at a certain time and it's built to code at that time and you say well it doesn't if you were to build it now it wouldn't be following code but because it followed code when it was built it's still considered in code in the case of this standard however it explicitly says that it's not that way and that you have to follow the standard whatever the most current version is so so over time you have to keep up with when the new versions come out and if people are watching this webcast in say three or four years if it's 2020 you should be mindful that there probably is another standard and a revision it gets very tricky we follow for various reasons two different versions of NFPA 40 because the way the building code works in Virginia and at least our part of Virginia for that building is that we actually follow the building code of the time when it was built and it doesn't matter what the standard says so this gets also very legally and complicated so I as a disclaimer I'm not a lawyer I'm not a transportation expert I know about preservation of these things but when you have it this film and particularly in large quantities you really do need at some point to get involved with other parts of your institution safety officers possibly legal counsel on how you're managing this as a risk because it's a safety standard this is a it's a safety issue it has a nice issue though of equivalency which it it explicitly says that if you can come up with something that is just as safe you don't have to follow this so this was always an aspect of something that we tried to follow where if we were straying away from what the standard said or didn't say we felt confident that we were doing something that was equivalently safe and often it was equivalently safe and and actually better for the material cold storage being one of those examples so you so now we're getting into real brass tax kind of things this standard came into being because for a long time motion picture film was it it was a huge industry transporting transportating transporting film sending it to different theaters getting those those copies ready so that there were a lot of rules that were basically making this remain viable because of the importance of the motion picture industry in this country and the demand for people to want to see movies so now you can have what's described as everything in the standard in the actual explicit part of the standard the front part of the standard isn't is in feet and rolls because it's all about motion picture film and so we we started following the standard in the 80s we did a lot of work to figure out equivalent weights of still picture film which I'll get to in a second there's now an annex that describes similar weights in the standard which is very helpful but it's basically two standard roles per person in a room and any room where you have more than 10 standard roles you need an automatic sprinkler system so these are just some of the basic rules are a lot more in the standard but you need to be mindful of whatever you have out you you probably should you shouldn't really have more than 10 pounds the biggest problem with earlier versions of NFPA 40 where that they really did not do a good job of describing what you should do with relatively small amounts of film and now it's much clearer and this is probably the best news of the whole thing is that you are now encouraged to put things in cold storage and you can put less than 25 pounds in a laboratory great what they describe as laboratory grade refrigerator or freezer and that's really great people have been doing this for many decades of time it's a recommendation in Henry Wilhelm's book on color deterioration and film deterioration and it would be the kind of advice from a preservation point of view that I would make to people that have particularly small amounts of film but then I would have to qualify it by saying and you're not following the standard and you'll have to make sure that that's okay with everybody but it's better to have the film in the cold and I don't know of any fire that's happened because of being stored in these in these types of arrangements so this isn't very much as we'll get into but it is something the other very important thing is that they say between 25 and 750 pounds you can put it in a freezer you just have to comply with these parts of the standard which basically I think means I need to work with them architects and engineers on this but I think you could construct a ballet box that could follow these rules you actually you wouldn't have to build a technical vault you could build a ballet box with certain fire protection walls four hour rated walls possibly one hour rated walls that have to look in the standard but it's you need an event for gases and some other things but it's it's actually doable and then you then you get into what we call the vaults like I was showing for over 750 pounds the 750 pounds is is roughly speaking one half of that wall in the vault so it's it's many document boxes record storage boxes worth of film so here's an example Heather this may look familiar to you this is the the small freezer that holds some other Genfa negatives at the Legion of Honor in San Francisco so this is an example where when I was working with their staff and they were asking me questions about it they said well we're putting it in this freezer is that a good idea and it's like well yes it's a very good idea in my view but you can't really explicitly do that and so now they can't so now it's all that this is from their blog post so this is this is free and out there but this is their night this is about probably a few pounds and it's in this nice little freezer and based on the the charts and other things that it'll last for literally centuries of time in here so it's it's now a very stable very stable place so here's the here's the as I said this is not that change from what's in the topics article Sarah Wagner in the 80s weighed a lot of film with my colleague Donna Collins we then once I got to the library we we we did this and then when we started having to move film we did it again so we've we've weighed film three separate times and we feel very confident of these numbers so this gives you a sense so when you're reading the standard you can say you know one reel five reels the limit for use is now at ten pounds this is this is a slight error so it's but this is a reasonable amount of material to have out at time and then this is the comparable amounts the NFP 40 standard currently in that in the annex describes eight by ten and five by seven amounts and doesn't do a good job of describing these other formats and I would say it's a shame because you in fact eight by ten film in my experience is much thicker than the other formats and so it actually it gives you a false sense of how little you can have in a given space these formats are much thinner nitrates very strong so they it's a it's good for thin kinds of film so that you really can have more material than you would think if you were just cutting down eight by ten film I feel very confident of these numbers and what I would say if you have large amounts of film you should just weigh some of your film and and find out what your film weighs and I think that would go a long way to describing to somebody that you've done your due diligence it's not you know yes the chart says this but I've weighed my film and I know how much it weighs so that that's not that's not too difficult the other nice thing about the standard well let me just show you a picture of a vault so so this is a sort of typical nitrate vault and this is a more typical I think this is actually a narrow vault it's a it but it's like a just a large room it's from Steve I hadn't got it a long time ago but it's just you can see it doesn't have compartments there's a lot more material in here these have separate fireproof compartments the idea being that a fire can start in one of the compartments it won't spread to the other cans and then their deluge sprinklers up here that will that will arrest the fire so you might only just have some loss if you had a fire start in here our conditions for our vaults are 35 Fahrenheit about three centigrade and 30% relative humidity and that has a lot of to do with the scale of material that we have and then and the desire to not have water freeze in our in our pipes I think now we can consider other options for some more valuable film because we have these other options which we didn't have before and we may consider that I feel very comfortable with 39 Fahrenheit for I mean in my career will not change significantly but I think if you really are thinking about 500 year horizon a thousand year horizon a colder temperature than 39 is probably a good idea but keep in mind that better can be the enemy of good it's better for you to just get it at 39 and my predecessor they want to tackle this they can make it colder than 39 you know we have film now in very good in very good environment in the last unchanged for maybe acquiring a little patina I like that idea over decades of time but not not a loss of them of the collection so storage so you can put it in a film can the standard is real helpful about that film can great I'm not going to put my film I still film in a film can so you have to put it in a DOT approved container which is kind of called the 4g box so then you have to do lots of work this is my wife and she worked at this Smithsonian archives they have a lot of nitrate film and we store their film for them and so she was having to refile all of her things out of out of document boxes into these other boxes so we had to do a lot of that for some moves but it basically gets put into a liner box that's made out of good quality material and you put it into the 4g box and these two layers this is what the standard says I need to revisit this there's some rules that have changed it appears on the 4g box side that I want to clarify so that I can give you better guidance about putting things in the right kind of container it seems a little strange if you're really not going to move your material much to have it in a in a transportation rated thing when it's just going to stay in your vault and it's going to go outside to your staging area and back but that's the way the standard is written and it's just an element of that you have to be aware of the other really really helpful thing about the standard right now is that it now explicitly describes that you should have your sheet film in paper enclosures which is awesome this was this huge argument that I would get into all the time with our safety folks and our fire folks because they would say well the weight should include the paper sleeves and I'm like I don't want to include the paper sleeves because I'm reducing the density of the material by putting in the box plus it has all this labeling information I have to have this leave I have to have this leave I don't think it should count the paper is flammable but it's not adding actually that much fire load compared to the nitrate that's with it and plus in my experience with fires paper materials are much better in fires because they absorb a lot of water and would help you cool down the fire that's how you put down it put out a nitrate fire so this isn't it this is good so it very clearly make in this standard now says that you can have things in paper sleeves they recommend it for still picture film and it also is very clear from my reading of the standard that it it's not part of the weight so it's resolved this issue in a good way as far as I'm concerned the one thing I would say and this is a good a thanks to Peter is that this Peter would never allow this kind of what's a four flap envelope I know what they mean but the term is for a flap enclosure envelopes don't have more than one flap typically so this is the kind of thing that when we use it like say 18902 Peter was very very thorough in standards meetings about getting things correct and this is just an example of a little bit of in a in exact stuff that makes you a little concerned about other parts of the standard but you know what they mean but Peter was very good about making sure that things were correct so quickly go through transportation if you have a lot of film this becomes this becomes a bit of a nightmare there are all sorts of rules my my colleague Donna Collins is the she is the master of these rules she has special training in doing this it's you just need if you have a lot of film to move that is hundreds of pounds to move you need and you're having a shipper do it you need to be very careful about it and follow these rules we've had to move the film back and forth lots of times between Washington Dayton Ohio back back and then back to its new home in Culpeper but we thousands of miles lots of trucks a real headache but we did it nothing happened we had to pop so that's why we had to have all these boxes in particular we had to have these boxes because we were transporting them and we felt like we really had to follow the rules takes lots of time and effort lots of people we they ended up being put into drums into and oil drums with packing material around them these are some polyethylene slings you can get them in and out this is also particularly helpful for the film cans takes a lot of people that's me in younger days sitting on there well we're all exhausted we had to do this once we had to do it let's see we started on it the Tuesday before Thanksgiving and had to have everything out by Saturday that was a fun week because they forgot that the still picture film was in the vault that was that was brilliant but it all worked out shouldn't have said that is now recorded for posterity but so so be it I said it so 10 truckloads 80 drums this is all of the material it's a lot it's a lot the one thing is that then people bring up they're like well can't we just get rid of it well actually you can but it costs even more to get rid of it than it does to transport it it costs about twice as much to dispose of it and be careful do not say you're going to get rid of it because once you've said you're going to get rid of it it's not a hazardous material anymore it's hazardous waste and you can't take it back and now you have a real headache on your time on your hands because time is ticking so do be very very careful about how you say you're going to discard film have a process and say we're considering it but do not say you're going to get rid of it because then you can't move it as hazardous material anymore you have to move it as hazardous waste and you have to have someone do it for you you can't do it yourself so be careful that so there's a truck and then you have to get into fun logistics like this like where do you put all of the drums and all of the all of this stuff we had to all these shipments cram it all in here then you get into other fun things like you know freezer trucks they don't have lift gates because they back up into into storage areas that don't need lift gates well how do you get pallets of this material into the truck so you have to have a forklift so you have to you have forklift in nitrate foam is not something you want to have forklift go into a can drum so fun times fun times so be careful about disposal as I said it can be it can be expensive and you need to be careful about how you're saying you're going to dispose of it so generally my recommendation is that you have a formal deaccessioning process and you should follow it with these materials and you don't deaccession it until you've worked out that you actually are going to dispose of it and how you're going to do it and you just say well we're in the process of considering to deaccession that that seems to make people happy so what to do this is a lot of information I've been talking real quickly I think it's just more to update you that if you have particularly small amounts of film you have a lot of options the other thing is that the standard doesn't go into great detail about like you you can't put 50 pounds of film in a refrigerator or freezer but it doesn't say how many refrigerators or freezers you can have in a building so that's a there's a little bit of wiggle room in there you can't have just infinite amounts of little tiny freezers but I think that you could if you had 75 pounds you probably could have reasonably three set freezers or refrigerators separated by various fire rated walls and I think you would be well within the spirit of the of the standard but again you need to work with your other stakeholders in your institution you need to know how much you have you need to know the quantity you know you need to know where it is and you really do need to know the condition and as I said you will be the expert on this and I think that's one of the other things that Peter was really helpful on he I serve on the ISO photographic standards and Peter made it really clear what a good and well-thought-out standard was like and that was really helpful for me when we're trying to interpret NFPA 40 particularly before 2016 where it was very difficult to interpret and it made me much more confident of how to navigate through interpreting a standard because people will take them sort of very literally and they're generally products of consensus and they're written in such a way that you really can make good decisions but it's really important that if you have a large amount of this that you get familiar with the standard and and talk with other people in terms of best practices of what they do because you really have two concerns you have a safety concern and you have a preservation concern almost done so it was funny I think it was there was a talk that described in cannabula with these early materials and I absolutely agree with that I think that these materials will be will be considered in a very different light and in the sort of way we look at book of hours now and it's not just something that we use for prayer it's something that we value in other ways because it speaks to a time that is different from our own similar in some ways but different in others and in the same way that we particularly value books before the age of the printing press and we we value things that are on parchment you describe the people know this wasn't on paper it wasn't in Western Europe yet we don't have notes on parchment it's animal skin it's not paper I think negatives will have a similar kind of thing and an age that's increasingly visual but not particularly used to looking at things in reverse I think that our negative collections will take on value in a way that we can't completely describe and I think it's well worth preserving them not only is that I think more cost effective I think it's also something we we should do just as as responsible stewards so many thanks Debbie and Monique and I started on this nitrate acetate journey a long time ago Peter for just his help with knowing what a good standard is like how to interpret it and just his his encouragement and good humor about things film and non-film Nora and Sarah at the Smithsonian have been very helpful as we've worked together moving our materials and my colleagues at the library some of whom are no longer there but we're at the time Sarah Wagner Donna Collins who's still there at Gin Lewis who helped with making a lot of our boxes and my boss Elmer Eusman who humors me in allowing me to still remain a technical expert in something and I traded the thing that I do so many thanks to everybody and if you have questions this started sort of in 2003 if you have questions and you're concerned about your still picture film contact me I can be helpful I have a lot of experience and and I can put you in contact with people and particularly if you have questions about how to interpret an FPA 40 I'm happy to help and for those of you from foreign places I would gladly take whatever information you have about the various standards or or appendices to your national rules because I would be gladly gladly included in the fact because there are slightly different rules in different places there's a Swedish standard that's that it's quite different than this says basically still picture film isn't as dangerous so I'd like to collect that so if you have it I'd like I'd greatly appreciate it thank you very much


We're on scene here in Sarasota, Florida at a collision center. We have an auto-vehicle accident here. The airbag deployed, the person hit their face on the airbag and kind of probably broke their nose or something. They got blood all over the place. So right now what I'm going to do is I'm going to start cutting the seat. I indicated. I saw where all my blood spots are, some of the visible ones you can already see. The leather part I can clean, but the leather mixed with the actual threading and the sewing of the seat, I can't clean that, so I have to cut that out.


Okay, so now we know how to calculate an equilibrium constant from partition functions, and we've seen if we have reactions that only involve diatomic molecules, there's some significant cancellation that occurs, but not every reaction involves only diatomic molecules. So let's take a simple molecule that still involves two gas phase species, but with some monatomic atoms instead of diatomic molecules, so in this case two Br, two bromine atoms combine or dimerize to form bromine gas, Br2, diatomic bromine gas, so we know how to write down partition functions for monatomic species just as well or even easier than we do for diatomic species, so we can also write down the equilibrium constant for this reaction, that's going to be partition function of products raised to the stoichiometric coefficients over partition functions of reactants raised to their stoichiometric coefficients, so as long as we can write down partition function of Br2, which we've already done, partition function of Br atoms, which is even easier, then we can determine what this equilibrium constant is going to be, so for Br2 I've got a translational component, I've got a rotational component that looks like temperature divided by, I'll just say the symmetry number for bromine is 2, I've got a vibrational component, sorry this should be rotational constant for Br2, so still in the numerator I've got a vibrational component e to the minus vibrational temperature of Br2 over twice kT over 1 minus an exponential of the vibrational temperature of Br2 over kT, that's the vibrational term, I have a bond association energy term and I have an electronic partition function which is just 1 for Br2, that's the numerator, the denominator luckily is not quite as ugly, partition function for Br, I can write the translational piece 2 pi m kT over h squared raised to the 3 halves, but I'm just going to square it in the denominator so that 3 halves becomes a 3, also I've got a volume that shows up in the translational partition function and that gets squared because the whole partition function is being squared, for the rotational part and vibrational part and for the bond association part I don't have to worry about those at all, these is a monatomic atom so it doesn't have any rotational states, it doesn't have any bond to vibrate, it doesn't have any bond to dissociate and worry about a bond association energy, so I don't have to worry about these terms at all, I do have to worry about the electronic degeneracy, in this case let me say the degeneracy for Br2 is 1 and the g that I'm going to square for bromine atoms because bromine atoms have an unpaired electron in them they're doublets, the degeneracy is 2 for a bromine atom, all right so now we have a little simplification we can do, it's not nearly as much cancellation as we saw for the reaction that involved only the diatomic molecules, for example I've got a volume in the numerator and a volume squared in the denominator, I can cancel one of them but that means I'm left over with one volume in the denominator, likewise the 2 pi kT and h squared those are only going to partially cancel, I've got all those constants to the three-halves up top and to the third in the denominator, so after that cancellation, a minimal amount of cancellation I see that I've got, if I ignore the masses, an extra factor of 2 pi kT over h squared to the three-halves in the denominator after these cancel so I'll put that back up in the numerator and flip it upside down, I've got a 1 over v that didn't end up cancelling, I've got the rotational terms that are purely from the Br2 molecule, vibrational terms also purely from the diatomic molecule, bond association only matters for the diatomic molecule and then this ratio of degeneracies is a 1 in the numerator and a 4 in the denominator, so as before we can plug in some numbers and see what value this quantity has, let's say this partition function let's calculate at a temperature of 298 kelvin so every time I need to plug in a temperature I'll use 298, we know many of these constants I should, oh I've forgotten the masses so this was everything, not including the masses I've got to insert one more term here which is mass of Br2 to the three-halves in the numerator and a mass of Br cubed in the denominator, those masses, the mass of Br79.9 I believe, 79.918, sorry 79.918 grams per mole for the mass of bromine, double that for the mass of bromine molecules. Rotational constant, vibrational constant, dissociation energy we've already seen in the previous video where Br2 was one of the reactants so I'll use the same values there, if I do this arithmetic keeping the pieces separate at first, this contribution from these constants and the masses works out to be a very small number but notice that we have to be careful with units so the units of these h-squareds and k's and t's and masses don't completely cancel like they did in the previous case and the net quantity that we end up with has units of volume which is going to have to cancel the units of volume in this 1 over v term so if I do that in units of liters it turns out to be this ridiculously small number of liters that hasn't yet included this 1 over v term I haven't told you what volume we're going to use the rotational term is 1300 the vibrational term 0.58 the bond association energy contributes a very large contribution 2.1 times 10 to the 34th that number is unitless and then we have a 1 over 4 from the electronic degeneracy so notice we're in a different situation now than we were for the HBR formation reaction because this of this lack of cancellation we've got this 1 over v term we can't finish the arithmetic until we know what volume we're interested in so if I throw some bromine atoms into a box with volume 1 liter and I use 1 liter here then I can evaluate the constant in fact if we do that if we say volume equals 1 liter then the value of the equilibrium constant that we get is now a unit less 1.6 times 10 to 7th strongly towards product bromine not surprising perhaps that bromine atoms will strongly prefer to dimerize and form BR2 molecules or let's say I did this not in a volume of 1 liter let's say I make a box box as big as a large room let's say that's 50 meters on a side so fairly large auditorium scale room 50 meters on a side cube that number and I get a volume that's in meters cubed if I use that volume here doing my unit calculation appropriately and I calculate with the equilibrium constant is then the value I get is a small number so this K is less than 1 this K tells me the reaction is not any longer strongly towards product there's the volume is large enough that the bromine atoms have a more difficult time finding each other and they have a more difficult time reacting to dimerize to form BR2 so the equilibrium constant depends not only on the temperature in ways that we have seen before but it also depends on the volume being able to calculate the right value of the equilibrium constant will depend on what our reaction conditions are not just the temperature but also the volume so the other thing this tells us about these equilibrium constant calculations is when we have a reaction where the number of molecules on the product side is not the same as the number of molecules on the reactant side we have two molecules turning into one molecule power of two in the denominator power of one in the numerator that meant these cancellations didn't happen as significantly as they did in the previous example and not only did we not have all these terms canceling but that meant that we had to worry about units a little more than we did in the case where the number of molecules is the same on the reactant product side so what this means is when we have a reaction where the molecularity changes to molecules becoming one molecule it complicates our calculation of the equilibrium constant it also complicates unfortunately the math that we have to do when we solve equilibrium problems and so we'll see how that works coming up next


Yes, I believe in God, I believe that God is in everything, and in regards to my religion, if anyone asks, I would say I am a perennialist, I believe there are many different ways to find God, I believe there are many different legitimate paths to God. So those are the short answers right there. Now a disclaimer before I begin to elaborate. I'm not a priest, I'm not of the priest archetype or priest caste. I am merely a humble aspiring enlightened despot. I'm merely a humble philosopher prince. So there are those who are much better suited to talk about these issues, but since I get the question quite often, and since I know it's a topic of interest to many, I thought to give my take on it. But I have been hesitant to respond to this because I ultimately believe that your own religion should be something personal and I don't want anyone to wait for my answer to start their own quest to find God. Now I'm not trying to be humble here, I want you to listen to me always, I always wanted to do as I advise, as I recommend, so if I say that you should train hard, read hard and sleep well, you should definitely do it. So basically every video I make you should listen and you should take to heart the advice that I present. Same thing with Dauntless, I wanted to read it, I wanted to incorporate the practical advice. But when it comes to religion I can't say to you which path you can take, it's up to you. Dalai Lama says that Buddhism is the best way for him to find God. For me I'm still searching, I'm on the path and I want to explore as many different religious traditions as possible, hence I call myself a perennialist.  And I can't say that because that wouldn't be the most accurate response possible. I always want to be as clear and honest as possible, so I'm giving you the honest response right here. When I say that I am, then a perennialist and I acknowledge that there are many good and glorious ways to find God. What I can say however, is that if someone asks, are there many gods or are there only one God? Again take this with a pinch of salt, again I'm not a priest, in my humble opinion at least. And of course I derive inspiration from the neoplatonic teaching of the one or the good. So I believe that there is one God that is in everything and that God is beyond comprehension for humans. I am certainly comfortable saying that God is beyond my comprehension. But if you're talking about several gods, I have a good example which I used in my latest podcast. So we can take the sacred Baltic Sea, which I suppose many of you know and love. I certainly know and love it. It is connected to the Atlantic, so one could say it's the same water in the Baltic and the Atlantic. But they are still distinct bodies of water. There are still two different seas if you will, but at the same time they are one. And if we're talking about one God or many gods, I would say that the many gods are part of the one God. And another good example, which I also used in my latest podcast, is the different forms God can take. And I can take a rather mundane example here, take milk and whey. Now whey is of course milk, but in a different form. So they come from the same source, the one source of milk, of dairy. So when you mix a protein shake, so milk and whey, you mix two ingredients which come from the same source and then they become one again. Somting else is of course, snow, ice, rain, water, same thing, different forms. So that's something I find at least in my humble opinion quite useful to think in terms of the nature of the divine. It can take many different forms. And if you read my book review of the Agni and the Ecstasy, I included a quote, which illustrates quite well when Hindus are being called idol worshippers and they say that Krishna or God, he can take many different forms so he is in the materials of the idols as well. You can check it out, I will link it below that article, quite insightful, the book itself. Now moving on to demigods angels and the primordial beast even as well. When I say the primordial beast, I have tried to explain this concept before in a video. I feel more comfortable explaining it now, but it's simply a certain energy of God taking a certain form and that particular energy it imbues you as a man hopefully with a sense of primordial energy. I can't explain it better than to just refer to it as the primordial beast. Now we can say that the primordial beast is well a God but it's actually an energy of the one God. Same thing if we are talking about gods of war, certain men sometimes I suppose many of you have felt it at some stage you feel an urge to fight or whatever. Yeah that can be the warrior energy of God in the form of a war god such as Tyr or Mars or Aris or someone like that. Man takes that form and imbues you with that energy and then you have different other gods that can imbue you in a similar manner. So you can view it as God taking a certain shape and then he blesses you in that shape and you feel different ways. Now if you want to live a lifestyle which enables the primordial beast to imbue your spirit then simply live the lifestyle which I recommend. So train hard, eat clean, sleep well, absolutely no pornography. Think in heroic terms, act in heroic terms and you will build your inner body, your inner temple. You will be able to attract the spirit of the primordial beast and it's an absolutely great sensation when you feel that when you start feeling like a force of nature. Now of course many people they talk about the love of God, this is something similar but that love takes something, it's a different sort of energy but that's definitely something I recommend you to try to find because it is a nice feeling. I'm not saying that I found the perfect love of God yet myself but it's something worth going on a spiritual quest for at least. Now the discussion on demigods and angels, it will have to wait till the I suppose the next podcast episode or a separate video. I'll see but long story short in my view at least a demigod would be someone who is a human that is additionally filled with the energy of God. So the energy if God is in everything a demigod is a person that has extra much of God in him or if it's a demigod is in her. Now lastly as I also mentioned in the latest podcast episode in regard to the so called conflict between Christians and pagans always online of course. A very escapist, very silly conflicts, I don't even want to call it a conflict but something of that sort. Now this is not something you will take a heat for, you will not take a heat for going all out criticizing paganism or criticizing Christianity. You will take heat when you talk about bio-culture and civilization and stuff like that. So if you ask what team am I on because I know in these online dramas online conflicts it's not so much about pushing a good message. It's about scoring goals against the other team like it's some sort of sports ball game. As I said, very silly, very inglorious but anyway what you will take heat for is promoting your own bio-culture if you're white that is. Now the team I am on is Team Mother Europe. It's the same team that I've always been on and that is what you also take heat for. So if you're still engaged in this so called conflict it's not something I want any part of. So anyway I hope that responded to the question at hand and in terms of culture. You know if I wear a hammer of Thor it's primarily a symbol of bio-culture. Then also of course if Thor the thunder god is a part of the greater god it's a certain energy. Quite similar to the primordial beast I might add but that would be a topic for another video or podcast or article. Then of course if I wear a cross the Swedish flag has a cross on it. It's not something I have anything against so I don't mind even though I'm not a Christian. I don't have anything against wearing a cross or proudly hoisting the Swedish colors which contain a cross. It's still our symbol and a beautiful symbol at that. Now I have rambled on for long enough again disclaimer I'm not of the priest archetype. There are those who are better at explaining these matters but that was my take at least. I hope you enjoyed the video and thank you for watching XXO. Boom!


Cool Thank you very much for coming. We're a little bit behind schedule. So I'd like to get started as soon as possible Our next speaker Jeff. I have known Jeff for a very long time and the first day we met we Had a walk in Alaska Jeff was on flip-flops, and I'm very happy that he's here now So Please go ahead Thank you Walter The audio good it can I think so so I'd like to go back about two years ago not as far back as I've known Walter but At the point at travel audience where I work now We were in a process where many of you have probably been or will be at some point soon We were migrating into Kubernetes and so we of course started with the process of putting everything in Docker Containers and then for the Kubernetes infrastructure. We were managing it with helm So all the ammo configuration of an application was put into an a helm chart So at the time we had maybe about ten services that we started with and we created an umbrella helm chart to manage all Those help the ten services we had so this umbrella chart had the configuration to deploy each of those ten things into our production environment and so the the benefits here is that we could take this Umbrella chart deployed into production deployed into a staging environment, or if the developer wanted to work on something They could deploy the same thing that we had which is some small configuration changes and everything was deployed nicely However, this didn't work so well the the umbrella chart is broken It doesn't scale as we add more services to it it becomes a big entity that helm itself has trouble managing and The other problems were that's the individual release cycle of an application Being able to just say hey, I want to roll this out then dependent on rolling out this bigger umbrella chart And so we had some reasons for taking away the umbrella chart and then having a nice CI CD process That took an application directly into production and that was fantastic for production environments But we lost the reproducibility of our umbrella chart We couldn't just take all those 10 now 20 30 services and create a dev environment with them Because we needed to know which of those 10 30 am I missing something is there's something new that's come That's critical for my environment and how do I set it up in my dev environment? So I began looking out in the community trying to find some tooling that provided such a solution and I found some blog posts of other companies who had the same problem. They described exactly what I wanted They wrote a tool for it gave the tool a really fun name and failed to open source it There was actually nothing available for me to work with to be able to do this But everybody else had this problem. So of course We're sitting there with these empty shelves wondering what to do and a travel audience Thankfully the management agreed. Hey, we do need something to provide this functionality to our developers and They also agreed with the concept of let's put it back out in the community. Let's share this with everyone else And so before I get into how to create your dev environment The question is where so at travel audience we run everything in the cloud We use Google Cloud and so we have a dedicated project in Google Cloud where Developers now have greater access. They can deploy things and do what they want that they wouldn't be able to access and do In our production environment. So for us, we're able to have one cluster with many namespaces for each developer This might not be a Solution based on costs, whatever and so your next best option is to run these dev environments locally now two years ago Running a Kubernetes locally probably meant Kubernetes the hard way You had to learn what Kubernetes is how to manage all the moving pieces of Kubernetes itself Just so you could run your application like that was not sustainable Mini Cube was around then but it's come a long way to make it more usable. It's much faster. It provides Docker image support now I believe it's been released and This is usually my tool when I'm doing something locally. However, there's some other great tools out there If you're on Mac or Windows then Docker for desktop is an alternative to Mini Cube for running Kubernetes on your machine Micro KS is a tool. That's really good if you're running Linux But also supports Windows and Mac OS and basically these are the equivalent alternatives of Mini Cube where you just have the full Kubernetes infrastructure running on your machine and you're able to play around and do things as you need There's some interesting tooling out there for Running Kubernetes in Docker. So basically you have Docker running on your machine Then you put a container of Kubernetes running which in theory you could have another Docker image of Kubernetes and then another Docker running Kubernetes and You're in this inception model. You have to spin the top to find out if you're on a real machine or not But these ones I haven't used them on my local machine for running Kubernetes I know that can be done. What's really cool about these is they run great in CI So if you have to spin up Kubernetes to run a test on some application you're doing these are your great Solution for pretty much any CI tool out there will allow you to run Docker Which therefore will allow you to have Kubernetes to do your testing So now we have our place to run our dev environments and I want to get into this some of the tools that are available I'm of course definitely biased having been the main developer of Armador There's some other tools I'm going to get into so now this part of the talk will be much more tool focused and How these things will work for you? Armador itself is based on the concept of Docker compose, but it works for Kubernetes And so Docker compose comes with this Example app which is very over architected for what it does, but it creates something better than just a hello world so we have this voting app that is a front-end users can go in and Vote for something that saves to a redis database. You have a worker process running in the background That's converted into Postgres data and then another front-end where you can see the results of the votes So very over architected, but it provides What we would have of this Docker compose configuration on the right-hand side or left there and If you extract this out a bit more you would imagine in your company the voting app isn't just you know One developer working on this but a whole team of people and this whole team of people Doesn't need to know that there's a postgres database that the worker converts You know what they save in a redis to postgres and that the port for the result app is five eight five eight like Why do I as a voting app developer need to know all this in order to run my application to see if it's working? so what armador does is It's based on helm and so each of these applications is a helm chart of its own and the voting app is Included with an armador file that indicates the dependencies it needs So as a voting app developer, I need a redis because I know I save my data to redis and I need a result app so I can see what's happening in the end and When armador starts running it'll spin up or it'll find these dependency charts in your voting app look for Those dependencies find the result app that you know another team has worked on and created and they said Hey when you run the result app you need a postgres and a worker that converts it and so everything you get need gets compiled into built out into a graph and deployed into your environment, so Armador takes your helm configuration of your voting app and then fills out all the rest of the configuration of the ops you have and It leaves out all the other stuff So if you have 30 other services running in your production environment that do additional things of how likely will somebody vote for this and all this Yeah, that's not what you need to test the voting app itself. You just need this components so Armador isn't the only tool that does this and it was actually interesting as I started the development of armador I Found that one of the tools that somebody had blogged about and described exactly what I want Came out as ASIL and was released an open source. I already started You know what do I do here, but the functionality for as so this Generally the same it builds out the dependency graph of what you need So it doesn't include all this extra stuff and that was one of my key reasons for building something and Then it Functions on git Webhooks so as you create a new PR ASIL will trigger a call to the ASIL server which will then spin up an environment based on what's in that PR And then as you update the PR the environment gets updated And then when you merge the PR and close it the environment gets club deleted so if your use case follows into this Presentation mode of what's happening in a PR and then ASIL is a great solution what armador has slightly Benefits over is that it's a CLI tool and so you don't need the additional hardware to run armador You just run it locally and it spins up the environment with what you need And then you're able to hack it and get in and do whatever you want And you're responsible then to make sure it's still working that it updates as you need so depending on your use case these two tools are Potentially the better of the rest now. That's my opinion and If it wasn't for this concept of having a huge Dependency chain of not needing everything we have in production in my environment Then I would find tilt to be really fascinating because it not only provides a great UI both in the CLI As well as a web interface It ties into your IDE so as you develop the changes will get updated into your environment And you get an aggregate of all the logs of all the things that are running in your environment when something isn't working it shows up in a nice UI interface and The other advantage of tilt is that it doesn't depend on helm the ASIL and armador are helm dependent Whereas tilt will function with just pure yaml configurations But what you do need is to know everything that's happening So you do need that full docker compose that describes the whole environment So as your dependencies grow bigger and more complex it becomes a little harder to manage Exactly what you need in your dev environment A popular tool out there that has been around for much longer and was there So before anything started was helm file and this has the the concept of what the umbrella chart had Where everything is there and all managed by helm and deployed as kind of one instance But it does deploy it individually, so you you don't have that bulkiness that's restriction to it But the the disadvantage of using helm file for your dev environment is if you're doing it across multiple namespaces Each time you make a new environment you have to then make new changes to your configuration So you can't just say here developer here's a home file You can deploy it if somebody else has already deployed that same thing So it's the fantastic tool for managing a production environment and your configuration and knowing what's there But having that dev environment usage might not be the best use case a tool that came out of a company in Berlin where travel audiences also located is from garden and they actually started a while ago, but didn't come out with public, you know usage until after all this started a year ago and What they have is similar where they'll build out a dependency graph of everything you need But the configuration seems to need to be kind of contained in the one general location And so I haven't actually tried using it But the the fantastic thing with them is that the company behind it is willing to put in the effort and work with You to get it up and running so if you're low on resources internally and want to be able to have dev environments then Contact them and get the support you need while they're at least doing it for free. So If you're dealing with a much less Much less components there your dependency chain isn't so large You just have one or two applications that depend on you know I need a database with my front-end like that's kind of the scope of your Existence with your development environment then the scaffold is a great tool it ties directly into IDs with VS code and telege and It provides a direct environment for the developer Handles all the files syncing directly and in a faster iteration process But where it lacks is the bigger dependency chain so again use case-dependent this might be a good solution and Lastly at least alphabetically is Valero, which was originally developed by Heptio and called arc Which then would have been first alphabetically I think but its concept is that it creates a backup of your cluster and there was actually just to talk a few minutes ago about Valero and So I can't really do what was probably there's talk about it in the same way But it what you can do is when you have this snapshot of your cluster You can then just deploy that into another cluster right and then in another cluster in another cluster And so then you have your ephemeral environment that you can just tear down and create because you have a backup of it The what I don't see working I don't know maybe it was described how you can manage this but in your production You probably have hundreds of pods thousands of replicas big Persistent volumes, you know Things that when you take that snapshot and put it on your local machine your local machine It's not going to be able to handle the scope of that so the the dev environment for Valero might not be the The place for using it, but it is a good tool that has benefits So this wouldn't be a good tech talk if I didn't try a live demo and I'm gonna have a go at Doing a demo of Armador, so we have the armador repo And in this armador repo, there's a docs folder with the example and Basically everything in here is as I described already How it functions. There's also a blog post about what's happening and the reason for armador and then at the end there's really just simple one line to get it up and running this example app and What's happening inside is? Actually, I already cloned the code So and we have our example apps and so there's the result in the vote app Because these needed to be included because these are our internal company apps Where is the Postgres and the the Redis? Those are you know external? upstream helm charts and the worker chart as well The folks that's code fresh I believe already packaged this example app into helm charts And so we just took the the examples that they gave and we can pull down their worker chart because we're not making any changes of that so if I Locally go into my I'm gonna copy the voting app and So this is in theory my whole functionality of the voting app would be in here including my helm Configuration including my YAML file which lists the dependencies from the upstream stable repo and the result app Which is a local repo? within you know our company and has a specific path to the configuration and I just run armador create Jeff I'm assuming I have mini cube up and running already Yeah, save some time there and here we can see that these five charts are going to be installed so this is the components that we need and There they should all be running to go to all get pods the Redis and the database are on their way to be running and The way mini cube works for Being able to access your ports is by having a cube service Oops, I was gonna try to show the help here So it creates URLs that are dedicated to the applications that are running in your cluster. And so kubectl get this so I want to be able to connect to the voting app and cast my vote and This cluster IP is only located within the mini cube but if we For it out stat traffic it loads it up and now I can vote for dogs because I like dogs Still got a Play from current slides So now we have a full set of tools available in the community. I kind of just gave you a tool dump I can say what's best for you is of course armador but Again, you know find your use case find out what's available What's most likely the case is now that there's all these tools you probably don't need to go through the trouble of rewriting your own you can instead work on what's available and I have a talk tomorrow where I'm going to discuss What you can do now that you have your ephemeral environment now that you have this dev environment how do you debug and how do you actually use it to the best you can and I just want to give a shout out to the helm contributors the maintainers are going to be given a talk at the Config management camp Thank you


Today we're taking a look at my top 5 rarest and most expensive Yu-Gi-Oh cards. At number 5 we have Royal Decree from Tournament Pack 4. This card is in PSA 10 and I didn't sell mine, but I'll go conservative $4,500 because it wasn't an actual sale. At number 4 I have the Jinzo from Pharaoh's Servant 1st Edition. This is one of the most iconic Seeker rare in all of the original series, and this card goes for about $5,000. At number 3 we have an even more iconic Yu-Gi-Oh card, the Exodia, the Forbidden One. This card then definitely increases the price. This card is about $5,200. And speaking of iconic we have the Blue Eyes White Dragon 1st Edition from Legend of Blue Eyes. As you can see this is just a mint 9. If it was a PSA 10 this would easily be the number 1 card on this list, but it's just a 9 so this card goes for about $5,700. And finally my most expensive card that I own is Morphing Jar TP-2 PSA 10. This card comes in at about $6,500.


He extends the ball at the goal line. Did he get in? Henry to Peter. We got this thing rolling, so we get our fans to back us up. It's a big game, there's an opponent, so we hope everybody's there. We hope it's loud. We want them to feel everything from our fans screaming. It needs to be loud, it needs to be packed, it needs to be filled. It's code blue. It's a code blue Sunday. Get there, be loud, come code blue. It's code blue, so everybody come to the stadium. Wear your Titans blue, just like me. Come show up, so we can show out. Presented by Farm Your Health Plans, I am Lance Smith, but that is Eddie George. The towel waving, you must be excited. Man, listen, it's December Super Bowl. I like that talk. Yeah, just headed that way. Yes. One game at a time. That's all I want for Christmas, too. It's an amazing time. So this is it. This is fun, man. We just come off this huge win out in Oakland, where we handle business. Yeah. What an exciting time to be a Titans fan. Absolutely. And Titans player. It's meaning for football, playing for first place this week against a divisional opponent. It's your don't like in Houston. Right. So it should be as exciting times. Man, it's code blue, man. It's code blue. We're going to talk about that. But right now, let's kick off this show and do what we do. And right now, it's four down with Eddie. It's I've got Eddie here. This game, man, going into it, we were this excited, but we really put it to him. And first down here, Tannahill Rolls, Mr. AFC, offensive player of the week, Ryan Tannah. He's playing some inspired football.  He's taken full advantage of it, opportunity to guys playing lights out with seven and six and one as a starter. Six and one as a starter, yeah, yeah. 21 of 27 for almost 400 yards, three touchdowns and one blemish, but you know, the guy's been playing off the charts, man. Kudos to him. I'm just so happy for him and a great story. He is the hottest quarterback in the world right now. Absolutely. Highest quarterback rating, longest yards per pass. It's inspiring to watch. And the team is definitely rallying around in which we will talk more of. Moving on, though, to second down. It's not just Ryan.  Kari Blazingame, a new fullback that we acquired. Van Der Bilt for the Bandy guy. Van Der Bilt for the Bandy guy. Caught a beautiful pass down the sideline. And plus, you know, he's doing that first block stuff for Derek Henry. He's sort of the Swiss army knife of the team now. Well, he was like that at Van Der Bilt. I mean, the kid runs a four-four. He's highly motivated. He recognizes again that he has a great opportunity to be a force in this league. Extremely athletic and talented. Wait until you see him run the football. I mean, the kid is really good. Great addition to the Titans. Again, you talk about next man up. Well, unfortunately, this time of year, teams are getting banged up.  Yeah, and it's not just, OK, we can hold our own. I mean, Ty Smith for the second game in a row is a big part of a huge turnover, whether he's running it back in the block kick for the touchdown against the Colts. He knocked this ball out that Jayon Brown had the scoop and score.  It is next man up in town. And that's what makes teams really special, or the guys that can do that. You know, Ty Smith, the guys that are unsung heroes, that fill in the gaps, that fill in. I mean, just doing a good job creating turnovers, creating plays for your team. I mean, that's what makes the teams super bowl, caliber type teams. And we're seeing elements of that coming together for the Tennessee Titans in December. Yeah, and we've talked so much about how well we're playing, and we've said this word a lot. Complimentary football, offense, defense. Let's talk about the defense. I love to talk about this defense. Dean Pease has got these guys dialed in. Jarell Casey, game wrecker back there. Simmons. LFA. LFA, as you like to call it. These guys are wreaking havoc, especially. And we are, hands down, the best second half team in the NFL, especially defensively. I don't know what goes on.  It's like 12 minutes and a half time. You know, what kind of changes can you really make? But our defense in the second half is mean. That's a testament to the coaching staff for Mike Vrable, Dean Pease, everybody else from that coaching staff of identifying what's going on in their defense. And they've been consistent all year long. And it's no surprise. They're still playing great. They've been the backbone of this team until the offense found their footing. And now they're playing lights out. When you see a team that's having fun on the sidelines, dancing, taking pictures in front of the camera after, after an interception, a turnover, that's when you know you got something special. And these guys are playing for each other. There's a genuine love among them. And that's what you're seeing right now. That's amazing to watch. Watch a couple of here and talk to us. But Logan Ryan.  But Logan's playing all over the field. He led the team in tackles this week. He's, he's playing in spite of football. Well, he comes from a championship background from New England. He knows what it takes. This is meaning, this time of year is meaning for football. And Logan's been consistent all year long. In my opinion, should be first team all pro, outstanding guy. I mean, just this utility type player. And he's definitely one of the leaders of that defense. There were a couple of plays in this game specifically. And, you know, ultimately they didn't sort of lead anything. I mean, Oakland, Oakland would score. But there's a play, you were talking about it before the show started. Ryan Tannehill, you know, he, yeah, he throws the unfortunate pick because it was tipped and caught. But then what did Ryan do? There's one thing to make a play. Yeah. But there's another thing to do this. And when you see your quarterback run full speed down this defense is, watch this. This hurts to watch. Boom! Before the run finish. That's what gets you up out of your seat right there.  It got, I mean, I want to come out of retirement and play for that guy. I'm serious, because when your quarterback does that, it just gets everybody amped up. Right? I mean, I'm excited. The defense excited. The running game's excited. The fans, Oakland fans were excited to see that. Well, I mean, just after that play, what Jayon Brown does, it's first in goal. And Jayon Brown gets his best Troy Palamolo, jumps over the line and tackles the guy. It's effort. And I know they score on that series anyway, because it's a short field for the defense. But those individual plays just show me this team is not backing down. They're not backing down. They're playing with energy. They're playing with love and passion. And they taste blood. They can see the finish line and it's real now. Now they control their own destiny. Of course, we want to get into the games and all that. But to go out to Oakland, coming off a big win against Indianapolis, that was a sleeper game. We talked about that. A true chat game. Came out slow, but 42 to 21. And Tanah Hill's playing lights out, defense, complimentary football. This team is special. It really is special. I'd say what? I think Eddie smells blood. I do. I can taste it all in my mouth. All right, you know what? 15 minutes can save you 15% or more on your car insurance with that. We'll go to our first break with our GEICO Fast 15, but stick around, Titans Blitz. We'll be right back. Who's got it to Brown? Brown at the 10, at the five, driving for the end zone. Top stepping up in trouble. Zack! He extends the ball at the goal line. Did he get in? Yes, he did. The Titans Blitz, presented by Farm Bureau Health Plans. It's now halftime here on the show. Take a break from the X's and O's and you know we got fans everywhere. Everywhere, all over the world. All over the world. But this week, I want you to check out this gentleman out in California. Here is Damien's story in this week's Bleed Blue. Damien Hefe grew up in Santa Cruz, California. He could have liked the Niners or the Chargers or the Raiders. But after seeing the Tennessee Titans go to the Super Bowl when he was eight years old, he had a team. Later, he even started a group called the California Titans fans. And they Bleed Blue. This week, they're in Oakland, California and it doesn't take a football connoisseur to know that this place is tough for opposing fans. With one of the toughest, rowdiest fan bases in sports, some fans don't dare step foot in the black hole. But Damien Hefe and his group of diehards are in town. Way to get in the parking lot. Let's go, baby. Ready to get in the parking lot right now? I'll take over, Oakland. The Titans fan, I was always alone. And I started this page, trying to just get together with people, meet up at bars, represent. And man, what it's turned into now with the tailgates, just the crazy meetups they have in LA, Northern California, man, it's growing. We have over 600 people. Yeah, don't think California Titans fans were hiding in the back of the parking lot. Don't think we're scared, we're in the corner. Now, we're riding the thick of things. You know what I mean? We're right there representing, right front of everybody, we're never scared. These guys, they don't intimidate me. There's nothing to me. And it's nothing to any of my guys. And you know, we're putting us on the map. We're definitely invading every West Coast stadium, Oakland, Frisco, any stadium. We're never scared. Never scared. Oakland, they talk about it, but hey, man, we're here, California Titans fans. He extends the ball at the goal line. Did he get in? Henry to Peter. Touchdown. Let's go, baby. Yeah, I thought it was easy being a Titans fan, especially out here at Raider Nation. But you know, sorry that these guys are going to Vegas, but it is what it is. We're going to come here and take this duck. Here's Smith opening the end zone. Janu Smith, touchdown, Titans.  But I ain't scared, never scared, man. Coming in here, see a blue. Me and my crew, California Titans fans, are coming here and invading. Never scared. Anywhere, I'll go. I ain't scared, nobody. As the Titans come to the West Coast, and get it done again. Titan fans right here at Raider Nation, never be scared.  I love it. Bring that energy here. We're going to need it this Sunday. Can you believe though, that's the last Titans game in Oakland? I know. You know, it's sad. Yeah. I'm a football enthusiast, so I love the tradition of football, especially out in Oakland. Yeah. Oh, I played out there. Right. Great fan base, and I feel really bad for the community of Oakland, losing their football team. And they still showed up to every single game this year, regardless. Fascinating story. You know who I feel good for, though. That's Titan fans. Yes, sir. Yeah. All right, we got a big game coming up this Sunday. You saw that energy out in Oakland. We're going to talk about energy here at Nissan Stadium in Nashville. On the other side, keys to victory coming up. Don't go away, Titans Clips. We'll be right back. Welcome back to the Titans Clips presented by Farm Bureau Health Plan. I'm Lance. He's Eddie. It is now the two-minute warning here on the show. And we've got a code blue coming up here at Nissan Stadium. We've got to pack the house with the blue, with the energy, with the noise. But we've got to talk about what the players need to do on the field. So first up, contain Watson. Yeah, we don't have a point of reference this year. It's the first time we play the Texas this year. That's so weird. Which is very weird. Back into the season, we play him twice in three weeks. And listen, I thought the last game, the Texas play, they were shelling themselves, obviously. Looked like they partied the night before. Against the Broncos. Yeah, they got demolished. And they're going to come in here dialed in. So you know that. So Nissan Watson is the key A number one guy. In my opinion, probably the most lethal quarterback in the league in terms of running and throwing. Better than Lamar Jackson. And it's a different story for a different day. He can put up points like no other. And we're going to have to contain him always. So we're going to have to keep a spy on him. Yeah, Blitz. Let me just mix it up. Yeah, Dean Pease has done an amazing job of that all season, I think, in disguising as Blitz packages. You don't know what's coming. But yeah, definitely contain him. All right, well, moving on, another guy that you got to keep your eye on the whole time. Dundry Hopkins is lighting it up. He's already got over 1,000 yards in the season. Seven receptions a game. He's got seven touchdowns. Average is 11 yards of reception. He's a bad boy. He can stretch the field, yeah. And he does a lot of crossing routes. He is a bad boy. So we've got to know where he is at all times. I can watch games against the Texans, and you see him get open.  But he does, and he will. So how?  It is. And I think our defensive backs are up for the challenge. Logan Ryan, I think they all understand that Hopkins to Sean Watson is a huge deal. So you've got to force other guys to make plays. And again, it's going to be one of those games where they're going to have to make great adjustments on the fly, because we haven't seen them this year. And we don't know how well we match it. But listen, one of our strengths, or our best strength, is our secondary. We're a little banged up, but I think we'll get the job done. Which is strange to hear, because it was always such a weakness for us for so long. And all of a sudden, now we're dynamite back there. And finally, the third key to victory here is keep playing Titans football. Because we talk about this dynamic offense. There's, look, our defense is awesome.  But these guys will score points. And I think we've just got to keep up this heavy offensive pressure that we found. Right. And it helps that the Texans, their defense is statistically not great. So that bodes well for the Titans offense, considering how hot we are. Tandy Hill's getting the ball to so many different receivers. Derek Henry's playing great, despite the little tweak in the hamstring. And the fact, the key factor here is that we're playing at home. At home, just this magic right here. It has to be loud all day long. It has to be hostile from the start. And that's going to be the key, in my opinion, to really take this team to another level. This isn't just third down loud we're talking about, guys. This is relentless, just mean pressure. It's playoff football. Yeah, well, we have the question, are they piping sound into the stadium? I used to question that. That's what they did really seriously. They used to accuse us of that. Yes. They need to accuse us again. We want to be accused of cheating, is what we're saying. No, you've got to show up. And you've got to be there early, too. The energy that the fans need to bring the energy. Like you know, it's all about energy. I mean, I'm waving this towel just to get the energy going.  We noticed that. When you come out for player introductions and the stadium is full and fans are waving, it's over. You're game over at that point. It's like, OK, what's the score going to be? You know it's over. But if it's half full, it's spotted, and you're like, ah, you're not into it. It's a give and take. The fans are a part of a winning culture. You go to the highs and the lows. So we need that support there this weekend. Guys, it's not just any game, OK? I mean, this game puts us on top of the AFC South. It keeps us in control. This is what you want. This is playoff football. This is Code Blue. What is it? It's presented by Farm Bureau Health. Plans. It is now over time here on the show and time for our Wendy's hot take of the week. The Titans are the hottest team in football right now, Eddie. We have the hottest quarterback, the hottest running back. I'm not talking about looks. I'm talking about their play on the field. No, we are the team to be afraid of, the team to watch. So I ask you, with Tana Hill playing so well, and with Derek Henry playing so well, who is improving the other the most? I guess Tana Hill playing so well because of Derek, or more because of Derek, or is Derek playing so well? That's an excellent question, because it's like. They're both helping each other. Yeah, they're both helping each other. But I think because Derek has established himself as the go-to guy on the offense, going back to last season of Week 10. And so now more defenses are focused on him.  His play lights out, and he's been doing that. So I think at this point, Derek has really helped Tana Hill gain his confidence and find his sea legs, and just take it over the top right now. Tana Hill has had good running backs before, but he's never had a Derek. No, he never had an animal. He never had an animal. He had a mouse or a muskrat.  That's not it. It is some of the most exciting Titans football we've seen in years. It is complementary football, defense, offense, special teams, everybody's stepping up. You've seen this kind of work before with Steve. You and Steve had a great combo, so teams didn't know how to defend. What are you gonna do? Well, yeah, what makes this team different from our team is that they can stretch the field. They have playmakers, A. Z. Brown. They've got the tight end. Of course, we have Frank Wajek. But this rookie receiver is having a fantastic year. He has all pro-written on him. In the future. He does. And with Derek Henry, complimentary players, a quarterback, this plan is, they have a chance to do some special things offensively. This is exciting. This game is exciting. This team is exciting. The two guys are gonna bring it this time.


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Well, Governor Tom Wolf hit the road to pitch his budget proposal. Schools that teach tour across the Commonwealth. Wolf wants to increase school funding by $2 billion over the next four years. We cannot continue to disinvest in our education system. This is our future. Pennsylvania ranks 45th in terms of state support for education. That doesn't make any sense. We could actually do something to close the gap. We sit on top of one of the richest deposits of natural gas in the world. We're the only state with natural resources without a severance tax. Texas does it. Oklahoma does it. North Dakota does it. Alaska, Louisiana, West Virginia does it. I'm proposing that we do it. For the past few years, we've faced a deficit and those are very, very difficult decisions. We only have one librarian for eight elementary schools. Some of our places are in the 30s. They did not replace positions, special education, music, art, teachers. We definitely don't have the technology pieces that we could. My biggest concern is to make sure that we maintain our relevancy for our students, to make sure they're either college or career ready. We've got to make sure that we're doing what we can for our children. A severance tax would raise a billion dollars in the first full year. A billion new dollars coming into our schools, our education system. And listening to some of the things that he wants to do for education, I became excited. We're really excited about more preschool learning. We're very excited about the governor's commitment to community colleges. To tour the state, to see what's going on at different districts is a really prudent thing to do. That he's actually came down into the trenches to see what's going on. It's very important. We need to focus on education. We need to make sure that we are invested in something that means so much to our future. Let me hear it. This was really nice of you. Susan, thank you for the tour. See, some things don't change.