Langston Hughes is our subject today. Let's start with a poem you probably know. It's on page 687. It's really the poem for which Hughes is perhaps most known and was first known. He composed it when he was eighteen years old. It is The Negro Speaks of Rivers. You can see that it's dedicated to W.E.B. Du Bois. Du Bois was the important leader and speaker who was the editor of the magazine The Crisis, which published this poem. The Crisis had a circulation of 100,000 readers, at least, if not more, and is in that way quite a debut to have. And it put Hughes immediately in a political magazine, in a race magazine, and in some ways in a popular magazine, not one of the little magazines of modernism. I've known rivers ancient as the world and older than the flow of human blood and human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo, and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turned all golden in the sunset. I've known rivers, ancient dusky rivers. My soul has grown deep like the rivers. Hughes' speaker is a particularized voice, a voice that speaks of an eye at the same time that he is a general one, the Negro. The Negro speaks of and for a people as a representative figure. Like Hart Crane, Hughes returns to Walt Whitman. Walt Whitman, in his ambition to speak of and for America, at the same time, unlike Crane, Hughes takes on Whitman's versification, Whitman's ways of making a line, his free verse, his paratactic style in which things are listed, as opposed to Crane's crumpled and condensed quatrains stanzas. Here, the relation between the particular and the general, between the individual and a type, is one of the poem's subjects. It is a poem about knowledge, about identity, and about history too.  We learn just a few things about those rivers. They are ancient as the world, they are primordial. They are even, it seems, prior to the human in this sense, prior to human blood, which conventionally is a way of representing race, of speaking about race. The rivers are older, it seems, than any race, and yet they're also an image of racial blood and flowing. Hughes is writing about a universal from a particular point of view. The flowing of rivers is like the flowing of blood in the poem, and to know them is to know what is under or inside particular racial experience at the deepest level. In this sense, we might paraphrase that title, The Negro Speaks of Human Life and History, as the Negro has known it. It's a poem concerned with human life and history, in very most general terms of experience, from the particular perspective of the black speaker and from the perspective of black experience. As the poem goes on, the rivers are named and localized in history. The Euphrates, Origin of Civilization, and the site of the Jewish captivity in Babylon. The Congo, the Nile, the site of the pyramids, those archetypal human monuments fixed in place and pointed to the sky, in that sense, counterposed to the flowing river. Being the Negro here means knowing all of these places. My soul has grown. My soul has grown. This is an interesting tense that evokes simultaneously the past and the present. It suggests the past carried over and into the present. Then, in that third stanza, the poem shifts into the simple past. I bathed, I built, I looked, I heard. The line about the Mississippi continues this pattern, but then in the middle of the line breaks out of it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. There's a way in which the story of Lincoln and the freeing of the slaves that Hughes gets to at that point break out of the particular and then reach into this perfect present tense to evoke some kind of ongoing experience moving from the past to the present again. Then the poem goes back into that perfect presence. There's a sense of past action that is ongoing and active, present, in the poem. The rivers there are deep, dark, dusky. They also, at this pivotal moment in the poem, turn golden. The poem projects a view of black history in which to be black means simultaneously to the product of black experience across history at particular moments, particular times, and also involved in the deepest trans-historical meanings of the human. The journey that the poem describes links different times and places, and ultimately white and black, when Lincoln, America's white president, goes down to New Orleans and resolves to end slavery. This is a remarkable poem by a young man to write. Let me hold off this interesting photo for a second. This is a picture of Hughes still in the mid-twenties, when his work was just being read for the first time. It's a remarkable poem, I think, for a young poet to begin with. You could compare it to other early sort of inaugurating or initiating poems that we've talked about, such as Crane's Legend or the Love Song of J. Alfred Prufrock, and other sort of entries into poetry. We could compare its vision of the past to that which we find in perhaps Pound or Eliot, which leads me to this general question of how do we place Langston Hughes in this course, and more generally, how do we position the black language and experience in his work in the general context of modern poetry? Where else, where else in this course does the Negro speak?  Blackness figures in Frost, interestingly, as a kind of charged symbolic color, but in a very generalized way that isn't linked immediately to race, although it certainly could be seen to in certain contexts. You could say the same thing, I think, about Stevens. Although you do in Stevens are certain black figures, including the word nigger in one poem, there's no question, though, that in Stevens, in Frost, the poetry doesn't aspire to, doesn't pretend to, represent the experience of African-Americans. Marianne Moore, whom we'll read soon, has a poem called Black Earth, when Ezra Pound read it, he wrote to her and asked, since he didn't know, he'd never met her, was she Ethiopian? This is a truly crazy question, but an interesting one. In this poem Moore speaks about an elephant, and from the point of view of an elephant in ways that might seem to possibly speak for black people, but only on the level of fable or allegory. Crane comes closer. If you turn back a few pages in your anthology to the Crane section, the first poem in that selection is called Black Tambourine. That's on 607. That poem describes, again, a kind of symbolic generalized type of the black man as a figure trapped in what Crane called a mid-kingdom in the popular imagination, a mid-kingdom between man and beast. Crane sees the black entertainer as a kind of figure of the artist, something like his tramps, his wanderers, Charlie Chaplin. Crane had initially intended to include in the bridge a section that was to be a dramatic monologue spoken by a negro porter on a train. That plan fell away, but there are still traces of that intention in his section of the poem called The River, which tries to evoke aspects of black experience to integrate jazz, blues, spirituals into Crane's poetry and make them part of the history that the bridge tells. Crane might have had as one model for the inclusion of African-American expressive forms, surprisingly perhaps Eliot, when Oho that shakes Bajerian rag, when that breaks into the wasteland, jazz, and a distinctively African-American form also enters Eliot's poem. Eliot was writing, however, from the point of view of white Europe, and blacks tend not to figure in his poetry except perhaps as figures of otherness those perhaps hooded hordes that swarm across the plains in the wasteland. Beinecke includes in its Ezra Pound papers an interesting selection of poems published with Eliot's Juvenileia not so long ago, a selection of poems that circulated between Pound and Eliot and certain other friends, which are obscene racist limericks that Eliot wrote about King Bolo and his big black bastard queen. This, too, is part of Eliot's erve, though not part of the public form of it. And it's important information about at least one way in which black life figured in the high modernist imagination. Here's that photo I started to show a moment ago. I suppose Hughes is the only modernist poet who begins as a busboy. This is a photo from 1925 taken at the Wardman Park Hotel for newspaper, a story about Hughes. Hughes had been, it seems, discovered by the poet Rachel Lindsay at lunch when Hughes, or so the anecdote goes, presented his poems to Lindsay, and Lindsay, taken with them, went on to read them that night at a reading Lindsay was giving. Of course, this was all carefully orchestrated by Hughes. As a busboy, he is also a poet, and he's really, in a sense, almost in costume there, imposing for the newspaper photos. But it's an interesting and important image of the man Hughes was as he began to write poems like The Negro Speaks of Rivers. If white poetry turns away from African American people in their experience in modernism, Hughes also, himself, intended to turn away from white poetry. The Negro artist and the racial mountain, that prose piece I've asked you to read at the end of your anthology on 964, makes this argument very forcefully. It begins by a Hughes contrasting his own intention as an artist with that of one of the most promising of the young Negro poets who, as Hughes interprets his ambition, wants to be like a white poet, and in that sense, would like to be white. Hughes is writing here about County Cullen, a rival artist whose work you can sample on page 727 and following in your anthology. Hughes wants to get out of the curious condition of wanting to write white, so to speak, by redefining what it would mean to sing in poetry. On 965, he juxtaposes two black audiences, one what he calls self-styled high-class Negroes, that represent bourgeois norms or the aspiration to them, and that seek what Hughes calls Nordic culture. And he contrasts them, rather, to another expression of black life with which he identifies himself. These are the low-down folks, the so-called common element, and they are the majority, he writes. May the Lord be praised. The people who have their nip of gin on Saturday nights and are not too important to themselves or the community, or too well-fed, or too learned to watch the lazy world go round. They live on Seventh Street in Washington or State Street in Chicago, and they do not particularly care whether they're like white folks or anybody else. Their joy runs bang into ecstasy. Their religion sores to a shout. Work may be a little today, rest a little tomorrow, play a while, sing a while, oh, let's dance. These common people are not afraid of spirituals, as for a long time their more intellectual brethren were, and jazz is their child. And he continues. He juxtaposes ecstasy, shouting, jazz, against what he calls, here, American standardizations. They furnish a wealth of colorful, distinctive material for any artist because they still hold their individuality in the face of American standardizations. Perhaps these common people will give to the world its truly great Negro artist, the one who is not afraid to see himself in which I, Langston Hughes, aspire to be. These are important statements. They show Hughes's ambitions. They show him positioning himself in relation to another African-American writer, other African-American audiences for culture. In making the move that he is doing here, a move that's really deeply influential in American literature and poetry, which as a whole descends from Hughes, rather than from County Cullen, Hughes is still, however, doing something similar, after all, to the other modern poets we've been reading in this course. And I want to suggest some of Hughes and these other writers. Like Yates, for example, Hughes wanted to be a representative figure, to speak for a people. And we speak of the Irish Renaissance, just as we speak of the Harlem Renaissance, of which Hughes was a central figure. Like Williams, like Moore, like Crane, and like Frost, also Hughes was very conscious of being an American poet, eschewing European examples, for the most part, and seeking to bring into poetry lives and language that had not been seen previously as poetic material. At the same time, like Pound and like Elliot, Hughes was interested in a long historical view, and he makes links between people of different times and places in what was a global vision for Hughes of history. Like Crane, Hughes published his first book in 1926, The Weary Blues. Like Crane, Hughes is a, you could call him, a second-generation modernist. He's consciously coming after figures like Elliot and Pound, Yates, and Frost, for that matter. This book, too, is published by Knopf, Alfred Knopf, a publisher of Wallace Stevens's first book, Harmonium. So Hughes is in that way very much part of the same New York poetry world in which, well, Stevens and Crane and others are appearing. Like Frost, Hughes wanted to get vernacular speech into poetry. And like Frost, Hughes, for the most part, did not write for little magazines, but rather popular ones, as I was suggesting. In fact, both Frost and Hughes went on to make a living in poetry and to have a kind of national fame, a general readership that really none of our other poets did. Like Pound, like Yates and the teens, Hughes is interested in what he calls a naked style, a kind of ascetic aesthetic. Like the other poets we've been reading, Hughes is a city poet. He's a metropolitan poet. Any styles himself, as we've just seen, against middle-class tastes and norms and expectations. And importantly, like the other modernists, he finds no consolation in traditional religion, even while he sometimes works with spirituals and often invokes Christian motifs in his poetry. In all these ways, Hughes is, I think, helpful to read at this point in the semester, partly because his affinities with the other moderns, once you start to recognize them, help us to see a kind of whole picture. But then, just having said that, we have to start talking about Hughes's difference. If he is an American poet, he is, just as importantly, an African American poet. If he is an internationalist, like Pound and Elliott, he's interested in the international struggle of the worker and the oppressed racist. Hughes, this is Hughes writing about a journey to Cuba that he made. He traveled, particularly in the thirties, frequently as a kind of representative of black Americans sponsored by left groups and traveled to, well, Soviet Russia, among other places.  If he's a city poet, he's not a poet of the village or of London, but rather of Harlem.  You might remember the last presidential election. You remember that? John Kerry, always in search of a theme, which he never quite found, seized for a little while on the phrase, Let America Be America Again. Sounds good. It's the title of a poem by Langston Hughes, which Kerry also made note of when he referred to that, when he quoted Hughes, which was resonant, which sounded good in all sorts of ways, and which had the added advantage of letting Kerry quote a black writer. But then, if you remember this, we'll also remember, Pundits quickly pointed out that this was not a poem nostalgic for a golden era of democracy, but rather a protest poem about the inequities of American history, and it was written by a leftist who had ties to the Communist Party. This is Langston Hughes. That's a Russian script on the left, and it's Hughes in the middle, surrounded by a variety of comrades in Russia in the thirties. And, alas, this is not what John Kerry wanted to project, or here is Hughes with two Soviet soldiers, also from the thirties. Hughes is much photographed in many different roles and public scenes, and there's a vast archive of those papers at Beinecke from which these images come. Although Hughes's reputation is a little bit like frosts in having this general readership. He's a poet you probably read even in elementary school. He poses all sorts of political problems that frost does not. Here is Hughes with somebody else, someone more acceptable to be photographed with W.C. Handy, in some ways the father of the blues, as he's called, and a close friend of Hughes's. Let me talk about Hughes and the blues. Here's an image of the illustration of Hughes's poem Too Blue by the African-American artist Jacob Lawrence. Hughes, from the weary blues forward, frequently presents his poems as forms of music, as allied to, as identified with, as perhaps metaphorical versions of African-American forms, particularly but not only the blues. Later in his career his readings would sometimes be accompanied by music. In his best blues poems, Hughes is not a poet Hughes is not trying to write words for music, I don't think, but rather is trying to write poems that allude to and let us hear in metaphorical ways the musical traditions which they are drawn on and the culture and experience from which they come. Hughes, at his most powerful, uses musical forms, popular musical forms, for effects of compression and to develop really complex ironies, often through repetition, usually built out of the three-part structures of the blues. Let's look at the poem Song for a Dark Girl on 691. It is, like many of Hughes's poems, a simple poem in its structure and yet that simplicity conveys a real verbal complexity. And the poem, in its popular mode, nevertheless invites a kind of close reading that we give to that's demanded by modernist poetry that presents itself in compressed, imagistic, difficult, and so on. Let's look at it. Way down south in Dixie break the heart of me.  Way down south in Dixie bruised body high in air I asked the white Lord Jesus what was the use of prayer. Way down south in Dixie break the heart of me.  This is a song for a dark girl suggesting at once words for her to sing, a dramatic monologue, and also for, in the sense of, a kind of homage or tribute to her. She is dark. As in other Hughes poems the word here seems to mean black, also darkened, abused, grieving, shadowed. It's all held there in that simple word. Way down south in Dixie, a line from the minstrel refrain. It's borrowed here and adapted. Dixie is a kind of shorthand name for a system and history of oppression in this poem. The very jauntiness and pride of a colloquial name like Dixie is played off of here the melancholy and grief of the context. That phrase, way down, that seems innocuous too, but isn't it resonant as it is repeated and as we feel our way into the poem? It's formulaic, but it suggests that we're going, that this poem happens somewhere deep and dark, somewhere away down, somewhere in the heart of this system of oppression, but also as it will turn out in the heart of me as the poem develops it. Here the mere phrase, way down south in Dixie and the mention of that name calling up the tune summons a kind of history of oppression that would occlude the kind of story that Hughes wants to bring forward and tell here. The minstrel phrase is taken up by here a speaker who suffers, who is oppressed by this system of oppression, and she uses it to make her own music. As in other Hughes' poems, Repetition, the use of the refrain makes everything that happens seem visible. It evokes here repeated actions, a kind of history of repeated acts. In general, in the case of refrains, they function in a variety of ways. A refrain that comes last in a verse unit would seem to be the idea that, well, somehow things always end this way. Here what we have is an instance of what we would call anaphora, that is a refrain used to initiate a unit of verse. The refrain is the first line of these stanzas, and it seems to suggest the story always, that kind of story, always begins the same way, way down in Dixie. This is the way into everything that's experienced into the poem, everything that's said. The parenthesis that comes then, repeated in the second line of each of these stanzas, functions in an interesting way. It suggests, I think, that what is being said in Dixie is a kind of aside or some kind of interior reflection or soliloquy, perhaps a voice that must be kept inside. Does that first phrase, break the heart of me, refer to the girl, to her lynched lover, or to the poet, reflecting on both? Probably the answer is all three, held together in a system of identification. That phrase, the heart of me, is resonant. It is what holds these three together, a kind of shared heart. It refers to the heart, meaning emotion, feeling, probably pride. But the phrase also suggests simply the center, the heart of me, myself, my identity.  They is superbly vague, impersonal, plural, formulaic, dehumanized, evoking a mob, a generalized body. Then there's that phrase, the crossroads tree. There are a lot of suggestions in it. First of all, it evokes the tree of the cross, Christ's cross. Then the cross is also a figure for, I think, the intersection of white and black, as it is in the little poem called Cross, on the page before. You could consult that. Then the crossroads is one of the central recurrent scenes of the blues. It's where Robert Johnson, the blues man, was said to have made his pact with the devil. It is the place where choices are made, where crisis occurs in a wandering and displaced life. That second verse, way down south in Dixie, bruised body, high in air, I asked the white Lord Jesus, what was the use of prayer? Now the parenthesis holds in it a kind of brutal image, something horrifying that must be set off slightly. The body is bruised. It shows the marks of beating, of suffering, in advance of murder. It's lifted high in air, not in honor or tribute. Rather, to be lifted in this way is to lose all agency, to be made lifeless. All of this presented as a kind of syntactic fragment in the poem, not yet integrated into the poem, so to speak, or it may be not yet integrated into consciousness. The final verse will go back to it and interpret that image. Here, Jesus is white in a sense of pure, untouched, redeemed, but also because he is, it seems, a representative of white culture, a kind of mediator the girl would seek to address. The girl doesn't pray to him but rather asks a question, a question about the use of prayer, and Jesus notably doesn't answer. In addition to repetition, song-form poems like this are made out of omission and jumps from one stanza to another, from one line to another. One thing admitted here is any sense of Jesus's reply, or perhaps the answer comes in the form of that final verse, which repeats the first lines of the poem. This is the truth that it arises from and returns to, and it gives us a memorable image. The lover has become depersonalized and abstract, merely a shadow. He is now, though with his abstraction, become love itself. The girl's love, perhaps Christ's love, and love is a naked shadow on a gnarled and naked tree. Here, the repetition of naked is suggestive. It evokes the man's nakedness, his helplessness and pleasure. There's also a sense of revelation, of coming to the naked truth, and this is something very different from the nakedness that Yates boasts of in his poems. The blues is also about laughter, and it is laughter that I guess I would like to end with while we have a few moments left. Laughter that comes out of the endurance of hardship and suffering. This is a young Hughes laughing, and here's a later one. Why don't we end with a later poem? That's called Life is Fine on 699. Twenty years after the poems I've been discussing, it too has a song form and a blues singer speaking to us. I went down to the river and think of how many rivers appear in these poems. I went down to the river, I sat down on the bank, I tried to think but couldn't, so I jumped in and sank. I came up once and hollered. I came up twice and cried. If that water hadn't been so cold, I might have sunk and died, but it was cold in that water. It was cold. The suicide is contemplated and tried, not quite, because when the singer gets on top of the building, he decides, but it was high up there. It was high, and he's not about to jump. Since I'm still here living, I guess I will live on. I could have died for love, but for living I was born, because that would mean dying. You may hear me holler, you may see me cry, but I'll be dogged, sweet baby, if you're going to see me die. Life is fine, fine as wine, life is fine. Well, I think rather than say anything else, I'll stop right on time and promise to return on Wednesday to talk about William Carlos Williams.


What's good Josh? Well Ross back again with another video. So we're gonna check out top 30 WWE Raw OMG moments of all time It only makes sense to check this out since raw 30 is coming up this Monday or raw triple X It's funny that it's you know, they they have to grab for that. So it kind of comes off like porn related but Nevertheless 30 years of Monday Night Raw has been some crazy insane OMG moments only only makes sense to check that out since raw 30 is right upon us But I appreciate all the love and support you guys are showing on the channel Let's get right into this compilation shocking returns to heartbreaking retirements to a real-life heart attack These are the top 30 omg moments in Monday Night Raw history Number 30 is an important reminder of why you shouldn't play with fire during the Thunderdome era of WWE Evolution teammates triple H Randy Orton battled in the main event of the show after rolling back and forth The game grabbed his trademark sledgehammer, but suddenly all of the screens in the arena began to shut off and triplet His weapon instantaneously started on fire Of course the rest of the lights shut off and when they came back on the game was nowhere to be seen Instead Alexa places in the ring and stare members this before the Viper can make sense of the situation Bliss suddenly put her hand by her face and blasted him with a fireball Randy immediately fell to the mat and rolled around in agony Well, this moment was filmed before raw went on the air the fireball is still one most violent and disturbing endings to any episode of Raw if you thought that was unsettling though Then wait until you see number 29 in his raw debut Vader easily destroys opponent Savio Vega But he wasn't done just yet Vader delivered a second Vader boss and then headbutted a referee Oh, no, oh Vader was so out of control that interim WWE president gorilla monsoon had to confront him Monsoon was disgusted by Vader's actions and decided to suspend him indefinitely the monster did not take it Well and slap the president in turn monsoon fought back But the Hall of Famer made a fatal mistake by taking his eyes off the monster Vader delivered a Fans were stunned and what made this moment so shocking was that monsoon While a former wrestler had been known to newer fans as a beloved and fun announcer So the attack on the legendary figure was one of the most Next one though is easily the most painful WWE moments if you're a man at least shame McMahon Who remembers when came once again? That was just he's on a rampage and he started targeting Shane in the hole But he was getting extreme. He was trying to take out Shane. This was this was this was a crazy time For came bro, he was ultra mega rogue at this point He's done a lot of crazy things over the course of his look at this gentleman st. Heights and taken some brutal punishment He's a man with little fear. So when Kane attacked his mother Shane had no problem But maybe you should have been a bit more cautious on the September 1st 2003 episode of raw Shane McMahon was told all night that something bad would happen to him Shane didn't listen and headed out to the ring Roger no manager Eric Bischoff first came out to confront him But the lights suddenly went out and the bigger machine attacked McMahon from behind Kane handcuffed Shane and then we tried the ring and tossed water on McMahon's healthless body This is all the most strangest The devil's fear of demon attached jumper cables to Shane's goods and the other to a car that was wrong Flight as a man screamed to pain Thankfully Robin Dan Hahaha children of Shane but for that moment Shado Mack was the most electrifying man in sports Business and WWE purchased the company they brought in a number of WCW wrestlers But there's a few notable names missing one of them was Goldberg and there was no site of them until 2003 In the file segment of raw this is back in the glow of his big legendary Boston from the night prior at WrestleMania But then some familiar music hit This is so good It was surreal finally seeing Goldberg up here in a WWE ring Unfortunately for the rock the show ended with him on his back after taking a devastating spear from the beautiful WWE heavyweight champion rock was selling happened later than fans expected But Goldberg showing up on raw was still one of the craziest debuts ever seen this next moment was even crazier though In late 1989 fans were supposed to see a beautiful moment of test and Stephanie McMahon getting married Oh boy wedding in WWE. You know, they never end. Well, however fans were not prepared for just how shocking things would play out As test was about to say Interrupted by triple arresting peace test man arresting peace, but this this segment Different time in wrestling Different time in just the world. You can't even I'm gonna just let the clip speak for itself The game came out and made a pretty uncomfortable scene for everyone He showed a video himself driving through Las Vegas and pulling up to a drive-through wedding Then it was revealed that an unconscious step in his man was in the passenger seat Triple H mimicked her voice to say I do and an uncle union was formed Not only does this moment kick off some major storylines But it may still be the most over-the-top and memorable WWE wedding ever That's next moment was memorable as well But for an entirely different reason ever since WWE started it's been a stable to have small no-name guys take on much bigger name talent These small guys get little to no offense in and of course never win or almost never win The same year raw went on the air razor moan faced the kid The kid had appeared on TV twice before this and was beaten out of three minutes in both incidents This match with razor looked to be the same, but no one could expect what actually happened Do you know what I didn't expect though? How nutritious and delicious factors meals are how he said wait into that Fresh never frozen. You said wait into that pretty well Or pack you can place your factor order Dermon was momentarily stunned the kid capitalized and hit a moonsault to score the three count and the victory It was one of the biggest upsets in WWE history and helped launch the kids career who later became known as Now if the kid had fought this next wrestler, I thought he looked familiar. That's that's a young expo That's crazy. It would be a much different story on March 14th 2004 Brock Lesnar left WWE after only about two years in The company leaving the former WWE champion became even more popular as he conquered UFC and became one of the most famous Sports stars on the planet. Yeah, meanwhile, John Cena taken over Brock as the face of WWE But at WrestleMania 28 in 2012 She took a rare loss to the rock on raw the following night Cena came out to apologize to the fans for leading them down and called out the great one to congratulate him But rock was nowhere to be seen instead some familiar music played through the arena infamous Monday night wrong The crowd went crazy and the commentators were at a loss for words Brock entered the ring and teased a handshake with Cena With that one statement all I will say this this was a such a great moment. I just they didn't capitalize Honestly, this should have been the year that John Cena ultimately probably turned heel cuz he was struggling to get wins They should have kept that going Brock should have beat him at the they had a pay-per-view match I forgot what it was comment down below. Let me know what pay-per-view it was But John Cena ended up winning the match as you know John Cena does You know Supercino overcome the odds and stuff like that, but I do think this should have been a great moment to have brought Come back beat the crap out of John and now John is going on his downward spiral He can't get the job done in these big high profile matches Ultimately turning him heel and we could have got the heel turn that we definitely needed from John And it would have just freshened up his character, you know, so but it is what it is It was one of the biggest and most shocking returns in the history of WWE The next moment is also shocking, but probably not for the reason you think by the end of 9 10 8 Whoa, we're between the Undertaker and Steve Austin. Oh, yeah, I remember this Actually killed the Texas Rall snake by embalming him But an even bigger spectacle happened soon after after a main event match on raw featuring the rock and the Undertaker vs. Austin mankind take her knocked out stone cold with the ring bell The dead man then carried Austin up to the entryway where he was greeted by druids Undertaker or oh, yeah, cold to a large symbol which clearly was this is just wild rose creepy Channing music being to play and the Undertaker had basically crucified Austin even though WWE downplayed the religious symbolism It's still one of the shocking images ever seen on raw this next moment though was so good that everybody thought it was real shout out to Mark Henry and shout out to Jacob Henry his son is cool dude Always showing love on the main channel and on my personal page shout out to you Jacob Henry bro And yeah, man, I already know which segment he's talking about it has to be the infamous I'm about to retire speech. He had And John Cena out there and it was a big it was a big swerve he wasn't retiring the attack John Cena Probably the best promo segment Mark Henry has ever done in my opinion bro So by 2013 Mark Henry had enjoyed a long and successful run in WWE However, if you watched Henry's belt bell video, you know, he dealt with a lot of injuries because of this It looked like Mark was gonna retire on raw mark Henry came walking out and looked emotional He joined so Man, thank the fans for supporting them over the years as tears filled his eyes This is so good retiring from WWE both the fans and Cena were cheering and congratulating Henry It was an emotional moment But then Mark suddenly laid out the devil with the world's strongest slam the retirement turned out to be fake and Mark Henry He still had a lot left oftentimes WB moments are ruined because the fans know what's gonna happen. No one's Retirement this was also didn't see this next moment coming either once they became partners in 2016 Chris Jericho and Kevin Owens turned into the best of friends Yeah, or so we thought for months the two cares mad Canadians were inseparable They take together interfered in each other's matches and created some hilarious moments in February 2017 Jericho hosted the festival friendship in honor of his best friend Kevin Owens Jericho showered Kaia with By giving Y2J a gift a new list the list of KO Kevin Owens that attached Chris Jericho and threw him into a TV Shattering the screen. It was so sad to see a great pair of friends become enemies like this But it made for a great OMG moment. Yeah, no return was pretty good And you'll see why at summer slam 1997 stone cold was nearly paralyzed in a botched pile driver by Owen Hart because of his injury Austin was not medically cleared to compete stone cold became frustrated and started tacky members of the WB roster Austin faced arrest when McMahon pleaded for the Texas rail snake to stop Steve Austin eventually appeared to agree with his boss But just like a snake he struck quickly stone cold showed his true feelings The crowd absolutely exploded it was the first of many McMahon stunners to come But seeing it for the first time was something I was Man was part of a moment that fans never thought would actually happen It was no secret that Eric Bischoff and this man did not like each other The two tried to run the other out of business during the Monday Night Wars and took some pretty hard shots against each other However, McMahon and WB ended up winning and Bischoff and WCW were done Considering the bad blood it was reasonable to assume that Eric Bischoff would never go working for the enemy Then this happened on raw in 2002 Gosh, it was wild Things became even more shocking when Vince McMahon not only announced his former rival as the new GM of raw But also embraced Bischoff with a big yeah, that was after all the shots each side It felt like hell had frozen over seeing this image on the other hand this next moment was just pure awesome The raw after WrestleMania is often one of the best if not the best episode of the year Many big things could happen like what happened the night after WrestleMania 29 in 2013 the world heavyweight champion Alberta don't cash in any rematch. I'll be honest with you This may be one of the best cash-ins of all time and I think it's because of the atmosphere the crowds energy and and just The the way they set it up because it looked like maybe Dolph wasn't gonna get the job done and then he finally did Pop he got was so I get goose bumps talking about it is one of my favorite cash-ins of all time, bro It's Jack Swaker del Rio won but injured his leg during the fight while Alberto was recovering this happened Dolph Ziggler decided it was time to cash in and so he did for a brief moment It looked like the showoff would come up short after getting caught in the crossarm breaker But he fought his way out and then connected with the zigzag for the three count The crowd became unglued and this easily goes down as one of the best tell changes to ever happen Two years before this though the fans were experiencing a much different emotion on April 3rd 2011 and successfully defended the world heavyweight championship against Ironically, Alberto Del Rio then eight days later. He would say this that I have to retire This was this is tough After almost 14 years in WWE Edges career was over the announcement made the radar superstar choke up a bit But he still talked about his career and how his dream was always to become a wrestler Edge was in such good spirits during this that it made you wonder if it was part of a storyline But he met everything he said of course, this wasn't the end nearly nine years later Ultimate opportunists returned, but this moment is still shocking and heartbreaking to watch Number 16 though was the complete opposite the final Rob before WrestleMania 15 kicked off with the corporation in the ring But they were soon interrupted by the sound Yes Well, this is how you hype up a WrestleMania match bro right here like when I'm watching this as a kid I'm like, oh my god. I can't wait to see this. He brought out on beer truck I wanted beer. I was a kid. Oh, hey man. Let me try some of that beer Steve man. This is great Oh my god washed out by Austin showering him with beer Vince and Shamik man also got drenched This is great around in the red. It's swimming in the ring pure fun in a classic WWE moment Another iconic moment in Ross history involved another wrestling company. Are you ready? Well, WCW sure wasn't in the middle of the Monday Night Wars triple H and D Generation X decided to take the battle right to WCW Invaded Monday Night Nitro the game trash talk WWE's rival and even got some WCW fans to switch sides At one point it's tried to drive into the arena But they were shut out missing out on what could have been the most unreal moment in wrestling That was still segment was five minutes straight of WWE tearing apart their competition It was cool to see WWE fight the rivals so directly the next omg moment was anything but cool It was hot poor Jim Ross for Jay. I'm a tater. JR has been made fun of and beaten up Yeah, but on one unfortunate episode of raw. He was also set on fire This is what came I was really wrong of having to interview came who had recently been unmasked the Devil's fear demon Want others to experience his pain and JR became his target came punch the beloved announcer and knocked him to the floor Then the bigger machine for gasoline on the WWE commentator and set him on fire while it was a bit cheesy This was shocking since you don't see something like this very often in WWE You don't see moments like number 13 often either But it's awesome when it does happen on the June 7th 1999 episode of raw Undertaker battle for the WWE title the two giants spent most of the match brawling on the outside But once they got back inside the ring things got interesting Show caught taker by the throat and lifted him into the air for the choke slam However, instead of landing on the ring. Oh, yeah, you took time and straight through it It was an unexpected moment that got a huge reaction from the crowd The hellace is chokeslam was one of big show's biggest moments and an all-time omg moment for raw Be prepared to cry though because this next moment is a real tearjerker from November 2012 the June 2014 The shield for three of the most popular wrestlers in WWE Dean Ambrose Seth Rollins and Roman Reigns were Disfactions of all time almost every week They're putting on exciting matches at the 2014 payback pay-per-view the shield defeated one of the greatest factions of all time Evolution it seemed like their rivalry was gonna continue But the next night but he's to quit WWE and Triple H had to resort to plan B inside the ring This is such a first legendary moment shot to the back Monday night raw history Dean Ambrose's face said it all Rawns that attacked him too and allowed Randy Orton to continue the assault on his former teammates It seemed like the shield still had months if not years left to gather Yeah, which is why this moment was a and that's why it was such a crazy thing because people thought they could still go They still have something to you know, they can still keep going as a team But when they bro, that's worth no one saw coming. It was so good. I Enjoyed it. I enjoyed it. This was fantastic, bro One of the best And he and that and the thing is they they were trying to you know, pretty much Screwed them over like they were trying to spoil the finish. They obviously knew who was gonna win So that's all right.  I gotta go check this out now thinking you doing that Ultimately, you know ultimately is gonna cause people to want to see that and that's exactly what happened They screwed themselves on that one was kind of right after trying and failing to win the WWE championship Multiple times mankind aka McFoolie got one final shot against the champion the rock on the first draw of 1989 It was a no DQ match which saw a giant break out Thanks to help from Stone Cold Steve Austin mankind was able to beat the rock and finally become champion What made it so special was that McFoolie didn't fit the mold of what a WWE world champion usually looked like But through hard work and determination fully accomplished the unthinkable and shocked the wrestling world and delivered one of the best draw moments ever Someone else who has constantly shocked the world for good and bad reasons is Jeff Hardy You can't have a list of omg moments and include the charismatic enigma Yeah, I'm raw until 2008 Randy Orton Jeff Hardy faced off in the main event of the show The match was over pretty quickly though when Orton resorted to hitting a low blow and causing a disqualification Probably seem like a huge letdown for fans. They're about to see something amazing Jeff soon got back to his feet. Yeah charge fighting This is such a cool moment Yeah This is so dope and client until he was 30 feet above the ground same This is the definition of an omg moment the most dangerous moves performed in Jeff's career Yeah, the infamous Sex scene I think it's still one of the highest segments in Monday Night Raw history. I'm not sure. Let me know Bob Do believe it is the highest Viewed segment in Monday Night Raw WWE has ever broadcasted at New Year's Revolution Edge cashed in his mind the bank contract beat John Cena and walked out with the world title the next night on Raw Edge wanted to celebrate with his girlfriend Lita and he wanted the whole world to see it a bed was set up in the Edge and Lita began removing each other's clothes and started making out eventually they got in the bed and you know Thankfully The Bo that F5 if you believe about that's it's a different time in wrestling equal rights equal fight Awkward considering kids were watching on TV and live in the crowd Edge and Lita spicy times are a lot of things and OMG is definitely one of them Well, that moment got to be in a bit of trouble this next one nearly caused raw TV in late 1996 former tag team partners Brian Pillman and Steve Austin were engaged in a personal war the battle resulted in the Rattlesnake injuring Pillman's ankle But that wasn't even the worst part while recovering Brian Pillman was doing a live interview from his home Brian revealed he had a gut. Yeah, I didn't stop stone cold from invading Pellman's house. Then this happened Yeah, yeah, we're left wondering what happened to Austin Of course nothing dead for this moment received so much backlash that there would be had to publicly apologize for going overboard Yeah, it might not be a beloved moment, but it certainly earns an OMG this next moment doesn't well Boba Ray Dudley was a bit of a deranged character. Yeah during the attitude era He took pleasure in power-bombing women He was the epitome of equal rights equal fights, bro Really took things too far as D von was wrestling mark Henry in the ring bubble at backstage She was brought to ringside where the deadly boys laid out Henry with a 3d. That was that was a bit disturbing This was a roll We'll back up the entrance ramps where Boba picked her up and power-bombed me.  They have been involved in physical storylines putting her through a table was a whole other level That was how old may was when she performed this crazy stunt It easily raced near the top of raw omg moments But so does number six in 1998 WWE is looking to make a big splash for WrestleMania 14 to hype up the event They brought in one most controversial and biggest sports stars at the time I'm trying Mike Tyson Visic man said there'd be a special announcement regarding Tyson But before he could say exactly what it was Steve Austin interrupted Stone Cold said he was sick of Tyson and declared himself the toughest SOB on the planet Austin took things one step further by getting iron like double middle fingers.  Yep Tyson shoved Austin and the two stars had to be separated by everyone else in the ring McMahon was livid WWE created one of the best celebrity moments ever Speaking of exploded that's literally what happened in this next omg moment. Vince McMahon. This whole Vince McMahon Exploding situation, bro. It's just when you look back at it. I was just like they really did this on TV This nigga really blew blew up, bro. I he just opened the door sat in the car. Kaboom and then I had a fucking Bleeding like a funeral service for those wild and has made a lot of enemies over the years But in 2007 it appeared that someone on the roster wanted to kill him It was Vince McMahon appreciation night on raw but wrestlers and celebrities were giving the owner the glowing praise He was expecting one by one They talked about what an awful person he was at the end of the night Vince had enough and left the arena Once he got outside McBan paused and looked around suspiciously as if he knew something bad happened And it did as soon as Vince closed the limo door the vehicle exploded It was a shocking moment as it appeared the owner of WWE had just died WWE has done a lot of crazy stuff This next bomb is more figurative Has to be on this list summer of 2011 the pipe all man had grown tired of John Cena always being in the spotlight They want something and someone new but WWE never gave it to them Regardless, Cena was set to have a match or see him punk one night on raw See him punk was given a live mic and said everything you aren't supposed to say in WWE Punk basically broke character and blasted me for how poorly the company was run He insulted not only Vince McMahon, but also Stephanie and Triple H in an even more surprising moment Punk openly talked about winning the WWE title and defending it in Ring of Honor and New Japan This is all stuff you would never even think someone would say on WWE programming Legendary moment instantly turned punk into a mega star and is still discussed over a decade later The pipe bomb promo was awesome. This next moment was truly horrifying We nearly saw Hall of Fame wrestler and announcer Jerry Lawler die on live TV on the September 10th 2012 edition of raw Lawler teamed up with Randy Orton to take on see him punk and Dolph Ziggler at one point during the match Lawler took 10 elbow drops from Ziggler while it wasn't excessive amount It still looks like a typical wrestling move, but it may have had near fatal consequences After the match was over the king went right back to the announcer's table to do commentary Later in the middle of another tag team match Jerry Lawler suddenly passed out WWE staff rushed over to the announcer's table and fans could only speculate as to what exactly was going on Later on Michael Cole explained what happened Jerry Jerry collapsed and we understand now that uh, the Jerry is receiving Medical attention as we speak They are performing CPR And again, uh, this is not it is not part of tonight's entertainment Thankfully Jerry Lawler was okay and returned to commentary later that year But his heart attack was a shocking scene and an unforgettable moment for anyone who watched and the fact that you know Michael Cole had to witness that, you know, I know that was tough for him, bro Like Imagine, you know, someone you work with for so long and you see them pass out You're not sure what's going on and then you're getting the updated information that you know He's suffering, you know suffered a heart attack. They're trying to Resuscitate him like that's it's a lot to to can like Kind of deal with and then still be able to call what's going on in the match like that's Kudos to Michael Cole for even being able to do that That's that's uh, that that was a scary situation and just tough for everyone, you know Next moment was part of the show, but it's still an image that's hard to get out of your mind On the viewers choice episode of raw in 2010 CM Punk and John Cena battled in the main event of the show where they are interrupted by some Unexpected visitors out of nowhere. The winner of season one of next is Wade Barrett started making his way to the ring And soon the seven other NXT contestants appeared from the house. This was this is tough They suddenly attacked the group showed no mercy. This was great. Everyone and everything in their path Michael Cole fled Jerry And Brian choked out renouncer Justin Rodgers with his own necktie The group then set their sights on John Cena and ripped him apart. Yeah, this is great This was a cool segment. This is one of those rare moments in wrestling where it's all part of the script yet. It feels Unscripted. Yeah, this is so one of the pure omg moments ever But there's one that's even bigger because people didn't I didn't know what to make it I was like what what's happening here with the What though?  Michael Cole was the smart one when you get the hillup out of there For years fans had been tuning into both raw and nitro and often saw top stars for one company jumped the other But on march 26 2001 It was all over raw opened with vizic man announcing that he was now the owner of world championship wrestling That announcement changed the wrestling landscape forever and keep in mind social media didn't really exist So a lot of fans didn't know about this until they tuned into raw Later in the evening, vizic man came out to address the future of wcw in the storyline. Shea mcdan revealed He actually bought wcw right under his father's nose. Sure. Well, the envisaged storyline that wasn't all that great This is still an incredible moment It was a turning point for wb and all of wrestling and that's why it's the biggest omg moment in monday night raw history Do you know what that makes sense that that that's I mean, obviously it changed the landscape of wrestling All together so it should be the number one moment because once again, you're like what the hell he actually bought them What is going on here? You know, it definitely was a omg moment for sure But comment down below. Let me know. What's your favorite monday night raw omg moment of all time if it wasn't on this list But I appreciate all the love and support you guys have shown on channel I'm looking forward to doing the live stream reaction with omg for raw 30 man or raw triple x Should be a good time. Appreciate all love and support and I am still your undisputed youtuber some champ of the world Appreciate talking to me. See y'all next week. Peace


Stories from Parliament. The gunpowder plot. Part one. This is not my story. I'm Will Danby. You won't find my name in the history books. I was just a servant, see? Just a man who lit fires and poured wine for his master. Robert Catesby. I don't care what they say about him, he was a good man. Brave, determined, strong, and I was proud to serve him. But he was guilty. They were all guilty. I knew what they were planning and said nothing, told no one. So perhaps I was guilty too. They first came to my master's house in Lambeth in London Town on the evening of the 20th of May, 1605. Let us in, Will. We have business with your master. This way, sir. Master Catesby is expecting you. Three of them I recognised. Thomas Percy, John Wright, and Thomas Wintour. But one was a stranger. A dark-haired man who seldom spoke. Guy Forks, Master Catesby. I am pleased to meet you. Welcome, Master Forks. I've heard much about you. I am glad that you could join us. Will, serve wine to these gentlemen. Yes, sir. Nobody notices a servant. When you're a servant, it's like being invisible. So sometimes you hear things. Things you're not supposed to hear. The treatment of our true Catholic Church gets worse every day, Master Catesby. The new King James fears and hates us as much as Elizabeth did. Our priests are still in hiding, and our people find and jailed. Even put to death if they refuse to accept the new religion. We must take action against the King. Yes, I am prepared to do it. For my faith here today, I draw my sword against the King. And I. And I. And I.  What do you say? I say that we have to finish this persecution forever so that all Catholics can be free to worship in peace. Answer my question, Forks.  The King? The government? The lords? And every Protestant tyrant who denies our freedom and spits on the true Church? We have to kill them all. Kill them all? And how would you propose to do that, Master Forks? Gunpowder, sir. 30 barrels of gunpowder in a cellar under the House of Lords. The State Opening of Parliament. They'll all be there. The King and all our enemies in one room. Then all it takes is a match. One single match. One tiny spark. And all gone. And that's when I should have said something. That's when I should have told someone. But I didn't. Over the next few weeks, a plot started to take shape. We have the gunpowder, Master Catesby. Forks has purchased 34 barrels, enough to blow the whole place to a million pieces. We're bringing it across the river in small boats. A few barrels every night. A cellar has been hired right under the House of Lords. I have the keys here. It's the perfect place for the gunpowder. The State Opening of Parliament is to be November the 5th, and our 34 barrels will be in place. That will be the day, gentlemen. November the 5th will be our day. We'll need matches and slow burning touch wood, so our man can light the fuse and still have time to escape before the whole place explodes. And who will be our man? Who will be the one to light the fuse? I will do it, gentlemen. Master Forks, you are prepared to do this? You're sure? I am sure. It will be an honour. On November the 4th, the night before the attack, I dreamt of Guy Forks. In my dream, he was walking through the cellar under Parliament with his lantern and his matches. In my dream, I saw him stand before the barrels of gunpowder and light his fuse to mighty explosion and felt the heat of the fire on my face. Then I woke. I was trembling. I knew that I should tell someone, warn the king of this terrible thing which was about to happen. But to my shame, I did nothing. They were all guilty, and I was guilty too. That night I tried to pray, but could not find the words.


Hi and welcome to the session. I'm Shashri and I'm going to help you with the following question. Question says, choose the correct answer in each of the following. If A and B are two events such that probability of A is not equal to 0 and probability of B when A has occurred is equal to 1, then we have to choose the correct answer from A, B, C and D. Let us now start with the solution. Now we have given probability of B when A has occurred is equal to 1. You also know that probability of B when A has occurred is equal to probability of B intersection A upon probability of A. You know this is the conditional probability and according to conditional probability probability of event B when A has occurred is equal to probability of B intersection A upon probability of A where probability of A is not equal to 0. Now we are given in the question that probability of A is not equal to 0. Clearly we can see here. Now we can write probability of B when A has occurred is equal to 1 implies that probability of B intersection A upon probability of A is equal to 1. Clearly we can see we can substitute this value for this probability. So here we have written this value for this probability in this expression. Now we are replying both the sides of this expression by probability of A we get probability of B intersection A is equal to probability of A. Now we know probability of B intersection A is equal to probability of A only when B intersection A is equal to A. So we can write probability of B intersection A is equal to probability of A implies B intersection A is equal to A. Now this further implies A is a subset of B. So our correct answer is A. So this is our required answer. This completes the session. Hope you understood the solution. Take care and have a nice day.


Hello everyone, welcome back to another session in dentistry and more we are continuing with our mixed intuition that is we covered first transitional phase so it was divided into first transitional, inter transitional and second transitional period. So the first transitional period where the primate space was utilized by the Molas and it was known as early misal shift. So what is happening in inter transitional phase? So first transitional phase other changes are happening the upper rate of maxillary incisors that is incisor liabilities there and in inter transitional phase it is basically a stable phase and it lasts for around 1.5 years during this time the mouth consists of permanent incisors first permanent Molas that is it includes both central and lateral and primary canines and primary Molas okay so it will be like this 1, 2, C, D, E and 6. So central permanent, lateral permanent, deciduous canine, deciduous first molar, deciduous second molar and permanent first molar. So this period lasts around 1.5 years so and it is quite stable phase with visible changes occurring in the rendition okay. So teeth present are permanent incisors and Molas and primary canines and primary Molas. So the minor changes which is happening during this 1.5 years is the tongue will pushes the mandibular lateral incisor to its final position and also there is a small discrepancy correction by the lips. So the lip movements and tuck movements will correct the alignment minor corrections will be done and there will be mesial drift of mandibular teeth and without any fixed inter cusp relationship still there will be a mesial drift of mandibular teeth okay. So that is inter transitional period. So mixed rendition was divided into first transitional, inter transitional and second transitional. So whereas the second transitional phase where it is characterized by the replacement of primary Molas and canines by the primolas and permanent canines okay. So it was like this 1, 2 then C, D, E, 6 will be 1, 2, 3, 4, 5 and 6. So C, D, E will be replaced by 4, 5 and 3, 3, 4, 5. So during this time the late mesial shift is happening that is using the leeway space. So leeway space is nothing but the distance or the difference in mesodistral diameter of these two teeth that is a primary canine and molas against permanent canine and primolas. So if the space is not available to accommodate the permanent molas the teeth uses leeway space that happens during the second transitional phase. So this space is around 1.8 millimetre in maxilla that is 0.9 in either arch I mean the half of the arch and 3.4 millimetre in mandible right and left side. So the change in exchange of these set of teeth will ultimately removes all the deciduous teeth and now we have only permanent teeth so we are moving to the permanent dentition phase. So there are many features which are getting corrected in second transition phase the main one is the duckling stage. So we have seen the broadband phenomena broadband phenomena or the ugly duckling stage. So ugly duckling stage will be corrected when it will be corrected when the eruption of canine the complete eruption of canine happens. So the canine will push the lateral incisor back to its original position and it will be perfectly aligned okay before it was central incisor is diverged lateral incisor is diverged because the canines pushing the lateral incisor at the root position. So there will be distal movement of the central and lateral incisor. So once the canine completely ribs the force will be transferred to the crown region and it pushes to the mesial side and all teeth will be perfectly arranged. So the correction of broadband phenomena or ugly duckling stage happens during this period that is second transitional period and also this arch which looses the roundness. So we know the gumpads and the deciduous arch are more of a rounded apparent so it loses it roundness and the most common sequence of eruption is 435 and maxilla that is first premolar, canine and second premolar whereas mantable is 345 that is canine, first premolar and second premolar. So this sequence is essential to prevent crowding and utilizing the leeway space okay and the rental arch, length and arch circumference decreases with the mesial force. So that was about the second transitional phase and by second transitional phase all the deciduous teeth are exfoliated and now we have only permanent teeth. So this three phases is very important in exam point of view because you can expect a lot of questions these three phases. The common questions are can expect primate space, primate space then leeway space is another question. Then incisal liability is another question, incisal liability then the ugly deckling stage is another question which is also known as broadband phenomena. So leeway space and the mesial shift is another question, mesial shift that is early mesial shift and late mesial shift. So all these are shot knots and this mixed temptation period could be asked as a short essay also the first inter and second transitional phase you need to write in detail and the first transitional phase I have that the molar relationship the mesial step distal step the end down relationship and flesh terminal plane that also could be a question flesh terminal plane or mesial step could be mesial step end down relationship and distal step all could be shot notes and this mixed temptation could be a long essay or short essay. So I will come up with a new topic in the industry and more thank you.


Thanks, guys. Well, I mean, obviously, the decision we made today was a tough one. I really appreciate what AJ has done here for our football team on the field, in the community. And we had discussions back and forth. And I really realized we got to a spot where it's going to be hard to kind of get a deal done. And the trade thing kind of manifested itself from them and really started working on that probably in the last 20, 18, 20 hours. And came together pretty quickly this afternoon. Wish him nothing but the best. Moving forward and excited for trailing and what he can add to our football team. And then the ability to slide back from 26 there. And we got to get what we felt is really good value over the next couple of rounds. It was good for us. Talk about keeping him, he had the power to not be here next year on the counter. Yeah, we talked about a lot of things. There were a lot of different scenarios that we went through. Those are the decisions that I'm faced with. They're hard decisions. And there's a lot of discussion that goes into them, a lot of thought that goes into them. At the end of the day, I have to make the hard decisions. And there's a lot of things that impact those decisions. Certainly the finances impact the decisions and trying to get value when we can. And that's the decision we made today. Mike, have you set about making the team better when you have to trade away one of your best playmakers? Yeah, those are the decisions that we make. We're excited about trailing. He's been an exciting player in the SEC. Big yards per catch. He's a big target. He's fast. He's competitive. He's a player that we spent time with. He came here on a 30 visit, got to know him. And excited to get him here in the offense and watch him work. You've done nothing but publicly back age. Both of you have done that throughout the course of this. How did this kind of go down from your standpoint? The same exact way I went with John. Our offices, we share a wall. So really comfortable with how everything went down. And we've been lockstep throughout this whole process. And then we move forward. And we're able to get picks that we both agreed on at that time. So I feel real good about it. I think John just covered it, Paul. I appreciate you reading my words back to me. And I know you guys never coached a bunch of grown men that you put a lot of time into it. I love all our players. I love AJ personally. I know how John feels about him. But very comfortable with how this went down and how John and I were able to navigate. I try to support him and make decisions. And unfortunately, we understand that if we're going to be here a while, we're not going to be able to keep every single player that we draft and develop. And this is where we're at. And we're excited to be able to be picking players tomorrow. There's a report, I guess, that AJ kind of is that accurate? And does that play a part in you realizing that maybe it just wasn't going to work if that was true? You know, when dealing on the contract stuff, John, I mean, I dealt with the representatives there. And went back and forth really over the last two to three weeks. And just realized that the gap was really too far for us to bridge. And in doing that, that's where those hard decisions and those tough discussions come in. It's not easy, trust me. But at the end of the day, that's what Amy has charged me to do is make those tough decisions and hard decisions. And like I said, wish AJ nothing but the best. Appreciate everything he did here and excited to really excited to work with Traylin. A lot of people are gaping too big to bridge. Why was right now during the draft the best time to make that move as opposed to waiting till next offseason or further in this offseason? Yeah, I think it's the draft capital that's involved. You get return on the trade with the ability to pick players in this draft. That's really kind of what dictated the timing of everything. What's the message to the next guy who hasn't given three years on his first contract and wants more than you're willing to pay? Keep working hard. And again, every decision is different, Paul. There's a lot of thought that goes into that. And every situation is really unique. Are you guys really content for rookies to be slow participants and slow contributors? Do you have a different expectation for Traylin Burks considering you just traded away your number one runners here? I don't think we're really content with anything. We want guys to come in here and work hard and learn what to do and be good teammates and earn the right to go out there and play. And we've seen some guys that takes longer for that to happen and some guys catch on pretty quick. Do you see similarities in Traylin's game with AJ, kind of the physical style? Are there maybe parallels there even though they're different players? Yeah, you could probably draw some similarities. But I think each individual player is different. They have their own unique way of how they play the game. And the more we spent time with Traylin and watched the film and dug into it, it felt like that he did a lot of things physically that we likened for that position.  Does this impact how you have to talk to guys about things or how you'll approach it? About what? Just about the trade situation like in the message that it sends. What message does it send, Buck? Just that this is a super talented player and understanding the situation that you guys have just laid out and that may send a message or may be received by players in ways that you can't necessarily anticipate. Well, there's a lot of things that we can't anticipate. I'm just confident that we went to the extreme to try to keep AJ here. I mean, I was involved with the process through the entire time. So, we're gonna continue to coach our guys, develop them, try to make it about the team. This is just another example of making tough decisions that hopefully in the long run, it's gonna make our team better. I know that it probably doesn't get received by that publicly, but this was a difficult process to get through and I know what the gap that we had to bridge was. This wasn't easy. Thank you. As someone who's as a coach would be in position to succeed each week, I know the trade law's not gonna be a quote-unquote replacement for AJ, but how does his availability when you guys made the trade, what he can bring you guys, maybe ease and make you more comfortable with what happened? We've liked him since when AJ was on our roster. He was a player that we were targeting just because of the skill set that we mentioned. And the big, the physical, did a great job coming in here, knew that there were some things he probably had to overcome for that first introduction in Indianapolis. He was very self-aware and had a great visit with everybody, the installation, the visit with John and I and everybody else. So he was a player that we really liked whether AJ was on our roster or wasn't. Did you try to get up to 13 with the Eagles? I mean, was it pretty clear how long it was gonna be Philly that you did this with? Yeah, and that's kind of where it ended up. Gentry, there was a couple of teams that they called and I'd say they showed the most interest and it kind of, I'd say it accelerated this morning and spent most of the afternoon kind of working through things and at the end of the day, just glad we were able to kind of come to an agreement and make the decision we made. You much thought to stay in at 26, John, or was that a tough call? Yeah, we did, John. I mean, there's still some players, I mean, obviously that we like and we just felt the value of the trade for us. It was too good to pass up because we felt like it allowed us to get some more cracks at players over the next couple of nights and the extra pick on Saturday. John, you've paid plenty of guys to stay to retain. Why not stay in it and negotiate it out with them when you still had the year of control and this organization's done so poorly at receiver for so long and you finally had it? Yeah, again, there was a lot of circumstances that went into it, Paul, a lot of thought, a lot of different things that we had to work through and you're right, we have compensated players that are on our team, guys in free agency. We have done that and again, I just come back to the gap that we were gonna have to bridge there and it just seemed really too far for us to really make any progress and that the return currently for this draft on what we're able to acquire was good value for us. Did you guys get a sense that he wanted out? I think AJ loved it here, but I think that would be a better question for AJ. I think that he and Mike had a great relationship. I had a great relationship with him and those are just things that we have to work through and at the end of the day, make the tough decisions, certainly for short term, but also long term. John, you mentioned the gap, the gap being too far to bridge. How much, the skyrocketing wide receiver prices this year, how much did that play a part in maybe raising the gap? I think it did, Teresa. I think that when these guys started to come in contractually, there was kind of a new bar. The bar had kind of been raised on that position and we were trying to work through that and find some common ground, but in the end just felt like it was at a spot we weren't gonna be able to get to. The alternative if he didn't extend him but kept him would have obviously been the tag, is that something that you didn't see as a reasonable foreseeable possibility? Yeah, I mean, we didn't get into that. I mean, all options were on the table, Luke. In the end, when the scenario presented itself to get value pick-wise now, that was the decision that we felt was best. You've got swing picks now, John, how much damage you feel like you can do with that? Do you think maybe you use some of this fodder to get back up to get target? Yeah, that's a great point. I think that being at the top of two, I mean, you never know until you get closer to your pick, if you're gonna get action on that pick. We had a couple sniffs on 26 from other teams, but then the Jets came in there late and really gave us one that we didn't feel like we could turn down, but it does. Adding to taking one-on-one, which we were able to get tonight and move it up to the top of the third round or at the top of two, top of three, picked up an extra fifth round pick. So we've got a two, two threes, two fours, two fives and two sixes. So we've got quite a bit of picks that we think we can move around and give us a little bit of flexibility if we need to slide back into the bottom of the second if somebody's there. Now we've got some ammunition to do that. Ryan, Tanhill and AJ Boat talk consistently about the chemistry that they had and how they were locked in, how comfortable are you as the coach with what Tanhill will have around him? I know you've got more draft picks, but what he'll have around him in his comfort level with Berks and a new receiver in the woods and those sorts of things. Yeah, that was gonna be the plan. Obviously we start over every year and we're gonna get those guys back. Robert's not gonna be able to work, but we'll get Traylon in here in a few weeks and then we'll get those guys working. We're excited to start phase two and build that process of the trust and understanding and working through some of the new stuff that we're gonna be doing. You're like, is Ryan here yet? Our players are off until Monday. The voluntary program starts on Monday. I'll let you guys know on Monday who's here if I talk. I'm to get here now. Well Traylon will be here after rookie minicamp, which will be on the 13th, I believe.


Hey everybody, it's Coach Johnson. In today's video we want to pay tribute to our dear friend Jared Roem. It's hard to believe that Jared passed away a year ago. Such a young guy, only 43 years old. If you've ever met Jared, one of the things you would immediately notice is the guy had a million dollar smile and just the greatest laugh and a huge smile and just a ton of personality. He was an amazing thrower and all around great guy. We just wanted to pay a little tribute to his accomplishments as a thrower, just a friend to so many rest in peace, my friend. Come on!