This is Music 103, KMOX FM, St. Louis. That's the theme from the Sears Radio Theater. Tonight is a program of adventure with Howard Duff as your host. Here's a preview. I'll build you a fireplace in our house on the island. Can you do that? I can try. I'm glad we're doing this. I really am, John. It's just that, you know, this is something most people only dream or talk about. But we're actually doing it. The Sears Radio Theater will begin after this message from your local station. This is Howard Duff. It's a warm suburban Saturday morning. This neighborhood is a comfortably affluent one with carefully clipped hedges and tidy lawns. The houses sprawling in varying architectural styles. In front of the Robinson family's large white colonial, there's a great deal of activity this morning. Two signs stand before the house. One, the words sold and red letters flashed prominently across. Beside it, printed in a childish and uneven hand on flimsy poster board, is the sign that's brought the people flocking. It says, Moving Sam. The Robinson twins, Sarah and Sean, the irrepressible 11-year-old enthusiasm, are the prime movers in this enterprise. They stand together proudly and eagerly survey their potential customers. The lawn is littered with an odd collection of family possessions. There are garish pots and over-stuffed chair, magazines, ancient record albums and white elephant vases. Off to the side, 17-year-old Rosemary's long-forgotten and bedraggled doll buggy stands unsteadily on three wheels. Joanna Robinson stands at the window of the breakfast room looking out, remembering her oldest daughter's third birthday party where the buggy had been the crowning glory with a giant pink bow tied around it. The twins are tagged at the price of 50 cents.  Brad, did you put anything out for the sale? No. Why not? You must have lots of things you won't be needing. No, I don't. What about your skis? My skis? I'm not selling my skis. But you won't need them on the island. I'm not going, Mom. It's the dumbest idea I ever heard going out to live on an island. Brad, the house is sold. We're leaving in a few days. I'm not. I'll find my own place. You're not old enough. What's all got to do with anything? Brad, we had a vote. You were the only one against Go. What am I supposed to do on an island with no friends, nothing to do, no place to go?  All right, I'm going to talk to you like one. Life has gone pretty sour around here. Have you noticed that? This is our chance to make a fresh start, maybe our last chance. We've been chased from the city to the suburbs. Now the crime, pollution, all the old city problems are here. I know it seems drastic to run off to an island, but in all this craziness, it seemed to us the sanest solution. Can you understand that? I'll never understand. The American family Robinson, survivors of the shipwreck of modern living, are looking for peace and refuge on a remote and isolated island in the Caribbean. But may find what they seek. That's only the beginning of our story. A new adventure in radio listening. Five nights of exceptional entertainment every week, brought to you an Elliott Lewis production of The Sears Radio Theater. Our story, American Family Robinson by Pamela Russell. Our stars, Keith Andes and Mary Jane Croft. The Sears Radio Theater is brought to you by Sears Robot and Company. Sears, where America shops for value. Robinson sets before the fire in the empty den. It's late and everyone else is asleep. She stares into the flames and considers the giant move her family's making and the enormous changes that will bring to all of their lives. No. Looks like you need another log. I was thinking about bread. I don't know what else to try. I don't know what to say to him. I mean, my words end with him. Well, I guess we were lucky to have had only one problem child out of four. Oh, John, Brad's not a problem child. He's at a difficult age. That's all. He's right in the middle. Not a boy. He's not a man. And he's right in the middle of this family too. He's not the baby. He's not the oldest. He's just in the middle. And that's not a very fun place to be. I don't care how you're defending Brad. Brad's been at a difficult age all of his life, Joe. And we both know it. He was a troubled baby and little boy. He's an impossible adolescent. God knows what time of the deal he'll be. Brad's one of the main reasons they want us out of here. I don't like the way he's hit it, almost getting thrown out of school for smoking pot in the bathroom. And how many other stunts? The honor will be the best thing that could happen to him. I know that and you do. The trick is to convince Brad. You know, there's so much inside of him. I think he has so much trouble because he's more sensitive than the others. Maybe you're right. But I can't stand to see him go slouching around so southern and negative. Most kids would jump at the chance to go live on an island. Look at Sarah and Sean. Rosemary too. They can't wait to go. Rosemary, you'll be going to college next year. This is just a lark to her and the twins. They're 11 years old, John. They're not seeing past the going. It's like something out of a movie or television to them. Brad's thinking about after we've gone, after we've gotten there, being there, living there. And you're thinking about it too, aren't you? No. Yes, aren't you? Yes or no. For the moment, I just wanted to be 11 years old and think only about the going. That's all. I wish I could do that. Are you having second thoughts, Joanna, doubts? Are you sorry we're going? No, I'm not sorry. I'm a little scared. And when I look around this room, it's a twinge of regret. I always loved this room the best. I'll build you a fireplace in our house on the island. Can you do that? No, I can try. I'm glad we're doing this. I really am, John. It's just that, you know, this is something most people only dream or talk about. But we're actually doing it. Yes. Who would have thought six months ago when we took that cruise in the Caribbean that we'd come back with an island all our own? You know I was ready to consider it an investment if you and the kids hadn't wanted to live there. No. I'm not so sure of that, John. I think you might have gone away and lived there alone. Why do you say that? I can't believe it. I know that things haven't been the same the way they used to be between us in a long time. We've been married nearly 20 years. It can't be moonlight and roses forever. Well, not moonlight and roses, but some sharing and talking together. I thought intimacy grew with time. I didn't think it died. Do you know that since the island came into our lives, we've had something to talk about? What did you really talk about for the first time in years? Did you know how silent our marriage had become, John? Yeah, I knew. The business was so consuming it that it got so I didn't know who I was anymore. Not me alone or me in relation to you or the kids. There was just someone who took care of business all day and thought about it all night, a machine. I can't explain what a relief it was when I knew that deal had gone through, but I'd sold it and the business was no longer mine. How could that be? How could I be so happy to be rid of the thing that I'd worked for and thought I wanted for all of my life? How could I have gotten so far away from myself? Oh, it happens. It happens all the time.  Oh, that's a moonlight on that island. I'm not sure I can promise you roses. Yes, but don't attach too many promises to the island. I'm afraid of weighing it down. Let's just let it happen. Just let it happen as it will, okay? Joanna, there was something I wanted to tell you. I'd given up on it tonight. I was going to try in the morning, but maybe now is the time. Oh, what is it? I went to see Dad today. You did? Yeah. Joanna, he wants to come with us. To the island? Yes. But John, your father's not a well man and he's not young. I don't think he could survive it. I don't think he can survive here much longer.  I told him he could come with us. Without even discussing it with me? We're discussing it now? After it's decided. Should I have told him no? No. Your father has a right to the island too. He has a right to live. Yeah. To live with some pride and dignity. Every time I've gone to that retirement home, I've wanted it taking with me when I left. And now you're going to? Dad's going to come with us. After all, it seems only right that there should be three generations on our island, doesn't it? Yes. He's only watching his home recede below him. The twins munch peanuts and keep up a steady stream of questions. Rosemary is seated beside her father. And Gordon Robinson is taking the seat next to his daughter-in-law Joanna. Joanna, can I have the stewardess bring you a magazine or something? Oh, no, thanks, Dad. I don't think I could concentrate enough to read right now. Excited? Yeah. And nervous. I'm afraid I'm not much of a traveler. I get a little apprehensive on planes. I can't quite convince myself that this is a natural state for humans. Birds, yes. People, no. I think I understand. Joanna, I know you're worried about my coming to the island. No, Dad, I- Yes, yes, yes, I know. An old codger like me dragging along with you. So much excess baggage, I know. Now, that's not true. I'll admit I'm worried about your health. You'll be a long way from a doctor. But, Dad, I have never thought of you as excess baggage. I've been too close to too many doctors for too long. And I'll tell you, Joanna, I may be more help out there than anybody'd ever guess. I'm sure you will.  I know more than a little bit about the land. And before everybody started telling me I was too old to function, I was a pretty damn good architect. Believe me, we're all happy to have you with us. Just need me. Make use of me out there. And I'll be happy to. If we're gonna make it work, we all have to pull together. Mom? Mom, how much longer? You'll watch, Shawn. Can we get there to the island? How much longer? Oh, quite a while yet. Shawn, will you quit bouncing the seat? What a grouch. Just quit it, will you? Shawn, you'd better sit down. They're gonna be serving dinner soon. Yeah, Daddy. Shawn, take me on ya. Yuck. I bet it'll be better than your old chicken you picked. It will not. Well, too. It will not. Well, too.  You two are driving me nuts. Brad, I don't want to hear you talk that way to your brother and sister. Now, there are plenty of empty seats on this plane. If you dislike being a member of this family so much, why don't you take one of them? It's best idea you've had in a long time, Dad. Brad, please. Wait, Brad. Let him go, Joanna. But, Shawn. He can't go far. And I think the boy needs some time alone. I know what he needs, but Joanna won't let me give it to him. Oh, Daddy, you know you wouldn't hit Brad. I'm just a big softie, huh? Yes, exactly. Well, I guess I've been found out. What's that you're reading, Rosie? It's a book about the islands near Ars. Maybe even Ars is mentioned in here. I haven't gotten that far yet. What's the island's name anyway? You know. Well, I forgot. Santa Bonita, isn't it, Daddy? Santa Bonita. Yep, that's it. I don't like that name. Didn't you call it something else, Dad? Well, I guess we could if we wanted to. What would you call it, son? Oh, this ought to be good. Just remembering the time you wanted to name my white angora kitten, Harold. Harold looks better than what you called it. Peaches. Boy, what a name. Well, anyway, what do you want to name the island, son? Fred? Or Clyde, maybe. An island named Clyde. Oh, that would be perfect. I don't think I want to call it anything until I see it. And when I see it, I'll know just what to call it. Oh, I can't wait to see it. How much longer now? Still no ways to go yet. Here's dinner. Yeah, here comes your lasagna, son. Yuck. Better than your old chickens. I'm not very hungry. I think I'll go find bread. I love them. Two cormorants, wheeled in a kind of welcoming aerial dance. It was a beautiful bright blue day for their landing. Easy. Pull up a little further on the sand. Here, here. Let me help you. Thanks, Dad. Take it easy. Brad and I have got it now. Really here. Sean, don't wander off. Look, Sean, come back here. Mom, I do. But first things first. Right now we're going to see where we'll be living. Is it a real house, mommy? Like a other house? No, this is just a temporary house, Sarah. It was here when we bought the island. It's a place to stay until we build our real house. Are we going to build it ourselves? Yes. All of us? Yes. All of us. Now let's move out. It's this way. Across the stream here, it looks shallow enough. Sarah, take my hand, Sean. I'm okay, mom. I can swim, you know. We could build a little bridge across the streams. It's going to be an awful nuisance waiting across all the time. That bridge would be just the thing. We're very lucky to have this stream. It's our fresh water supply. Some islands have none. It's hardly a nuisance. But a bridge would be nice, dad. Sean! Don't get excited. Everybody calm down. It was just a wild goat. Oh, great. Wild goats. A wire? No, I don't think I'd try that, Sean. Are they dangerous, dad? Well, I'd avoid confrontations. But if you leave them alone, I'm sure they'll leave you alone. How did they get here? There's a legend that pirates brought them here. Why? Well, they hoped the goats would live and multiply. Then if the pirates ever sailed back again, there'd be a food supply. Oh, daddy. If the pirates ate goats? I guess they did. Pirates? Are they really pirates here, dad? Yeah, so the story goes. Do you think there was any treasure here? There any treasure? It's possible. This is it? The shack? We're supposed to live in this shack? Like all of us? It's bigger inside than it looks. There's one large room with four smaller ones off to each side. What about the bathroom? Well, there isn't one. Great. Brad, I'm warning you. I've had just about enough of... John, let's go inside.  Well, my guess would be, sir, that that is our generator. Am I right, John? Yes, dad. What's the generator? Well, that's what gives us our electricity, honey. Oh, you mean for the hair dryer and toaster? Stuff like that. Yeah, but you're not going to find those things inside. Why not? Because we don't really need them. Well, how am I going to dry my hair? How about out in the sun, sir? The sun will dry your hair. Yeah, and then you can take a piece of bread out in the sun and try to toast it, see how far you get.  This place was built, John? About 40 years. A man named Schmidt Builder D. tried to farm this. I remember he died after only a short time here. He died right here, daddy? Yeah. Yeah, I think so. Oh, I don't think I like it here very much. Well, we're not going to be here very long. We're going to have our own beautiful house built before you know it, Sarah. What did that man Schmidt die of, anyway? Boredom. This place is really creepy. Maybe if we opened a window, it would help. Oh, Rosemary, what is it? I'll kill it. No, don't talk, Brad.  Just take it outside, okay? Okay. There it is, everybody. I looked up and there it was, right in my face. It was so big. Where's Sean? I don't think he came in with us. No, he didn't. Where is he, Sarah? He told me he was going to go look for the treasure. What treasure? The pirate treasure daddy was talking about. Oh. Sean. Sean. What's wrong now? Oh, Sean went off alone to look for buried treasure. Sean, little kid. Brad, that's not what I need to hear right now. Don't panic, John. I'll find him. Well, maybe we don't have to divide up and cover the whole island. Dad, I'm the only one who really knows the island. If you all go out looking, there's a good chance everyone will wind up lost. Sean's right. He can't have gone very far. Man, sit tight. I'll be back with Sean in no time. Don't laugh. Of course not. I was trying to measure for curtains. Curtains would really cheer this place up. Your light does need some cheering. Well, it's hard to imagine giant spiders crawling on pretty yellow gingham curtains. I think the curtains will drive them off. Leave it to you to use curtains as your weapon. You're laughing at me, mother. I'm not.  I'm very proud of you, Rosemary. Thank you. Mother? Yes?  What is it? What's wrong? Are you starting to wish we hadn't come here? Oh, no. It's not that. It's just the opposite, really. I love it here. I'm afraid I'll never want to leave. But darling, you'll be leaving for college just a few months. Will I? I'm not so sure. What do you mean? I don't know if I want to go to college. I feel happy here, content. I don't feel pressured to perform. You feel that daddy and I pressured you, Rosemary. No. I did it to myself. Since I was nine, I've been working for grades. I wanted to excel to be the best. I wanted all the awards, all the commendations. I wasn't interested in learning. What I really cared about was being rewarded for learning. And now I feel differently. I don't want to go back there, mother. I don't want to begin running the race again. Are you afraid? Yes. I'm afraid of letting winning become the most important thing to me. Here, I think I can love learning for its own sake. In college, it will be who can learn the most the fastest for a certain test. And when the test is over, who can forget the quickest? I'm tired of competing, mother. But that's life, my dear. I guess it is. But not here. Isn't that what coming to this island was all about? Didn't we come to escape all of that? Yes, but but what, mother? But you're young, Rosemary. Daddy and I tried to change the world. We failed. But maybe you won't.  Make some difference in the world. We never intended that you or Brad or the twins should stay here forever. Isolate yourselves for your whole life. Please, darling, try college.  We'll be here. If you want to come back, we'll be here for you. Maybe knowing that will make it easier for you out there. Please, you must try, darling. All right, mother. I'll try. Your mother's worried sick. How come? Because you just wandered off and didn't tell anybody where you were going. I told Sara. I told her that I was going to look for the treasure. But I haven't found any yet. Sean, sit down here for a minute. I want to explain something to you. What? It's going to be different living here on the island, not like back home. Yeah, I know. It's really neat here. I saw some of those wild goats. And I almost got one to come up to me. Right up to my hand. Well, I'm glad you like it here. You know, I want you to love this place, but there are some things you have to know about living here. Like what? Like no going off exploring unless you tell somebody exactly where you're going to be. But if I'm exploring, I don't know where I'm going to be. I want you to know.  I'm taking everyone on a tour, and I'm taking a compass. I'm going to make sure that everyone knows how to read it. Sara too? Yes, Sara too. This is a lot bigger place than you think. It's easy to get lost. I've been looking for you for hours, Shawn. You have? Yes. I want to ask you something. Can you find your way back to the house from here? Sure. All right. Which way? That way. You positive? Sure. All right. Let's find out if you're right. Okay. It's not, Shawn, but I want you to see which way you were headed. Come on. Look down there. That's a 300 foot drop to the sea. It's getting dark. It would have come this way. Am I to follow, Dad? Yes, you might have. Now, that's what happens.  I don't want to scare you, Shawn, but there are things on this island that take great care and caution and handling.  I don't want you to be afraid. I only want you to have some respect. Do you understand what I mean? I think so. Good. Dad, do you think I'll ever find the treasure? Hey, anything can happen. I thought of a name. A name? Yeah, for the island. Teog. Teog? Let's go backwards. From now on, this is the island of Teog. You like this? Is it okay? That's a fine name, Shawn. It sounds like some kind of, some kind of Jules Verne. The island of Teog. Yeah, I like it. Do something. What is it, Rosemary? Look, Brad must have gone over to sit and wait with Sarah. She's fallen asleep in his lap. This is a beautiful island, but that's the prettiest sight I've seen all day. Are you ready for another one? Look, just coming into the clearing, it's dad and Shawn. They've come back. They're home. The dilapidated old house of structures begin to take shape. They're a new home. John and Rosemary are perched, hammering nails into the wood frame. Little ways away, Gordon Robinson kneels beside a low fence and spades the earth of his garden. Joanna and the twins come walking into the clearing, carrying arm loads of wild flowers they've been outgathering. All around the place, there's the feeling of peace and happiness. Only Brad stays apart from the others. Pale and idle, he sits under a tree watching them. Time for lunch, everyone. Woo, that wind is really picking up. Yes, I think we may be in for a storm. I've been keeping my eye on that bank of clouds. The east seems to be moving in. No, it doesn't look any closer to me. I don't think so, dad. Maybe not, but there's been a strange feel to the air today. I don't know, kind of heavy. Well, whether there's a storm coming or not, it's lunchtime. Let's all go in and eat. Sounds good to me. I am famished. I've never in my life had such an appetite. This place must agree with me. Brad, lunch. I'll be in in a minute. Just think of it. Soon we'll be eating shallots from my garden. Daddy, next time you'll have to come with us to see the spot we found. They're the most beautiful flowers. It looks like you picked nearly all of them. Oh, we didn't even make a dent. That's how many there are. It's like a fairyland. Just as soon as the house is finished, I'll go out with you. Oh, sit here, Brad. How much longer will it be, Daddy, until the house is finished? It seems to be taking so long. Well, it would go faster if we had more help. I'll help? I didn't mean you, Sean. No, Sean. She meant me. That's right. I did. Don't you ever get tired of just sitting under that tree, Brad? Sure, I get tired of it. I get so tired of it sometimes I think I'll go nuts, or maybe I'll just take the boat and try to get back home. This is your home, Brad. No, it isn't. What's happening? Look at it out there. What is it? What?  Is it a storm, Dad? No. No, it's not a storm. I think we'd all better go inside. And close that door. Here. Okay, you two. Back to the table. Everybody, let's finish our lunch. Come on. John, what is it? I'm not sure. But you think you know. You're afraid. I can tell, and it's making me afraid. Is it what I'm thinking? Is it a hurricane? Oh, no. What's that? What are you two whispering about over there? You don't come to the table.  We're coming, Dad. We're coming. Is that rain? No. I'm going to go see what it is. Brad, stay where you are. No one is to go outside. Dad, what's going on? What is it, John? It's not a storm. What's making the sky dark as sulfurous ash and smoke, not clouds? A volcano. A volcanic eruption. Is it here? No, no, no. Not here. It must be in an island nearby. How near? Well, there's no way of knowing. It could be as far as a hundred miles from us. It depends on the size of the eruption, the force of it, how much we feel it. That's a shower of rocks. That's why no one must go outside. You'd be hurt very badly. Well, what can we do, Dad? Just wait it out. That's all we can do. Thank you. No, I wasn't asleep. What is it, honey? It's Sarah. She had a nightmare. I can't calm her down. Oh, I'll be right there. Okay, Mom. What's wrong, Joanna? Sarah had a bad dream. I'm going over to the girls' room. It just hasn't let up. I think it's getting worse. It's been going on for hours. When does it stop? I don't know. A volcano can blow an entire island apart. If that should happen, we could have massive boulders hurled down unless we're in a huge disturbance in the ocean. A tide away? Maybe. I don't know anything could happen. I'm so sorry, Joanna. Why? I'm sorry for getting us into this. We all wanted to come, all of us, but Brad, it's been a lovely idle up until now, a marvelous adventure. We've all been having a great time playing Swiss Family Robinson. Well, now we're up against it, the real thing. If we can't take it, then we shouldn't be here. This is part of the life we said we wanted. If we're not strong enough, we'd better find out now. We'll call this an interesting vacation and go back. You're remarkable, Joanna. No, we're not going back. We still have things to do here. I've got to build that fireplace. No more apologies for bringing us here? No. I've got to go to Sarah. Oh! My garden! My garden! You can't go out there, Grandpa. I have to. My garden's on fire. Grandpa, you've got to come inside. But there's nothing we can do. Oh, my garden. It's all burned. Burned all burned. Yeah, Grandpa. It's lost. It's gone. Come on, Grandpa. We've got to get inside. Oh, no. I'll help you plant another garden. I promise I will. Come on, Grandpa. Grandpa. Another garden brand? You promise? Yeah. Yes. Let's go. What are you doing out there? You could have been killed. We're trying to save something, Dad. I don't care what you were trying to do. You shouldn't have been out there. You're trouble to all of us and you'll never be anything else. I'll be happy to ship you off this island as soon as you can go. John, John, you're wrong about the boy. He doesn't want to hear it, Grandpa. He never has. It's all right. You promised to help him with another garden. I was just trying to get him in the house, is all. Oh, you didn't mean it then? I meant it when I said it, but I thought you were sending me away. Well, it looks like that volcano has finally stopped. We're going to need a lot of help around here. Do you want to stay and help? Yeah, I want to stay. I don't know what's happened to me. Yesterday I would have jumped at the chance to go. Maybe it's Grandpa in his garden. The old guy loved that patch of dirt. He worked so hard. And I promised him I'd help him with another one. I don't really know why I promised, but I feel I have to keep it. But I still think it's a pretty nutty idea, but maybe it's growing on me or something. This place is beautiful. It was last night, and even now this morning, all torn up and covered in ash. It's beautiful.  I've been wrong about your bread. I never thought you could say that. Even admit you were wrong, Dad. I guess I've been wrong about you, too. It looks like it took a volcano to blast us loose from what we thought about each other. Yeah. Hey, everybody. Hey, come look what I found. What is it called? Is it treasure? Pottery. Let me see. It is. It looks pre-Columbian. What's that mean? Pirates? Older than pirates. The people who made that bowl were here long before the pirates. You mean it's not treasure. It's just an old bowl. This is something better than treasure, Shawn. Look who? Well, the pirates with their treasure chests of gold to bloons. Maybe we're just passing through. Visitors. Looking for adventure. But the people who made and used that bowl lived here. They lived on this island just like we do, Shawn. This was their home. Just like it's our home now. Here's Roebuck and Company, where our policy is satisfaction, guarantee, or your money back. Sears, where America shops for value. American family Robinson was written by Pamela Russell, produced and directed by Elliot Lewis. Your host was Howard Duff. Our stars were Keith Andes and Mary Jane Croft. Featured in the cast were Parley Bear, Gay Nelson, Corey Burton, Brian Miller, and Stacey O'Brien. The music for Sears Radio Theater was composed and conducted by Nelson Riddle. This is Argil Moore speaking. Associate director of Sears Radio Theater is Ken McManus. Sound effects were created by Bud Tollison. Mark Trella is production supervisor. And the recording engineers are Joe Wachter and Hal McDonald. The Elliot Lewis production of Sears Radio Theater is a presentation of CVI. It'll be a story of the West with Lauren Green as your host. Let's listen. You don't know him like I do, sir. You don't know how he is. What do you mean? I can't sleep knowing he's there next to me. I can't sleep knowing what a cold-blooded killer hard-wrestle is. So be sure to tune in next Monday to the Sears Radio Theater. TVS News, the State Department has issued its first comment on today's killing of four Americans in Turkey. This is Doug Pollack reporting on the CBS Radio Network. The Americans, three civilians and one military man were gunned down by terrorists as they waited for a bus on a street corner near Istanbul. Several men and a woman armed with machine guns passed by in a car spraying gunfire at the Americans. The State Department tonight issued a comment read by spokeswoman Mary Ann Bader. We condemn in the strongest terms the terrorist act which took place in Turkey today. Civilized people everywhere are outraged by such coldly acts of violence. The Turkish government has expressed its grief about the loss of the four Americans and has stated its determination to search out and find these terrorists. The Department of State extends to the families of those killed its deepest sympathy. The Turkish government also condemned the attack and said it was an attempt to undermine vital U.S.-Turkish relations. More news in a moment. The Senate has broken its impasse over the oil industry whenfall profits bill, ending a three-day filibuster the lawmakers agreed to tax the industry and extra $178 billion over the next 11 years. The final version may not be worked out for several days, but it's thought a windfall profits bill can be on President Carter's desk before Christmas. Members of the Congressional Conference Committee have reached tentative agreement on a $20 billion program to develop synthetic fuels. The vote appears to assure passage of President Carter's proposal for alternative fuels, a key part of the President's energy program. Campaigning in California today, Edward Kennedy accused President Carter of straddling the fence between hawks and doves over the defense budget. Kennedy said the President is trying to please everybody. It seems to me that he is trying to give everything to every interest in the Senate of the United States. He's talked about a 5% budget authority and only 3% outlay. So for those that want a bigger defense budget, he can use the 5% and for those that want a more modest increase, he can use the outlay. And this is, I think, the kind of double talk which is enormously troublesome. Kennedy today entered his name in the New Hampshire primary with twice the number of signatures presented yesterday by President Carter's people. On February 26, New Hampshire will hold the nation's first presidential primary. Defense Secretary Brown says rejection of the SALT II Treaty would force the United States to spend an extra $3 billion a year on defense than is currently planned by President Carter. Brown said that much money would be needed to keep up with Soviet programs. President Carter tonight ordered striking employees of the Long Island Railroad back to work for 60 days while both sides present their case to an independent board. Presumably the trains will start running again Monday. The walkout now in its sixth day affects some 300,000 New York City area commuters. Secretary of State Vance arrived back in the United States following his week-long visits with NATO officials in Western Europe. Vance immediately went to the White House for talks with President Carter about the Secretary's discussions with European officials on the Iranian crisis. Vance tried to persuade the Allies to join the U.S. in a possible trade-sanction program against Iran. Now this. The mayor of West Rushville, Ohio has decided to do something for the people of his community this Christmas. He's inviting the whole town to dinner on Sunday. Mayor C. Forge Shaffer, who is 74, will hold the affair at the Lyons Club Building in West Rushville, a farm town in Central Ohio. There are about 227 people in the community. Shaffer went from door-to-door inviting them personally to the Sunday fair. He says he's only doing it for goodwill, no axe to grind. Shaffer said, I hope it brings us closer together. Doug polling, CBS News.


Anyway, we've got no rush going down this road. We could take it nice and easy. As long as we don't crash. Oh, f**k. Oh, f**k. Hi, I'm Lavi. And I'm Oli. And this is our hero, Bumblebee. Together, we are attempting a Guinness World Record to become the youngest pair to circumnavigate the globe by motorcycle. Join us for season three here in South America. Good morning, world. Welcome back to the channel. It's day number 268 on our circumnavigation around the globe by motorcycle. We're here in the small town of El Chalten in Argentina. And let me just show you guys the view from outside our tent. This town is just like surrounded by cliffs and gorges and mountains. And it just looks incredible here. It's an incredible location, but it's as well incredibly windy. So last night, we really thought that our tent will break apart. It was absolutely crazy. Yeah, we tried to actually pick like a sheltered spot in this campsite rather than like out on the road or wild camping, but it was still absolutely crazy last night. I couldn't believe it, but our amazing tent did survive and we survived. So let me show you guys where we're heading today. So we are here, and today we are going to be taking 23 all the way to the end before turning around, linking back up with the route of 40 to head north. Oh my God. Yesterday, we're heading further into the Los Glacieres National Park for a bit of an exploration. When we came in yesterday, we couldn't see any mountains or anything. It was incredibly cloudy, windy, rainy, but it's looking a lot nicer today. So hopefully we'll have an amazing view. So after our National Park tour, we will just turn around and head north, north, north as far as we can get. We don't know exactly how far we get or where we're going to end up tonight, but it's already nine o'clock and we have to pick up everything. So better hit the road. Let's go. A beautiful day in El Shelton. Wow, look at these cliffs. Man, so epic. And finally, we can see something. Yeah, what a different day to where we arrived in town. It was terrible when we arrived and now it's just like beautiful. Now it's just incredible.  Nice. Hopefully we can get a little bit of a view of this mountain today. It's almost better to arrive in town. You can't see anything. You camp, you wake up in the morning and the sun is shining and the mountains are just there for you. And it's like, What a location, man. People mostly come to El Shelton actually for hiking. We are still not feeling 100% since like Oshuaia. So we're just really not up for doing a crazy hike. Yeah, the hike would be like 10 hours for a beautiful day hike. And yeah, we have to come back at one point. Luckily there is a road going into the National Park, a lovely dirt road that we can explore. So we can still get a really nice experience here in the Los Glacierres National Park from the comfort of Bumblebee. So here is the start of the road into the park. Okay, cool. This dirt road will take us 38 kilometers, so 20 something miles into the park and it finishes at a lake with a glacier and there's just epic mountains around. So let's see what we can see. Wow. Oh my God, look at this. It looks really, really unreal. That is absolutely stunning. Okay, the gravel is not too bad so far. Still don't like to go uphill on gravel. Whoa. Okay. Anyway, we've got no rush going down this road. We could take it nice and easy. Yeah, as long as we don't crash. Whoa. Okay. Oh my Lord. Beautiful. Yes. Oh, be careful here. Be careful here, yeah. Yeah, okay. Got some wind in the morning. Well, you know, you've got the views, you can't have everything, can you? You've got the views, got the sunshine, so we can take a little bit of wind, I hope. Oh, in between the river and a massive cliff. Look at this. Oh my God. Wow, look at the water. It's going fast. Dang it, that was watering on dangerous right there. Oh my God. Whoa, that was like, I was like a meter away from the river and a meter away from the car. Jesus. Okay. I don't like that. No, that was a bit. That was really dodgy. That was really dodgy. Oh, Jesus. Oh, no. Okay, hold on a second. Let me just slow down here. Yeah. I'm going to have to make my way across to this side.  Oh, God. Oh, God. No. Okay. Ha. Ha, ha, ha, ha, ha. Hola. Hola. Muchas gracias. I will go here, hey? Okay. Okay, ready? Go. Wow. Okay. Gracias. Is there space or no? No? A little bit more. Okay. A lot of wind, hey? Okay, so we have decided that we absolutely cannot continue on this road any further. So we're just figuring out now about turning this bike around. Man, this wind condition is insane. It's super strong winds. Okay. Okay. Okay. Nope, it's not okay. Yep, it's okay. Just about. No, we're going to do it like this. Okay. Oh, man, the wind is pushing me so hard. Yeah. Whoo. Too strong winds. We have to turn around. Yeah. Okay. There we go. A visit to Los Glacias National Park. But anyway, nothing much we can do with that. That is just too crazy. Yeah, we are not there yet, hey? With our off-road skills. Yeah, but I mean, there's like the road skills, but then the wind as well. Yeah, yeah, it's a combination, hey? No cars, no cars, no cars. Okay, cool. The widen's out now. So there we go. On our way back to El Chalten. I think one fall is enough for today though, hey? We're just stopping because something is not right here. This is not supposed to be like this. Yeah, there's a loose one. Yeah. All right, I'm going to get a spanner on that and tighten it up. Whoo, it's probably the first time I've had to get out our toolkit. We are skilled enough to tighten some screws. Yes. Yeah, yeah, that's good, it's tightening. That's it, look at that. Oh, that's nice. I don't know if any other screws are loose on the body, but I think that's something we'll have to check, hey? We'll check that later. Okay, awesome. Oh, this has been a morning of challenges, hey? Yeah, I was hoping for a relaxing morning. Yeah, a relaxing ride with some mountain views. Yeah. But no, this was what I was hoping for. Oh, well, anyway, we overcome the challenges so far this morning. We come out alive, happy and alive, hey? Set the end, sweetheart. Yes, we made it back to El Chalten. Whoo-hoo. Oh, man. 10 miles done, I need a break now. Oh, yeah. Time to find some empanadas. Yes, because we tried to find some empanadas yesterday in El Calafate, and the place was closed. But Lavi says that she has found a place that might give us some empanadas here in El Chalten. Oh, yes, Panaderia, and it's definitely open, abierto. There we go. Let's check out what they got. Hola. Buenos días. ¿Cuánto cuesta una croissant? Me hay una. Una, sí. Sien. Sien. OK, cuatro aquí, spinach and cheese, y dos croissants. Ah, OK, this one is tartar. Ah, and this empanada. OK, cuatro empanadas. Perfecto, gracias. Yes, we have empanadas. Yes, and croissants. Whoo. How is it? Delicious. A nice treat after a difficult morning, hey? Beautiful. All right, we are heading out of El Chalten, back on the open road. What a stunning town, really. What a stunning town.  Yeah, if only you could just like turn off the wind somehow, then it would just be like perfect. Got a viewpoint here just above the town. I wanted to turn around so that we could show you guys this view ahead. Look at that. Epic view without even hiking. This is what we couldn't see yesterday. This is Mount Fitzroy, and it's a pretty epic mountain. I thought we just heard the view of our lives, but I think this is the view of our lives. Yeah, we had to turn around and just come back down this hill just to ride with this view in front. Wow. Argentina, I am impressed. Oh, and look at this one here. There's a glacier there as well. Wow. Whoa, it's so worth turning around just to have a look. Oh, yes. Oh, God, absolutely brilliant. Absolutely brilliant. All right, I think it's time to turn around and head back. Yep. Goodbye, Mount Fitzroy. Bye-bye. Bye, El Chanten. Wow, you're super, super beautiful. I'm so glad that we could see it under the blue skies, clear, unbelievable. But now anyway, now it's time for us to head north. So we just stopped at this petrol station here, and it turns out that they don't have any fuel. We just went to the pump to fill up, and they said, no, they don't have any. But then Khalil here, our savior, went and spoke to them and basically told them that we were pretty desperate and we don't really have enough fuel to get to the next petrol station. So they went in the back and brought these guys out, some emergency fuels, like one and a half litres. And apparently this is like for emergencies when people really don't have fuel, just for desperate people like us, hey? Thank you, Khalil, very much. It was because of your sweet talking that they brought those out. Khalil is on his BMW here. Look at this. GS850. It is. Amazing. And where are you headed? Ushuaia. Ushuaia, yes, that's awesome. Where did you start? Santiago. Well, I really hope that we can see each other in Santiago then. That's not cool, man. Yeah. You're welcome. Juice, life for Bumblebee. Enjoy. We see you in Santiago. So we're just leaving the petrol station. The fake petrol station. Yeah, the petrol station with no fuel, except in bottles at the back. They have to be really desperate to get. And we're a little bit worried now because Khalil also told us because he just came from the north and the next town after this is called Gobanara Gregores. And he told us that between there and here is a 73 kilometer stretch of dirt road known as the Damned Highway. And then we ask him, why is it called the Damned Highway? And he says it's basically a very bad conditioned gravel road which with lots of winds, which is basically a motorcycle killer. I'm not excited about that. Yeah, we didn't really know that there was any dirt road coming. So I've got the tires all pumped up and we were just ready to rock and roll. But yeah, apparently it's gonna be a bit of a different day. We've got about 110 miles to Gobanara Gregores. So we're gonna enjoy our asphalt and then we'll have to take on this Damned Highway.  And actually he was looking for fuel at the petrol station as well. And the guy sold him a bottle from the back as well. But then they said that that was literally the last fuel that they had. 13,999.9! 14,000 miles! Woo! Yes! 14,000 miles on the road so far. That's crazy. That actually means that we have now ridden the same amount of miles in South America as we did for the whole of Europe and Africa. Crazy. Because we did just under 7,000 to get all the way from London to Dakar. And now it's been doubled already. 14,000 down, probably 20,000 more to go. Let's do it. So we're just having a little snack break and we've got ourselves, it's a peanut butter wrap but with peanuts inside as well. So it's a peanut butter and peanut wrap. Pretty much just whatever we have in the food bag. And we're hiding in this like ditch down on the side of the road because up here I can tell you the start of the dirt road, the start of the dam for 73 kilometers. Apparently that's like the official name. That's what people call it. So we've let the tire pressure down. We're gonna have a little snack refuel and then we're gonna give it a go. Let's hope for the best. All right. Are you ready to take on the dam 73? No. No, me neither. Let's do it. So we've taken our tire pressure down to the lowest level we've ever taken it. Actually, Khalil was the one who told us. He said, you know what for this bit, you guys should take yourselves down to under 30 psi. So we've taken the front and back down to 28 psi. Khalil says that he runs even lower, like 25. And he just says that for a terrain like this it's just gonna make the ride so much easier and smoother. They're not bouncing on all the stones and when it gets soft, you've got a bit more traction. I don't know, Khalil, we'll give it a go. We'll let you know at the end. Well, I mean, for now it feels actually, fit for it, good. Yeah, except the wind is pushing us into this deep gravel on the edge. It's not good. Oh my God, look at this car there. Ah, this car did not make it. Didn't make it. Got some Guanacos. They're enjoying the damned highway. They're like, oh, it's not so bad actually. Yeah, they're quite chilled. They are quite chilled. Yeah. There's another one over here. Oh, there's a whole group. Yeah. Nice. Hello guys. Guys, have a look at this, what we've just seen on the side of this road. Oh my God. Look at this here. It's a Guanaco that tried to jump over the fence. Wow. But he didn't make it over the fence. Crazy. And this is not the only one we saw, probably like 20, 30, 50 of Guanacos hanging there in the fence. Oh, it makes me so sad. Yeah. These fences are just killing machines. Another reason why they call it the damned highway then. It's damned for the Guanacos as well. So we are now one hour into our journey and we've covered around 25 miles so far. So we're actually over halfway and yes, there have been some bad bits, some deep gravel, some big stones, all of the above, all of the usual suspects. We haven't fallen off yet, which is great. Yes. Yeah, I'm just super happy that the wind is actually in our bags. So yeah, I don't feel any wind. Yeah, I think we were really lucky about that because it's like most people said that it's hitting them from the side here. And so I think that some days you can be really unlucky. But you know, for us today, it's just beautiful. Like it's just been behind us the entire time. Yeah, yeah. It's so good. So good. I'm so happy about that. Yeah, you know, when you take the wind factor out of it, you know, we can deal with the stones. We can deal with the gravel. I say that and then it gets like really stony and really gravity. Careful. There's something up ahead. Oh, wow, look at this. Oh, wow. OK. There's no one in it. Maybe hit the brakes too hard and then slid.  Yeah. Dangerous road, hey? Dangerous roads. It's just too much gravel. I do not understand why they're covering such an amount of gravel. Oh, Mark is here. Woo! And it's amazing we finished that dirt road, dealing exactly the same time as our German friend from the petrol station. Hello. So we've got now about 30, 40 miles to the next town where we can finally fuel up properly. But that is it. We have conquered the dam 73. Woo! Fantasticos. We made it to fuel. Woo! Yes. Bravo. Yeah, I don't know if we would have made it without that extra couple of bottles that we got from the other petrol station really. So yeah, it didn't run out of fuel. Didn't fall over. Perfect. Amazing. We've actually found a place on Ioverlander, which is actually, oh, hold on a second. Wow. OK, here we go. I mean, how am I not going to run these dogs over? Seriously. Wow. We were really cornered by these dogs. Oh my lord. So anyway, we found a place on Ioverlander, which is actually in town. It's a municipal camp. So we're going to head over to there and check it out, make sure it's all right. Because it's getting really late, so it's really time to make camp now. OK. Oh, yeah, I see. So where all these vans are, hey? OK. See if we can find ourselves a spot. Good evening, guys. We made it. Happy and alive. Yes, it's just before sunset as well. It is quite late, and it's already getting dark. So we just basically have to make some dinner and get straight to bed. Yes, so we did at the end 200 miles. And that's it for us today. We hope you enjoyed the episode. If so, please give us a thumbs up, subscribe to the channel, share the video with your friends and family. Comment below, and we will see you next time. Good morning, world. Welcome back to the channel. It's day number 268. Oh, OK, a little bit of traffic in the morning. I think that this piece of grass right in front of the bike is flat enough for us, hey?


In this video, we're going to be looking at how to organize a loop deck so that you can understand how best to use profiles, plugins, workspaces and pages. And if you don't know what all of those are, don't worry, you will do by the end of this video. So this is intended to be the second in a series of videos all about getting up to speed with the loop deck part of my beginners guide. I'll leave a link to all of the other videos down in the description. And really what we're doing here is in the first video we looked at the device itself. So just in case you aren't familiar, this is what we're talking about. In this case, it is the loop deck live and looking at how to go about starting to get set up with this in terms of how to organize all of the different things that you want to do with it and start to build out this sort of framework if you like for getting it exactly how you want to use it for whatever you want to use it for. So let's come over to the application itself. I gave a quick overview of the interface in the previous video, but just a quick recap. This is a sort of graphical representation of the device itself. We're going to be programming this with all of the different buttons and actions and things like that that we want to do. Assigning different things to different buttons on the device, simply by choosing them from this list over on the right hand side. We've got various different ways to organize here. So a number of different these are called plugins, which have different groupings of actions that we can assign to any of the buttons. And then down here for each of these ones, as I go through changing here, it has some further subgroupings. And we can just literally drag and drop the actions onto the device. There are really, you know, hundreds and thousands of potential combinations of actions that we might want to use on this. So we are going to need to get a little bit organized. And so the way that we're going to organize our actions on our screen is as well as using pages so I can swipe on the screen and it will swipe through multiple different pages of actions.  And so it would get a bit hard to manage. So there is an easier way though, and that is through the use of profiles and workspaces. So let's start with profiles. Think of a profile as a specific use case that you have for the device. And in fact, if I come up to the menu just up at the top here, you can see at the moment that I am selected as my main profile. And this is the default profile that I've just set up for the purposes of this demonstration. If I click in here, though, it has a little drop down list for us. And here you can see the other profiles that I have on this device. And this probably then makes it a lot more clear what exactly profiles are for. Because we do have down here a number of application profiles. And so this is basically, you know, a different use case for the device. So when controlling After Effects, Adobe Audition and various other different applications down here. So I should say there are really two ways to think about profiles. And this is clearly demonstrated here. Either you're going to be working with application profiles where they're going to be organized on an application by application basis, just like this. And in fact, you can have it so that it will automatically switch the profile dependent on the application that you are in. And indeed, that is the default setting. So this thing called dynamic mode. If I turn that one on, if I were to open Adobe After Effects now, it would automatically switch to my Adobe After Effects profile. Or if I was to switch to Adobe Illustrator, then it would switch to the Illustrator profile. So these are basically a profile, a collection of actions for each of those applications. This is one way to think about working with the loop deck. The other way to work with the loop deck is rather than have the device itself switching based on the application that you're in. You could create your own profile where you have a collection of actions. They might be for multiple different applications all in the one profile. You'll see as we go through which one might work best for you. I can certainly see the benefit of having it automatically switching from one to the other. I personally don't like that approach. The reason being that I often spend a lot of time either in meetings on Zoom or on Teams, something like that. I want to use the device to control the Zoom or Teams meeting, and I don't want it to switch over to my Microsoft Excel actions whilst I'm on a meeting. However, I might well have Excel as the active application. So I don't find it useful for it to be switching on my behalf as it were. Also, I do a lot of videos, so obviously videos for this channel, but then recording tutorials and things like that for other training courses that I create. I also therefore want to have it so that the device might be controlling my recording software whilst I am in another active application, if that makes sense. Maybe I'm a little bit niche. This doesn't necessarily work well for me. That said, I will obviously go through and explain the whole process of how you go about setting these up and the use case for them because I can totally see the benefit of it working in this way. By the way, it does just seemingly switch over from one to the other. So as you are hopping between applications, when you click into Photoshop, for example, if you have this one toggled on, then you've immediately got all of your Photoshop actions to hand. So as I say, I can totally see the use case for it. So here we can see that we've got a number of different applications and these are, by the way, I should say a lot of these are just there as a default when you install the device and the loop deck software, they're just sort of pre-populated, they're all ready to go. In some cases, you may have to install a plugin in the application itself. So for example, in Photoshop, there is a Photoshop plugin that you install through your Photoshop plugins method. I won't cover that in here because if you're a pro Photoshop user, you'll know how to install plugins in there to actually have them sort of talk to each other as it were. But let me just come in and then show you what this means as in switching between profiles. If using Photoshop as an example, if I click on my Photoshop profile here, what that's going to do is that's now changed all of the buttons on the screen. And in fact, if I show you my device, once again, as always, what is being shown on the screen is replicating what's on my device. So there is my Photoshop profile. If I come back to my desktop just for a moment to the application, if I was to go in and change to another one, say Adobe Audition, then it has now got a completely different set of actions on here relating to that particular application. And so that is basically what profiles are. Think of them as like your collections of actions for whatever the task in hand happens to be. Now, there is actually another layer to this as well because you may have different things that you do within these applications. So whilst switching profiles actually just changes all of these different actions within a different profile, you can have multiple pages. So I've mentioned this previously just with a swipe on the screen. We can swipe through multiple different pages of actions. But even then you might have a lot more actions than you can contain on multiple pages and you want to have different sort of work modes within that particular software. Well, just using this one as an example, and this is, as I say, one of the sort of pre-installed ones, we have then got workspaces. So a profile is, think of it as, you know, the application if you like. But then the workspace is sort of different modes of working perhaps within that application. So a workspace, if I click in here, you can see we've got multiple different workspaces. So in this case, they've named it editing, track states and mixer, view, file and various other different ones. So different things that you might be doing within the application itself. Now, what that's going to do is if I change to one of these other ones, let me just pick one at random, this view one. You can see that once again, it's changed the buttons, but I should say that all this is changing is the dials here and these touch screen buttons here. The buttons down at the bottom are basically sort of global buttons within that particular profile. So the workspaces do not affect these buttons down at the bottom. And that's quite handy because or purposeful, I should say, because the buttons are then used to actually switch or can be used to assign to switch between different workspaces. So here that list of workspaces we had up here, here, editing, track states and mixer, workspaces, windows, view and so on. What they've done is they've actually assigned those to these buttons. So I can also just press the button and switch between these various workspaces by just clicking on the buttons on the device down there. So that's why these buttons down at the bottom are basically fixed per profile and don't change with the workspace, rather they can be used for navigation. And indeed, that is the main way that I found that I use these buttons is generally I'm using these ones for kind of navigating around the device itself and they seem to fit quite well into that particular use case. So you may not be using Adobe Audition. So some of these things might not make sense to you. In fact, I don't really use Adobe Audition. It's just one of the ones that are in here. So let me just come out of that and show you that although there are a number of applications already sort of preinstalled with profiles and this comes back to the, you know, the sort of heritage of this device really. And the loop deck is that it has got a real sort of strong bent towards the Adobe creative suite and editing applications and things like that. So you'll find that all the Adobe suite profiles are sort of preinstalled in there and some of the other, you know, creative ones, Ableton Live and so on as well. But if you do want some other applications and you can't see them in here, we can also come down to the bottom and search for more because there are a number of others that have been pre-made for us. So specific profiles already made up for us. So just come down to here, more app profiles. Again, this is specifically if you are using this in the process or in the way of having it switch between these things on an app, you know, basis automatically. So if I click on find more app profiles, what that will do is open up the loop deck, loop deck marketplace. You can also get to that from the menu just up at the top here. But yeah, if you click down here, what that's going to do is open up this separate window, which is the loop deck marketplace. And in here you can find profiles, plugins, which we'll come to a little bit later and icon packs. But this is what we're looking at just at the moment is the profiles. And here you'll find a list of different profiles. You can see whether they are available for the Mac or the PC. So the little icons there signifying which ones are available. If it is a Windows only and you are on the Mac, then you'll notice it says not available for Mac. And vice versa if it is a Mac only and you are on a PC. But basically you can just scroll down here, have a look at the different plugins. It'll tell you who they're by. So some of them are by loop deck themselves have made the plugins. Sorry, the profiles, I should say. I don't want to get the nomenclature wrong there. And then some of these are by third parties as well. So this one is by somebody other than loop deck have created these. So the marketplace is going to be somewhere where people can add in their own plugins, profiles and icon packs at some point as well. This is the early stages of the marketplace. So currently it's signifying 30 profiles, 10 plugins and 43 icon packs. I know that just last night when this was released there were six plugins. So they are actually actively adding things in as we speak. If you want to install any of these then it's just a case of really clicking the install button. Pretty obvious really. You can click on these by the way, these little sort of tiles if you like. It'll give you a bit more information about it. Tell you about the developer and overview telling you what the different shortcuts are. It'll tell you the compatible devices as well. So this is saying loop deck live. Really this is perhaps slightly misleading because the loop deck live, the things that you have that work for that will also technically work for the loop deck CT because it's just not going to use the full device. Similarly there are some in here that say they are only compatible with the loop deck CT because they have got extra functionality linked to the larger dial for example or those other buttons. But in actual fact they still work on the loop deck live because it's just that they only use the buttons that are on the loop deck live portion of the loop deck CT if that makes sense. So all of that is to say if you do see this compatibility just take that with a grain of salt is my initial estimation of this because from my experience in the last 24 hours of trying this out they do seem to work. So I'll just say that. So then also you can then just come and click on the install button here. As I say if you are back in this list you can install them from there as well. So clicking on install it will if you come back to the regular application you'll see that it is installing. It is going to actually prompt you to link it to the application though. So this is asking me to select the application. So this was the Visual Studio code. And so what I need to do is actually just go and find that particular application which is not on this Mac. It's on my other Mac. Never mind. So what you do though is you would just pick out the application that it was assigned to and then just click on OK and I'm just going to cancel this one out. But that basically would then install that profile so that whenever you have that particular application open that profile would open up as well. So that's how you install basically a completely new profile from that list from the marketplace. You can also create your own though. So if you wanted to create your own application profile. So maybe something that isn't in the marketplace, something that isn't already in this list here but there's an application that you want to have your own set of actions when it opens. You can always create a new one just by clicking on these little three dots next to the application profile. And here you can see the ones we've got if you want to if you if you don't use any of these. So maybe I'm not using Lightroom. I can just uncheck that click on OK and it will remove it from the list. So now we don't have that Lightroom one in there. But yeah coming back to this. This is where we've got the list what we can do. I'll just take those ones out as well because I'm not using those click on add application basically just like that. And then we can select the application name. So let me just think what I might add from here. I'm just going to choose this one. I'm not going to create any shortcuts for my loop deck for my one password that would completely defeat the object. But for the purposes of this, I will just create that and then just click on OK. And that has now created a new profile for in this case one password. I'll be deleting that one in a moment. But now basically whenever I go into one password, then it would it would switch to that. And you can see how it has pulled in the icon as well there. So it just just bring it into the full list. Yeah assigning passwords to one button presses. It's not probably a good idea is it? But never mind. So that is how you you create your your own profiles for applications. So that is basically just a quick look at the way that we can work with workspaces and so on. But I will just come over to the the other way of doing things. So rather how we can work with profiles, I should say, and have them automatically switch on an application basis. But let's just come and look if we just want to build something out our self and just have it basically fixed. And we be in total control of how it's sort of changing from one set of actions to another. And then the way that we're going to do that is we're going to use this thing over here, this sort of main profile. And I'm just going to make sure that that one is toggled off. So basically if you're not going to use dynamic mode and have it automatically changing, then what you're going to do is come over here to this default profile. You can actually with all of these, although this says that these are the application profiles and this is the main profile, there is actually multiple profiles within these. So for each of these ones, if I was to come into one password, for example, click on the little three dots. There is my one profile, my one password profile that I've just created. I could actually create a second one called one password to just like that. And so now we've actually got two profiles under the one heading. If you see what I mean, so for the application, we can have multiple different profiles as well. This is where it starts to get, to be honest with you, a little bit confusing. But if you come into your main profile like this, then we can actually have, by clicking on the three dots, we can have multiple sort of main profiles as well. So these are all profiles which basically aren't going to change when the application opens basically. So this is how we can still have multiple profiles but just not have them automatically changing. It's just to me, not immediately clear that this is an option from this menu. So I'm just mentioning it because it could be a little bit of a source of confusion. Once you are in this main profile section and you've got one of these profiles selected, and by the way, to create new profiles, it's just the same as I've shown you already, you just click on the three dots except that this time we're going to click on those three dots up next to the main profile as opposed to application profile. And then from here, we can create a new profile from there. So we're just going to click on this add profile. There's another layer of potential confusion here which is normal profiles versus simplified profiles. All you need to know about that is that a normal profile is the ones that I'm going to be talking about all the way through this tutorial series. Those are the ones that have the workspaces and pages and things like that. A simplified profile basically just doesn't have the workspaces. So it's basically just a single profile with still multiple pages but you don't have that workspaces option. So I'm just going to keep talking about the normal profiles though from here on in. So clicking on the add profile is how we could add either an empty profile or if you click on add default profile, that's basically what we've got here. It's going to have a series of actions already on there. So it's going to be pre-populated with open Chrome Gmail, WhatsApp, Twitter, some media control keys here for playing pools and things like that. And then also some other shortcuts to various different things and emoji picker and some keys for the calculator and stuff like that. So if you are wondering when you are going to create a new profile, what the default profile is, that was it that we've just seen. And so really if you've got one of those profiles, maybe that might be useful, but you're probably just going to want to start with all of the other profiles that you create as just a completely blank canvas, I'm going to guess. So all you do there is just click on this one, add empty profile, just this one up at the top and then you're going to give it a name. So I'll give this nice simple name, new profile, so that we can know where we're talking, what we're talking about. So that is the one that we're going to be working in as we do this little demonstration of building this all out. I should say that as well, if you are again going down this route of not having it automatically switching by application, then you do have in the menu bar, there is a little loop deck icon. When you click on that, there will be a drop down and you do have a change profile option. And this basically lists all of those different profiles that you've got underneath the heading of main profile. So we've got the default one that we're on to begin with. We've got this default profile there and then the one that we've got now, which is called new profile. So I can just sort of switch back and forth between those from the menu bar itself. So that's how you would be able to sort of change between different profiles if you were just, as I say, being in full control of what was being displayed on your device. So let me come back to this one though, the originally titled new profile. And this is where we are now. We have got a completely blank canvas except for the clock. It always insists on putting the clock there. I'm not sure how many people would use a limited amount of screen real estate.  But every time you create a new blank profile, loop deck always puts the clock there. You can just click these three buttons and then just click on unassigned. So that's basically how to delete anything from those button spaces. We don't want to clock there. We've also got something assigned to this particular button here. So I'm just going to go ahead and delete that as well. And with these ones rather than unassigned, we've got this little cross next to them. So this is how we can delete the action from that wheel. So essentially we are now in a new profile and we've just got the one workspace. And we've also got nothing assigned to these actions and there are no pages or anything like that. It's essentially a completely blank canvas. And so really the next step that we're going to look at is how to actually start to add in all of the different actions and things like that and start to look at how we go about programming this. Because as you can see there are a lot of different actions that we can potentially add and there's actually a few different ways that we can go about doing this and things can add complexity to it with multi-actions and macros and stuff like that. So in the next video, which is coming up next, I'm going to be talking about exactly that. Where we go from here in terms of building out the actions in our profiles.


Hi, everybody. It's Tom Woods. As some of you may know, I wrote a book in 2009 called Meltdown that spent 10 weeks on the New York Times bestseller list, had a forward by Ron Paul, and it was about the financial crisis of 2008. And I wrote it because I could see there was a conventional wisdom developing, according to which the financial crisis was caused by, you'll never guess, the free market. And the government needs more power, and all this we've heard it a million times before. And I wanted to get a different view out there before the public. And I was able to get, really, the first book on this subject out onto the market. And I had a cooperative publisher that helped me get it out there quickly, and I worked on it very hard and very quickly. And how was I able to do that? Was it entirely my own merits? It was because of the training I got as a student from the Ludwig von Mises Institute. When I was in college, I went to one of their week-long summer seminars. It changed the way I looked at the world forever. And now as a result, when this opportunity arose to get our position out there before the public, I was able to do it quickly because I had the knowledge thanks to the Mises Institute. This year, the Mises Institute celebrates 30 years of teaching Austrian school economics in the tradition of Ludwig von Mises, F.A. Hayek, and Murray Rothbard, and helping to spread the pure philosophy of freedom. This isn't just some milk toast public policy think tank that writes inane policy reports about how nice it would be if we could get the Department of Agriculture to be 10% more free market than it is now. This is the real thing. This is the institution that when Ron Paul called attention to the Austrian school the first time in 2008, the first time most people had ever heard of it, it was the Mises Institute that people looked to for resources. Because when you Google Austrian economics, what you find is the enormous array of resources available at the Mises Institute, all the seminars, the online resources, the books, the articles, everything. That's where people went. And it's the Austrian school that's educating both the general public and the intellectual leaders of the future. There are economists coming out of the Mises Institute so brilliant that I hardly feel worthy to stand in their presence. These are people who are going to change the intellectual life of this country. And there are a lot of people who say, well, help fund my organization. We're doing a lot of good work. And maybe they are. But with the Mises Institute, you are actually helping to change the world. You've got the Federal Reserve and all the other central planners on the run. And it's the Mises Institute that's keeping up the pressure. So I want to urge you to help support the Mises Institute in this wonderful 30th year of its important work by taking part in its 30 for 30 campaign, pledging to make a monthly contribution of $30 for the 30 years that the Mises Institute has been in existence, 30 for 30. Make a monthly pledge of $30, or any kind of pledge you can make, by going to Mises.org slash 30. You will be doing something very important, very special, and yes, you are helping to change history. Support the Mises Institute.


That's gamma. If you look at this bit, that's the Hessian of the Chern-Simon's function. Chern-Simon's function, its derivative term was something like this. So its Hessian is basically this operator. You have to put in a couple of hodge stars in here to make it into an inner product. And then the Hessian becomes this. So the operator that controls the deformations of the anti-self-dual equation looks like the Hessian.  But because of the gauge group, there's some extra terms involved. And I want to explain an important point here. So this bit is, well, we'll call the extended Hessian. So the extended Hessian is its first order. It's elliptic, it's self-adjoint, and has a spectrum extending to plus or minus infinity. So here's the r that contains the spectrum. Spectrum's real. It's spectrum's discrete. Looks something like this. And here's 0. So if we're just trying to do finite dimensional Morse theory, I mean, the first movement, finite dimensional Morse theory is to understand the stable and unstable manifolds. What this picture is telling you, so dimension of stable and unstable manifolds are the number of positive and negative eigenvalues. Those are both infinite. Now, there's two interesting things to say about that in this context. So that looks like bad news, but if I so, yeah. So this is the space of self-adjoint FEDHOME operators. So let's think about the bounded self-adjoint operators. These aren't bounded, but just for concreteness. Look at the space of bounded self-adjoint operators on a Hilbert space. This breaks apart into three pieces. So because it's self-adjoint and FEDHOME, that means that 0 is an isolated, the spectrum near 0 is discrete. In this case, it's actually discrete everywhere, but anyway, spectrum near 0 is discrete. And then this breaks up into those operators that have only finitely many negative eigenvalues. That's this guy. They're essentially positive. There's this bit where it has finitely many positive eigenvalues. And there's another component, which has both infinitely many positive and negative eigenvalues. Or a little more precisely, the dimension of spectral projection is infinite for both positive and negative. Anyway, what's interesting is that this is contractable, these two. And this guy, it's topologically very interesting. Its loop space is, well, if it's real operators, it's classifying space for real k theories, z times bo. And in the complex case, it's z times bu, if this is for mission operators. Anyway, these are real FEDHOME operators, so this is the bit that we're interested in. OK, so we were quietly minding on our own business, and we ran into some interesting and serious algebraic topology as we're trying to do Morse theory. Now, in Morse theory, actually, so remember, I didn't say this yet, officially, but if I have two critical points and I look at the Morse function, I want to compute the differential of a, then say with my two coefficients, what I do is I look at, I sum over b so that the difference in the Morse indices is 1, number of points in MAB check. So this means that the dimension of the intersection of stable and unstable manifolds is 1, but I act by translation, so it's a finite, I mean, compactness tells you it's a finite set of points. And sorry, this is times b. That's the definition of the differential. And this difference is the thing that still makes sense in the infinite dimensional context. So if I have critical point a, critical point b, I look at the eigenvalues of a, look at the eigenvalues of b, well, then they move along. Picture like this happens. And in particular, some number of these paths cross 0. And if you think about it, the number of times it crosses 0 in a finite dimensional case is computing this difference. But we can always, I mean, in the infinite dimensional case, we replace defining these things individually by only worrying about their difference. Shouldn't I grade? Well, the eta invariant, I mean, in the finite dimensional case, there's no eta invariant. It's 0, right? And what? In my floor case, well, I mean, it depends whether I, I mean, if I want a canonical grading, then there are many ways to do it, eta invariant being one of them. So yeah, sure. And I mean, the eta invariant minus transimans is what's natural, because the eta invariant depends on the choice of metric, et cetera. And you don't want your grading to depend on those choices. Yeah, but I don't. I just want it to, I mean, look. You should do the best thing you can do. Having a detourcer when you can just have an honest canonical grading, not a good idea. If you need to have it, take it. Yeah, I mean, anyway, let's not get into that interesting bit of weeds for a minute. I mean, it's important to get a canonical grading. Now, yeah, what do I want to say? Yeah, right. So there's a spectral flow, which maps the loop space of this component to z, loop space or paths between two points, path space between a and b, which is picking up this z. I said that the loop space of the space of self-adjoint operators is z times b o. And the interesting thing that picks up the z is the spectral flow. Now, there's a really, well, slightly disturbing thing that happens. That plus is actually a zero. Yes, it's the interesting component. It's true for plus. It just doesn't have a very interesting image. I mean, there's spectral flow in all components. Anyway, OK, so in dimension, if I look at this quotient space, kind of think of the picture downstairs, well, this gp is basically maps of our three-manifold into s3, which has pi 0 equal to z. So that means this has pi 1 is equal to z, pi 1 of the space of connections mod gauge. And so a better picture of the quotient space, some kind of schematic picture, well, there might be some singularities. But it has fundamental group. And now, if I take my a and b, if I compute the spectral flow along one path and I compute it along another path, they're not homotopic. They might not be the same. And in fact, the spectral flow gives you a map from pi 1 of this bp to z, which in the case of SU2, its image is 8z inside z. Spectral flow around a sort of generating closed loop is plus or minus 8, OK? And yes, it is 4 times the dual-coxedron. The dual-coxedron number, by the way, is just telling you if I look at the inclusion of a basic SU2 in G, what multiple of the generator it hits. And that's, I mean, sorry, what did you say exactly? Four times the dual-coxedron. Yeah, so I think, yeah, the dual-coxedron number is twice what I said. So that was, anyway, OK, great. Anyway, so there's this spectral flow. Now, if I were doing finite-dimensional Morse theory, Chern-Simon's function is really a circle-valued function here, what I would think I have to do is Novikov-Morse theory, because I no longer have energy bounds. I mean, if I take the change, let's draw this picture again, if I take a path, a flow line, then the change in energy depends on the homotopy class of the path. And I don't get a uniform energy bound. I need to get Morse theory going, we need uniform energy bound connections in MAB. But yeah, there's some little way to win here, which is quite remarkable. This is sort of one of Floor's basic observations that, so in this case, the fundamental group is z. And yeah, what do I say? Oh, I still have it. See here, I have this differential. Now, let's take that. And the way we should modify this is, well, I need, here's my gamma, and I look at its homotopy class in the path space from A to B in BP. For the differential, I need to only look at flow lines that are in the given homotopy class. And then I need that the spectral flow along that homotopy class is 1. I want to only look at one-dimensional moduli spaces. Well, in this case, there may be a one-dimensional moduli space if I go along this homotopy class. But maybe along this homotopy class, it's nine-dimensional. They differ by multiples of 8. So I only want to sum over those where the spectral flow for the given homotopy class is exactly 1. But now you notice that at the spectral flow mapping, pi 1 of B to z. And I also have the sort of change in churned simons around loops that matched pi 1 of B. Well, let's say churned simons over 4 pi squared. That was the thing that was an integer. That maps to z. And these are proportional. In fact, the constant of proportionality is 8. So what that tells you is that in this homotopy class, that energy is fixed. Because there are many homotopy classes, but I pick one homotopy class, the one where the spectral flow is 1. And churned simons has a unique value on that homotopy class. It doesn't depend which curve in that homotopy class I pick. So these are proportional by necessity. So that implies energy bounds in a given, well, maybe, to say it more simply, given a homotopy class, there are energy bounds. And then the spectral flow pins down the homotopy class that I need to use in the definition of the differential. OK. So a version of the compactness theorem holds if you keep track of the homotopy class. And the only way the compactness theorem differs, let me see if I can try to state it. The only way it differs is because there can be bubbling. So let me say that. So here, the finite dimensional picture, we looked at the energy profile of a given connection, or a given Morse trajectory, or eventually sequence of Morse trajectories. And if I took a sequence of Morse trajectories, I could pass to a subsequence where the only interesting behavior was that there are finitely many chunks of finite many chunks of finite length, uniformly bounded length, where the energy is kind of big. And then these chunks might be moving apart, but in between these chunks, the energy is small. So that was the picture in the finite dimensional case. What can happen here is that the energy profile you should think of now can also have some bubbles happening. So as I have a sequence of connections, next guy in the sequence might have moved apart, and the bubbles have gotten stronger. That one's disappeared off the face of the Earth over there, and the sort of background energy profile looks like this. So what we should do, remember before when we tried to compactify what we did is we looked at spaces of broken trajectories. So maybe just one break for a moment. That would be something that appears in the compactification of MAB. But now we need to add to this picture, we need to add bubbles. And what bubbles do, I should refine the picture by looking at, first I define MAB plus some number of bubbles. So a point in the symmetric product of this guy. So I'm going to take as another thing that I'm going to add to my compactification. It's built out of things like this where, what do I say? So these are finitely many points with multiplicity in r times y. And then I have some instant on A. There pairs A and x1 up to xk in here up to the action of the symmetric group. And I have to tell you what I think, I should pick a homotopy class and what I should tell you what the spectral flow for such a pair is. I shouldn't call this L. I mean, well, it doesn't matter. The spectral flow is the spectral flow of the connection plus 8L. And then the compactification of this, let me call, then I want to take this and mod out by translation. So if I want to compactify MAB, the things that it's this thing. But then, well, first thing I'm going to add is the kind of things that we saw before, MC1 check times MC1B. But now, I need the gamma in there, the homotopy class. So these homotopy classes should, because these both end, this one ends at the point that this one starts and makes sense to concatenate these homotopy classes and then they should add up to this guy. So similar things with more breaks. But then I also need to include things like M check gamma. I'm going to call it minus 1 AB times, sorry, M check gamma 1 R times Y divided by R and M. So let me just try and say it in words. The formulas just kind of get too hairy. Before the building blocks are just, I want to look at the space of broken trajectories. For broken trajectories, it's important to realize that there is a homotopy class by concatenation. So the compactification before was if I wanted to keep track of the homotopy class was just by broken trajectories. Now, what I want to do is still look at broken trajectories, but I want to allow broken trajectories that have some number of points at which bubbling happens.  The thing that's important, when you prove that D squared is 0, the thing that's important is to see this picture. You go from A to some C, where the Morse index is 2, and you want to see that the only thing that appears in the compactifications are things where there's one break.  But then you have to remember the point at which you bubbled, which adds 4. So the total drop is 4. And that means that here we're only looking at two-dimensional moduli spaces. When you, in the compactification of this thing, you don't see any of the bubble contributions. So there are no two. So here spectral flow is 2. So if spectral flow is less than 4, there's no contribution. So the compactification is still just as it was. This picture, as infinite-dimensional Morse 3, is what you need to see to prove that D squared is 0, at least mod 2. And then you can keep track of signs. And yeah, so that's sort of, well, one more. I mean, yeah. So one thing that doesn't happen on a cylinder, but for a cylinder, things are not so bad. Well, one thing I haven't talked about is reducible connections, which cause trouble. Now, all the floor homologies that I'm going to talk about next time, there will be no reducible connections. There will be no trouble at all. If I want to prove independence of choices, so there are a huge number of choices that you need to make to make the story work just as in the finite-dimensional case. There's a choice of metric. Well, the churn-Simon's function may not be a Morse function, may not have non-degenerate critical points, so I need to figure out how to perturb it. The moduli spaces might not be smooth. I need further perturbations possibly to make moduli spaces smooth, et cetera. That's all fine. And it works quite well if there are no reducibles. If there are reducibles, so improving independence as long as there are no reducibles, all you need is you just need to be able to do this picture in one, pictures like this in one parameter families. You just need to, you want to see that two chain, two, I make two different choices, the chain maps, the differentials. There's a chain homotopy between those guys, and that involves just moduli spaces of dimension one bigger, if you think about it. So that's still fine. The interesting problem happens when you try and define co-bordism maps when there are reducibles around. Then there can be technical problems, and it's more interesting. OK. I think that was the question. Any other questions? Yes, Josh. Well, no, it's really less than eight. Sorry, I shouldn't say eight. It depends what you want to keep track of. Sorry, the moduli space has to be at least eight dimensional for a bubble to happen. That's what I should have said. Sorry, thanks. So we're quite far from that. Anything else? OK. Bon appetit.


Everybody forced here ripping 2022 optic retail six box number 14 random teams. The random results are right there Oh, wait, hang on. I forgot. We disconnected to show Only grabs that. All right. There we go. There they are Find the many time late sports cards dot com. Let's do our random for this silver packs now Two silver packs top two spots in this random will each get one eight one two three four five six seven and eight The Charters and the Giants Charters Giants Is that why I probably won't recap this one usually there's not a ton of like autos and like really rare cards in this Reese Hall Reese Hall was on point tonight like Evans Hollows Eddie Jackson George Carlisle off this rated rookie Garrett Wilson rookie Kings or good iron Kings Stars rated rookie David O'Jabbo for Baltimore Pierre Strong Stars of waddle for the Dolphins stars Devonte Williams Denver Kenny picket base rated rookie for Pittsburgh My house to March ace Hollows Harris and Smith at the Vikings there's a ding on that one Let's point that out Elite series Kenny pick it with factor damage like that on a you know the card. That's like a dollar or so Usually now we're trying to get it replaced unfortunately All right stars rated rookie is pickings for the Steelers nice pickings Sauce Gardner only rated rookie Stars of Aaron Donald for the Rams. See you 100 here And stars of Patrick Queen for the Ravens can't believe they thought they were like, oh, yeah, we can We can win this It's off the entire like half of the customer base I was gonna say how many people only have cable just watch sports It's gotta be it's got I would assume like 20% of people that have cable use it only for sports And then and then like probably over half or like or you don't have that's a deal breaker. You know what I mean Hollow Terry McLaren for the commanders The rookies Malik Willis Rated rookie is Kenny picket. Everybody's tired now. It's 1 a.m. There we go 100 Cole Comet for the Bears and stars are rated rookie Jerome Ford The Browns Ejections in college football. Oh, nice. You got stars German James, Jr. It's gonna be a lot of Florida State Miami on there That's what I always think of Florida State Miami fight Stars of Alexander for the Packers. Oh, yeah, okay. Yeah that waddle Fonte Wyatt Now it's targeting straight up man Diamond hands DK Metcalf So they're not gonna actually show like flights. I'm guessing Hollow rated rookie Calvin Austin a third Steelers Damian Pierce. Oh Here we go. Oh, there it is Dominators my homes Stars rated rookie rake bride for the Cardinals Hit the ref dude You want to talk about a fool That's like Like a swing on a player in college you get ejected it regardless. I think now, right? Yeah Stars is Herbert for the chargers I think they had a few too many of those like for all is there like that say it like you swing and you're done You don't even gotta make contact the same way. Yeah, you don't gotta make contact. Which is good. They're kids, dude. I Yeah, that'll do it Stars Derek Brown for the Panthers There's a lot of University of Pittsburgh in this Stars rated rookie scholar Thompson for the Dolphins Maybe that's why it's crazy Stars is Robert Woods for the Titans So then they added the thing where it's like can't be to it's like defenseless and like neckerhead type stuff Got Antonio Freeman autograph for the Packers There we go. We got an autograph. That's good Stars of JJ Watt for the Cardinals Emmett Smith retro series Hollow is Eekul Elliott for the Cowboys Juan brisker Great Iron Kings rookie was Sam Howell James Williams rated rookie Diamond or Whiteheart rookies is Malik Willis Hollow to a elite series breeze hall Stars rated rookie Danny Gray for the 49ers So everybody up to you. All right chat okay, are we Relive Testing testing testing testing testing. Oh, there we go. There we go. All right. All right. All right.  Hello. Hello Jay start Jay star or oh, no, there we go. There we go. Kyra Williams I was making sure we were good. I know it's late Well, we had a like a little OBS hiccup where I had to like reset it so Stars sir tan for the Broncos Little slice on the knuckle not bad Broke skin, but there's no blow. We're good. We're good. We're good. All good Hobbs all good Sauce gardener my house tomorrow chase Hollow Joe mixing Retro or elite series is Kenny picket Breeze hall rated rookie stars rated rookie pickings again for the Steelers loft this Stars of Aaron Donald Tariq woollen Stars Patrick Queen Ravens Mike Evans legendary logos Hollow rated rookie Snoop Connor for Jags We're down in Kings Garrett Wilson. You missed the sunlight Jay Hobbs Stars rated Rookie job over the Ravens. Yeah, so I'm Sean blocks out the sunlight at our home It's got the blackout curtains As my radar stars in the waddle for the Dolphins Stars the Giovanni Williams for the Broncos Yeah, Colin for sure Sean sleeping to sleep on the Pats. He's sleeping on the Pats But it was right Oh You guys starting off tough going from going from freaking LA to to Massachusetts Right rookie hollow zappy for the Pats that must mean you got some decent stretch coming up at home Kobe Dean Stars rated Rookie Calvin Austin a third for the Steelers Trying Colin trying. Do you have one more away game or one more home game? This is 17 games now, so I Don't know how that I guess they alternate that I have no idea got stars Michael Carter for the Jets I know a lot of them play like neutral site stuff Stars Brian Burns for the Panthers Home opener when we see messy Home opener for the Dolphins when you see messy Brock Purdy rated Rookie. I'm guessing Broncos Dolphins would be a 1 p.m. Game though Yeah, yeah, so you watch the whole thing Broncos win that one my house Nick Bosa Almost could be three and oh man. Yeah hollow at TN for the Jags I mean, I'm sure they'll be favored and all of them even if they're at the Pats I think they'll be favored by a little bit What was the Eagles is like minus two and a half or minus three or something? So I feel like it often should be the same hollow rated or not hollow, but a star's ready rookie K-Dotten for the Bucks. I Don't think so Hobbes. We did a bunch when it came out and then we just never really got more of it We don't even have a lot of the light Use a lot of those in mixers. We just never got a ton of the Platinum anniversary hobby stars of Lawrence for the Giants We might get more. I have no idea, but we don't have we have Like less than six or seven boxes of of hobby left Stars is Peyton Manning for the Colts Come on big card big card. Oh, there it is. That's actually right Hollow rated Riki Emerson for the Browns Try to be tough guy up there. I guess send a message or whatever Stars rated Riki Tyquan Thorton for the Patriots. Oh, yeah, you can't have without Vontez perfect on there that guy stinks Stars theory slave for the Eagles do was a problem like an actual problem Stars mark Andrews for the Ravens Security man, we're sleeping in here Paolo Aaron Rodgers Packers Sam Howell rated Rookie Order who's gonna have the biggest turnaround in one way or the other in week two like who's gonna like do way better or way worse next week I would imagine the Giants by default might lead that category like you can't do a whole lot worse than they did Raider Rookie Stars is Snoop Connor for the Jags Stars is Jalen Hertz for the Eagles And stars Rashawn Gary for the Packers And y'all that'll do it for the break. Thanks again got personals coming up in just a few minutes


Senator Uba Asani, two other senators, including two House of Representatives members, have been inducted into the Hall of Fame for the most valuable parliamentarians in the Night Legislative Assembly. The recognition is the initiative of the Order Paper, dedicated to reporting, tracking and archiving activities of the legislature since 2015. Speaking at the event, the Executive Director Order Paper Okéa Épia pointed out that hard work will continually be the yardstick for the recognition of deserving individuals. What we are asking you to join us to do is not an award, it is not an event, it is the commitment of the very significant process that will hopefully help us in promoting the institution of parliament of this country and taking them over us, because the class of inductees into the Hall of Fame would not just receive the recognition and walk away, but they would have the role and truth of play where we have designed this project. And all of this will not be in the course of the media. Commendations boarding for the initiative. It is in this context that it becomes very important that all Order Paper is starting to do now is a commendable effort. We therefore urge the incoming 10th National Assembly, many of some of whom are already here, to use this platform that Order Paper is creating to determine your individual collective actions and roles in the 10th National Assembly to be able to shape the perceptual elegance and the general public half about the role of the legislature, without which the legislature will continue to be looked at upon, looked at upon by both, by other outcomes of government and of course the Nigerian public. Our interest is to ensure that the legislature is fronting so that they can demand for accountability from the government. Without the legislature, without legislators doing their work, it will have been difficult for us to even achieve what we have achieved today. A lot of deviants have been exposed by the legislature. Without public hearing and investigative hearing, a lot of scum would have gone this country. But with effective participation of the National Assembly members to ensure that they put the executive and the entire government into security, it is something that we will have to continue to do in order to promote democracy in Nigeria.