So, we now know how to calculate mass transfer flux in stiff and flow models, coir flow model as well as in Reynolds flow model and we are ready to solve practical problems. So, what I am going to do now is to begin with the stiff and flow model in this lecture. The stiff and flow model essentially deals with diffusion problems because in the considered phase the velocity is 0. So, we shall look at simple inert mass diffusion, inert counter diffusion, we will take a problem a very simplified problem of catalysis, we will look at inert mass diffusion with heat transfer and then finally, consider actually chemical reaction in which the burning of liquid fuel droplet in stagnant surroundings. What a variety of problems to help you with the understanding of this of the variety of applications to which stiff and flow model can be put. So, here is a problem, first problem a 10 liter vessel contains carbon dioxide at 25 degree C and 5 bar as I have shown here 10 liter vessel 25 degree C and 5 bar.  So, the surface area here is 300 millimeter square, the height of the cork is 20 millimeters. Determine the initial rate of mass loss of CO2 through the cork, remember cork because this is at high pressure CO2 would diffuse out of the cork. So, what is the initial rate of mass loss of CO2? When the mass loss takes place of course, the pressure in the vessel will reduce. So, we want to find out what the reduction in vessel pressure will be after let us say 6 months if this was left unused for 6 months. You have been given a property data, these diffusivity of CO2 cork is as 1.1 into 10 raise to minus 10 meter square per second very very small value and there is another quantity called solubility. See when CO2 is in contact with cork surface then the concentration of CO2 at this surface, the inner surface assumes a certain value not the same as 1, but a certain value and that value is usually quoted in terms of solubility as 0.04015 kilo moles per meter cube bar. We shall use this value of S to determine what the inside mass fraction of CO2 is. The outside mass fraction of course is 0. So, let us begin our solution. So, here CO2 diffuses through stationary cork and hence there is no mass transfer flux of cork and using Stefan flow model therefore, we will have n CO2 at any distance y as minus rho m diffusivity 1 minus omega CO2 d omega CO2 d y equal to constant. In other words n CO2 the mass flux of CO2 will remain constant and since a is constant even the mass transfer rate would remain constant throughout the surface. So, how do we solve this problem further? If we integrate this equation from y equal to 0 where omega CO2 i to y equal to b omega CO2 o which is 0 then we have n CO2 equal to minus rho m d b divided by b l n 1 minus omega CO2 i and we will shortly discover that omega CO2 i is in fact very very small and therefore, l n 1 minus omega CO2 i can be taken as a minus omega CO2 i and that is what I have done here approximately equal to rho m omega CO2 d by b i and what is omega CO2 i that is rho density of omega CO2 divided by density of the mixture of cork and CO2 and therefore, this will be rho CO2 i d by b. Now this is where we use solubility as density of carbon dioxide at the inside surface is equal to solubility. Remember solubility is given as solubility is given as s equal to 0.04015 kilo moles per meter cube bar and therefore, on the next slide I have calculated rho CO2 which is kilograms per meter cube would be given as s kilo moles per meter cube bar multiplied by p which is in bars multiplied by molecular weight of CO2 which is kilograms per kilo mole. So, this will give me straight away of course, value of p must be used in bars s is solubility given here and this is the molecular weight of CO2 which is 44. So, if we use this then you get density of CO2 at the inside surface will be 8.83 kilograms per meter cube. So, what will be the mass fraction? It will be the rho cork is 1.93 into 10 raise to 5. So, essentially it will be 8.83 divided by a very large quantity plus 8.83. So, you get essentially omega CO2 I equal to omega CO2 I will be 8.83 divided by 8.83 plus 1.93 into 10 raise to 5. So, that gives you equal to 4.575 into 10 raise to minus 5 and therefore, the initial rate of loss of CO2 m dot will be the area of the cork multiplied by n CO2. The area of the cork is 300 millimeter square and therefore, this will be 300 into 10 raise to minus 6 meter square 8.83 is the density 1.1 into 10 raise to minus 10 is the diffusivity divided by the height d B this is diffusivity is 1.1 into 10 raise to minus 6 and B is 20 millimeters. So, that is 0.02 and this gives you the answer the initial rate of mass flow will be 1.457 into 10 raise to minus 11 kilograms per second which is the answer of the part A. Now, the instantaneous mass loss can be given by you can see here that the mass loss m dot will be volume of the vessel volume multiplied by rate of change of density of d t this is the density into volume is mass, but the volume remains constant. So, there you get that and rho CO2 from ideal gas law would be simply minus V m CO2 divided by R U t P CO2 by d t that is replacing rho CO2 in terms of m CO2 P CO2 R U t d t and that would equal as we said in the in the previous slide A into d by B into omega 2 I S into m CO2 P CO2 I which is the density density of crop I mean density of CO2 on the inside surface is what we want rho CO2 I which is going to now vary with time and therefore, that would also equal as into m CO2 into P CO2. So, this is what you get.  So, R U as you know the universal gas constant is 8314 the time in seconds for 6 months would be 6 into 30 into 24 hours into 3600 the volume itself being 10 liters is 10 into 10 is to minus 3 and the initial pressure is 5 bar initial pressure is 5 bar and therefore, after 6 months the pressure would be if we calculate substitute all these values here you will see 5 into ln of this is this therefore, P CO2 by P CO2 at t equal to 0 will be exponential of all this quantity is equal to minus 0.2637 equal to 3.84 bar. So, that would be the pressure inside the inside the vessel after 6 months and therefore, there will total of some pressure would be 5 which was initial minus 3.1 point 1 6 bar and which is the answer. So, engineers and maintenance engineers are often interested in knowing these values. So, that they know that they would order only the amount that is required for their use and not leave vessels un guarded unused and lose CO2 thereby. Let us take another problem here we consider two large tanks of CO2 which can each contains CO2 plus N2 this is a tank 1 and this is tank 2 both of them contains CO2 and N2 at 1 bar and 25 degree centigrade. So, the total pressure and total temperature of both the tanks is identical, but they are very large the tanks are very large. The tanks are connected by a 1 meter long tube a 1 meter long tube of 5 centimeter diameter. Although the total pressure in tank 1 is 1 bar the partial pressure of CO2 is simply is a low 50 millimeters of a mercury whereas, the partial pressure of CO2 in tank 2 is 100 millimeters of mercury. Now, as a result what would happen is although the total pressures are equal CO2 would diffuse to tank 1 from tank 2 and since mass must be conserved the nitrogen here whose partial pressure will now be bigger than in tank 2 the nitrogen would diffuse in the opposite direction. So, we have been asked to calculate the mass transfer rate of CO2 under steady state. So, here CO2 will diffuse from tank 2 to tank 1 now p CO2 of 100 millimeters of Hg because 760 millimeters of Hg equals 1 bar p CO2 2 in bars would be 100 by 70 60 is equal to 0.1316 bar and in tank 1 it would be 50 by 760 which is 0.06579 bar and N2 will diffuse in the opposite direction. So, that NCO2 plus N2 will be 0 and as you will recall from our diffusion model NCO2 is N total rho CO2 minus d d rho CO2 by dx and since this quantity is 0 we get NCO2 would be simply minus d into d rho CO2 by dx equal to constant. So, now this equation must be integrated of course to obtain our formula. So, rho CO2 is p CO2 divided by r CO2 divided by T from ideal gas law and r CO2 would be r CO2 will be 8314 divided by 44 and that is equal to 188.95 this is r u divided by molecular weight of CO2. So, you get r CO2 equal to 188.95 joules per kilograms per Kelvin and therefore, NCO2 is equal to minus d r CO2 T into d p CO2 by dx equal to constant. Now, from our previous lecture you will look or you can check out that diffusivity of CO2 in nitrogen is 11 into 10 raise to minus 6 298 divided by 300 into 1.5 and since we have our pressure is in bar whereas, 1.0 1 to 1 atmosphere is equal to 1.0 1 to 5 bar and our temperature is 25 degree centigrade. So, it is 298 divided by 300. So, you get 11.0 34 into 10 raise to minus 6 meter square per second. So, integration of this equation from x equal to 0 to x equal to L gives NCO2 equal to minus d diffusivity r CO2 T L which is temperature into p CO2 2 minus p CO2 1 and diffusivity being equal to 11.0 34 10 raise to minus 6 188.95 is r CO2 temperature is 298 K and L the length of the tube is 1 meter p CO2 2 is 0.1325 p CO2 1 is that into 10 raise to 5 newtons per meter square and as a result you will get NCO2 equal to minus all this quantity. The negative sign indicates that the NCO2 is flowing in the negative x direction that is from tank 2 to tank 1 and therefore, the mass flow rate M dot CO2 will be NCO2 multiplied by pi by 4 into diameter of the pi 0.05 which is 5 centimeters 0.05 square is equal to minus 2.55 into 10 raise to minus kg per second. So, this is the answer to our problem about the rate of diffusion of CO2 in this pipe in this problem from tank 2 to tank 1. We now look at a third problem you know that in exhaust gas of let us say of an IC engine may contain nitrous NO nitric oxide and you are told that it is the exhaust gas is at 500 degree centigrade 1 bar pressure and it contains the mole fraction of NO in that stream is 0.002 and the mixture molecular weight is 30. Now, in order to extract NO out of this you pass it over a catalyst surface. So, you have a basically you have a let us say catalyst surface and this is the hot gas which contains NO x NO infinity equal to 0.002. The temperature here is 500 degree centigrade or T is equal to 773 Kelvin and the mixture molecular weight in the infinity state is 30. Now, what I am going to do is although the gases are moving I am going to make a few assumptions in order to render the problem tractable in a very simple way. So, it is assumed that chemical reactions involving NO are very very low 500 degree centigrade. In other words over the entire flow of the gas over this surface NO does not react with any other substance any other species in the gas and therefore, NO essentially remains constant the concentration of NO essentially remains constant. It is neither destroyed nor generated in this over this length of the pipe of the surface. So, we can take NO equal to absolutely constant 0.002 which is the volume mass fraction of the of NO as given. Further at the catalyst surface NO is absorbed with kinetic rate N W. Now, of course, absorb means it is in this direction and you are told that N NO will be k times rho m into omega NO W where k is the kinetic rate constant and its value has been given as 0.075 meters per second. Now, it is further assumed that NO diffuses to the catalyst surface over a stagnant layer of 1 millimeter. What it means is that near the catalyst surface the velocity is so low as you can see it will be like that. So, the velocity is so low that we can in fact take this as a very stagnant layer in the extreme case stagnant layer of 1 millimeter thickness. So, that is what we will do and you have been told that take in this very small layer remember there will be some effects of turbulence and therefore, all the very small we are told that take d effective equal to 3 times d the laminar diffusivity and the laminar diffusivity itself is given as 10 raise to minus 4 meter square per second. So, determine the steady state absorption rate of NO and omega NO W. So, here the total N total will be N NO plus N others, but we have been told that in this layer it is a stagnant layer. So, N others is 0 because N O is the only one that is diffusing whereas, the other species simply do not diffuse and let y equal to 0 define the catalyst surface then diffusion rate will equal the kinetic rate and what will be the diffusion rate N NO equal to N NO omega NO which will be the convective rate and this will be the diffusion rate out. So, N NO is as shown here this is the N NO equal to N NO into omega NO minus rho m diffusivity omega NO by dy and that will be equal to the opposite minus k rho m omega NO because absorption is taking place in this way whereas, our formula is for positive N NO and this is the expression. So, that is what I have written here N NO is equal to N NO omega NO minus rho m d omega NO by dy equal to minus k rho m omega NO at W. So, if I rearrange the equation then N NO will be minus rho m d 1 over omega NO d omega NO by dy equal to minus k rho m omega NO W.  Now, you know already omega NO infinity because remember omega NO infinity will be x NO infinity into M NO divided by M mix the molecular weight and that is given as 0.002 M NO the molecular weight of NO will be 14 plus 1630 and you already given molecular weight of mixture is also 30. So, this gets cancelled and in other words the mass fraction is same as the mole fraction. So, 0.002 and omega NO at W will be if we equate this and this then by iteration you can determine 1.44 into 10 raise to minus 3 which is in fact very very small and therefore, 1 plus b will actually be equal to b itself in which case no iterations are required. Hence the value of rho m P R mix by T will be 0.466 kg per meter cube. Remember R mix will be 8314 divided by M mix which is 30 in the infinity state omega infinity is 0.002 and in the wall state it is 1.144 into 10 raise to minus 3. So, first of all 1 in values the mean mass fraction and that is equal to 0.466 and therefore, N NO is equal to minus 0.466 into 0.075 which is the k value already given to you into 1.144 which is omega NO W into 10 raise to minus 3. Remember this is rho m is from the property data you have been given you take the temperature as 500 degree centigrade P is 1 bar. So, you can evaluate the density as P divided by R mix T and 466 into 0.075 into 1.144 into 10 raise to minus 3 would give you 4 into 10 raise to minus 5 kilograms per meter square seconds. So, that is the first part of the problem. So, in other words if you want to remove this will tell you what is the amount of catalyst surface you will require to obtain given amount of removal of N O from that surface. The value of B itself would be because you know now the omega N O W you know omega N O infinity and that is the value of B would evaluate to minus 5.608 10 raise to minus 4 and it is very small as well as notice that it is negative because there is an absorption going on. Also, if the gas velocity now is accounted then G star must be appropriately augmented from H cough from the heat transfer situation corresponding heat transfer situation and in which case you will need to evaluate omega N O W freshly and carry out the calculation. But as of now in assuming stagnancy you get the mass transfer flux is known which is the answer A and answer B omega N O W was is 1.144 into 10 raise to minus 3. Now, we look at evaporation problem a 50 micrometer liquid N hexane droplet whose density is 659 kg per meter cube its latent heat is 335 kilo joules per kilogram its boiling point is 69 degree centigrade or 342 k. It evaporates in a stationary pure nitrogen environment at one atmosphere and 850 kelvin. So, calculate the evaporation time using T w equal to d B p and using T w equal to T l and equilibrium evaporation assumption. In each case take A m equal to 0.07478 C p m equal to 2.434 kilo joules per kg kelvin and m mix equal to 57. So, in the part A of the problem since the droplet is at boiling point B m H would simply evaluate to T infinity minus T B p H f g into C p m and it will be 2.434 into 800 minus 342 divided by 335 kilo joules per kg kelvin and therefore, that would be equal to 3.69. So, notice that when the fuel evaporates in a nitrogen environment it is prevented from burning and therefore, 3.69 very very very high driving force compared to the problems we have seen so far and therefore, evaporation rate would be rho l into d w i square 8 times K m by C p m into l n 1 plus B m H equal to 6.7 milliseconds remember gamma H is K m by C p m and that would be 19.39 10 to the power minus 6. So, it takes 6.7 milliseconds when the droplet is initially at its boiling point. Now, suppose we do not we injected at some other temperature T l in which case we will have to find out what is the value of T w by from equilibrium evaporation assumption that is by iteration. So, T w equal to T l is is not known and hence we must adopt iterative solution. Now, since inside the droplet there is no temperature variation Q l will be equal to 0 and therefore, our formula would be m dot w equal to 4 pi r w gamma H l n 1 plus C p m T infinity minus T w divided by H f g and that would also equal B m which is the mass transfer formula from B m 4 pi r w gamma m as you know is rho m multiplied by diffusivity gamma H is K m divided by specific heat 1 plus omega B infinity minus omega B w omega B w minus 1 and where from lecture 32 T m if we must assume a T w and evaluate T m. So, presently I am taking it as let us say 596 K and diffusivity of therefore, I will calculate as from our previous lecture where diffusivity of ethane in nitrogen is also given as 8 into 10 raise to minus 6 T divided by T naught phi 96 by 300 into 1.5 the pressures are equal to 1 bar. So, that is one atmosphere and therefore, nothing to correct for pressure and therefore, diffusivity would be taken as 22.4 into 10 raise to minus 6. So, if we now equate these two equations then I get gamma H l n 1 plus B H equal to gamma m l n 1 plus B m and that would essentially mean that this quantity is equal to 1 plus C p m T infinity by T w divided by H f g raise to Lewis number which is gamma m by gamma H as you can see that would be the Lewis number.  So, what one does is a Schumer value of T w and hence since you know T b p you know H f g you know the molecular weight of vapor you know what is m mix. So, therefore, from T b p you evaluate omega V w substitute that value here and calculate the left hand side as well as the right hand side and see if the two are in agreement. Of course, in each case you must calculate gamma m and gamma H for each temperature because the mean temperature would change for each choice of T w and T infinity is 850 as you know already. So, one needs to iterate on these two formula on these two equations in our case m v is 86 or n x n rho m is 1.165 kilograms meter cube Lewis number is gamma H by gamma m is 0.743. So, to carry out iterations we assume T w and evaluate omega V w and properties until the first relation on the left hand side on the previous slide is satisfied within tolerance. So, after iterations the answer is convergence is obtained when T w is 322.1 Kelvin or 49.1 degree centigrade. This is 49.1 degree centigrade for which omega V w is 0.7794 and the properties are mean properties turn out to be 200. So, 2009.5 joules per kg per Kelvin that is a specific heat conductivity would be 0.045 Lewis number turns out to be 0.888 and the mixture molecular weight would turn out to be 43.5 and B H would be 3.167 whereas, B m would be 3.53 because omega V infinity is 0. So, you do see that the effect of Lewis number would be to have B m and B H are different. So, I can use any of the formulae of the previous slide. I can use this formula or I can use this formula only thing is I have to use either omega H and B H or omega m and B m. I am evaluating here from omega H therefore, K m by C p m and for these conditions of T w which is 49.1 degree centigrade I evaluate K m by C p m equal to 22.4 10 raise to minus 6 and 1 plus 3.167 which is burnt. Now, you get the answer as 6.44 milliseconds whereas, by injecting at T b p you had 6.7 milliseconds. Now, you have 6.4 milliseconds so that our assumption of T w equal to T b in part a is reasonable although the droplet temperature is now nearly 20 degree centigrade less than the boiling point. Now, this is as far as evaporation goes, but in actual engines this difference of 0.3 milliseconds can be significant because the total burning time itself is in milliseconds. Therefore, 0.3 milliseconds for evaporation is a significant quantity for engine applications. But here in order to study evaporation of a volatile fuel what we have done is we have taken the environment at 850 K to comprise nitrogen. Now, let us take the same liquid droplet of n hexane of 50 micron diameter and allow it to burn. Again the properties are given and it is burning in one atmospheric pressure and 300 K. We will assume that the droplet is already at its boiling point so T w is equal to T b p and the mean conductivity and C p m of the considered phase are given. The heat of combustion of n hexane is 45.1 mega joules per kilogram and therefore, we want to calculate the initial burning rate and the burning time. Now, for any hydrocarbon reaction C m H n into m plus n by 4 into O 2 plus 3.76 n 2 gives the products. Therefore, our stoichiometric ratio R S T is equal to m plus n by 4 into molecular weight of O 2 divided by molecular weight of C m H n. So, in our present case m is equal to 6, n is also equal to 14 divided by this is 14 divided by 4 into 32 divided by molecular weight of this is 86 and that is what I have done and that would give you 3.535. So, if you look at this then over the b itself would be C p m into T infinity minus T boiling point because T w is equal to T boiling point omega O 2 infinity R S divided by R S T del H C divided by latent heat. This formula stems from the fact that H m can in defining H m I can say C p m into T minus T ref plus omega O 2 by R S T del H C. That means, I have associated the heat of combustion with oxygen rather than with fuel and therefore, I must divide this by R S T and that would give you the formula that C p m T infinity minus T b p omega O 2 infinity by R S T del H C divided by H F G and substituting for C p m 2.839 in kilojoules per kg 300 minus 342. So, remember the sensible part is negative, but the heat of combustion part is positive 0.232 divided by 3.535 into 45.1 into 10 raise to 3 divided by the heat latent heat that gives you 8.48. So, we get even a larger value in a burning problem compared to the evaporation problem which was 3.16 or so, here we get it as 8.48 and therefore, we expect the burning rate to be high and the burning time to be small. So, you can see now here I can evaluate burning rate, initial burning rate is 4.4 into pi into gamma H which is K m by C p m into R w i which is the initial radius 50 by 2 into 10 raise to minus 6 l n 1 plus 8.48 giving 4.12 into 10 raise to minus 8 kg per second. That will be the initial burning rate and the burning time would be rho l d w i square 8 into gamma h into l n 1 plus b h. So, substituting for these values you now see this is just 1.57 milliseconds the same droplet evaporating now it is burning and the time has reduced quite considerably to 1.57 seconds. So, what we have learnt from these sets of problems is that in general in air water evaporation problems the b is very very small, but when fuels evaporate b can be substance even bigger than 1 of the order of 2 or 3 or something of that kind. When the drop when the fuel burns it would be of the order of 8 to 10 or even little greater than 10 in variety of different liquid fuels. So, but all this in stagnant surroundings all this is done in stagnant surroundings. Our interest in convective mass transfer and that we will take up as you go along, but you will recall that even convective environment can be handled by treating it as a diffusion problem provided we multiply the multiply the effective G star of a Stefan problem by the Sherwood number. That is the kind of something we had done in our lecture on Stefan flow model at an earlier time where I showed you how evaporation of a liquid droplet in a moving surroundings can be handled.


Every day, I learn something new about the Wikimedia global movement. I think everyone's pretty nice, so if you make mistakes, it doesn't matter, people will help you. I'm totally blown away and surprised. I'm totally distracted by the two kittens tearing up the son's room. We love collaborating with passionate information activists that share our vision and values. We thought, oh, you must be recognised and you must get a cake. Thank you! Thank you! When you laugh, I'll do it again. Thanks so much. I'm humbled. I'm very excited and I'm very surprised.


Okay, welcome to Python request module just the basics with Tokyo EdTech That is me where we get a quick shout out to all of my channel members special Thanks to Kevin Paul for making it to six months of support Cannot do it without you. Thanks to everybody else who has subscribed commented thumbs up whatever you call it liked and Yeah, join his members. Thanks so much everybody. Anyway today's lesson is the Python requests module and I'm gonna do you know too too much with it But I'm gonna help you get started with and show you kind of how it works at least a little bit of it and The request module is something that usually at least in my case it did not come with Python so I actually had to install it afterwards from pi pi and if you don't have the request module the way to install it is to open up the terminal and Depending on the way your computer is set up you would type pip install requests And notice it's requests not singular or not one request. Let's try and see what happens a pip not found So I'm gonna go ahead and try pip three on my computer and you can see okay That's doing a little bit more says requirement already satisfied because I have already installed this Previous to making the video so you should see some things there. You might also if you're on Linux You might have to put pseudo I'm not sure what the windows equivalent to that would be but you know Check that out for your operating system. So assuming that this is installed What it lets us do is it lets us act, you know contact web sites send information back and forth Etc. Etc. So what I'm gonna do today is I'm gonna show you basically how to do just that Now in preparation for that I've set up a very simple Python script on my web server And I'll show you up with the address in here later when we do the code But there's just a very simple file and it's called dictionary dot py now if I am Trying to send information to this this particular script takes one argument and it is word and Equals and I'm gonna do Apple Okay, that lower case. I'm not sure if it matters or not But what this will do is it will send to my web server this dictionary dot Py file in my server and I'm sending English so Apple and it's returning Japanese so Ringo Like Ringo star is the Japanese word for Apple and so I'm not sure what all other words I don't have that many words in there. It's just a few. I think I have bear and a kuma is bear I forget what C word I did D. Of course, I did dog You know, so just a few Japanese words are listed in this file I should do more but this is just a demonstration So here I'm using a web server All right, excuse me a web browser and the question mark and word equals dog. So my Python script is looking for Word and the value of word in this case is dog And it's as you can see it is returning the Japanese equivalent written in English characters, unfortunately But that'll make life easy. So let's go ahead and do that in code So what I'm gonna do is I'm gonna go ahead and do import Requests and notice it's requests not a singular requests and then what I need to do is I'm gonna go ahead and say what my URL is and my URL in this case is HTTPS colon slash-slash Christian Thompson dot com slash Dictionary dot P y and that is that well what I could do I could do it like this I could do question word equals Apple And I could add it just like that and then what we'll do is I'll say a response equals Request I think it's get Actually, I should have looked this up before I did this, but let's try it. Well, it seems like it's right URL Now this response is a response object. It's not like it's not a string. It's not text So I can print out a couple things. I can say print I'm doing f string here quote and I'll say You know, what's I called a response code? I think it's called response code And quote you'll say here response dot Sponses code that's our response code. What is it? Well, that's why I open this up It is It's in here somewhere I'll put this link in the things below Read the docs. Let's go check out the docs Status code. That's what it is status code and it's response dot status code and 200 means all good 404 means file not found 500 something is usually a server error, etc, etc But what we want is we want to say we want to see the actual response. So the Japanese translation So that's going to be a response dot text So I'm going to save it and watch down here. I'm going to go ahead and run it You can see that you can see there was a little bit of a delay And that's because it was actually contacting my remote web server Christian Thompson comm etc, etc And the response the status code was 200, which means no problem. I didn't need to print that I was just pretty to show you that that does exist and then the text is what it actually printed back to me So I'm able to send information and then I'm able to return it just like that now We don't want to do this every single time, especially if we want to send more than one parameter, so what I can do is I can make a dictionary Params doesn't have to be called params. I could have called it P But parameters or parms params. This is what's been recommended and it is word and Apple this is just a standard dictionary notice. There's no spaces or anything and then I need to add here params So that saves me from having to put question blah blah blah equals and encoding it a certain way Let's go ahead and test it. Just make sure it's working Oops invalid syntax. What did I do? I got two equal signs?  I think we mentioned earlier Again, a little bit of a delay and then there is kuma, which is the Japanese word for bear Now if I didn't send anything, let's see what happens there. I'm kind of curious Okay, so status code 200, but there was just nothing was sent because it didn't know what that particular word was And I think that's about it. I mean, I don't know what else to tell you about this Feel free to use this URL in testing your code Now you might want to do something like, you know, you know, for example word equals, you know input, you know What word? You know, would you like? Translate You know, for example, and then in here I would put Word because that's the variable Let's see if that works. I'm not sure if I haven't tested it, but let's try it out Okay, what word would you like to translate? Let's go ahead and do Apple since we know that works and You can see I entered Apple and it gave me Ringo back. I didn't go. I should say to pronounce it correctly I'll just try it again And let's do Let's do a word that's not in there I don't think cats in there because I'm a dog person and you can see it returns None, this is what I told it to return if the word didn't exist. So that's on the server side So that is basically that Now using this request module you could pull in, you know The HTML from any web page that you wanted to which is pretty cool. So yeah, so that's it It's very short The code is only a few lines long and it's it's quite a useful and powerful Module, so I hope you find some you know good uses for this White hat not black hat of hacking. Okay. Take care everybody. Have a good one. Bye. Bye


Hi, this is Jesse Catton, and this is my new interview series, which I'm calling So what I'm interviewing now is I'm interviewing people that I think are doing the most interesting things in music today. I'm going to start doing a series where if you're doing something exceptional, you're doing something cool, I'm going to talk to you about it. So I wanted to do this with hundreds who I've known for a while. And my friend, Sam Pura, who produced their new record, Somewhere Nowhere, which just came out and I wanted to talk to them because this record is insanely creative. It is just such an interesting record that calls to mind so many different musical things that I love. And what I think is so interesting about this band is they've made a humongous, humongous transformation, their sound over the years. And they've done it really, really, really well. So I wanted to get them on. I wanted them to talk about what it's like to change your sound so much as they've changed it and talk about what the thoughts were that went into making such an awesome record. And I thought Sam would be fun along for the ride because Sam and I talk creativity and he was such a big part of this record. And we're always texting about music. So I thought this would make a good conversation. And I'm incredibly psyched on how this came out. But at the end, we also talk about one of the other interesting things about this band, which is that they have this incredible merch line that really does well for them. That's so much more exceptional than what any group their size is doing. So I wanted to talk to them a little bit about that. So whether you're interested in the creativity around their record or you're interested in how they do their business, I encourage you to watch this interview and then I encourage you to stream their record because I am not kidding. You might say it's either my third or fourth favorite record of this year.  So I look forward to starting this series with them and talking to hundreds. So here's Chadwick Johnson and Sam Pura talking about hundreds new records somewhere nowhere. So if someone scrolled through the hundredth discography, they could not be blamed for thinking it may not be the same band. So many bands get caught up in their identity and then never mind you have actually had success with these sounds. What's the thought behind this evolution that guides you to do what so many musicians do and stick with that sound that did well for them? How have you guys navigated the thoughts behind that? I mean, for a long time there, we were just kind of ringing the sponge. Well, explain to me what you mean by ringing the sponge. I mean, just like running the band as just like a business and doing what we needed to do to get by to get on the trajectory that we were on to be basically just I don't really know the end of that goal was probably just like to be a metalcore band that could play on Warp Tour. And I think once we realized and saw that like, hey, like, OK, we're getting older.  I mean, it's a great it's a great like first goal. But I think for all of us, we were like, OK, so really what's like the goal for us with making music? Do we have are we having fun? And the answer to that question was no, back in 2016, 2015. So what was so what wasn't fun about it? Well, I guess I guess I can't really speak for anyone but me.  I was sick of just like going on tour and playing music that I wasn't like actively wanting to listen to like genre wise or just in general. You know, we were writing stuff on the side that we were way more excited about than we were to write like a hundredth record in 2015 or 2016. So to me, it feels natural at this point, looking back. But I mean, obviously, there's been the 2017 record was a big shock to people. I think that definitely like took the lid off the can of like it ripped the band date off of like, hey, like, OK, this band isn't going to be the same. And I felt like with this record, I was like, hey, we should just go approach it from the same exact way we did rare and we did. And it just came up a completely different way. And like, I think it should at this point, we've kind of realized like it's always going to be like that. And if I could hop in and just what Chad would say for one second. I think the best way to kind of sum up like, like when we started working on rare, like them being like, all right, we got to like, it comes down to the whole, you know, fast, cheap, great thing. You know, like they're at a period where they want to make a great record. But the record in Hopeless's eyes is going to be it needs to be done fast and cheaply so that it can be on warp tour for them to promote it. And that's the entire point of this. And like, I think the entire vibe of like everyone in like really Chad more or so was like, like, who cares about warp tour? Like, what about like Coachella?  Like, I want to go past this whole vibe of of. And I think that he like, I think like, you know, finishing the album and going into like warp tour was like, this is the ceiling that I want to make sure it doesn't limit my band's potential at all. You know what I mean? Like, I think that's kind of like that was the main, you know, focus that I could really pick up from them was like, they don't want to be defined by this scene, by this sound, by these people. They wanted to ultimately play music that they wanted to play in here and and are actually passionate about, you know? Yeah.  And, you know, obviously we all come from this what's for lack of better word, warp tour scene that like the small mindedness of that scene goes against like a philosophy that everybody gets outside of it, which is that when you only aim for something most of the time, you're coming up a little short for what you aim for. When you're aiming for something as shitty as just getting on warp tour. Yeah, it's usually not going to go well for you, my guy. Yeah, exactly. Exactly. Yeah, I mean, not to discredit that though, because like in the early days of the band, that was like, you know, when we're building at first, it's like, dude, if we could ever get that offer, we would be stoked. That would be the first kind of stepping stone, which is, you know, it's probably the same for starting a podcast. You get to the point where you're like, OK, I made my first episode. OK, well, that was kind of shitty. OK, it's time. Like, how can I make this better? What will make this more enjoyable? It's just like to me, I think that's the first that was the first step in our evolution. But like now, I mean, we're obviously at a time where there's a million indie artists making dope music all the time. And they're not even thinking about going on tour, which is crazy. Yeah. I mean, it's always funny because like when you get in the indie thing, too, like I remember like going to a grizzly bear concert and they're playing to 4,000 people Beyonce and Jay-Z are there with Chuck Schumer and like, but they have two yellow shirts for sale. And it's like, hmm, guess they don't really care about their merch much. And it is like so different how different the game is, depending on what it is. And like, obviously, and we'll get into this later, is you guys have gone very heavy on that merch game. Yeah. So let's talk more, though, because even this record is a departure from Rare. I feel like the last records added more like a band that made a record with some band practice, whereas this more closely resembles a record made in the vein of like Tame Impala, Nin or Loveless. Talk to me about how you got there and how this all was different than the last one. Yeah, for sure. I'd say the record started when me and Alex wrote the song, whatever. Which at the time we were just trying to write. We knew that we were going to go in a new direction from Rare, just because of what we had both been writing and what we were having fun writing compared to because when we were writing Rare, we were having a blast because we had never used that many effects or sung on the whole record or. But I think, you know, we definitely look at everything objectively. And I think after the record, we realized Rare is a cool record. I still love that record. But there's things on it that that we wanted to be different. Like it was kind of crazy, aggressive, big drums all the time, guitars, reverb. By the end of it, you're just like in this massive arena of like texture. And everything felt like it was really, really fast. So I think our goal, which when we started on the record was like, OK, let's write some songs that are like using sense in a way that isn't like a synth song. So that's we made, we wrote whatever based around that. And like, you know, we definitely did some new stuff on that one that we'd never would have thought about doing on Rare. Like a transition where we just loop the entire song like over itself and then filter it out to get into a bridge. And I was like, OK, this is now we're starting to incorporate like parts about electronic music that I've loved over the past, you know, five, 10 years. So I think that was kind of the first point of it. And then once we made that, we were like, let's put this out and see what if people like it, we put it out and it's like gotten. It's still like one of our most popular songs in the last like couple years. So that's when we were kind of like when we saw like such a good response to that.  So like that is basically how the album started. We didn't know that that was the start of an album. We were just writing singles and stuff.  The first 40 we like didn't use it all pretty much.  I think that's like how many I'm finished. Or yeah, right before we started working on new stuff. Yeah. And then Alex had a grip of songs he sent over to. But I have like 20 ideas. Yeah. But I think overall I feel like we we were just trying to get somewhere and we had to kind of get through those instrumentals to get where we wanted to be.  And yeah, I think we kind of also had to get our chops up as far as like sound selection and sound design and in general, like songwriting abilities and structures and all that. So I mean, so none of those early songs were kind of moving the needle at all. And we knew that we needed as a band for this album because it had been such a long kind of we put out four singles last year. Everyone's like, where's the album?  Like we're just kind of trying to stay afloat here. So we added a little I did and I'm sure Alex did in some ways, too. But I definitely added some pressure to the fact of like, OK, this album has to bang when it comes out. So none of these if I don't love the song, like if I don't love the demo, like it's it's not even I'm not even going to try to put it on the record. So that kind of kind of became the the new goal. And then that that brings us kind of up to speed of me basically going to Sam Studio and making the bulk of the record from from scratch. Yeah.  And so many people just there, they don't have that push to do it. I mean, it's like that thing Rick Rubin talks about is that he wants two and a half records for every record you put out. And they're going to throw away one full record of that and never even record it. So Sam, how did you see it from there? I like we've talked about this before.  But you know, what's really important is vision. And it's very obvious that Chad, you know, has at this point has a very strong vision and like knows what kind of colors and sounds he wants to paint with, you know what I mean? And so that's where like it's so much fun to be able to be like, all right, sick, well, let's just get you on a track that's going to start streamlining you like quicker towards your vision. You know what I mean?  I'm alone for the ride. You know what I mean? Like it's like, all right, let me just put him in the room next door. Like let's get him working on some stuff. If he like is unsure of something, he'll come over as I'm like building a pedal or whatever and be like, you know, check this out. Like I need some help on this and like I could come in and bounce ideas off of, you know, and like really, I think if anything, it's like I really saw my role as like really just helping streamline the process and keep things inspirational and keep it like keep it moving so that he felt like he was making really good productivity towards towards his vision. You know what I mean? Yeah. And that's way different than like a band like with Rare where we just came to your studio and we're like, Hey, we're here for four weeks or whatever time and by the end of it, we need an entire album. So yeah, exactly. Whatever compromises we have to make during that we're okay with because we're on this label timeline and the whole thing that you mentioned before. Yeah, the whole fast, cheap thing. Yeah, this this was clearly like we're all we care about is making something great right now. So like let's just get on the process of like making something great here and like seeing where we're going to like how we're going to get you like out of here having a bulk of material that like you're like, this is what's up.  I need his fault. You know what I mean? Like it was way more like I prefer that.  You know, yeah. Well, and particularly like obviously the worst thing we've all been through this is just like that thing of like, well, the label says we're out of time and money. But yeah, I know these four songs kind of aren't where they're supposed to be. But whoops, they're going to end up on the record anyways. Yeah, exactly. And then we wonder why the number one complaint about albums on Drop Day on Twitter is how much filler is on them. Yeah, exactly. So one of the things though that I think is among the exceptional things of this record is there's a coherency while maintaining a diversity. And I think that that's truly like while having great songs. The hardest thing to do is do poppy songs that have a unique weird sound to them and still don't let the song get obscured. So you guys want to accomplish that. But to the harder layer that I find really impressive about this record is that most of the time when people do that, it's like the sounds are very similar from track to track, or they're so dissimilar that it's kind of like this gets annoying for some of the songs. This isn't the mood. This all feels like a vibe while being diverse. I know that's really hard because you have a million sounds to work with. How do you guys navigate that? Do you have any thoughts on that? At least from like a initial phase, I guess we could kind of talk about my setup at your studios. And yeah, I mean, at least for that majority of songs. I mean, but even before that, I would say I started working on songs with like starting with no template at all. So maybe I started doing that around like right after whatever. So that helped because I realized a lot of the I get really focused on the end instead of the beginning sometimes.  I'll add I'll make it weird later. And so I found myself doing that on some of the demos where they all just kind of started to sound the same.  So, you know, iridescent, cauterize, leave yourself. Well, yeah, all those songs are just different because I just stopped with the template basically. And that helped a lot. But then when we got when I set up at Sam Studio, we set up a template, but it was like a template that was built around using a bunch of different instruments. So that definitely helped me like being able to just to walk to something and it already be plugged in instead of getting bogged down and using a VST because it was easier, which I still even though we had that template, I still found myself doing because I'm just I'm just better with a VST than I am with hardware and like recalling that sucks. And but I think establishing that template helped me mentally be like, OK, cool. I have like a crazy palette of colors here that it felt like the opportunities were endless of what I could make. So then it almost like I played a trick on myself to where I just tried to not use the same sound again when I started pulling up VSTs.  So that definitely helped, too. But also, I mean, so that's from like a kind of granular way to look at it. But even from like a more zoomed out, I mean, when I would show Sam songs, I mean, the goal was basically to go in there for three weeks and write a new song every day that sounded completely different. So I think that also helped because I was trying to bring in a bunch of different styles that I liked or even modern or old or classic or like on even on like the pop chart of songs that I liked, how they sounded. I liked where like the mix of them. I like some of the instruments that were used. And I think that kind of is the third piece that helped me kind of make everything sound hopefully to most people, all songs different.   Alan Douches would often talk about the thing that, you know, is like classical composer friends would be like, I can't tell the difference between the Beatles and Converge. Yes. I'm like, well, first time I heard the guy say that, I like I did that thing of like, oh, no, he's for real out here. That's insanity. Well, I mean, people hear music very desperately. Yeah, music is subjective. It's very strange. So that so with that, like, were there struggles with that? And like, how did you guys get through them? Like, can you talk to me? The thing about that is that was there things that were really like walls you hit that you had realizations with? This leads you, Sam. A lot of songs, like on my mixes, I wasn't treating every sense. Like, after I treated it, I was fine with it. Like, but then when I sent it to Sam to mix, which we did over zoom for like two weeks or more than that, it was insane. But he wants I colored it and then he colored it again. Then I think things really started to separate and kind of gain their own like moment in the song or in the sound. Right, Sam? Yeah. Yeah, absolutely. Like, just to talk about, like, we know what he was first like writing, like to give you like the nerd kind of explanation of like the setup, like what he walked in, I was like, all right, you know, we got two control rooms, let's have you set up your entire rig over there. Let me get you like your Helix set up on a channel. Let me get you this bass D.I. set up on a channel. Which keys do you want to use? Let's get them on their own channels and like route MIDI to it. So like, like Chad is saying, like he could go and just be like, oh, I want to record guitar and pick it up and press record, as opposed to like have to set that up and stuff. So I kind of I helped like really try to like streamline him to be able to stay focused on like just creation, you know what I mean? And like, that's why I really like, you know, kind of dabbling around with Ableton at home now when I can, because like I thought Ableton was so cool to work with in terms of that, like when I work on Pro Tools, like, like he said, like he hears big picture, like end result, like I hear all of that in Pro Tools, like, and I hear it so much so on like a pixel level that like I have to magnify everything and work on the details. But like in Ableton, it's like that that whole kind of process isn't really there. So it's actually really fun to just stay in the creative, like working on a song moment, you know what I mean? But I could also see how like the editing capabilities aren't really there, like with like, you know, really fine edit, like vocalizing and all that kind of stuff that like I love to do with with tracks, you know? So I think the only thing that became troublesome was like, how to successfully get his data from Ableton into Pro Tools without harming anything he did, you know what I mean?  Like, no, no, no, like he has a very, very, very clear vision of like where he's going and I want to I want to jump into there and help that achieve its desired end result as opposed to be like, oh, it's cool.  You know what I mean? Like if anything like it's like there's a whole like, don't kill the patient thing.  Like it's like very careful analysis of making sure that I'm actually doing a beneficial thing to the songs and the sounds, you know, so like I wouldn't say that it was like it was troublesome. But like that was an attention to detail that like I really hadn't put into other stuff before. You know what I mean?  And then I'd hear like a tiny lip smack that would be out of two off time with the other double and would create a flam in my head. And I'm like, something doesn't sound right on this vocal. Send me a dry. Let me let me go down to the finer details. But so if anything, it was like it could have been annoying to like go through every single step of that for some people. But I found that fun because I troubleshoot at every single issue that I heard and it sounded better each time. You know, so it just was a much more different and unique process of getting the audio files successfully into my pro tools that we're actually going to benefit them as opposed to reduce their potential. You know, yeah. And to get into the weeds with that, I mean, I think that is one of the really crazy things with like mixing and what you always hear about people have to go through is that like, yeah, so much of this stuff that would say it's an effect that's only enabled and that's where it sounds right. And you've got to then be like, oh, but though in the mix, we need a little bit less compression for that to work and finding what that cocktail is and going back and forth is so much of what it is. It's different every single time. You know, and I don't know if you got to read the gear slots with Serban's assistant that recently did like a Q&A on that. Dude, it's really good, man.  You know what I mean? Like, what do they rely on all the time? Like low cut filters, DSers, you know what I mean? Like automating, like vocal things. Like, do you use like a drum bus? Well, only if it's in the session that this person gives me. You know what I mean? Like, if not, then like, I only do it to resolve an issue. Like it's like so, yeah, duh, it's like logical, detailed work on caring about making the song sound great. There's no different than all of us do.  I did also like the thing you were talking about, though, is like one of the things I kind of love about Ableton and its lack of ability to do what Pro Tools does is is that thing that you like you're forced to just work with the palette there and see the process in stages. And I think so many people while it is nice, like I definitely love that these days I can get a better, rough mix than I ever could when I had an analog console in many ways. It's nice to have things in phases and focus on the phases at times. Did that play into the process in any other way? Not really for me, just more so, like if anything, I just grew like a deep appreciation for Ableton and like how talented Chad was with using it and being like, this is sick. Like I like watching you and your workflow on this, like keep it up.   Do you know what I mean? Like if anything, it's like, dude, I see how empowering and how cool it is for this and like how important it is for this entire process. You know what I mean? Like I became obsessed with the idea of Ableton and I want to learn more about it now. You know, Chad, was this the first record for you guys in Ableton? No, we wrote Rare Enable. Well, a mix of logic and Ableton. We switched kind of halfway through. I'd always use logic as a kid and well, not as a kid, I guess, like as a, you know, 17 to 22 or something. I use, I use logic and I know it was fine, but I don't know. Once I got the Ableton push and Ableton, it just everything just clicked for me as far as how to make the software work for me instead of me trying to find all of these different parameters and how to use them. Like Ableton just makes more sense to me. And when I actually took the time to learn it, I was like, oh, I can make, I can get what's in my head out way faster this way than with logic. And I think also, like in those times, I didn't realize how much, how important your sample folder was of like drums. I just didn't realize what you could really do with drums until I really got into Ableton and realized I could just drop these samples in here. But for some reason, I never clicked. I could have done that in logic, which also at that point, I'm just at that point, we were just using, like when we were writing a song, it would be like, and I wasn't doing a lot of the writing back. I would write a song every now and then for like hardcore version of hundredth, but it would be like superior drummer and like guitar rig and all fake shit until we went to the studio and played it. So it wasn't like we weren't doing the actual production of the album. But I think once I once I kind of learned Ableton and realized like some of the songs I was making for like my side stuff or remixes, just messing around, I realized, hey, I think I can make, I think we can make the entire album in Ableton and then basically get Sam to mix it because to me, like it's one of those things where like I'm happy with my mix, but I know it's only because I haven't heard a better version of it yet. Yes.  So to me, I'm like, OK, well, I know, like I honestly don't think anyone else would have been OK with the record the way the way that we did it, except Sam, you know, it's like I knew I knew that he believed in the vision and I knew that he was willing to spend more time than anyone else to make sure that like the like my source audio wasn't going to get fucked with and changed. And then like and honestly, I even think even though he knew that, if we wouldn't have done it over Zoom, I think it would have taken like so many because because I think it was a feat. Like it almost seems like it just would have taken forever if if you would have actually got me to bounce drives and you would have mixed it, just what I think what was so fun about doing this in two is like, you know, because all I'm doing is sharing my screen and my audio with him.  And like caring about its place in the mix and like and stuff like that.  You know what I mean? It's like, oh, cool. Well, let me just turn off that plugin real quick. Like awesome. Like he's mixing the record with me. You know what I mean? And like actually like getting to actually see every single process of the signal flow and is making sure that we are making the best moves as well, too. You know what I mean? Like even if I'm like not focusing on an aspect that he's hyper focused on, like all of a sudden he just be like, open up this thing. Yeah, maybe it's that like there's too much low cut on this. Like drop the low cut and like wet it up a little bit more. See what that does.  Paul, put up more little plate.  You know, yeah, I remember Sam, when you and I were texting at one point when you guys were getting to the other process and you said that, you know, Sam, you and I have obviously gone through it with people in our lives where the changes don't make the record better. They make it. Yes. And yeah, exactly. That different often then becomes worse. And you were saying the good compliment to Chad, which is that his changes actually did make it way better. Absolutely.  And it's he has great ears.   Being like, turn down my vocal. I don't want to hear it. It's like, no, dude.  And like the mix wouldn't be a half of what it is today. If Chad wasn't like so detailed and persistent about following through with revisions as well, too, you know, like they never were annoying. It wasn't like, oh, Chad always, he always wants more reverb on his voice. Oh, that guy. You know what I mean?  And like they actually make me feel like I'm doing better work. And I'm very appreciative of that. You know, dude, the funny, I just had a thought like we did these EPs with your boy, Livermore back in 2012 and 13th. And I remember he was like, we were leaving the studio one day and it was after like the second EP, he was mixing it. And at that point, we had never given mixed revisions on any of our albums before. It was like, you get what like, I think Paul Weissner makes the first one and Putney makes the second one. And we were just like, oh, yeah, sounds cool. So when he, Livermore, I went to the airport and Livermore sent me mix, mix one and he's like, hey, do you have any revisions? And I was just like, what do you mean? And he's like, he's like, he's like, does this sound good to you? And I was like, yeah, sounds great. And he goes, OK, cool, I'm going to print it. And that was the song. He did one mix on the songs, all four of them. And that was it. And then I didn't really understand. I honestly didn't understand like that. That was even an option just because our label was like before this, our label was just like, oh, yeah, sounds great. Cool. We're going to put it out. Like when we started with it, even on free, I don't remember having any mixed revisions on free. Do you remember there being mixed revisions? I remember you hitting me up. And that was what was so annoying. So free is the first record that we made together, which is basically like the last hardcore record 100th did. And what happened was Shapiro was my manager at the time and he double booked me. He double booked me for stories so far and 100th. So then when he realized it, he was like, oh, don't worry. We'll just have Sam track the 100th record and then we'll have this other guy that works for me, Paul Levitt, mix it. And so then as he was starting that, I was starting the third stories to far record, which is like my least favorite stories to far record I've ever done. Cause it was like so much like work. It was like, it was the fast cheap, like immediately. So as I'm in the middle of like making stories record as fast and as cheap as I possibly can. I remember like Chad hitting me up being like, dude, like, do you have any mixed revisions? Like we need your help on this dude. Like hit up Paul. Like, I'm like, dude, I'm so sorry.    So there was like a little back and forth and like Paul is super cool. Like I forgot that even happened. I forgot that he makes the record, honestly. Right.  He was probably just like, make him sell like counterparts, dude. So is there any aspect to this record that was particularly interesting that would be good for the audience to hear about? Other than my dog and Sam's dog, just chilling the whole time. Yeah, BMS friends. Well, that helps the vibe of the record a lot. You know what's a weird thing? I've learned even recently is producing all these podcasts where the other people are the hosts that I've even learned it's just like records that if the vibe is not good with that, even the podcast starts to suck. It's really weird just the same way. Like we always all talk about it. It's like, yeah, the records you're having fun with. Well, the podcast you're not having fun with too. Or they start to go back. Yeah, it's so funny. I think of anything. I think it was for me.  Like you produce that. It's like, yeah, yeah. But like, I also have to give the disclaimer every time.  You know what I mean? Like, and for me, it's like one of the first records that I got to do like that where like, I'm working with someone who has such a strong vision and like is also capable of doing so much of the heavy lifting themselves. You know what I mean? As opposed to being like, I know nothing. This is my idea. Sam helped me. You know what I mean? So I found that like super fun and inspiring to be involved in because it empowered me to figure out how to help, you know what I mean?  Like I love listening to the record.  And I'm passionate about telling people to check out, you know, as opposed to like, I'm passionate about it because I work so hard on it and like, it means a lot to me.   I had days of my life where I couldn't stop listening to certain songs in there. Like this record is sick.  And also like, well, I hung up with like Ryan from the stories of Father Drummer, who's a great guy by the way. But he was, he was like, you know, I really like all that Hunter stuff. And he goes, it's definitely the most modern sounding record you've ever made. And I was like, that's very true.  But now, like, this feels current. This feels cool today, you know what I mean? Pop Punk is cool again, thanks to machine gun, M.G.K., that was something. No big deal. Oh boy, congrats, Dan. Number one. Nice. Okay. So if that's it on, we'll discuss the record. I'd be reluctant to not talk a little bit about the merch with you, Chad. How did you guys get to the place of doing this more, what's called elevated, not just your, we're selling T-shirts, coffee mugs, and hats and hoodies type thing? Honestly, because I'm really shitty, or I used to be really shitty at Photoshop. So, and we were very poor. Unique, that's a unique answer. Because you're actually so good at Photoshop. Well, no, I'm still not, but I can do more things than I used to could when I was 19. But yeah, I was telling someone this the other day, but basically there was like a point in the band where we were touring all the time, and we had like, I mean, it's every band in the world has experiences. We had like absolutely zero money at all. None of us had jobs, none of us had anything. So basically we were paying ourselves like $2 a day. That was our per diem. And we would go to like the Taco Bell and play that little game. We would buy a taco and then play that little game on the counter with the water in there.  So we basically became like really, really good at that. And that was like how we survived for a long time.  So how do we do something to not, to make more money? And then we're like, well, our label gets a percentage of everything. So the only thing we can really do is make our merch better. So that was basically the starting point.  But at that point, like it actually, it's weird to think about, but that was actually a thing. Like no, logo bands didn't really have like an icon or like they had like a font or whatever they use, but like an actual icon to represent the band or brand, what wasn't a thing. So I randomly came up with- I actually couldn't name a band that hasn't a logo even today. Like I think that's a great point. I think you got like, doesn't Foo Fighters have some like FF thing? The F's, yeah, that's a good, dark side of the moon would be the one, like, you know what I mean for a pink Floyd, but yeah. Yeah, yeah, yeah. I mean, you can argue the 1975 with the square and that thing and- Behind you, the misfits and this goal too. It's so rare when it really is like one of those things- It's well executed. Yeah, it's like one of those things, once you have that, you can iterate off of it in so many ways. It can become the stage, set the videos, it makes so many decisions, so much easier. Yeah, for real. So I mean, I feel like we kind of, we just kind of stumbled into that idea in that whole thing.  Like all of us were just wearing like plain colored T-shirts at the time. So it almost made more sense to like make something that we would want to wear that didn't have like a hundredth all over it or like have like some like crazy like 10 color front where like somebody's ripping someone's head off their body while they're on like a magic school bus or something. Like insane. So, and I could never have made that and we didn't have any money to hire anyone to make that for us. So basically we just simplified everything and we tried to make it like as minimal as possible and sell the garment instead of the design to offset the costs. We were like, okay, let's get, let's print on nicer stuff because no one is doing it. Let's figure out a way, which we had a manager at the time who is really good at sourcing things overseas. So that's how we like kind of started was printing on really nice hoodies, windbreakers, things that bands weren't wouldn't really do. And we would try to drop it in like a make it all look cohesive on when you're like setting it up on a tour. Merch display. So that was kind of how, and then we did a ton of hats like over the years. It was really hard to source hats. Bands couldn't figure out how to do it. And obviously, you know, it's like, you don't talk to me and Sam. We're talking about this the other day. Like people who you don't even talk to would just come up to you like asking me like, hey, how do you make your shorts? We want to make some just like it or how do you make your hats? We want to make some just like it.  Like I'm not just going to give it to you.   But yeah, I mean, I think like we basically shifted focus from like a bunch of colors on a design to single color on a nice garment and try to take good photos of it because no one was really taking really good photos of it. It was all like digital mocks. So I mean, really it was all born out of like, if we want to keep doing this band, we have to figure out a way to pay the bills and a way that all of us can survive. So we were like, well, the only thing we can control contractually is our merch. So that's, and we were like, we just have to make it better. And we have to like look at brands like Huff and Supreme and you know, whatever, whatever like the hundreds, like we just try to do whatever we could to like at the time make it look like our shirt could be in Paxon and no one would like look twice. Now I don't even know if Paxon is a thing anymore. I think there's two important aspects about this though too. I think like number one is what, the first thing that like they did really well, which a lot of people don't really, you know, even understand, but it's like kind of the most basic thing is fitting the media to the media. You know what I mean? Like at the end of the day, like I remember, I think it was Parker from Stories of Horror once said this, who was like, the only way that we make money is by selling shirts. We're essentially a touring t-shirt company. That's what we are. And so like Chad clearly had like a recognition of that as a thing and was like, okay, well, if we're a merchandise company, why don't we make more merchandise?  You know what I mean? What would I want to wear? What would I want to actually put on my clothes? Like why don't I make that? And then if I want to do that, I think other people will want that as well too. You know what I mean? Like it's funny how those are like two kind of like almost like painfully obvious things that are actually like not really obvious. You know what I mean? Like you have to be pretty smart to get that, you know? Also like we got burned for it all the time, but we would legitimately, like if a shirt wasn't selling, I would say, Andrew, wear the shirt on stage. Like we got no, and we got clowned on for it, but like in the end, everyone else started doing it too was like, I would just wear the merch on stage. I would just be like, okay, cool. We just got these hoodies. I'm wearing one on stage. And it was like, I don't even care if this is corny. I don't, I want a clean hoodie.  So this is cheap. I'm going to wear this. And I can wear, I can get a new one every couple of days. And I've designed it to be something I want to wear anyways. And I can sell it after I wear it on the, not tell anyone. So it was basically just like, like, and so we got made fun of so much. Like is this a band? Is this a clothing brand? And the whole time we were all just like, honestly, I'm just happy people are think that it's a clothing brand. But yeah, it is. Who cares? Before this, like, you know, 10 years ago with Man Over Board when we had that defend pop punk shirt get so big. Yes.  And you're like, all right, but you know, we're making, they actually can pay their bills right now. Yeah, yeah. So what I'd be curious about though, is like one of the other things I saw people say is that like, there's people buying it that don't even know about the band. Have you found that? And have like people found the band through the clothing line? It's been a long time since I've seen something like that. Yeah, I think so for sure. Like, especially we're like in maybe 2013 or 14 when we had like these hoodies that were like had like different color sleeves as the, it was like a raglan hoodie. We had to have sold those to people online that like just happened to see it on like a Facebook ad or something. But I mean, I think if anything it has been like a job board on the street. To me, I would never even be mad about that because like, even if you're not a fan of the band, like you can be a fan of the band and not financially support us. And that's fine. If you're just like a casual listener, but if this person supported us and doesn't even know that it's a band, I'm equally as thankful for that. I'm 100% with you.  Yeah, exactly. It's like, oh, cool. Yeah, you have something to say about it? I would love for you to actually think about what I have to do to make you happy all the time.  Yes, that's definitely usually the case. Yeah, they're all jealous.  You know what I mean? I don't know.  Yeah. What do you think about the Jonesy record, by the way? Both of you guys, have you listened to it? Oh, I love that record, yeah. I thought it was amazing. Yeah, I don't know that it's gonna be a long-term listen. Yeah, it's definitely art. Yeah, like, but- I get bored. I'm getting bored. Yeah, it's not songs, it's more art. I get it, but it's got a lot of cool sounds on there, you know? I'll say this, I think I'll be listening to the Robin song for a long time. Mm-hmm, that's a great song. But to me, that record's a good, hanging with the girl, chill out record to have on the background. I don't know that I'm gonna be doing that for a year, but it was good the first three times. My wife kills me if I put on A.G. Cook. I think Chad's wife hates it too. My girlfriend worked with all those people and she kills me when I put it on too. So it's like- Because that's funny. She's like, no, no, no more of your little child. Have you guys heard Glaive or Alden? Yes, yes, yes.   And I'm like, okay, yeah, I get it, I get it.  No. Checking on my sanity. Well, the thing is, it's our jobs to get inspired. And- But I get the same texts like yesterday when I just decided to listen to Breaking Benjamin for like an hour at an excruciating volume. What are you doing? Or Red Hot Chili Pepper is right before this interview. What's up, dude?  Straight up. That's a bridge I can't cross. God's among men. When you guys were setting the shifty shell shock though and I was reminded of, he used to be my best friend's neighbor here. Oh, God.  His girl takes forever and she's all late. I'm like, well, you just say, come my lady. Come, come my lady. He looked at me like- That's a good one. The most disappointed look anyone's ever given.  Sorry, guys. You know, always down to club. I love it.  I'm going to hit stop.  Or on the screen in a second, that's all about how you do just that, where I have tons and tons of videos on how you grow your fan base as a musician who hasn't yet established themselves. So please click that subscribe button and get notified to all my videos and stay tuned for even more content just like this. Thanks so much for watching.


File Request. Granted. Document Version. For your eyes only, your request has been logged. Item Number. SCP-3393. Object Class. Euclid. Description. Because of your ability to access this file and read this sentence, you are SCP-3393. There exist only three other individuals who can access this file, and memetic agents embedded in this document would display alternative texts for these people. Very little is known about you, due to your primary anomalous property. All information regarding you is unable to be viewed or remembered soon after it is created. This includes your appearance, past records, and other information. The only known way to counteract this effect is through the use of a powerful, nested drug that has been distributed to the Director of the Foundation's Antimemetics Division, and researcher. You have attained Level 4 security credentials. Attempts to remove this clearance from your account have failed, as the account itself cannot be located. It is unclear if this is a consequence of your antimemetic properties, or a separate anomalous property. Despite your antimemetic nature, the Foundation has been able to hypothesize a number of your properties. Below is a list of all properties that have a 90% or higher confidence rating.  Evidence, personnel reported doors opening as well as equipment being moved on their own. Property, you are attracted to information about yourself. Evidence, you are currently reading this document. Other files regarding you have been accessed without authorization as well. Property, you seek out information about yourself in order to either delete it or make changes to it. Evidence, this file has undergone a number of unauthorized modifications and deletions. See Addendum SCP-3393-1. Property, your antimemetic properties can be transferred. Evidence, researchers at Site-31 reported that files had gone missing from the database. An investigation led by researcher C*** revealed that this was not the case. The files had not been deleted or moved. Database metadata showed that you were the last person to access these files. Property, you have a strong resistance to memetic agents. Evidence, attempts to utilize memetics against you have failed. See Addendum SCP-3393-2. Property, you are confined to Site-31. Evidence, phenomena that can be attributed to you have only occurred in Site-31 and have occurred recently. It is also corroborated by the fact that all attempts to access this file have come from Site-31. Property, you are Dr. Mackie or the results of Dr. Mackie's research. Evidence, see Discovery Log. Discovery Log, you were first discovered on April 13th, 2018, when records regarding Dr. Mackie were discovered by Site-31 personnel, although none remembered any such Dr. Mackie having worked at Site-31. It is currently believed that whatever event created you occurred on April 12th, 2018 and resulted in the loss of all memory regarding Dr. Mackie and their research. It is currently unknown where these experiments took place and any information regarding the experiments has been destroyed, most likely by you. Addendum SCP-3393-1. Below is one of the modified versions of this file that you produced. Item Number SCP-3393 Object Class, Euclid Special Containment Procedures Don't worry, I can handle this. Description, I wasn't supposed to happen. I wasn't supposed to exist. At least not like this. But let me deal with it. This thing that I am is best kept away from all of you.  I don't want any of you to catch what I have. Just call me self-containing and we'll be good. Addendum SCP-3393-2. Below is a list of attempts to contain you. Operation Name, Site-31 Sweep. Description, Site-31 was evacuated while Mobile Task Force 8-10, Codename CenoEvil, entered the facility in an attempt to locate you. Notes, it was determined that your inability to be perceived is not simply a cognitive hazardous attribute. It is still unknown how you were able to evade 8-10. However, it is hypothesized that you may have used undocumented areas of Site-31. A secondary search for such locations is still underway. Result, Failure. Operation Name, Mimetic Incapacitation. Description, Mimetic Agents were embedded in files detailing information about you that should immobilize sentient corporeal entities. Notes, after the file was accessed, the Mimetic Agent was activated. This implies that you are an entity susceptible to Mimetic attacks. The file remained open for 10 minutes before it was deleted, which has sufficed as evidence for your Mimetic Resistance. Subsequent sweeps of the facility did not locate you. Result, Failure. Operation Name, Bait the Hook. Description, C Special Containment Procedures. Notes, Pending. Result, Pending. It is believed that previous failures to contain you can be attributed to a breach of intelligence. During post-operation reviews, it was discovered that details for Site-31's sweep and Mimetic Incapacitation have been accessed by you before their execution. How you managed to consistently find and access these files is still under investigation. Special Containment Procedures. The following procedures documented here are for the benefit of the Director of the Foundation's Anti-Mimetics Division, O5 and Researcher. Mobile Task Force 8-10 personnel are to be positioned around Site-31 under the guise of normal Site-31 researchers. Access to this file is to be restricted to five selected terminals at Site-31. Should this file be accessed without notice 72 hours in advance, 8-10 personnel are to block off all physical entrances to the room containing the terminal accessing this file. This room is to be quarantined and repurposed as your containment cell. These Containment Procedures are to be written at the end of your file, as to give 8-10 personnel ample time to contain you before you understand what has transpired, thus reducing the possibility of your escape. This concludes this broadcast. Before your internet connection is severed, don't forget to like, share, and subscribe to Site-42 using your Foundation-encrypted YouTube account. And if you really enjoyed the show, become a patron at Patreon.com.


Hi, good afternoon. My name is Dr. Karthik Prabhakar. I'm a consultant in diabetes and endocrinology and I also head the department here at Manipal Hospital. My basic training was from Bangalore, my MBBS. After that I went to UK for my higher specialist training. After achieving my MRCP in internal medicine, I specialized in diabetes and endocrinology apart from having research background. Subsequently, I worked as a consultant in the UK in Yorkshire before returning back to India. Working here in Manipal for few years now, we have developed the department gradually. In that, apart from providing high quality inpatient and outpatient services, we have a good support in terms of patient education, educating patients about insulin technique, glucose monitoring, etc. Because as we have progressed in the management of diabetes, it's not just doctors advising patients to monitor and manage their diabetes. It's not just doctors advising and patients following you. We want to empower patients and that's what we are doing. We educate patients, we give them enough information and with support, we allow patients to monitor their diabetes, adjust their medications, particularly insulin so that they are comfortable and confident in managing their own illness. Because as we know, diabetes is a long-term problem. Patients are going to live with it. It is therefore important that they understand the disease, they know how to handle the diet, they exercise, they monitor aspects of it and therefore we have a facility wherein we educate patients and ensure they have continued support from our side. So apart from diabetes, which is the commonest problem that we encounter in endocrinology or the hormone problems, next comes thyroid. Thyroid is a gland in the neck which as long as it works, the metabolism works well. If it doesn't work well, patients get problems with weight issues, have problems with menstruations, fertility, skin and hair health, etc. So we provide care for patients with thyroid problems, either hypothyroidism which is underactive or hyper which is overactive. Next, we look after other glands as well such as pituitary which is called the master endocrine gland, then parathyroid glands which control calcium levels and the problem of it can cause osteoporosis. We also care for patients with adrenal gland problems, reproductive system, etc. All in all what we provide is a comprehensive diabetes and endocrine care. We use up-to-date facilities for not only testing and investigating treatment as well. So we use up-to-date insulin, what are called as insulin analogs. Apart from that, we have good monitoring systems called continuous glucose monitoring systems. In suitable patients, we use insulin pump as well to manage diabetes. As the number of diabetes patients are going up and gradually India is becoming the capital of diabetes, we have pregnancy patients with diabetes too. There are patients who become pregnant after developing diabetes or more commonly they develop diabetes during pregnancy what we call as gestational diabetes. So we have services wherein we ensure patients get the best possible care and we follow up-to-date international guidelines so that our patients get what is considered as standard care in the western world. Same happens with thyroid as well. Patients can develop thyroid problems before pregnancy whereby a good control is necessary to ensure pregnancy is safe. Sometimes thyroid problems get detected during pregnancy and we manage such patients as well. Coming to diabetes as a lifestyle disease, we know a good lifestyle leads to good health outcomes and a bad lifestyle unfortunately predisposes or puts patients at risk for obesity, blood pressure problems, cholesterol problems which in turn raises risks of heart problems. So lifestyle change is very important and we certainly educate patients about lifestyle importance that includes diet and exercise. In the World Health Day, the World Health Organization says health for all. It wants to provide good care health to everybody wherever they live. Prevention is better than cure. If somebody can avoid problems that are going to happen then they need to go to the doctor comes down. When it comes to healthy lifestyle we encourage patients to eat healthy, keep active, do exercise of at least 60 minutes a day and ensure they don't spend their time sedentary. It could be just sitting in front of a computer or a TV. It's important that they keep themselves active. In case of children we know childhood obesity is increasing as well including India. So ensuring even in children reducing screen time, the amount of time they spend in front of TVs or computers or gadgets that's going to be very important. This has to be inculcated and incorporated from childhood. Having an active healthy lifestyle from childhood would ensure the children grow into healthy adults and the healthy adults should hopefully manage healthy lifestyle so that they live life better, do things in a healthy way and ensure they keep medical problems away. This World Health Day World Health Organization works with a team of universal health care. Health care for everyone everywhere. Obviously somebody becomes unwell seeking health care is one thing but if somebody were to have a healthy lifestyle and are able to avoid illnesses or medical problems their need to seek health care will come down. So a healthy lifestyle will go a long way in ensuring both children and adults have a healthy fruitful life. When we come to lifestyle it involves what we eat, what we do, what activities we do, what habits we have etc. So eating healthy, staying oneself away from bad habits such as smoking, alcohol, having a stress free or relaxed life but ensuring that they work to the best of their potential is important. Eating healthy should start from home, from childhood. So both at school and at home children should be encouraged to ensure they have a healthy lifestyle avoiding junk, unhealthy food, staying active while reducing screen time in front of TVs, computers, mobiles, gadgets etc. Playing outside, keeping themselves active and ensuring these habits or good lifestyle tips are carried on into their adult life. Such being the case children will grow into adults with good lifestyle habits so that they can stay away from health issues and remain well. Obviously genetic factors and environmental factors can't be taken away. If somebody were to still get health issues or health problems seeking medical advice is essential. Thank you.