Welcome to our Beastmaster event. My name is Jeff Bond. Please welcome the composer, Lee Holdridge. Hello, hello, hello. I'm the original Beastmaster, right? Right, exactly. You know, that's me. That's actually me. That's what I used to look like. Yeah, right. The most incredible composer body sculpting ever. Special effects. What can I say? This comes from a huge, like not just a period of science fiction and fantasy films, but like a whole year. This is so often considered like the greatest year in fantasy and science fiction movies. And you're kind of in the middle of this. So tell me how you got involved with Beastmaster. And I think people might think that this was like a ripoff of Conan the Barbarian. It came out a few months afterwards, but I have to assume it was well into production and being made while Conan was being made. I think they were both kind of going on at the same time. And there were other films too that were very similar. All of a sudden, everybody caught on to that subject. It's a great subject for films. Come on.  They're going to be making those kind of films forever. But I got a phone call one day from Don Coscarelli, the director. And he said, I just heard your violin concerto. You're perfect for my film. And I was thinking, oh, great. It must be an L.A.J., romantic kind of film. And I found out it was the Beastmaster. And I'm sitting there saying, what did he hear in my concerto that made him think of the Beastmaster? But I said, I'm not asking questions. You know how it is, composers. You say, oh, yeah, sure. Great. Wonderful. Thank you. But I think he heard something that he liked in that. And he literally just hired me on the spot. And they threw this film at me. And the good news was I got hired. The bad news was we need the score in two weeks. And I said, OK. And we're doing it in Rome because Cam Music is going to pay for the score. Cam Music is Ennio Morricone's company in Italy. They have a studio and he has access to the Rome Symphony in this orchestra of Santa Cecilia. And I said, OK. That's very exciting. But that means we have to go there to record. That takes a day or two out of the schedule. So I wound up 10 days working like a maniac. I got some wonderful, incredible help from Greg McRitchie, the legendary orchestrator who had worked for Alfred Newman and worked on Conan also. So I kept saying to him, how did you get those low? He said, oh, we use this. We use that. I said, OK. I know what to do. And he told me stories. Composers, you'd love this. He said that in Alfred Newman's day, if they made a picture change, the composer would get another two weeks. I said, those days went away fast. They just are gone, you know. But you know, you just kind of fasten your seat belt. And it was a fun movie. I liked it right from the get go. I was very dazzled by everything Don did. I knew it was a tight budget. But I couldn't believe what it looked like, you know, what he did. And I would ask him questions in the spotting. I said, well, the guy says we leave it Don. And then, you know, three minutes later they arrive. What happens? And he looked at me and said, you. So that was the answer. Yeah. The spotting on the film is interesting. I mean, I was watching it and, you know, watching like there's a scene where he falls into quicksand. It's like, well, there would be quicksand music now. There's a lot of interesting choices. Like, you know, you've got a theme for these two ferrets. The ferrets, right? But it's not like when the ferrets appear, make their first appearance, they get their theme. They get the theme when they go into action to help the hero. Right. Well, I was trying to look for, you know, I mean, when you don't have a lot of time, you don't really have time to think about it. I used to say to my friend Alf Kloss, and I said, just close your eyes and write. You know, don't worry about it. Just go, you know, because you just never know when the schedules are really tight. But a lot of it was the director. I mean, he had, he's very musical. And he had very strong ideas about what he wanted. There was a producer, a foreign producer involved, who kept saying to me, Lee, I want boom, boom. I want boom, boom. Okay. Boom, boom. So when I went to Rome, and we were going to do the main title, I had talked to the orchestra contractor and the percussion guys. I said, find me the largest bass drum you have in your life. They brought it to the studio. It was this thing. It looked like... I think it marched with the Roman legions. I think it was that old. And when he hit it, the dust went all over it. But that's what you hear at the beginning here.  He got his boom, boom. Yeah, it's funny, because you have that, but if they were thinking at all about, oh, we want to have this sound like Conan, you don't go in that direction at all and the main title is very warm and romantic. Well, I think I like the idea that the rhythmic aspect of the main title, but it's also, it's lifting. And because of who he was as a character, I felt that because he was sort of a champion of good and he talked with the animals and he had everything on his side.  And in the end, you should kind of go up with him. You should ascend as it were. And I wanted the theme to do that. Yeah, and you also have to write, literally ascending music for this kind of eagle flight that's recurrent. Yeah, definitely. I mean, you know, he wanted, I didn't, I had that theme for the eagle, but that works as a nice counterbalance to the opening titles. That was kind of the counter theme and the two went back and forth. And I saw his relationship with the eagle as, by the way, they dyed the eagle sort of brown. By the way, that's why he looks that way. That was Don. He wanted, he said, I don't want an eagle. I want a brown looking thing. So this poor eagle had to go to make up every day. Yeah, they did.  Exactly, exactly.  I always, I was always thinking like the people, you know, painting that tiger every day if they get to the mouth and be like, that's okay, he looks great. You know, directors have very specific things that they visualize for their films and you have to go with that. And they see things a certain way and I think, I don't know, that was his idea. He wanted the animals to look like that. I'm like, hey, whatever, you know, it's great. And you know, it's funny at the time you're doing the film, you record it. You haven't slept in, you know, two or three weeks. You collapse, you know. And the next thing, somebody calls you 10 years later and says, you know, it's a cult film. You say, it is?  Oh, a car alarm? No, no, we're okay.  There wasn't a lot of exotic, crazy stuff. It was like, you know, Daryl and Ronas is like, all they could do before it was a snake. It's like King Kong, he just gives you a snake and the same thing in Conan. But this movie had some amazing visual stuff and the whole sequence when they're moving the, you know, unborn infant from his mother into a cow, there's a glowing poison they put on their necks. There's the whole idea, the animals and the powers you have to work with. There's these bat men that come back. You turn into a soup.  Well, again, this is his, you know, he basically created this thing. I think it's his script too, isn't it? Yeah, he co-wrote it. He co-wrote it, yeah.  And so he was an ally to me. You know, he kept saying, I want the music to do this here and do this here and do this here. And I said, yeah, I'm writing notes as fast as I can, you know. And I had to do it and I did it fast. But I love this stuff. He pushed me a certain way and that was great. That's what you look for, you know. What do you remember him talking about in terms of, like, treating some of the specific things like the bat men and the kind of whore? There's basically, you know, a ripped horns villain. There's this kind of mongled whore to come in at the beginning and at the end. And the bat men, all that he had to create like a dark, kind of different dark things. No, no, no, he wanted that. But like I said, we didn't have a lot of time. He left some of it up to me, but he told me specifically, he said, I want this to happen here. I want this to happen here. He said, give me a beautiful theme for the eagle, you know, that kind of stuff. And then he said, go right, you know. Right, right. So that's what you do, you know. And by the way, the stuntman told me that that eagle was very lazy. He would only fly downwards. So they would take him way up on this high tower, and they would release him, and he'd make these circles. And they put the camera at certain angles, you know.  So it looked like he was going up, you know. He was just going down. And the eagle was like, where can I land? And nothing else. I love stuff like that, you know. And then when you see the movie, you're like, wow. And Don kept saying to me, he said, with music they'll think he's flying, you know. Were you thinking of, I think, are they the Johns? Yeah, yeah. And they're not the Huns, they're the Johns. The Johns, yeah. For their kind of motif, were you thinking at all of the D.S.E. Ray? A little bit. There's that drum, that drum. I thought a little bit of Stravinsky crypt in there, maybe possibly, you know. You can't help it, you know. I grew up in a symphonic world like many of you.  So if you kind of, a little bit here and a little bit there, that's what, but I can go through Beethoven and Mozart and Brahms and show you where they kind of listen to stuff, you know. So it's just the natural thing that you do as a composer. You're influenced by what's around you. And certain things that affect you and you think about, well, you know, I like what so-and-so did with that. You know, maybe something along those lines. And when you're in a hurry, you do that a little more than all of them. Well, it's funny because, I mean, there are many movies that very explicitly reference the D.S.E. Ray. This doesn't really, it's just like almost the first couple of notes that goes off. So I think most people wouldn't make the connection. You know, I can go to a big blockbuster movie nowadays and I know what they tempt the movie with because I hear the composer struggling to write something just like the temp but avoid a lawsuit. And it's embarrassing and it's terrible what that does to you. And they didn't have time to tempt this movie. So they kind of turned me loose on it. You know what I'm saying? And that was a big advantage for me because I wasn't being told it has to be this way. It's like, well, something like this, something like that. Do something over here, do something over here. And I really, I really believe that in a sense I wanted to see, like I said earlier, this sort of ascent, this man that is reaching for a higher plateau and that's what powers the whole thing. And all the dark stuff, that's just fun. You know, you just write the darkest music. You can write, you know, get those string clusters down there and get those drums and just throw it in there. And it all works, you know. What were you using for this? I don't know whether it's an electronic or something. There's a little bit, yeah, a little bit. Yeah, there's a little bit in there. We had to sort of kind of overdub that a little bit because they didn't really have that in the orchestra in role but we added it in a little bit and put some electronics on it. And you have a beautiful love theme. You don't really get to use it a lot but it's almost like a madrigal, kind of theme. Again, he said write a beautiful theme for her. And I thought that kind of renaissancey thing would fit. I don't know why. You never know what period these movies are in. You know, you say, what year is that? Shhh. Same thing with Conan. What year is that? 857 BC. It's a high-hyborian. I mean, another thing that's struck me about this movie is that, you know, you have a fantastic villain in Rip Torn. And there's a scene where, that's a white-knuckle amazing scene where he's sacrificing the second kid.  And they build this whole sequence and you have your eagle circling and the Beastmaster trying to do it a thousand feet away from this guy. And then they actually throw this kid in. He's like being shoved down into this pit of flame. Oh, gosh. Flash crawling. I think Don read some of those Mayan Aztec legends, you know, about throwing people in these temples.   You know, they would throw people in down pits and stuff in temples. So I think he vaguely was kind of referring to that a little bit. It creeps me out. Yeah, I mean, what's really amazing about the movie, they set up, you know, that he's really one of the most fiendish villains you could possibly have, but they kill him before the climax of the movie. And I mean, I was going to ask you, and I didn't even realize how little time you had to write this.  So you had another whole gigantic battle scene to score after that. The big battle with the horde that comes and that big finale, that is kind of the last big moment of the film and that thing that he did in slow motion was fantastic for music, I thought, you know, and I just literally pulled all the stops out there. And I love the way the film goes into the ending from there and it's very lifting and he goes up into the mountains and she follows him and, you know, the whole thing. Also, very touching when the one ferret dies, you know, I cried. Sacrificed his life. That little guy. Well, yeah, even earlier, too, when the quicksands, they pull the ferret down into quicksands. I was like, where's the... I wonder if the animal people were wrong. I know they have the usual thing about that, but they didn't say no animals were harmed. I'm sure they were, animals were at least severely annoyed. I love that. That's great. That's the ending, too. It's such a complicated... You've got the juns and then the Batman come in. So you really have to... That was so interesting to me because you have to bring back this kind of disturbing music for the Batman because they're frightening characters initially and then you have to basically underscore the fact that they're heroic. There's a noble moment in the score when he looks up and he sees the Batman and it's kind of like, you know, we owe you. We're loyal to you. I played that. I said, you've got to play the loyalty because they are coming back and paying a debt back to him. And then they're scrunching everybody to death. So you get this heroic moment and you... I think, you know, people probably assumed this was the first kind of epic-sounding score that you may have done and I talked to you about this earlier but the thing... The first music I ever heard from you was the score of Jonathan Livingston's Seagull which is another very unusual project and this was like 1973 but it also has like an incredible like first flight to one of the most exciting pieces of music from my childhood and it's got a very epic quality to it. Yes. Well, I... It's been one area that's been good for me is the epic sort of quality. There is a movie of mine called The Pack which is not well known. It's an early Warner Brothers film where I did try out a lot of horror stuff. It was about an island that was ruled by a pack of dogs and it was attacking everybody on the island and there was a lot of really stirring dark music and that and that kind of got my chops going a little bit in terms of what to do for that kind of stuff. So I've been... I've lurked around it but you don't get asked to do those things a lot. Well, what happened after Beastmaster was not a huge success when it was originally and eventually became a cult film but did you get work? Shortly after that I think you did Wizards and Warriors Yeah, Wizards and Warriors was a...  But I don't see necessarily the kinship Beastmaster was kind of in its own thing. If anything I see the Beauty and the Beast TV series it came so after that kind of having some elements but you know, I don't know, like you said the movie wasn't a success right away it was ten years later somebody tapped me on the shoulder and said it's a cult film and I said it's what? It is? Yeah, I was reading that they showed it so much on like TNT and they just called it the Beastmaster Channel Yeah, I mean, you know, I did remember that there was a period where it was on TNT every week Were you ever approached? Did you do the sequel? There was talk about it but then all the producers, the whole thing changed in the different companies It was all like weird I never thought it was quite as good Does anyone here have the score to End of Thin Air? Okay, this is my favorite work by you and it's a score for a TV movie about people climbing Mount Everest and like this huge disaster that happened but that is, I mean every bit is epic if not more epic I think than Beastmaster, it's an incredible recording I'm not even sure how it would have happened because of the TV movie Well, they did want an orchestra and they did give me 60 pieces in London members of the Philharmonic Orchestra which is one of the top orchestras in the world but the budget was tight so one of the beauties of that CD if you can get it, if you're an audiophile that orchestra was recorded basically with some stereo mics and some overheads and that's what's on the CD there's no tracking, nothing what you hear is literally like a live performance right off the floor and the engineer did a brilliant job of capturing it and that CD is amazing because it's literally, you see the orchestra sitting right there and what I heard on the podium is what you hear in that orchestra there were no baffles, nothing in the room and I had a lot of fun in that because we used these Tibetan gongs and the percussionists at the Philharmonic loved this oh yes, we call them nipple gongs because they have the little so I'd say that nipple gong do you have one in the key of C? do you have a C? yeah, this nipple gong is in C he loved this this went on all day long I was watching Everest which has got 3,000 times the budget of that TV movie and I just kept thinking, jeez, I wish this had the score to get to Daenerys it's got this, I mean somehow you created the idea of the effort of climbing the mountain it's incredibly percussive it's got this fantastic rhythm that drives through these cues it's an incredible cue when they actually reach the summit it's amazing if you guys like the Beastmaster you have to have the score it's fun to listen to because there's no edit it's totally just the recording naked as it is it is a thunderous it's interesting thing about certain directors like Don Cascarelli directed this and my friend Robert Markowitz who directed Into Thin Air and I did Tuskegee Airmen with him he doesn't believe in temp scores he gives you the film naked so if you play a note he's, oh, that's beautiful you know, I mean, it's like, oh, yeah, you like that, huh? but the marvelous thing about that is being able to say, okay you just have to create whereas if you get the film with a temp score on it and they say, this is what I want you sit there and you're haunted by something else, you know and it's very difficult it's very difficult but Into Thin Air, Tuskegee Airmen, Beastmaster these are films that I came to a blind canvas and just the director being a cheerleader and saying, I want this Robert Markowitz, big classical music lover built big film score lover loves all the great classics and he would say to me, I want, you know this is what I want here and I want here and I want this to soar over here and I remember him saying to me the first time in Tuskegee Airmen the guys go into it the guy goes into a dog fight he says, what can you do musically that changes somehow this is the first time he's in a dog fight what do you think? and he threw that at me he said, think about it you know, and I went home and I said, serial music 12-tone music haven't used it yet it changes at that point so you say harmonically it's a subtle thing but you're saying the guy's gone into a different place you know but I love directors that challenge you like that because that pushes you out the window so to speak and say, go do something different what kind of inspired you to actually get into the scoring movies and was there anyone you saw as a role model or an inspiration well, I grew up in Costa Rica and I was studying violin and I wanted to be a classical composer but my mother took me to the movies all the time and I saw all the great movies everything from Ben Hurd or whatever and you just sit there wow, that sounds fantastic so it's always there I studied in Boston and New York and I was more going towards the concert world I did some operatic writing and some ballet writing and everything and then this guy approached me one day he had done a ten minute film and so I did some music for him and the next thing you know the bug bites you but I used to haunt the old theaters in New York and go to the New Yorker theater and see like Francois Truffaut festivals and stuff like that and I was always marveling at the scores that Giorgio Zellerou did four, five, six, maybe a small chamber group and they were marvelously evocative and they had great little thematic things and they were quirky like shoot the piano player don't shoot the piano player that score and that sticks with you and that goes with you as you think about it yeah, people always think of him for those kind of small little like Vivaldi scores but he did a couple of epic he did a couple of medieval things absolutely anybody have any questions for Lee Holdrich? you sir oh wonderful, yeah, Jack Bender is the director of that was a good friend of mine we had done a number of TV movies together and we had a great great rapport we worked really well together and he did call me said I'm doing this marvelous movie I want you to do the music so I was on board right from the beginning which was very fortunate and loved the movie I just loved the movie and that would help Harold Arland's ghost staring at you from the other side of the world but you know the movie was different because it was not about it's about the guy that wrote it and about what he went through so I had a lot of fun with that and a lot of fun with that and it was very beautiful, very touching and again Jack, I've been very fortunate Jack Bender loved music he loves music so when you get to work with a director that loves music they really sort of they make you feel good they make you want to write you kind of do something really beautiful for this he would say make me cry here you know like the Dorothy the little girl he said make me cry here and man I spent days on those eight bars where was it recorded? that was here that was here was that the old remember there used to be a studio on the old CBS lot it's gone now in studio city thank you they're gone what's going on? why are these studios disappearing? it's not a good thing anyone else? splash oh yeah I love splash I love splash I mean that still to me is one of the best romantic comedies that anybody ever did and I'm going to tell you something I really think you know I see a lot of romantic comedies what they're missing is the writing the script the writing in that is absolute gem when you think about it right from the get go every bit of dialogue every bit the same guys wrote Night Shift which is another one this is hysterical hysterical script but I think it makes a huge difference and I mean that movie was so well done so well put together they didn't use all my score for it you know they were very sort of anti they were a little anti music yeah a little bit it's weird talk a little bit about the little animated return to the world of barbarians Korgoth Korgoth Korgoth it was on YouTube yeah it's on YouTube it's a little bit of a cartoon version of Beastmaster that's kind of very strange more rock and roll I had some guys come in put your guitar on it and everything and stuff so it sounds that way it's a good little score oh thank you a lot of people don't know that I could do that stuff I said you know I did have a little bit of a rock and roll year before Neil Diamond when I was kind of a rocker but I don't like to tell people about it too much not this crowd I'm curious on something like Beastmaster where you have crazy time pressure and your stuff is so thematically distinctive and to be just sort of delightfully tuneful but committing to these notes in this order and then start writing and how tough is it to know you know it's going to be it's right enough how do you write it that oh gosh I don't know you have to really you know I've been composing since I was 10 years old you know I mean this is like breathing to me composing I mean I I drive on the freeway down things are going through my head all the time it's a very natural process to me to compose it really is and you know it's even more fun when there's a film because now you put your focus on it you know I gotta tell you it's tough when somebody says write a concert work and say about what you just have to make it up but a film helps you and like I said these directors are great because they give you little things that they want but I was just jazzed with Beastmaster I was just having a good time with it and you know you gotta make the timings to change things have to hit but they didn't always hit they were still editing a little bit so I just said oh well it'll work out in the wash but it did but things like you know that when he does the sword and the orchestra it's like he's conducting the orchestra that scene where he's up on the cliff it just kind of worked out but I just watched him and I made sure the tempo went with him you know Can we talk a little bit about the Longway Home? Now the Longway Home is a very beautiful touching film I don't want to keep boring you guys but they they had a composer for that film and they were not happy and I have to quote the rabbi he says can't you find me someone who could write a melody so I don't know through various sources I came on the scene and I wrote that opening sequence I played it for them on the piano and they loved it and who knew that film would win an Academy Award you know I mean it was like Billy Crystal had that great line he was the host that year when Rabbi Hire and Rick Trank went up to accept the Academy Award for the film Billy Crystal said even my rabbi is winning Oscars what's going on here I always remember that so I think we've got another montage to show right? ascending four chord thing I used that all through the film there's a four note thing at the beginning of that sequence that you take things like that it's like a symphony you take building blocks that you have and then you bring them back and then you elaborate on them and maybe you reverse them and you do all that stuff all my friends Dimitri Shostakovich and Bella Bartok they all did that and Hindemith and all the great guys you know that's such a great encapsulation of the whole score all the heroic elements the kind of texture for his power over the animals you have the eagle music and the Beast Master theme they're all intertwined and I think that's what you try to do in symphonic writing is that they may sound different but then you realize they're part of the same feeling that's what I love that in my heart I'm a symphonic sort of that's my background that's where I came from so I always go back to that well and I sit in awe of the guys that did that came before me and I say how dare you even let me into your room to listen to your work much less you know what happens to me a lot in LA I'm sitting there and I'm writing and I think I'm doing a good job and everything and then I've got to go run an errand I get in the car and I put on serious radio and then I say oh that's how you're supposed to compose music so we also have the what is the climactic battle scene right right right yeah yeah so we can show that and then I think we're going to get stuff signed right yes that's okay tailwind yeah right that was a really difficult project to work on because of his animation and trying to fit to what he had done and make it work with his tempos you know I had to work literally to his cuts because he had already done the animation it was very hard and in a lot of cases he didn't have the rights to certain songs like he wanted Sinatra but he couldn't get permission to do Sinatra and we did that beautiful montage where he gets married and the guy sounded like Sinatra I forget his name he's a studio singer here in LA he could do Sinatra and you know it was fun to do but it was hard to do I have a funny funny story for you guys about that but I don't know if we have time alright so he wanted blue suede shoes with Presley towards the end of the film okay I said you know I know all the he couldn't get the permission to use the record I said let's re-record it get the permission to do the song we'll re-record it we'll do it as an instrumental I said you know I know the guys that worked with Presley they're around their studio plays I'll get those guys they went on a road with him they know the song we'll do it we'll take him into the studio we'll do blue suede shoes I said you know Ronnie Todd they were all James James I forget his name from Nashville good great guitar player anyway they were the original Presley guys and so I took them into the studio and we start playing blue suede shoes I said Glenn do we need music no no no we know the song yeah okay so you know guys start playing it so they start playing it Ralph Bakshi comes on it's too slow I always said Ralph these are the these are the original guys I'm sure they know the tempo no it's too slow well Ralph no it's too slow we were yelling at each other so finally we cut a track but the music editor and I went to Ralph's house the next day okay let's go listen to the record at your house we'll listen to the tempo and compare it to our tempo he had one of those old turntables you've already figured out the ending it was playing too fast it was like a quarter tone high we were like oh no so the music editor had to speed up our track but that's why you thought it was too fast but it's really a brilliant film it's a very strange film it's kind of strange but there's some marvelous sequences in it and very eclectic very eclectic you know supposedly a history of pop music but Owen I almost came to blows with it L.A. Times music critic pop music critic we'll leave names out he couldn't get a white rabbit you know the what's her name Grace Slick he couldn't get that record he wanted it I said I'll do a sound like he said you can't do that I said oh yeah I bet I can and I knew this girl who sang with Eric Clapton who toured with him named Marcy Levy she could do Grace Slick like that so again we did a take down of the original track I had got all the guys got Lisa all the best studio session players we went in with Marcy Levy we cut this track and the L.A. Times pop music critic argued with me he said no that's the original recording I said no no it's not I know it when I hear it and he he was I thought he was going to hit me and I kept saying you know it's Marcy Levy in the studio guys no it's not he said okay whatever whatever whatever you say alright let's watch oh what one more thing about there are I told about that the violin concerto yeah oh okay okay well so let's watch Rip Torn finally finally takes forever oh oh you plenty of time to compose because they stall off on killing him for like ten minutes in the scene to me I remember you know they wanted a lot of theme through that they said we want to hear the theme a lot through this and say okay okay because this cue came a little later and I liked making the ultimate climactic moment when he picks up the ferret you notice that that's the moment of triumph because that you know just to me that's the thing it's there it is that's his caring and his goodness that he has yeah that's such a tricky mind when I was watching it like well they robbed you at the moment of you know really celebrating the death of Rip Torn because you have to voice to the sadness of the ferret sacrifice but I didn't mind that in a way because I thought it was nice to make the epic point really the picking up of the ferret and standing there that to me is like it's like in an opera one that's the moment you know yeah it's funny you'd say that because watching the film is the way Cuscarelli directs actors is a very theatrical especially a lot of the early people are posing and being very declamatory well and Rip Torn is a lot of fun what a great villain to have he just milks it for whatever it's worth they milk it I mean they keep cutting back and he's just kind of like you know he's not dead I made a choice for a reason that when he stabs Rip Torn the character it's a major chord it's not a minor chord often composers like to play that chord but I play it as major because to me it's like his triumph over that evil that's to me is my head is always working on those other things yeah yeah it's a you know when you're watching it you know the only way to kill this guy he has to go into the sacrificial night sooner or later watch two kids but you know that's the only way to dispose of it so he's not going to get killed by some little knife you know if you watch a movie an action movie and for some reason the establishing shot is a pit of snakes and then they go over here you know sooner or later someone's one that's coming it's like okay when are they going to get there any final questions before you rush to have him sign your yes I guess it was curious though when you went to Rome to record this it was sort of a little movie in a way and you get then it makes a question about like when you work with different orchestras around the world I was curious it's like how are different things received do you feel you were treated as seriously just based on the music even though it was a star film oh yeah absolutely they gave me five days of recording with this large large orchestra and it was great the percussion guys had a blast they kept bringing all these old gongs and things and you want to use this you know whatever but I was very I loved doing it I had a blast conducting it because I felt like it's really this is what I liked doing I loved doing this kind of music and I felt I feel like because I I'm a classical guy that the way I work with an orchestra is I don't say this is not serious music it's all serious and we play it as well as we can and we get I get as much out of them as I can and we do it quickly because you know the clock is going and they were like school kids because you know that week was the semifinal in Rome of the World Cup soccer and Italy won the semifinal and they went nuts they got so drunk they came to the studio Thursday morning with dark circles we'll just do some quiet cues this morning you know and as you know that year 82 Italy went on to win the World Cup soccer and the loser that year was Argentina and that was also earlier that year Argentina had lost the Falklands war so in September of 82 Argentina had a new government you know they said look we can lose the Falklands war but we lost the World Cup soccer you guys are out of here alright yes yeah I'm thanks to Lee Holdridge and if you have something for him to sign please open it don't make him open it nice man strong man but this take it out on him I was stronger then thanks for this wonderful score


And now I will talk in a second part on the experiment that underlies the data and the type of data that you will be presented with today and tomorrow. And as I said, it is similar or it has similarity with the much larger data set that you can work on in the second and third week. And so I will talk about how to estimate firing rates, a very basic measurement method, but you will do it today. And then also you can measure directional tuning or you can decode directional tuning today as well or tomorrow. That's why I'm going to work on this.  This is a time point that's called trial start. So the monkey puts his little arm in the center of this, so this is about 10 centimeters. So he sits in front of the screen and he goes like this. And then he has to move his arm. So what happens at this time point that we call time point zero or preparatory signal, it's a cue signal. The monkey is cued with some information and he now can prepare a movement but only one second later, 1,000 milliseconds later, the reaction signal will appear or a go signal and the monkey is allowed to move. So there are three different conditions. So this is the first context here, the first condition. The monkey has its arm in the thrusting position and suddenly one of these six LEDs turns green. And the monkey knows he should do this center out task now. He should move his hand from here to here, touch this button. If this is correct, he's rewarded with a drop of juice. If it's incorrect, he's not rewarded. This is a classical if you wish center out task. Now he waits for one second or he has to wait for one second and if this turns from green to red, he will actually move his hand. In this condition, he knows exactly where to go after one second so he can anticipate, he can actually, you know, he learns this one second and he will initiate his movement even before the one second is over and he has very short reaction times. But there are more conditions, so sometimes there will be two targets and one of them randomly will be the final target. So here the monkey has incomplete information. He has some information about the movement. He's going to do but only incomplete. And what is interesting about this type of delay, type of experiment is that in this delay you try to separate execution of a movement and planning or preparation of a movement and try to also separately analyze this in terms of recordings. Okay, and this is of course three and one of them will be the final target. Okay, there's data from two monkeys, but I think actually you will work only on one monkey and he has been, so these were acute recordings, so at different positions and every sort of working day for the monkey and this is primary motor cortex. Yes, please, question. One that green, if you have more than one target, so both of them will light up and then the animal will have to wait for some time and then one of them will turn off? Yes, no, one of them will turn red and one of them will turn off. Yes, he has to choose this one, otherwise it's incorrect. So here he can plan, still he has sort of a directional, it's a corridor. And we will see later what comes out of this. And I will come back to this even doing a modeling part much later. Okay, this is a typical, now this is one single neuron. Again, the quality is not so good, but I guess you know what it's meant. These are six directions and now the individual trials are grouped by direction. And what you see here is, for example, 41 trials in direction one. First trial and each black tick here is one spike, okay? So each line is one spike train and you repeat the same directional movement here. So this is the preparatory signal, the queuing, and this is the reaction signal where the monkey is allowed to move. And what you can already see for this one neuron is that there's strong activity in these directions and fewer activity in this direction. This we call directional tuning. Classical work that has been done in particular by trotropolis and co-workers in the late 70s and early 80s of last century. Okay, the number of trials is very different for different directions. Why? What do you think? Maybe only hits and... Okay, the suggestion is that it's only correct or in trials, but that's not the point here, actually. So why is it not the same number in each direction? Yeah, yeah. Is the monkey has a bias? The monkey has a bias, hopefully not. Then we have to throw away the data. The neuron we're using is tuned to a certain direction, one or the other? No, it's not about tuning. Actually, it's an experimental thing.  It's random? It's random. So the point is that the monkey, these directions are randomly drawn. Okay, and that means that, you know, there's something like a Poisson distribution of how many trials come out for each direction. And that's important, because if the monkey knows, let's say this would be, you know, 120 trials in total, and he has been there very often, then he gets biased, because a monkey or we, we are clever enough to, okay, we have been there quite often. That's, I think, it will soon come there. That's what we sometimes do in video games, also. You predict, okay, that's all I'm saying. So this is random, and that's why... But it's something you will not like when you work with this data, because you will do everything from scratch today and tomorrow. So I just give you the data and what to do, and you will program it. You can choose Python or Matlab. We'll talk about this later. But in any case, it's already a bit of a hassle that you have different numbers of trials for different directions, okay? You can't work, for example, with two-dimensional matrices, so on. Okay, how can we measure a fine rate? There's a classical method that we call peristimulus time histogram, so you just make a histogram. So you make bins or histogram classes along the time axis, and you count the number of spikes and divide it by the number of trials, and then you get, and you divide it by the width of your bin, and then you get a number per second, which is a fine rate. Another very simple method is kernel convolution with a linear kernel is what we do today, or what you're gonna be doing. And what does it mean? It means that you convolve a spike train, so you have these individual spike times with some window that has a certain shape, certain weighted window. And what you do is actually, instead of averaging across trials, you can nicely do this also for single trials by averaging over time, okay? There's always a trade-off between averaging across trials and averaging across time. And here, this is a single trial here of spike trains. This one is actually simulated from this point-process intensity, and this is a point-process simulation. And convolution is the same as if you replace each of the spike by a certain shape, for example, this triangle. So if you now sum up all of these triangles, this is your estimate of the rate, okay? You have actually quite a nice estimate of this fine rate. This is a symmetric kernel. You can also choose other kernels. You can also choose non-linear methods and so on. But here we have sort of, you will just do this simple kernel estimate. And then you have fine rates for each of these directions. So this is exactly the same data here. And now you might see better that the average is in black and the individual trials in gray that there's quite some tuning in a certain direction of this neuron. What is also interesting is that the individual fine rates look very variable, or if you maybe think noise and noise in. That's what we're gonna talk about mainly today is what is cortical variability all about. And if you do this, now you have the fine rates for six directions. You can put them in a color code, for example, here that this is time. And then you have this two-dimensional, let's say, that's something you can do if you want today. There are other measures that you can now derive from this, more or less classical tuning vector, but here for a single neuron, this is the uncertainty of the angular uncertainty. So for six directions, circular statistics tells you that this is the baseline and then it goes down. So we have a certainty of 20 degrees or so. And this is a signal to noise ratio. So there are different ways of measuring tuning in a neuron. And if you want to decode direction or information from one neuron or a population of neuron neurons, then we typically nowadays, everybody says machine learning. So we need some sort of classifier or decoder. And I just want to show you how you can do it with a Bayesian decoding because this is nicely intuitive. And if you ever have time left tomorrow, you might try this out. So what is the idea? We have a movement direction D and we have a firing rate R. What you would like to know is, or what we'd like to predict or decode or potentially predict for the future, the probability of observing a certain direction giving your firing rate, okay? I want to say, oh, now it's this firing rate. Okay, the probability for direction six is 0.2. The probability for direction one is 0.4. So I want to know what is the most likely direction where the monkey's going to move, for example. And however, this we cannot measure directly. What we can measure is for each direction, the probability of rates. So this is just a distribution that we can estimate. So for each direction, what is the rate distribution? So let's say the monkey makes, for each direction 40 trials, roughly, we take all these and we estimate this. Then we call this the model and then we use some of the data we don't use for this model estimate. We use this for testing, okay? So this is the idea. You do what we call cross-validation and I'll show you in a minute how this works. But first, what is important is that this guy, Bayes, had great idea or result, namely this relation here. So you arrive at what we want, the probability of a direction conditioned on the firing rate by having this, what we can estimate, and the priors that we can also estimate. The probability of direction, our case, for example, is fixed, is one over six. That's one sixth. And the probability of, the overall probability of firing rate is by what you normalize this. And to show you this intuitively or, I mean, practically, so this is exactly the same data that you saw before. This is now for one particular single neuron. This is one trial of estimated firing rate, a single trial firing rate. And this trial we did not use to estimate this, which is our model. And for each point in time, now we are actually, right now we're at 750 milliseconds after trial start. Okay, this is the time point here. We actually measure, in this single trial, we measure 5.5 hertz. And the question is now, does this give us a probability for a certain direction? And what you see here is, these are just histograms over firing rate, so this is the most trivial way of constructing this. So this is firing rate on the x-axis. This is probability of observing a firing rate for these six directions. So it's actually this thing here, okay? This thing is this. This is also in time? This, yeah, so this is for exactly one time point here now, okay? You have to have this for all times, or that's how we did it. You can, again, different ways of, conceptual ways of doing that. And at this time point, oh, sorry, this was the wrong button. You now check this 5.5 hertz. How probable is it? Nah, probably is it for this and this and this. And you can see already that here, this is more likely, okay? And this is now the percentage. So if you have all, it falls always in this first bin here, and you sum up all of these bins and divide it by the total number, yeah? Then so that the total probability is one, by definition. Then you find out that by 0.458 or 45.8%, this is the most likely direction, okay? That's quite cool in a sense, because this is long before the monkey moves. And what you find in individual single neurons now is, and forget about this first column, but here in the second column B, we see one, two, three different neurons, and they show different types of tuning. For example, this neuron shows, this is now the probability, this is chance level, one over six. And this neuron shows encodes, let's say, movement direction just after the queue, after the queue was given, okay? After the preparatory signal. The monkey is only moving after RS. Then there's another neuron that's very classically is tuned during execution of the movement, but not at all during the preparatory phase. But there's another neuron that sort of gradually builds up and sort of holds information throughout, similar to working memory type neuron, okay? And then interesting is also that one and the same neuron here in C can be involved in computation of this arm movement quite differently depending on these conditions. So this was the one target condition, two target, three targets. So for one target, the monkey knows exactly here already where to go, and there seems to be sort of a, also, so the dashed lines, actually the firing rate is also high firing rate, and then there is a high probability of predicting the correct movement. And it's quite different, and for three targets and two targets, for example, this neuron is again involved, somehow in processing information after the final target was given, yeah? Okay, I don't wanna go into much detail here. The idea is that you can do something similar with this data. The P of R in the base rule, do we also consider that to be stable? The P of R, whether we? It's just a problem of firing rate without ending. No, in our approach here, we continuously did this over time, so the prior P of R as well as P of R condition on D. So we both was measured at each time step. That's why we nicely see these differences here, for example, yeah? Otherwise, if you only compute it here and keep it fixed, then you have a very different outcome. But of course, this is just a Bayesian decoder and it's sort of, if you wish, a very basic way of doing this, and you can throw methods that you learned during this week at this data that you're gonna have next week. But for example, direction, or in this case, it will be different grip types and different experimental variations that you can decode. Okay, and this is, if you do population decoding, if you take more than one neuron, five, 10, 20, or 100, then you're going up to almost probability one, and these are the different conditions. So here you will hit the probability of 50%, which makes sense because the monkey doesn't have more information than one out of two. And here you hit one out of three, which is exactly the information that the monkey has. Okay, that makes sense, yeah? Yeah, okay, good. So this was now explaining you the data where it comes from, and also give you some idea what is in the data that you will be working on doing the exercises.


In an effort to look and feel your best, there are two big things that you need to do. The first thing is one that I'm pretty sure everyone understands, and that is to dress well, because your style tells people something about you. The second thing is something that I think people might tend to overlook, and that is to take care of your grooming, because that tells people that you care. We want to make sure we're doing the right things though, so to help you dial that in today, I'm going to go over eight common grooming mistakes that guys make. I'm Brian Sakawa, and you are watching He Spoke Style, where we give you the information and inspiration you need to dress well, have more confidence, and unlock your potential. The first grooming mistake that guys make is not balding gracefully. Listen, losing your hair at any age is a huge change, and one that can weigh really heavily on you. You might think I'm getting old now, or I'm not going to be as attractive as I was with a full head of hair, so you start doing things to kind of hide it, combing over the bald spot you're getting, wearing a hat more often, basically trying as hard as you can to hang on to what you previously had. I think the thing about balding though is that it means more to you than it does to everyone else. Personally, friends I've seen go through this look so much better and more confident when they embrace what's happening and just get rid of their hair. It could be a really tight buzz with the clippers, or it could be a complete head shave. As hard as it's going to be, you have to embrace this change, lean into it, it will become your look, and you will just look and feel more confident when you commit to letting go of that hair you're losing. Grooming mistake number two that guys make is using too much product, and here I'm actually going to combine both hair products and fragrance. So we've all seen the guy with too much hair gel in his hair, and we've all certainly smelled the dude who wears way too much cologne. I hope that's not you. Now I've heard some people say before that there's a fine line between getting it just right and overdoing it. I don't necessarily agree with that. In my opinion, subtlety is always best. You want your hair to look natural, not matted in big clumps and super shiny. And in terms of fragrance, I think it should be intriguing. It should invite people in for more, not repel them immediately. All right, so for the third grooming mistake that guys make, what I'll say first is that I totally understand why people make this mistake, because it's something you have to do towards the end of the night. And after a long day, you're tired, you're completely tapped out. All you want to do is to get into bed and go to sleep. But if you are not doing this one thing, you are making a huge mistake. And that one thing is failing to wash and moisturize your face at night. Of course, we all do this every morning because it's part of our routine, but you really need to make washing and moisturizing your face part of your nighttime routine as well. You're going to get rid of all that stuff that's built up on your face throughout the day. And moisturizing is critically important because when you're sleeping, that is when your skin is repairing itself and recovering. Getting into a skincare routine like this is super easy, especially if you know exactly what to do. And that is one of the reasons why I love Teesh Hanley, a brand I'm proud to partner with as a sponsor for today's video, as a skincare solution, because they make it so easy and uncomplicated. I mean, here's what I'm talking about. When you open up the box, the first thing you see is a card telling you exactly what to do and when. All you really need is their basic plan, which includes a face cleanser, exfoliating scrub, AM and PM moisturizer. And I know we're talking about nighttime skincare routine here, but the AM moisturizer also has SPF, which you'll need throughout the day to be protected from the sun. Personally, because I'm a 43 year old guy, I like to kind of take it up a notch. So I always opt for the Teesh Hanley level three system, which also adds in a firming serum and eye cream. I've been using Teesh religiously for about nine months now. And I have to tell you that the difference I see and feel in my skin is absolutely incredible. And I'm not just saying that go back and watch some of my old videos from about a year ago, and you'll definitely pick up on what I'm putting down. Now, in addition to amazing benefits to your skin, when you join Teesh Hanley, you get access to tons of perks as well, including 25% off the retail price, the ability to customize your box shipping reminders, the option to pause or cancel at any time, no hassle refunds and free US shipping. And for my international viewers, Teesh does offer low cost shipping to most countries. And because Teesh Hanley is sponsoring today's video, they're offering you guys a great deal. Just click the first link in the description and not only will you get Teesh Hanley for the best possible price, but they'll also give you a free gift with your first box. So click that link to get started for just $25. Okay, moving on to grooming mistake number four. And this I would say is kind of an affliction for those who are really trying to keep their costs down and be economical. And I'm talking about not changing your razor blades enough. If you're using adult razor blade, you are subjecting yourself to pain, irritation, and potential issues like ingrown hairs. Now, if you use one of those cartridge systems with multiple blades, I totally understand trying to stretch the lifespan of these things because they're not cheap. That's why I always like to recommend shaving with a safety razor. You're going to have a little bit of an upfront investment for the razor itself, but then the blades are just so cheap. You know, you can get a pack of 10 feather blades, which are the ones that I like to use for $10. And if you only change your blade once a week, you can see how much sense that makes to have a close, clean, and comfortable shave every time. Grooming mistake number five is shaving against the grain. Now, maybe if you have some really tough skin, this isn't a problem for you, but for a lot of us, myself included, our skin is a little more sensitive and shaving against the grain can cause a number of problems, including irritation, redness, razor bumps, and ingrown hairs, which are the worst. Now, shaving against the grain does give you a closer shave, and it's why people do it. But I would say that if you are having trouble getting a close shave going with the grain, I would encourage you to try one, a safety razor with a double-edged blade, and two, also pay attention to the way your hair grows, because I'll bet you that it grows in different directions on different parts of your face and neck. Grooming mistake number six, that guys make. Now, listen, I'm going to preface this by saying that anyone who puts time into their appearance is doing the right thing, but you don't want to be the guy who looks like he puts too much time and effort into that. Talking about the too perfectly edged beard or super chiseled hair, it just doesn't look natural, and it comes across like you're trying too hard. Grooming mistake number seven, that guys make is neglecting to trim their nose and ear hair.  And I'm talking especially to us older guys, because we know that hair in these areas seems to grow a little quicker and a little more than it used to. So if you subscribe to the mantra that the devil is in the details and that it's the small details that matter most, consider trimming your nose and ear hair to be those small finishing touches that make a huge difference. Grooming mistake number eight that guys make is neglecting their fingernails. I've been told that a guy's fingernails are something that women look at. So you've got to keep them clean, no dirt under there, you want to keep them trim, that's easy to do, and pay attention to your cuticles. Now I'm going to tell you that this is something that I personally need to be a little bit better at. And I'll also tell you that there is nothing wrong with getting a manicure. Don't knock it until you try it, you will see a humongous difference. So there you have it, those are eight grooming mistakes that guys make. Thanks once again to Teej Hanley for sponsoring this video and reminder to click the link down below in the description to give Teej a try for yourself and receive a free gift with your first box.


This paper presents a novel approach to controlling quadruped robots using deep reinforcement learning. The authors developed a learning-based controller which uses a commanded velocity reference to generate a joint impedance reference. This allows the robot to be more efficient with its energy usage and easier to deploy. The authors tested the controller on the Solo 12 quadruped robot and showed that it was able to learn how to walk on different terrains both indoors and outdoors. The results demonstrate that the Solo 12 robot is a suitable platform for research into learning and control due to its ease of transferring and deploying learned controllers. This article was authored by Michel Ariktingi, Pierre Alexandre Lesiat, Thomas Flayors, and others.


Quality of product is essential to continuing success, an outstanding example. Yes, lucky strike means fine tobacco. So round, so firm, so fully packed, so free and easy on the draw. LSMFT, LSMFT program starring Jack Benny with Mary Livingston Phil Harris, Rochester, Dennis Day and yours truly, Don Wilson. Gentlemen, since tonight is our last broadcast of the season, I would like to pay tribute to the star of our show. 15 years ago, a kind and gracious young man started his radio career at the tender age of 37. I was awfully tender. And tonight, 15 years later, he's still kind, still gracious, and still 37. And here he is. This is Jack Buddy talking. And, Don, that was a very silly statement to make. If I was 37 and that was 15 years ago today, I'd be 49. You mean 52? I can get it wholesale. Anyway, for your information, Don, when I started a radio 15 years ago, I was 22. What are you talking about? I knew you'd been and you had gray hair. Don, I was born with gray hair. I was worried about the doctor bill.  And, Don, here's an amazing coincidence. If you read it in a story, you wouldn't believe it. After all these years, who do you think is sitting in the audience this very moment? The doctor. No, his lawyer. The case comes up in court when I'm here, Don, since this is the last program of the year. I've got a surprise for you. I'm giving everybody a bonus. Here's a check for you. Well, thanks, Jack. I know it isn't much, but it'll help you get back to California. This check will help me get back to California. Turn it over, brother. There's a roadmap on the other side. They kill that one good. That was a good joke that I did to that. And, Don, never look a gift phone in the mouth. I want to see that right now.  Hello, here's the last program. Let's go nuts all together. Mary, I'm glad you came in. I was just telling Don that since this is the last program of the season, I'm giving everybody in the cast a bonus. Oh, Jack, how can you afford it after that bonus you gave me last year? What did he give you, Mary? A dozen bobby pins. You got too dirty. There wasn't your car. Phil Harris got a short haircut and had no use for them. All right, all right, but this year, it's different. Now, here's your bonus, Mary. Take this and go out and buy yourself a new dress. Here. Oh, boy, a doobie look kind. I got that by mentioning them on the air. When'd you do that? Just now. But Jack, I was the one that mentioned Klein. Oh, oh, now they owe us another one. Oh, wait a minute, Jack. Do you mean when you mention the name of a product that give you one free? Well, sometimes, Mary, but you have to do it cleverly. Which reminds me, Mary, on the way home, I'm going to stop at Plymouth Rock. Then I'm going to Pontiac, Michigan. And if I can afford it, I'll take you out some night and show you how a cab will act. You certainly pack it a mile in. Thanks, Mary. That was a view week. Say, Mary. Say, Mary, where are you going to spend your vacation this summer? Inside of a luncheon watch. I can go along with a plug. Just be happy with your dress. But I'm not kidding, Mary. Where are you going to spend your vacation? In Grand Central Station. I like peace and quiet. That joke was written three o'clock yesterday. Amazing what 24 hours can do to a gag, isn't it? Oh, hello, Dennis. Hello. Dennis, since this is the last program of the season, I thought it was the. How do you feel, Mr. Benny? Fine. Dennis, since this is the last program of the season. Loving any fun, kid? Dennis, since this is the last program. When are you going home, Mr. Benny? Wednesday. Dennis, since this is the last program. What a bonus. That's what I'm trying to tell you. I'm giving every member of my cast a bonus. Oh, am I a member? Certainly. Is that why you make me pay dues? It has nothing to do with it. That money I deduct from your salary I'm putting away for your nest egg. My nest egg? Yeah, on the other hand, Benny will keep it warm for you. I don't have to worry about a nest egg, Mary. I'm expecting a call from my sponsor any minute to pick up my option. Believe me, this year I'm going to be even tougher to get than last year. Yeah, you're really tough to guess. Well, I was. Oh, sure. The sponsor laid the contract on the table, pointed to the dotted line, and you signed so fast you put half your name on his finger. On his finger, on his finger, some joke. Now, let's get on with this. Hey, Mr. Benny, how about my bonus? Oh, yes, I, uh, oh, wait a minute. I just happened to think of it. I gave you your bonus yesterday. Oh, yes, I forgot. Thanks very much. You're welcome. What'd you get, Dennis? A dress at Klein's. What? With a peek-a-boo waist. That's a take home to your mother. And another thing, kid, I got a surprise for you. I may be able to give you a car. A car? Yeah, a few minutes ago I mentioned the name of a lot of automobiles, the names. And naturally, they'll all send me one. Gee, that won't work, Mr. Benny. I tried it once. I mentioned mercury. What happened? They sent me a thermometer. Oh. So I took my temperature. It was 106. What? Boy, it was. I burned up. Dennis. That's a joke, son. I'm glad you're frozen. Now, come on, Dennis. Let's have a song. Well, yes, come on. It's Wonderful from Annie Get Your Gun, sung by Dennis Day. Very good kid. And I'm happy to know that you're going to be with me next season. Mr. Benny, you tricked me into signing my contract. Tricked you. Dennis, your new contract cost for $38 a week. And that's what I'm going to pay you, $38 a week. So how did I trick you? When you held me upside down, it looked like 83. Oh, stop. Why, Jack, that's the silliest thing I ever heard of. If you wanted to trick Dennis, why didn't you hold the contract upside down? Well, all the pages had Dennis's lighter. So let's. All right, folks. You can drive up there. Well, Paris is sure to be back next year. I'll be here. Ladies and applause for me enough to run me through the summer, you know? Hey, Bill, I heard that. You don't have to worry about the summer. I'm giving you and every member of the cast a bonus. Look, Jackson, I know all about your bonuses. If you really want to do something, just give me a little raise in salary. Raise in salary, Bill. You're the only man in the country that can't strike because you know you're overpaid now.  You're not fooling anybody. I gave you a raise. I know what you do with it. Now, look, you're wrong this time, Jacks. And I'm on the wagon. You're on the wagon? The trains weren't running. I had to get on something. Look, Jacks, I've had a drink since we've been in New York. What are you talking about? I saw you in a bar last night. You ordered a double scotch. That was to dip my tie in. Dip your tie in? I can quit drinking this stuff, but I'm not going to stop smelling it. I should have known. When you get undressed at night, you hang your clothes in the closet, put your tie in the chandelier. Hey, Bill, let me look at that tie. Is it pure silk? No, it's a blend.  Imagine zipping your tie in scotch. Yes, sir, I'm the only guy in town with a wet travestte. New York's are going to hang all the comedians at half mass. The one they should hang, they won't. People, now you know why I need a vacation. Oh my goodness, I nearly forgot. Don, hand me that glass of water, please. I want to take this pill. Oh, here you are. Thanks. Jack, what was that pill you just took? Well, after our show tonight, I have to go over and appear on Fred Allen's program. But what was the? Ben's a green. I want to keep a wave. Better off asleep. I wouldn't have to look at those bags under his eyes. Allen's got the only face I ever saw with patched pockets. Jack, you're just jealous of Fred because he's such a great ad-libber. Oh, some great ad-libber. I can ad-lib better than Allen with one rider tied behind my back. Every week is the same thing. Portland says, Mr. Allen, Mr. Allen, it's time to visit the alley. Shall we go? And then the genius answers. Well, Portland, as what script he's answered said to the other, let's take off. And those people, and those people he meets down there, that tightest moody. Party boob. Dinner. What people see on Allen, I don't know. He tries to read a script. The words get blocked by his nose.  And because it comes out different than the way it's written, they say he ad-libs. Believe me, I'm a better, I'm better. I'm better than he is. I'm three betters. I'm three times as good as that ad-lib. Go on. You couldn't ad-lib a yawn after a gallon of oval tea. I can, too. Hey, Phil, you were on Allen's program last week, weren't you? Yeah. And say, Jackson, you want to know something? What? Did you know that I found out something about Senator Clegg on? Oh, what? He's from the South. No. So help me, patrol. Thanks for telling me, Phil. Now, come on, let's have a band now. OK. Oh, say, Jack. Jack, excuse me a minute. Yes, Don. I may not see you after the show, so I just want to say goodbye now. Don, you mean you're in such a hurry to leave on your vacation? Oh, no, no. I'm going to start my summer job for Lucky Strikes. Summer job? Another program? No, no. I'm going down to North Carolina and pick tobacco. Pick tobacco? Don, you mean our sponsor is making you do that? Oh, no, no, Jack. I begged him for the opportunity. You what? Just think of it, the whole summer feeling those tobacco leaves. But, Don, look, that's fine, that light, that naturally mild tobacco. But, Don, spending your whole vacation picking tobacco? That's my pleasure, Jack. A tobacco that goes into Lucky Wonderful, that makes that strike. Raps my voice and call, hello. I can just hear you do it. As I wait by the Magnolia tree, from over the Everglades will come Cleo's answer. That's Cleo's. Hello. For me, me, me, me, me, me, me. Maybe that's Cleo. No, no, no, no. No, no, no, no. I'm sorry. Don, that's the most touching thing I've ever heard. Well, Jack, I don't know. No, no, no. Don, don't say, anything to spoil it. Play, pal. Hey, Denny, some, that's one on you, Jackson. This ain't even my band. These are New York boys. Well, how'd you happen to pick them up? Easy. I was just walking down the street and they followed my time. Loose, Max, not till after the show. Hmm. No matter where we go, Phil, you always get the same... I'll get it. Hello. What is it, Rochester? I got your truck all packed and loaded on the mule. Rochester, the railroad strike is over. You got the mule before the strike was on. Well, I'm taking the train. I'm kind of sorry you're not going back with me, but I'm glad you got that nice job at the Zanzibar Capet. Oh, thanks for letting me take it, boys. But ain't I the one that's supposed to get the 90 percent? Yeah, but I'm keeping it for you for the next day.  I'm hungry. It'll be safe for me, Rochester. Don't worry and do a good job at the Zanzibar. I will. And before I hang out. Yeah, and Rochester, I bet nobody there dreamed I'd get up and play the violin. Obviously, the tape was full. And I couldn't hear all of it, so there was some guy under our table making a lot of noise. Oh, him? Well, I was ridiculous. By the way, Rochester, why didn't you sing that song to accentuate the positive? I always liked the way you did that. I did sing it. You just didn't hear me. That was when you were arguing with the waiter about the check. I wasn't arguing with him. He charged me too much for the beer, and I was just pointing out his mistake. That was no mistake, and a nice cut you don't get unless you're back on the bottle. Club joint. Anyway, Rochester, you go on and have a good time here, and I'll see you when you get home. By the way, I have a little bonus for you. I mail it to you. Never mind. I'll go down to clients and pick it up myself. All right, goodbye, Rochester. Good luck. So few minutes, our last program will be over, and we probably won't be seeing much of each other until September. But here are your assignments for this week. On Wednesday night, you must listen to the radio because Dave Rose is going to conduct his Warkegan Concerto, which is written especially for me. And next Sunday, at the same time, I want you to listen to the Frank Morgan show, which is replacing us for the summer. It's going to be great. Frank has always done a swell job, and I know he's going to be back and fine for it.  Well, hello, Jack. Hello, Ed. Look, it's a good cell of him. Ed, it was nice of you to drop in on my last program. You know the gang, Mary, Don, Dennis and Phil. Hello, Ed. Yes, Jack, I've met them all except Phil. Yeah, we never had the pleasure. Well, I'll remedy that. Phil, I'd like you to meet Ed Sullivan. Ed is the famous columnist. Well, hello, Ed. Why don't you leave Moscow? I said columnist. My goodness. Tell me, Ed, and what's the... Him I'm going to have back next year. Ed, what's the occasion for this visit? Well, Jack, I came over to present you with an award. An award for me? Mm-hmm. But first, I'd like to get a little interview. See, our readers would like to know exactly what goes on behind the scenes in the radio show. You know, who are the people behind the performance? Well, let's see. First, I must give credit to my writers, John Takkeberry, Milch-Josesburg, George Balger and Sam Fett. I think they're four of the smartest, cleverest, funniest, and most intelligent writers in the business. Well, Jack, it's very nice of you to hear that about your boys. They wrote the line. He had to say it. Never. But Ed, you can take my word for it. They're very clever. Oh, I know that, Jack, and I've heard a lot about them. Jack, isn't it true that Sam Perrin and George Balger wrote the Broadway show, Are You With It? Yes, yes, they did that with my permission. Didn't John Takkeberry write that song, Pickle in the Middle? Yes, yes, he did that with my permission. And isn't your other writer, Milch-Josesburg, expecting a baby soon? Yes, he... Yes, yes, he is. If Hilda is listening, we hope she feels all right. Well, Jack, who are some of the other people who are important to your program? Well, there's my special assignment, man. Hilliard Marks, producer Bob Ballin, musical director Maylon Merrill, secretary Jane Tucker and Bird Scott, and last but not least, Herman McShonisey. Herman McShonisey, what does he do? He explains Dick Tracy to Phil Harris. Now on the acting... on the acting side of the ledger, we have Mel Blank, who plays a part of my French violin teacher, also my parent. Artie Auerbach, the hot dog salesman, Sarah Burner and Dee Benedera, who played the telephone operators.  Frank Nelson, who always pops up on the show, looks at me and says, Yes! Joe Kearns, the keeper of my vault. Mr. and Mrs. Ronald Coleman, who really owned this program, was the star on a During the Weeks They're Off. My NBC engineer, George Foster and Charlie Buck, my soundman, Floyd Caton and Parker Cornell. And finally, Wilbur Clingentheel. Wilbur Clingentheel? He explains Dick Tracy to Herman McShonisey. Well then, I guess that takes care of them all. Unless you want to mention that Jonathan sweeps up after the show. No, no, he left me and is now writing for Fred Allen. Now Ed, how about... Mr. Sullivan, would you mind putting something in your column for me? Why not at all, Dennis? I'd be glad. What's the occasion? My mother had a baby. Well, that is news. When? Twenty-two years ago. Dennis? What's his name? Oh, stop it. I don't want to appear anxious. But how about this award you're going to give me? Huh? Jack, click on my lapel. Oh, pardon me. I forgot myself. What kind of an award is it, Ed? Well, let's call the Ed Sullivan Award for Modern Screen Magazine, Mary, and it's being given to Jack Benny because of his outstanding radio programs during the past season. Oh, and that's such a thrill, really. I'm overwhelmed. I feel faint. Quick, Bill, let him fill your cow. And so, Jack, on behalf of Modern Screen Magazine, it gives me great pleasure to award you this gold prize. Gee, thank you. Stop fighting it. It's gold. Now, but Ed, this is a Modern Screen Award, and I have made a picture in two years. That had something to do with it, too. You know, Mary, it's really a great thrill for me to give this award to Jack because he made his very first radio appearance on my program 15 years ago. That's right, Mary. And who sponsored that program? Let's see. Gerardine Herotonic. Jack made his debut on a Herotonic program? On a Herotonic program? On a Herotonic program? What an opening for an actor who ain't worried about options. Bill, one more word out of you.  Now, quiet. Well, I guess I'd better run along, Jack. Uh, how about another game of golf tomorrow? Certainly, Ed, if you're not afraid that I'll beat you again like I did yesterday. Wait a minute. Say, Ed, did Jack really beat you at golf? Why do you think I had to give him this award? Oh, for goodness sake, it was our agreement that you weren't supposed to mention that. Now you've spilled the beans. Well, goodbye, Ed, and thanks very, very much. You're welcome, Jack, and so long. Crawling to a game of golf, maybe you'd win an Oscar. Mary, Mary, don't be so... Say... I wonder if Joan does play golf. At the same time, again, I want to thank everybody associated with this program and also all of my listeners, even those of you who can't stand Jack Benny.


Your Majesty, Your Royal Highnesses, Vice-President Joe Biden, what great pleasure to have you here. I have the honor to introduce you more formally tomorrow, Dr. Biden, friends, members of the World Economic Forum, what incredible community again. And I have the pleasure to welcome you on behalf of the managing board, and here particularly of my colleague, Howell, who has the responsibility for this meeting. And I'm not counting security and the 2,400 people who are here, plus Robert Hubel, to make your life efficient and enjoyable. We are here, leaders from all walks of life, political leaders, business leaders, our partners and our members. But also I would like to welcome the representatives of civil society, particularly also the young people. We feel with the median age of 27 in the world, young people have to be engaged. So I welcome particularly our young global leaders, our global shapers, and our social entrepreneurs. Please stand up. And for the first time we have even a young global shaper as one of our co-chairs. Welcome. Of course we know that this meeting is very much in the public eye. We welcome the public engagement and we welcome the media here. But this meeting is animated by the best minds in the world. So a special welcome to the heads of our global agenda councils, to all those brilliant people who are here among us. We are a true community and Davos is not just an event, it's not just a conference. It is an experience. And I have 3 wishes. When you leave, the first wish, I hope you have made many friends here. And friends particularly from other countries, bridge building. Second, I hope that you go home with one transformative idea, not just for your company, but for yourself. And finally, I hope you go home and you are, as myself and all my colleagues, convinced that the future of our small global village can only be well managed if there is as much dialogue, collaboration and cooperation. Now I would like to invite my partner and actually the chair of our partner organizations the World Arts Forum to take the place here.


On today's vlog, we tackle a disconnected long bob. 7, 6, 5, 4, 3, 2, 1, go! What's up guys? Welcome to today's vlog. Today we're going back to doing women's hair. I've been really enjoying putting out the men's cuts. I do have a couple more to put out, but I didn't want to just do men's hair for you guys. So today I had a request. That request was from be willy style on Instagram. Thank you for sending the request. I actually really dug the haircut that you pointed out. So here is the look.  We gave it a really nice A-line feel to the haircut. So I think you guys are really going to enjoy this cut. Definitely salon friendly. You'll be able to use it. We also went back to using the carving comb. So I think you guys are going to enjoy that as well. We did precision cut with our dv-20 scissor and then went in with the carving comb to finish the cut up. I think you guys are really going to dig it. Let me know in the comments below if you like the haircut. I love doing these videos for you guys. Thanks for the support and make sure you share this video with all of your friends. Let's get started. All right guys. So today's haircut we're going to have a lot of fun. It's a cool technique. What we're going to do is cut a precision underneath. So I want to section off the top first. So what I did was I followed the part line, which is slightly to the left side of her head. And then I go down to low crown and then across. I don't go all the way down to the occipital bone. I want it to have a little extra density in the bottom for the bottom structure part of the haircut. So I go to the low crown and then diagonal forward down to behind the ear. I do that on both sides. That separates the top and the bottom of the haircut. So the bottom portion from the crown down, that's going to be our precision feel to the haircut. We're going to start by taking a vertical section straight down center back. That's going to be about a half inch, maybe a little bit more than a half inch wide. You don't want to go too wide on that section because that can really throw off your guideline as you're working across. So I'm going to start by going a nice high elevation. I don't want to build up too much weight. What tends to happen when somebody cuts more of a precision underneath and they're trying to stack it up is the bob gets too stacked, too much density build up, too much weight. And then it just kind of has a weird mushroomy effect to the haircut. So I wanted it to fall nice and sleek, especially with those disconnections that are going to fall over later. So you could see that elevation is nice and high. And then as I work down, I kind of follow the round of the head. I'm leaving, not using, leaving a little bit of length at the bottom. So you'll see that kind of tail out at the bottom.  So I don't want you guys to think that it's going to be really long in the back. We're actually deciding how much weight we want to leave. And then we'll decide the length later, and the right technique, any bob that you're cutting, you could go through and do that because it's going to help you kind of decide how much density you want first. Think about when you're cutting the back of the head, decide the density, then decide the length. A lot of times we cut right away, we cut the bottom, and then we go through and we try to build the density and the elevation and how we want that graduation to look. We try to do it all based on how we cut the bottom, but that's not always the best way to do it. So I'm going to go through, pull like it's built in there, but I'm going to take off that back when we get this back finished. Now, to keep my body position the same, what I'm doing now is scooping with the comb. So I was pulling everything towards the center, combing over top of the section. Now I'm combing kind of underneath the section, scooping my comb around using the nice fine teeth of the comb. I'm also using my DB20 scissor. This is the scissor that everyone asked me, what's your favorite scissor? I use the Tony DB20 5.7 inch scissor. It's definitely my all-time favorite at this point. And I'm going through and using that for my precision cutting. So now a lot of people ask me, why do I hold the scissor the way that I just did? I'll probably do it again right here. I do it all for comfort. So right now I'm using high elevation, so I don't need to do that. But then once I get down a little bit lower elevation, it just, it's a lot easier. It's more comfortable for me. And I get a more consistent cut when I flip and I kind of, I put my thumb in the opposite direction in the scissor. So everything's coming straight back to me at this point. Slight bit of over-direction, not too much. It'll push a little extra weight forward. We're cutting a nice even back right now. So there you go, that's the back of the haircut. Now I'm going to go through and blow it dry. I'm using a Palm Mitchell 413 brush. It's a nice vent brush. A lot of people use this brush. You're probably using one in the salon as well. It's a really cool brush. It allows the air to flow through it. So it doesn't keep the hair nice and flat to the head. And I have my Ergo blow dryer as well. Then we go through with our Vibra straight iron. I'm going to iron it out. Now a lot of you might be thinking, why didn't he finish the rest of the haircut? Well, we're going to do all that with a razor. So I wanted to go through, finish the back precision cut, and then treat the other part of the haircut as a completely different haircut, because it really is. So we're going through disconnecting. I comb, I use my comb tension when I cut the back of this haircut, and I just work my way through the back. Still using the DB20 scissor. The thing I love about the DB20 scissor is the nanopowder metal, which I've talked about before. It really allows the scissor to grip the hair and cut it. So I go through, I cut my line, get my nice, precise line in there, and then all that hair is going to fall over top of it to create that disconnection. That's what's going to make this haircut really unique and stand out. So you can see the graduation that we created. Taking out the weight first, then deciding our length after is a really cool way, and I hope you guys use that in the salon, and let me know when you do and what you think. So now we're going to use our carving comb. This is a tool that I'm in love with. We have it on our website. I'm also going to pair it up with the Donald Scott Prepare, which is a liquid tool glide. It allows the razor to just glide through the hair as I cut it. It keeps the hair nice and conditioned. A lot of people are worried about damaging hair, but not with the carving comb. You don't have to worry about that. So I'm going to go through using nice wide strokes with the razor, but you could see how low my elevation is with the razor. You don't have to raise up the elevation too much because I use nice wide strokes with it, but I also, I keep the elevation down and the length longer. So I'm not using my guideline from the graduation that I cut in the back. I'm creating a brand new guideline to have those longer pieces kind of showing through. And what I'll do is I'll show a picture of the haircut that this is kind of the inspiration for this haircut came from. And what I love about it is it had all those disconnected pieces kind of hanging over the precision part. So that was really where the inspiration for this whole thing came from. So I'm going through just over directing everything slightly back, low elevation, but just using the 100% cut side on the carving comb. This is the first time you guys are seeing a carving comb. The cool thing about this tool is that it has 100% cut side and then a 50% carve side. So you can go in and you can just notch out some layers, which we're going to do in a second as well. So now we're going to go in and use that 50% notch side. Same over direction, but just sliding that through once and it'll take out 50% of the hair, create some layering, some movement, and some texture in that haircut. So now we're going to use our Bercato mousse. This is one of my favorite mousse that I use. I've used it in a lot of videos that you guys have watched. If you've been following along for a long time, it's a really cool product. It's also available on freestyleneducation.com and it's just got a really good thick feel to the foam, really conditioning feel, but it's not sticky and that's what I really like about it. All right, now we're really working the style here and what I want to do is I wanted to show you guys how it looks when it's more straight feeling and then also how it looks when it has a little bit of a wave to it like the picture that was shared. So we're going to go through, we're doing a flat wrap with the 413 brush, adding that air in, but wrapping the hair one way around the head and then going back the opposite way, really removing all of those calyx from the head. A lot of people talk about how do you prep hair for dry cutting, all of that. We're not going to do dry cutting in this because I did the razor ring, but if I were going to prep the hair for dry cutting, I would do this flat wrap technique because it allows the hair to lay in a natural form. Any of you guys out there that aren't hairdressers that are watching this just trying to learn the style of the haircut or get inspired to show your hairdresser this look as well, think about the fact that if you have trouble with calyx or anything in the morning, you could use that flat wrap technique to just go back and forth and work your way around the head and you'll work out all those calyx in your style. So now I'm going through medium hold seamless that falls. Even though we have that disconnection in the back, I love the way this looks. It collapses the long hair so you can keep the length in the back. You can keep those longer layers, but it definitely takes out the weight underneath. Now we're going through with our fat iron. I think it's an inch and a half iron from Paul Mitchell. Just ironing back off of the face. And I work through just really fast using a wide tooth comb. That's our 332 comb that's the style that way. A little bit of firm hairspray but you can see that wave and that kind of how it kicks over the disconnection. Such a cool look. Hope you guys like it. Let me know in the comments below. Hit the subscribe button. I got a ton more videos coming your way. Alright guys, if you like this cut, remember, hit the like button. Hit the share button. Share this video with all of your friends and also go to those. Thank you guys for watching these videos and always supporting. Hit the share button. Share this video with your friends and thank you for watching. Alright, thank you guys so much for watching the video. It's officially raining. I'm going to go inside.


This study shows that women's autonomy in exercising their sexual and reproductive health rights is strongly associated with media exposure, socioeconomic status, and age. Media exposure increases women's autonomy, while higher levels of education, wealth, and employment are also associated with greater autonomy. Additionally, women who live in certain provinces or districts are more likely to have autonomy over their sexual and reproductive health rights. This article was authored by Edwiti Nepal, Santakumar Dangal, Sujan Karki, and others.


Now let's do a Kaiba pack. If we do pull an Ultimate Rare, that would be insane, but we have Ancient Lamp. Here we go. Legend, the Mysticals, you need a lamp. Lord of the D. Kaiser glider, and... Chaos Emperor Dragon! Now, Crunch Time, Ultimate Rare Time. Will we get Pot of Greed, CED, Ring of Destruction, Crush Card Virus, or Cyber Dry, I believe that's all. Sword Stalker, a monster formed by the vengeful souls of those who passed away in battle. Very creepy and very awesome Sword Stalker. Polymerizish, he Totsumi Giant. Oh, a super rare XYZ Dragon Cannon, so we did get something pat in the dark clown. Let's see if we can get an Ultimate Rare here. He Totsumi Giant, Blue Summoning Dragon, Sagi, the Dark Clown, and... NONNNN! AGAIN!


What's up guys Michael here with Jaspys and we're gonna be doing 2023 tops archives signature series This is gonna be a full 20 bucks case break PYT number 11 So it was a PYT so we don't have Much we have to do here as far as an intro I guess We've got All The teams that's the brakes are Everyone should know what teams they had R&B means it is a random number block team We'll get into those real quick, but there we go with those and As far as the random number block Once again here are the teams and the people who got into the Random number block here are your numbers but yeah, that's That's that we're ready to start ripping 20 boxes here one card per box. Good luck everybody efficient with this Think I'm actually just gonna take the boxes out. It doesn't make a difference. It's a full case These are getting tall empty case We'll do stacks of five That five there we go. I feel like I made that a little harder than it had to be but Here we go box number one Should we? Should we sweat on? Why not? We'll sweat first card up For the Braves Ronald Acunha Four out of 17 opening day Nice, and I believe yeah, so the Braves were picked up straight up by Ed And I know how much Jason would love this card Jason P that is Nice nice way to start Now that's cool, I know first box That is looks like For the Giants Micah Stremsky 90 out of 99 That is for the Giants, which are a random number block team just as a reminder. It's that we get it to focus It's that number right before the slash so that would be don't go to spot zero Which is for Nancy, so this is for Nancy for the Marlins It's like a jazz Chisholm nice Three out of nine jazz Chisholm from international trading card day Three out of nine Miami is a random number block team Let's try to get the focus That is going to chat With spot three 11 out of 29 Patrick Wisdom is that 11? Yeah 11 out of 29 opening day That is for spot one Michael Michael P Not Michael Jaspie Michael P nice Seven a pretty Patrick Wisdom seven a pretty good season, I believe It's in bombs he's up there for home runs for the Braves again that looks like Ozzy Alves Another one for Ed seven out of 50 now. That's his bowman rookie They slapped an auto on Nice another one for Ed there. Oh Jason for the Jays looks like T Oscar Hernandez 59 out of 92 yeah 59 Toronto is a random number block team going to spot nine. That's Nancy again Nice Actually, er, well, I mean it's a blue Jays card, so it's going the blue Jays, but he's on the Mariners now I believe T Oscar Austin Is that Austin Riley? Wow 14 out of 21 Austin Riley. I think that is a 2016 so that's a prospect For Ed again with the Braves Just get he just got their big three right there Riley Alves and Acunia for Tampa Shane Baz nice It was 74 out of 82 Tampa is picked up straight up by Matt Shane Baz Box number nine Jason It hurts, I know it hurts, but I mean it Was a PYT for the Braves again For the Braves again Shay Langlears I believe he's on the A's now, but that is Braves edition Out of 99 48 out of 99. That's the fourth auto for Ed and the Braves Absolutely destroying this break for the Pirates out of 18 Austin Meadows Six out of 18 there Pittsburgh is a random number block team number six That is going to Matt Nice one there All right. We're halfway through the case now Halfway through the case Like it's gonna be Pirates again little horizontal 45 out of 51. That's Joe Musgrove It's a nice one there Pirates edition, which is a random number block team. That's going to Jason Jason P 45 out of 51 Pitch the hell of a game yesterday against my Dodgers but The Padres blew it in the ninth. I hope you're still watching Jason because you got you hit something Cardinals 72 out of 99 Nolan Gorman Nice one of the top rookies right now. This is his 2020 Bowman prospect card That is 72 out of 99 going to St. Louis, which is a random number block team number two Scott with last spot mojo Getting himself a Nolan Gorman Out of there out of 99. See we still haven't seen a one-of-one in this case here. I kind of Exposed it a bit, but here you go. Wow right on cue Nelson Cruz one-of-one That's Rangers edition. That is like a This is from 2013 tops. Wow Texas random number block team spot one going to Michael P. That's a sweet hit there Now a Padre for the twins 15 out of 29 Byron Buxton 15 out of 29 The twins James picked up the twins straight up Nice one there I'm a big fan of Buxton nice six boxes left and Yeah, nothing else sold out yet a few things close if you guys want to head over Jasper's case flakes calm. Maybe pick up some spots. I'm here till three till Joe takes over for the A's 22 out of 77 Marcus Semyon Oakland random number block team Going to spot number two Scott again with last spot mojo 22 out of 77 for the A's Three-quarters of the way through orange here One-of-one Fernando Tates, Jr. You know what I realized I missed the last one for Nelson Cruz, but Nice one there for San Diego, which is a random number block team going to Michael P Fernando Tates, Jr. This is from a big leagues 2020 big leagues One-of-one Otto there That is a sweet sweet card for the Stroh's five out of 65 Michael Brantley five out of 65 Houston picked up straight up by D y So D y again himself Michael Brantley out of 65 for the A's Mark Kanna 11 out of 53 Oakland R&B team going to spot one Michael P nice Now a met this is A's edition all right two boxes left and Some other breaks are real close on the site right now guys if anyone wants to Pick up some spots with tops chrome here Wow one-of-one Dan's be swanson from tops chrome A's picked up I mean I A's Atlanta Braves picked up straight up by Ed Now a cub, but this is Braves edition one-of-one Dan's be swanson from a 2021 top scrum. Yeah All right last box for the White Sox Andrew Vaughn 69 out of 94 Chicago White Sox picked up straight up by Matthew Solway Matthew S at a 94 So that does it for the Full case break. Let's see some of the highlights. We got a Dan's be one-of-one there Tatis one-of-one Nelson Cruz one-of-one Nice Nolan Gorman out of 99 Austin Riley at a 21 Albee's out of 50 Wisdom Chisholm out of nine and a Acuna at a 17 so that does it for a 2023 tops archives The full case break number 11 Thanks again everyone who got into the break. Thank you to everyone watching and I'll see you guys in the next one Bye guys