Good to see everybody in the chat. I see all of your comments. Everybody's having a good time already. Thank you guys so much for allowing me a little bit of time to prep. Huge countdown today. This is, we're actually breaking records on the amount of countdown that happened. But, guess what? Got a ton of things going on today. We're gonna cut a short textured haircut, which I'm super excited to share with you guys. We're gonna go precision, and then we're gonna go into texturizing techniques. At the end, we're gonna be using my new tool, the TriRazor. If you haven't picked one of these up, they're available for pre-order on shopfse.com. Also, I wanna announce that we are live on Minerva Beauty's Facebook as well. That's the wrong thing. Always. Let's see, where are we at? Minerva, Minerva, Minerva logo. It's somewhere on here. Let me see. Maybe I'll do this one. Anyways, we're live on Minerva Beauty's Facebook, and this is not the podcast. So, we'll have to do something different. But we can share right here. If you guys get a chance, please hit that share button. That's what this show's all about. It's trying to get as many people into the room as possible. Also, I can see all of your chat, your questions, all of that. So if you have a question, type Q, put it in your question after you type Q, and then I can see it in the chat very easily. If you're new to this show, type new in the chat. If you're an OG, you've been watching this show for now 70 classes. We've done 70 classes since March, live right here on the internet. So, if you've been with me that whole time, type OG in the chat. Love seeing that. Also, again, we're live on Minerva Beauty's Facebook, but we're not just live on their Facebook. They support free salon education. They're the biggest supporters. They've always supported everything that I've done, even my salon. So, if you're looking to upgrade your salon furniture, go to minervabeauty.com on the interwebs. And you can go shop for all the deals that they have going on right now. So, go to minervabeauty.com. Biggest thing you can do for me today, this is a free class. All you have to do is just share it. So, any of the platforms that you see, whatever platform you're on, just hit that share button, and it would be much appreciated. OG, yeah. OG baby, yeah. OG, look at all these people. We got Alexa, Galee, Gala, Gala. Good. Heather who's new, good to see you, Heather. Robert's new, good to see him. Wendy, awesome, look at all these people. You guys are awesome. And I saw more people from the Philippines today on this live stream so far than I've ever seen. So, welcome to everybody in the Philippines. We must be blowing up there, which is great. All right, cool. So, let me get into, let's pump, let's do this. All right, so real quick, I wanna do just a quick rundown again. Today, we're gonna be cutting a textured pixie haircut. I wanna go short hair, and I also wanna really focus on creating precision throughout the back and the sides, and then the top, we're gonna go precision as well, but then I wanna show you guys how to kind of texturize that and create tons of movement. I'm also, my goal with this one today is to not do so much of a long fringe. That's a lot of the times what I do in my go-to when I'm cutting a pixie cut. Today, I wanna go more of a kind of square top to it. So, I think it's gonna be pretty cool and fun for you guys to see. Connie from the Philippines too. This is awesome. Welcome, Connie. All right, cool. So, let me move these questions down here. And I think we are good to go. All right, cool. So, again, if you guys have questions, type Q, put in your question, you'll see it right here. Pop it up. So, type Q, put in your question that way when I see the chat, because the chat's flying through. It's on, I see every platform, whatever you guys are on. So, it goes quick, and sometimes I can miss your question. So, if you want a question answered, make sure that you hit that Q before you ask it. Where are you located?  Marie, I wanna let you know that because I get a lot of phone calls at the salon. I do not take new clients at this moment. We're putting in a feature on our website to where you can submit to be a model for a video, but I have my existing clients, and I'm keeping them, but I'm not taking on any new clients because I'm doing this all the time. I can't be out there doing hair and doing this at the same time. So, I do not take clients, but I'm out there teaching everybody that I can the way that I cut hair and if they wanna learn it and you wanna go to them, go to stylistlocator.com because those are the stylists that you're seeing in the chat right now. And if you want your haircut by somebody that at least has an inspiration from everything that we're doing here at Freestyle on Education, you can check that out. And if they have a blue check mark by their name, then definitely go to them because they're people that meet with me every Monday and we cut hair together over Zoom. That's part of our virtual cutting club. If you wanna be a part of that, anybody out there, I'd love for you to sign up. It's an awesome thing. We meet every single Monday over Zoom. It's a tight group of people. I get to know you. I watch you cut hair. You watch me cut hair. We do it together and make those adjustments and all that.  You can sign up there. All right. What technique, how to cut curly hair layer. All right, guys. I'll go through some of your questions. Love seeing all of them. What color line do you use? It depends. In our salon, we use Paul Mitchell. I use Joico quite often. So, it just depends. Let's see. All right, so let me get started on the haircut and then you guys can ask questions about that and then I'll answer any of your other questions at the very end. Rebecca, that's such a good question. So, as I'm getting over to the mannequin, I'm gonna answer this. Not much of a talker, how can I overcome that? So, Rebecca, here's something I wanna tell you and I'm guessing you're a hairdresser and that's why you're asking this question because it's important in our job to have good communication with our clients. And one thing I would tell you, I'm not a great talker either. It may seem different on the internet because I come on here, I'm a little more animated and all of that but the reality is in a room, I'm not that talkative. So, one of the things that helped me when I first started out doing hair was just to build up like five great questions that seemed to get the conversation going. So, just decide what ones fit you. I don't wanna tell you exactly the ones but then I would go through those and it would start conversation and then it would allow them to talk more. I think if you're not a great talker, being a great listener may be your strong suit. So, maybe just start a conversation, listen and react instead of trying to push the conversation. Some stylists are really good at just talking a lot, pushing the conversation where they want it to go. For me, I like working and listening and doing all of that. So, I think you can always customize that. All right, here we go. Ready guys? So, I wanna break down the sectioning real quick. I'll show you on the mannequin. Actually, I'm gonna show you on the head sheets first. So, we have this little fun thing going on here. So, let me break it down. So, let's start the way that we section everything out. So, when you look at this, it might look a little bit confusing at first but I think as you guys work through it, you'll start to understand this a little bit better. The partings are what we normally do. So, we have, we go right across, we split the head in half from everything that wants to be in the back and then everything that wants to live in the front. So, right behind the ear where the hairline moves, let me zoom in a little bit. Oh, wrong way. Let's go to this one first. So, right here where the hairline comes down, that's where you wanna section. You wanna section a U shape all the way around the head back to the other hairline. That splits all the density that's back here. So, you can see when you're looking at a head of hair, how much density lives in this part. So, this is less hair than this is. And because this is less hair, you wanna think about the cut differently when you're working on this portion of the head than you do on the back. In the back, we're gonna be following the hairline, following the round of the head, cutting a layered shape into a graduated shape. So, it kinda starts out being more layered because we're gonna come straight out from the head. Once we start moving up the head shape, then we'll start to bring these sections down to meet to start building up weight.  Some people have a flat head in the back, kinda like me. So, when you're building a shape, the thing that's gonna make the head look much more natural. Like, if I took away this part of her head, she wouldn't look proportioned very much. Her chin comes out and then the back of her head, if it's flat, it's gonna look a little bit different. So, what we wanna do is we wanna pop the weight just a little bit and we wanna decide where we want that weight to stack up. Now, how do you decide when to start stacking the weight, how much weight you want, right? So, what I like to do is just think of this as a 45 degree line that comes straight up from the chin and then my weight would start right about here. Now, you can always set it a little bit different if you want to, but for me, I like to just think of this, think of everything as lines, right? So, you've got your line coming straight down for your parting, you've got a line coming straight across and then this is going to meet right in the middle here, build up your weight, start kind of picking that up. Now, you also have to look at density of hair. So, if she's got fine hair, you're going to approach when you start dropping these sections down differently than if she has thick hair. If she has thick hair, you don't wanna start dropping down too early because the build up of weight's gonna happen really quick. So, that's what we need to determine as well. The mannequin I have today has a medium to high density. Typically, I'm working with a lower density today, a little bit thicker hair. So, I'll kind of talk about that as I work through it. Then, so we section those in half, then we work the parietal ridge across. So, that is kind of that ridge that happens right here from the top to bottom. So, we separate front and back, top and bottom. Then, that's pretty much the sectioning. So, you end up with a square shape on top. Let's go over here. You end up with this square shape on top here when we separate the fringe and then you separate this as the front and back. So, now we're gonna be working across here, bringing everything, traveling guide, working across the top of the head to create kind of a squared off top. So, that's basically it. So, to start this cut, we look up here. This is how we're gonna start and we're gonna start right behind the right ear and we're gonna work diagonal back partings and just cutting with the head shape through and not in just bringing it to the previous traveling guide. We wanna work layering all the way up and then again, decide based on the density where we wanna start building that weight.   So, hopefully that makes sense. Let me see here. So, now when you look at the doll head, you can see how we've mapped out this section. So, now it goes from the two-dimensional. So, now you can see it in three dimensions. We've got our square shape on the top. We've got our front and back separated here down to the hairline. We're creating a triangular shape in the back because this is where these two sections start to crisscross when we cut our round shape and this is where I'm assuming I'll start to drop my section and then again, in the side, we've got that squared away as well. All right. Again, any questions you have, just type Q and then put in your question. How do I cross-check myself better? I'm a recent graduate, so Alex, great question. And here's the thing, guys. Some people get frustrated. I answer a lot of questions in this. There's no reason for me not to because this is all about, let me go here. This is about me teaching a class for you guys. So, to be able to answer your questions is kind of the benefit of this. I'm also recording this entire class and I'll cut it up into a 10 to 12 minute YouTube tutorial on just the haircut. So, if you like those better, you're welcome to watch those later. It'll come out in a week or two. But for now, I love answering the questions, being interactive. I will pause, I will answer questions. It doesn't boost the numbers on the internet, but that's not what I'm about today. Today, I'm about trying to answer all of you guys as much as I can. So, Alex, let's pull this up again. How do I cross-check myself better? I'm a recent graduate and I worry about the consistency of my cut without my instructors re-checking it. Now, it's all me. What steps do you take with cross-checking any cut? Such a good question. And the easiest way to remember how to cross-check is to do it the exact opposite way that you cut the hair.  So, right here. Let's see. So, right here. If I cut this, which I'm going to, working diagonal back partings all the way up the head, then how would I cross-check it? If I'm working diagonal back, then I would cross-check it diagonal forward. If I cut this entire back of the head vertically, then all the way across, then how would I check it? I would check it horizontally. That's the biggest thing. Now, that's only thinking about this plane, though. So, when I talk about cutting hair, I think about it in the cross hairs, right? So, you've got your horizontal line and you've got your vertical line. Your horizontal line is working, pushing weight back and forth horizontally. Your vertical line is pushing weight up and down. So, or leaving weight or taking away weight, whatever you want to say it. So, when you look at cross-checking, you not only, like, I'm not gonna take this diagonal back, let's say, cut it, and then to go diagonal forward, I need to make sure that not only am I checking it with the horizontal section in mind, let's do this vertical, it'll be easier to explain. So, I bring it here. I take this section vertically, right? And I cut it. And I work my way all the way across the head. Now, to check it, I'm gonna go horizontal, right? When I go horizontal, if I bring it down here to check it, that's not where I held it to cut it. I held it up here, because I held this section like this, right? So, this top part of the section was out here. So, the key to a successful cross-check is to make sure that not only are you taking this horizontal because you cut vertical, but you're holding it at the elevation at which you cut it. So, I hope that that makes sense. That should make sense, but that's kind of what it's all about. All right, let's get into this cut. So, I'm gonna start in the back because I really, I know what I wanna do the front. That front length is gonna be easy to do. I wanna determine exactly what I want this back portion to look like. And I'm gonna keep even saturation on the hair at all times. All right, I comb the hair back and we're gonna start by working a slight diagonal back line and I'll pull it forward so you can see. So, just like that, turn it, you can see right there.  The line that I wanna create is straight up, parallel to the wall, which is going to pull a little bit extra length right here in the bottom, because it starts to go in, but I wanna create a nice straight line through. All right, trying to see where you guys can be able to see the best. Think if I go over here. All right, so I bring the hair out. Now, instead of just combing the hair down into my hand like this, if I comb the hair down, what am I doing? I'm pushing it lower. If I push it lower, it already is gonna have more length than I wanted and it's gonna be heavier than I wanted. So, what I'll do is I'll comb the hair from both sides, but my last comb is gonna be scooping underneath and pulling it up over top of itself. So, right here, and I'm gonna come through and I'm gonna cut. So, I take another comb, straight out from the head, and I cut. And I'm gonna work my way all the way down this section, bringing everything straight out and cutting this line. Now, remember, I'm not gonna tuck in to the head now. I'm still bringing everything straight out.  That's okay. I'm gonna play around with that in the dry cut. So, that's our first line. Now, I'm gonna take another here, comb that out of the way, and now I'm gonna scoop my guideline because I still wanna make sure that this hair is above the section. So, I'm gonna continue working. Now, the head is starting to move away on this section as well. So, what's gonna happen? This is gonna be a little bit longer. You're gonna have a little bit more weight buildup right here, but this is all in the crown, and you want that weight buildup. So, you don't have to worry about that. Don't round that section up unless you know why you're doing it. So, you can see kind of a seamless layer effect throughout. So, I'm staying consistent with the width of all my partings, my sections, working through. I'll comb down, but again, combing down can't be my last. Put this up a bit, so I comb down, but then my last comb is up to make sure that I'm right above my section. What do you recommend cutting layer or straight for curly, thin hair? So, Dill, that's a tough question. What I would love for you guys to do is, so, I don't know if I fully understand the question, but one thing I wanna say is that my goal with this is to kind of answer questions like, I wanna make sure that you're learning more than trying to get one specific thing, because I can't answer a specific question because I don't see the hair in front of me, so it has to be a little more detailed of the exact situation, and I wanna make sure that I'm answering questions that are gonna help somebody with their job and not necessarily just trying to figure out like an individual hair issue, because we're here, we wanna better everybody. So, if you could be, any of you guys, if you could be really specific with the situation, if you're gonna talk about one specific hair type, and then maybe I can get a better answer for you just because I wanna make sure I know exactly what you're talking about. All right, still straight out of the head. Remember, I'm combing into the section, but then I start working the section up on top of where it lives. See that guide? Now, if you guys remember on the head sheet that I showed you at the beginning, how these sections start to crisscross each other, so you can see on this triangle, we're working diagonal back partings. We're gonna work through, then when we get to the tip of this, we've now crossed over into the other side, so then I will switch and work diagonal back this way and it'll crisscross into this side. So, that's kind of what you wanna see, and that helps for the cross-checking question earlier. Kind of allows you to cross-check the back while cutting the haircut. So, Alex, I'm using a YS Park 339 comb. This is the Mizetani Special Edition Orange comb. So, I'm gonna start dropping my elevation a little bit. So, instead of bringing it up above, just one below. What that'll do is start building just a little extra weight here in the crown, which I want. I can also see that guide through really well, but then once I start dropping down, I'll no longer be over-directing it down. I'll go back into right over top of the parting. So, we'll shift and then go in because I want the weight build up here. I don't want weight build up in the middle. So, it's a 339 comb, YS Park. I like this comb because it's small. It's easy to work with in tight spots and this addition of the comb you can get on our website, ShopFSE. I think it's sold out right now, but it'll be back in stock real soon. But it's a really, you know, it's a nice comb. It's one of my favorites. Here we go. Still working, scooping the hair through. The biggest thing is to not get greedy. Any of your sections. The more hair you take, the more over-direction you create. And then the more weight you're gonna end up with in places you didn't want. So here, top section. Again, just dropping it to that previous and then as I go down the curve of the head, I get back over top of my parting. All right. So now we're gonna start criss-crossing into the opposite side. So my diagonal forward line continues. Still cutting parallel to the wall. Turn this bit, still over top of the parting. Now I'm gonna go one more section through. I'm gonna clip this up in a way just to make sure I get a nice clean feel because this hair wants to fall down. There we go. So I'll hold it nice and tight, slide the clip up in and it holds it away. Now I come out with the hair. Make sure you're over top of your section. This you'll have a tendency to want to over direct back. Because naturally you just want to pull back to yourself. So just be aware of that. A lot of hair cutting has most to do with just being aware of the two things that are going on. The elevation vertically and the over direction horizontally where you're pulling this section. All right, so that's the first side. And because we're traveling through this is the hardest part of hair cutting, moving. Once we get into the side and we're over directing back and pushing a little bit of length to the front, it becomes a lot easier because you don't have to think as much, you just pull back. So this is probably, I guess you could say the most difficult part of the cut. Now we're gonna work back, which won't take too long. Melissa, you're welcome. Patty says I'm blocking the camera with my shoulder. Patty, aren't you the one that told me I was blocking it yesterday too? You're like the shoulder police, I appreciate it. It's great. All right, it's probably the exact same place I blocked it yesterday too in the class. So didn't learn my lesson. All right, here we go. So we're gonna work diagonal back, same way. Following the hairline, and then sliding my clip up underneath. So Tanya, you'll see now body position is a little bit different. So let me switch to my other camera here, see if I can show you guys body position a little bit. So here, when we look at body positioning, on this side, I was here working like this, right? Now, my body position is gonna shift. So now I'm gonna shift this way as I work down this side. And I'm gonna work with my elbow up in the air, that makes sense, and through. So I'll be like this, working all the way through it. And just this is where it becomes a little bit more difficult for me, because my elbow wants to drop down. So you just gotta be careful on that aspect of it. Oh, different Patty then, sorry Patty. It's just a popular Patty thing to say then. You mostly use your thumb to clip the hair. Notice when you cut down with your shears, that you use your thumb to clip there. I would like to cut it, is that important? So, yes, so just moving your thumb, I think is what we're talking about here. So when I go to cut a line in the hair, I hold the hair here, I'm gonna scoop underneath, make sure we're above the section. When I come in here, I've got my steady blade, which you can see will move across my fingers, like this. And then I have my thumb blade that will go through and cut. That's just to allow me to have more of a precise feel to it, so it takes little by little out of the section. So I go in and cut like that. If I go in and I try to chomp at it, you can still get a line, but it's just not gonna work as clean. So I recommend that when you're not doing anything, when you have downtime, to work on just moving that one blade. So we'll go through and we'll cut. Remember, we're working parallel, as much parallel to the wall as we can. Do not come into the section. So I'm over directing it over top of itself, but that doesn't mean that I'm now gonna cut and tilt my finger in. You can, if you're trying to round off, we're creating a straight line and I'm letting the head shape dictate the weight. I want the head shape, not so much to put weight down here, that's fine, but I want the head shape to work through the top. Let's see if you can see. I want the head shape as I cut my line up and the head shape starts to move away. That means that this hair gets longer and longer and longer as I work up, just by cutting a line. So then I'm allowing the head to naturally build up the weight around it based on its own shape, if that makes sense. I say if that makes sense a lot and you guys don't ever answer me, but I say it. Ah, crap, forgot the cue. Are you actually resting the steady blade on your finger? Yes, Megan, I am. So I'll show you again. I'll work here, there you go.  That works just as good. All right, clip up.  I love it, you're answering me now. Love it, guys. Cool. So here we go. Scoop underneath, pull that section over top of where it lives, set it up a lot. Now, watch the steady blade. Let me zoom, let me get real close. Here, comb up. You'll see the guide diffuse a little bit because you're moving the guide from where it lives, so I go a little bit past that and now the blade rests on my finger and I work up. Here, work up. Hopefully that was a good visual. And at the bottom of this section, we're actually running into now where we cut, oh gosh, swallowed a frog or something, where we crossed over into this corner. So we already cut this much of this hair. So as I go through, I'm just connecting it to this point. You can go through and cross check it on your way through, but you've already cut it. Tighten away, clip it. Awesome, Andrea, love it. You can actually see it forming around the head. Yes, awesome. I'm glad that you're seeing that. That is, so these are the new thoughts in my mind. So as I get just more, I process more about haircutting and the way that it works to be the most flattering, I think about a lot of these things and I think about just letting the head shape kind of do it for me with a little bit of help. So like if I needed to, if it was super thick hair, then I would take my line from being like this. Actually, this might be kind of cool. Let's do it up here. Let's try something. So it's a good, all right, we'll do the back of the head one. So instead of, like this is to kind of showcase that line, right? Let me take this line away and let's say she had really thick hair. Well, then what I, so right now, our line kind of works like this and we're going straight up, almost parallel to the wall. So that's kind of what we were saying. So everything's being brought out towards the head or out from the head, but at this line. So no matter what, all of this hair is coming to this line being cut, right? So what happens is the head shape right here in the corner starts to go in. From the occipital bone down, it goes in a little bit. So if we're cutting a straight line, this hair is getting longer, then it gets shorter because the head starts to come out. Then as we get up here and we start to round the crown area, this hair starts to get longer and longer. So by cutting one line, we're actually creating length where the head starts to move. Now, this is if, let's say she has the hair she has now. This is the line that we cut, kind of like medium density. Now if she had high density, then this line would be more parallel. So it would be from here and it would go up more like this because then the weight would start a little bit later in the head and it wouldn't build up so much. Now, if she has finer hair, you might wanna start stacking it just a little bit earlier so maybe your line changes there. So it really is based, this is a whole line that I think about, but I'm only thinking about that line. It just makes it easy. So when you go to cut, you just have to follow one line. It's a virtual line in the air. You just follow that line. You're not thinking about the head once you've determined what you want that line to be. So let's go back into it. Donna, thank you so much. Nano-nano, thank you so much. Love your name. Told everyone the pixie is very short undercut and use the length of my finger. Well, so here's the thing with a pixie cut. I'm calling this a pixie too. I just call it short hair a pixie and honestly, it's just to get you guys to watch on the internet. I don't really know what a pixie, an official pixie is. Everybody has a different opinion. If you Google pixie, you're gonna get a million different things. So I think Google's always right and Google's confused so I don't know because our clients are gonna Google pixie and they're gonna see this haircut, they're gonna see probably a lot of them that I've done on the internet which are weird ones with longer tops, shorter bottoms, you're gonna see celebrities wearing different style pixies. So I think traditionally it was a very short haircut. Now it's kind of altered into a lot of different things but your client could say pixie and they don't mean super short. They might mean just a nice short haircut. So you gotta be careful on that. I wish we had these videos when we were in beauty school. So do I, that's why this all started. All right, so I'm gonna scoop up the hair again. Working this line, that's not over top. Elevate a little bit more or the head, the beauty of cutting hair is to remember that you can move the head up and down. That's a fun fact. Chair goes up and down, tripods and then you don't over stretch yourself because the more you start stretching to do something the more inconsistent you're gonna be. So take a second, readjust and then go back into it. All right, almost there guys. Hope you're enjoying it. If you are, let's see your favorite emoji in the chat room here. How long should it be a pixie at the back tops and sides? Christos, that's kind of the questions that I'm talking about. There's no one answer for that. Pixie can be a lot of things. In my opinion, pixie is short hair. It's a form of pixie. So we'll call this a textured pixie because we're gonna cut a ton of texture into it. You know, if we didn't cut a ton of texture into it we had more of a disconnection on top too like we call it disconnected pixie. Like there's all different ways to go about talking in describing a haircut. Elbow cough, that's a funny emoji. Is that an emoji? It's the best, that's gotta be a COVID emoji. What about sneezing in a mask? That should be an emoji. Just to describe what you just did, that's the worst. It's probably a gif or a gif. Shepherd, thanks so much. Justin Cowboy hat, I like that one. All right, so now I'm gonna start dropping this elevation a little bit. Still cutting the same line, just starting to drop. So you can see I'm not over top of that. Focus is going. So I'm not over top of this section. Like this would be over top, I'm just down slightly. Comb the hair in, scoop it. Now I'm over top. Now I comb down, bringing it to where it was previously cut and then here, scooping, bringing it up above the section. And this is like when you take a look at it. This is how you start to see the head shape starting to make things happen. So you can see how the weight gets a little bit heavier right here and then goes away and starts to become more seamless in the back. So it's a heavy weight line and then goes into layering. Just utilizing the head. A lot of us would try to take this hair, pull it into it, because we're our next clients here, we're in a rush. Take your time. That would be too much over direction. So instead of taking every section, bringing it to the previous, you're bringing that one past two sections. So now you just get that extra bit of weight and it's just not what you did in the cut. So it's not consistent. Just connect these two points over top of the section. And then the last bit is going to be here, working that line that we talked about in the head shape. So just so you guys don't think I'm a liar, let's look at this, right? What did we talk about? We talked about the head shape doing the work. We talked about creating this line, right? So here, we cut a line that goes just with the head, kind of like this, straight up and down. Now, as you bring that straight up and down, so it's more like here, straight up and down. As we do that, this hair that's right here in the middle of this comb is the shortest hair. The hair that's down here in the nape is longer because it's stretching and the head is curving in. So you get longer hair down here. Now, as you work up the head here, the head shape starts to curve away. So then you start to get longer hair towards the top. Plus, we played into it a little bit and dropped just to the previous instead of bringing it up over top of the section. So that gave us a little more weight. So now you can see the shape that we're starting to create. These things drive me nuts. Oh, Lord. There we go. So you can see the shape that we're starting to create right here throughout the back. Just realizing I forgot to turn a light on, but I'm not gonna do that now. I'll screw everything up the backlight. Okay. So we've got the back done, except for that triangle, which I'm gonna work into that. I'm actually having thoughts about it. I don't know if I wanna build up more weight. Yes, I know what I'm gonna do. I'm gonna work horizontally across that. So when I look here, I've got a round line. This round line comes from the two sides where they start to connect, but this is a round shape because we followed the round of the head. We didn't leave any corners in this, hopefully, right? Could have, but not on purpose. So we work the round. Now I take out this triangle and I'm gonna start, and I'm just gonna build up a nice little graduation here. So I'm gonna go right here to the round. Comb this down, comb the rest of this up, cut that later, because I wanna remove some weight from that top. So this is gonna travel as well. Tilter head forward. This makes me more comfortable, which makes me more consistent. Does weight equal length? Sort of, really it does, but hair can also be different weight as well. Like a hair strand can be a little thicker than a different one. So I would say length equals weight in a way, but then there's other factors. So here we go, comb this hair down, and now I'm gonna comb, I need more than that. Here we go, vertical line in the back. I'm gonna comb this out, and see the weight line that we've started, and I'm just gonna cut, continuing that line that we've been working on. I'll take another vertical parting, and I'm just working my way across the back, traveling the guide. So I'll pull the guide over top of the section.  It's like that, following that line. So I scoop up the new hair, and then comb the guide towards me. Cut to infinity. Couldn't see any of that. All right, same thing, vertical. Now I'm pushing, so there we go. So now we've created a horizontal line across the back, very square almost, as we worked, and now I'm gonna continue up into this top section, connecting it all. Let me go to the top. Scissors are you using? It's a great question. So these are, this is my scissor made by Mizatani. I did a partnership with them. We sell it on our website. I think they might be sold out, but here we go, so you can see. It's got my logo on it. Designed the handle, so I like the short tang, which was kind of the number one thing I wanted in it. I also wanted a pointy tip on the scissor. This is a five inch scissor. I like it a lot shorter. It's got a flat screw, flat black screw, and then right here, it's got a nice groove for your thumb. So when you're working in and cutting, some of you guys were commenting that I don't put my entire thumb in the scissor. I use that groove to then cut. So it just makes things easier because as soon as you put your thumb into the scissor, you have to move your wrist a lot. So I always cut with my thumb about half in the scissor as I work. So you can get all of that stuff. Everything that I'm using in these videos, you can pick up on our online store, which is Shop FSE, Free Salon Education. Shop FSE. All right, so now I'm gonna continue the same thing. So vertical section down. What this is gonna do is I'm cutting a line into the back here. And when I do that, it's gonna push a little bit of weight to the front. Awesome, Katie, sounds good. All right, so we're gonna come here, work that line up over the top of where it lives, for the guide, there it is, and letting the head shape still do its thing here. So still building that line, the weight is getting longer, the hair is getting longer and longer as we work through it. Gonna make a different decision here because I want the top, want this top square to be shorter. I don't want so much length here. So I'm actually gonna go in and just take, do a little more elevating through this top crown area. So like this, scoop it up. I'm gonna work across the top of my fingers. So straight up in the air. And the person that was commenting about men's hair, this top portion will actually be a pretty good thing to pay attention to because we're gonna work through, we're gonna build some texture. All of these techniques work well when cutting men's hair, that and half. And I'm just taking really small sections because the larger your section is, the more over direction. And if you're trying to get a nice precise top or precise line in the haircut, you can't over direct it too much. I'm gonna go to the side view just so you guys can see my elevation here, bringing it up. Oh, thanks, Carly. This straight up. I'm cutting past my second knuckle but I have control of that section. I don't feel like I'm losing tension. So I'm okay with it. There are certain cases where I would not want to but it's okay in that moment. Okay, so you can see how this hair starts to get shorter up towards the front. This is actually gonna kind of work its way towards the front. We've still got our buildup of weight in the back, which creates this kind of rounded shape.  So starting to be a fun haircut, now I'm gonna work into the sides. The sides are easy, they're quick because we're gonna over direct into this kind of side section. So remember that line that we created that we talked about, that's gonna be our guideline for the side. So right here. And then what we cut on the sides here, we'll turn into a little bit of a guideline on the top as well. Comb this out, we'll be able to see better. So just here, comb vertical section here. Now I'm not gonna bring everything all the way back to the back. You could if you wanted to push even more length. To the front, so don't feel like you can't. For this cut, I wanna go just back to the previous each time to get a little extra length. And that's all we're working for. So here, I'm gonna go back to this previous section. So instead of pulling the guide over top of the section, I wanna grow a little bit of extra length. So I'm going to pull the section back to the guide. So right here, take this section. I come back to the guideline. So notice that I'm scooping the hair because that's where I wanna pull it to. So I'm just like that. I come in, I cut. Still working that line right here, up and down. So now pull the guide. So pull the guide away. Now this new section's gonna come back to that guide. So think about it. The first section, we pull back to the guide. Then that guide gets released to that new section, it gets released. It's a little bit longer than this guideline. And now we pull this new section back to this guide. And now this new section's a little bit longer than this guide. And it just continues through to where we get a subtly longer line towards the front of the head. And here, comb this hair into the guide. So just continue that same motion. Still working vertical. Look at that shoulder. It was probably yelling at me in the chat. Couldn't see the chat. So look at that line. You can see that interior weight starting to move forward now because of the over direction. Exciting stuff. I know you guys are excited. I'm excited about it. My favorite part of haircuts is the transformation. Agreed. Short haircut today, yes. Yes we are. Again, over directing back, over top of the guide. My shoulder out of the way. Now you'll know if you're working over top of the guide, we talk about this in our virtual cutting club. You know when your guide is where it should be because it becomes more of a subtle, a more of a harsh line, a stronger line. If your guide is being pulled, so let's say this is our guide here. Watch this. So if I pull this guide away, extreme close up. So if I pull this guide away from where it lives, look at the line and how soft it is. If I take that same line and I move it to where I actually cut it, where the guide should be, start to see, see how solid the line starts to get. It's a much thicker feeling than when you look at it here, which is really soft and broken. So if you want to know where you're trying to over direct that hair too, and your goal is to cut it above the guideline, then go to where that line is solid. And then you will know that you're cutting the hair exactly where it should be. So now when you take a look at what we did, you can see just by subtly pulling back to the previous, you get this extra bit of weight throughout the sides. All right, same thing. Get in the crunch time here.  I know, you got a client in 28 minutes. So here we go, same thing. We're gonna do this salon speed here. Let's just slightly back over the guide. This one slightly back over the new guide. Last but not least. So now we are gonna work this top. Then we'll blow it dry. We're gonna add some texture to it, and you'll have your finished result. So this top part of the section, this shorter hair that we cut, that's gonna be the guide for the top. Let's take a look. So I'm gonna go straight down the center. Well, not a little bit off center, but my section is gonna be straight down center. So here, and then this will make it straight down center. Part it off. All right. So what I'm gonna do, so I'm gonna elevate this straight up in the air. My guide is right back here in the back. I'm gonna work my line straight across the head. I'm gonna work this straight until I get to where the fringe or the front of the head starts to curve down. Then I'm just gonna recomb. Boy, recomb. And remove this weight and draw another line. I'll show you guys that from a side view in one second. Let me take this next parting here, here, and then side view. So now we're traveling across the top. So what do we do when we travel? I'm gonna move the guide over to the new section. So the guide's from the middle, so I comb the hair up, push the guide over top of the new section, and that's where I start to cut. I'm working my way over. And then this is where I was talking about, so I go straight across until we get to that fringe. And then I dip and change my angle to shift down towards the forehead. Small section. It's a fun little trick wise man once taught me. Just get rid of some of that excess so then you're not holding so much hair in your hand. So I wanna make sure I'm over top and that section's coming straight out from the head. Shift. That was my knee. Okay, so no one's wondering what that explosion was. It's just my knee. So as I'm starting to round the corner here, I wanna stick with my guide. Not trying to connect it to the opposite side. I'm again letting the head shape kind of dictate, but also I took my section to the Prado Ridge so there shouldn't be much curvature happening or weight buildup. There is a little bit, but shouldn't be much because of where our sectioning was. Now if we section too low, you're gonna see quite a bit of extra buildup. So you just gotta be careful. Tiniest bit, that's that. So one more side and then we get onto the texturizing part. This will be the same thing. Body position stays the same. All I'm gonna be doing different is now pushing the hair. Well no, pulling it, sorry. Pulling the hair because the guide is now coming this way towards my body. Grab a new section. Now pulling. I do have knee explosions. Awesome. That's hilarious. So not to get too repetitive, but the key thing on this top portion and it's really the stuff that for me is kind of fun to work through because it just makes your mind need to stay so like focused is bringing it straight over top of where you're pulling the section from. It's gotta go above right over top of that. But also your body kind of wants you to follow the head shape too, but not following the head shape is kind of what we're doing. So just trying to keep as consistent as possible while you work that head shape. Because I think you'll see the difference in the outcome when you see how consistent we stay throughout it. Shapes cool. You can see it's got kind of a shaggy look to it. That roundness in the back builds up a really nice look and then having it go a little bit longer into the front creates some pretty cool movement as well. The last, this is my last one. If you're still with me, post, post something. I was like, post, I don't know, post something. Post I'm here, I'm with you. I'm with you. Here to the end. Now, look here, cool, cool, cool. I'm gonna go through and now from earlier, little cross-checking question. Just gonna go through and dust the top. Shouldn't be much, but you just gotta make sure you bring it straight out from where it lives, no matter how you're holding it there. Fun cut so far, almost there. So now we're gonna blow it dry, get it nice and smooth and then give it some texture, some style, it'll be good to go. So two products, Neuro Prime. So I'm gonna use a little bit of that right here. Couple pumps and then we're gonna do Neuro Lift right here. So add a little bit of volume, plump it up a little bit, use the primer, heat protect it and also to just give me a tiny, tiny bit of hold in there for the style. So we'll work that product into the hair, especially on short hair. I don't want something that has too much hold, especially right away. I wanna create a nice soft style. But you gotta have something because you don't wanna just blow dry straight hair and damage it, anything like that. So a little bit of hold and then work the product through. I'll brush it in and now we're gonna smooth the hair out. So I'll flat wrap around the head or go one way. Really, I just want the hair to fall on the head shape the way that it naturally wants to. All right, good to see all of you with me till the end. Which is gonna be soon because I have a client in nine minutes, hopefully I'll finish. So I wanna work the airflow over the hair but I'm not trying to shake up the hair too much. I want the head shape to create the haircut shape. I think somebody just asked if this haircut would be good curly, it would be great curly haircut. Got a nice round feel to it but it's heavy in the corners so it'll pop some of that curl out. So yeah, I would like it to not. So I'm working the top back and forth. So look, this is what's cool. I love this. So you can see that kind of triangular shape or that forward push of the weight that we did on the side but then also this heaviness that falls over it is from that top being pulled straight up it slightly disconnects it. So you can see how that kind of those pieces come over. That's what really makes the shape of this cut. Now I'm gonna go through smooth it a little bit. Mostly just this long parts. I'm just softening the. So we're gonna have some fun with the hairline on this. I'm gonna get it as done as I can. I do have a client coming in like now. So I'm gonna get it as done as I can but I promise you there'll be a full YouTube tutorial. If you download the FSE Now app you'll see the major detail work I'm gonna put into this later but there's no way I can do that in three minutes. I'm excited for it and I want it to be great so you guys will get an idea but you'll have to subscribe to the channel. Do that. So you get an alert and download the FSE Now app so you get those alerts as well. Work this fringe a little bit more. All right. So here's where it's fun because you got all this short hair here but it's a round haircut so it's got tons of texture into it. So already and the texture is not from cutting into it a lot the texture just comes from the precision part of it and then when you start to move it around it just kind of comes to life. So what I'm gonna do is I'm gonna work the perimeter, the hairline and then I'm gonna start and I'm gonna start by softening things. The reason we didn't wanna go straight across on this line is see how heavy this is already because that head kind of falls forward. I wanted to take out this length. I didn't want it to be too long. I wanted it to be nice and light.  So soften it right in here. I'll do a little bit of point cutting so I can see a line. I'm just softening it though. I don't wanna take away the lines at all. That would take away all the work that we did. Just go through holding the hair out, soften. Carly, do you mind just making sure Joey's not here? I'm not sure if he is or not. She is? Oh, then we're good. Okay, thanks. That was not my niece. That was your niece. Excited for you guys to see it. Hey. He's here. Thank you. So my client's here. I am gonna show you guys the fringe and then I'm gonna ask you to subscribe to our channel on YouTube Free Salon Education and please download the FSE Now app because as soon as I post this video on how to finish this, you'll get an alert. And any other videos or lives that we're doing, you'll get alerts for that as well. So try to, because I really don't wanna rush this. I'm excited for the outcome, but all in good time. So what I do to determine, all right Andrea, that's what I like to see. So what I do to determine kind of where that line's gonna be is based on the interior weight. We talk about this in the virtual cutting club all the time. We work interior, so then our exterior will match it. So what I'm gonna do is I'm gonna start kind of softly etching away at this fringe. Now you could have a fringe that was just longer and shaggier. That's totally fine. For me, I love being able to see kind of a shape, see like a texture within a haircut and then a precision line to kind of go along with it. So that's just my taste at this moment. So I'll use the tip of my scissor and this is why I don't wanna rush it because I will probably spend 20 minutes working this line in, work all the way around the edge. So we're gonna create this really nice line. I'm gonna make that the teaser because I gotta go cut hair, like some more, but I'm gonna make this the teaser and I'm gonna post, I'll post on Instagram some of this as well. And we're gonna do some texturizing up here, which I haven't done yet, but you guys can kind of get the idea of what we're gonna do and I'm gonna work that hairline the same way all the way through. And I'd love for you guys to try it at home as well. Get a mannequin, this is great because it's super short. So if you've got a bob haircut on a mannequin, you can go into this and do it yourself. But I'd love to see it tag me on Instagram or wherever, post it in our community on FSE now. But it's just a super fun cut. I hope you guys like it. I can't wait to finish it. I'm gonna do it as soon as I'm done with my other haircut and I'll be putting it out soon for you guys. But that's pretty much it. So let's see. Thank you. Thank you. Thank you to all. I'm glad you guys like it. Again, can't wait to finish it. I'm glad you guys stuck with me though and make sure you subscribe to everything because we're always coming out with new stuff. And also I'm doing giveaways for the new tri razor which we will start shipping on Monday for all the pre-sales. So if you want to get my razor, it's right here, the tri razor, go check it out on our website shop FSE. Thank you to manurbabeauty.com for being a sponsor of this show always. You guys are the best. It was fun hanging out on their channel today. I love it. I'm here every Tuesday at 12.30. So thank you guys so much. I'll see you guys on the next class. You're the best. Thank you.


My personal reflection on my first teaching experience. As the 60 hours, TESOL course is coming to an end, I have started to think back to my first teaching experience. A part-time job for the student. When I was a university student, I decided that it was a good idea for me to find part-time work as an English tutor or teacher's assistant so I could get the first-hand experience in teaching. I began teaching an 9-year-old girl who attended the local school in Hong Kong. Her name is Charmaine. Her mother was concerned about her English writing abilities, as she often made grammar and spelling mistakes during homework and tests which caused her grades to suffer. Charmaine was quite shy and her self-confidence had been damaged due to low test marks. My first teaching approach. I usually began our lessons with a reading comprehension exercise where she would read a passage aloud and answer written questions about the story. Sometimes she made mistakes when writing down her answers and I would jump in and correct her mid-sentence and have her erase it. After the first exercise, I would have her do a creative writing exercise where I would give her a fun topic and she would have to write at least two paragraphs. The topic was always a hypothetical question such as if you were a superhero, how would you use your powers? I never gave her a choice in the topic or asked her about what interested her. After she completed the essay, we would read it together and I would give her notes and corrections along the way. The aim of this exercise was to improve her grammar and teach her new vocabulary words to make her writing more interesting. Professional Development After reading each unit of the TESOL course, I now see that I had made many errors and mistakes as a teacher. Since learning about the ESA method of teaching, I realized that I did very little to build rapport with Charmaine. Before doing exercises or activities, I should have engaged with her and learned about her likes, dislikes, and interests. I feel that this would have made her more comfortable with me and less nervous. I also could have created activities based on what she liked so she would be more attentive and motivated during my lessons. Looking back, I feel that she may have been bored during some lessons. Another mistake made was correcting her in the middle of activities. When she would read passages aloud, I often interrupted her with the correct pronunciation of a word. This really broke the flow for reading. I should have waited until she was finished to make the correction. Are you ready to improve your teaching skills? Take a TEFL course now. I feel that I can significantly improve as an educator, especially with my new knowledge. The ESA method will help me create more structured and logical lesson plans. I also have more ideas on what types of activities I can do with young children such as having them do a fun crossword puzzle or a word search activity. I will always remember my first teaching experience and use it as an example of how I was when life first started and how much I improved. Speak with an ITTT advisor today to put together your personal plan for teaching English abroad. Send us an email or call us toll free at 1-800-490-0531 to speak with an ITTT advisor today.


Yes, it's another case for that most famous of all man hunters. The detective whose ability at solving crime is unequal in the case of detective fiction, Nick Carter, master detective, tonight's curious adventure. The corpse in the cab or Nick Carter and the mystery of the murder in the park. Taxi, taxi. Mr. Ramsey, you are very kind indeed to take such an interest in this problem. Well, dear fellow, I consider it my civic duty. Taxi. Here's a cab now. Yes. OK, gents, make it snappy. We're blocking traffic. All right, you get in first. My party, you know, my party. Thank you. Where to, gents? I guess the quickest way to get there is through the park. Yes, drive through the park. I'll tell you where to turn. OK. Believe it is on West 54th Street and there's a flag out there. Excuse me, driver. Yeah? Do you mind if I shut this glass partition between us? Go right ahead, boss. You're paying the fare. Yeah, let me do it for you. Well, that's better. Nice winter evening, stars twinkling, ought to pick us up for the grim business ahead. Lucky thing I ran into you. Lucky thing. Yes, indeed, Mr. Ramsey. It seems fate destined me to make your acquaintances afternoon. Yes, lucky thing. Just my little way of keeping air. Out of the windpipe. My dear fellow, mighty lucky thing I ran into you tonight. You got to help me, Nick. You got it. They'll slap me and stir. Now, take it easy, shorty. Take it easy. And tell me again exactly what happened. Like I said, two guys hail my cab. One of them says to drive through the park. He'll tell me where to turn up. And when you get out of the park? The one guy opens the partition again and says to pull up. He's getting out. He tells me to drive the other guy to the precinct police station. And Nick, if I hadn't looked around when I came to the intersection and seen what I seen, I'd have driven right up to the bull house with a dead body in my cab. Me, shorty Bentano. You don't remember what the man looked like, shorty. In the dark? I ain't got cat's eyes, Nick. Gee, what's that? You are jumpy. And just Patsy buzzing me in the talk back. Oh. Nick, in the inimitable words of Mr. Winshell, mighty... Enough to order yourself a sandwich, Patsy. We've got work to do. Work tonight? Mm-hmm. And Patsy, get me a police headquarters. Lieutenant Riley. How can, Nick? You're going to turn me in, Nick? I thought you'd help me. I am going to help you, shorty. But the sooner the police know about the murdered man outside in your cab, the better it is for you. You're crazy, Nick. I've done time. I ain't got a chance. If the cops find that stiff in my buggy, it's curtains for me. I'm getting out of here. Shorty, sit down there. Nick, they'll give me the hot seat for something I never done. No, they won't, shorty. Not well, my name's Nick Carter. Get back on a sidewalk, buddy. Nobody gets doing... It beats hard, Nick. Not one bit of identification on this body. No bullet trace, no knife, no nothing. What did you want the murderer to do, Riley? Leave his calling card? Ah, I'm always getting stuck with one of these dud cases. It takes months to solve them. We don't even know who the stiff is. Now, Riley, flash your light inside here again. Oh, sure, sure. You see something? I'm just looking. You see, these pockets are turned inside out. Ah, the motive was robbery, all right. No, Riley, I don't think so. It doesn't look prosperous enough to rob. Ah, Nick, you're always looking for what's not there. That might mean something too. Ah, Riley, evidently the murderer didn't care to have his victim's identity uncovered too soon. Say, what are you looking at his hands for, Nick? Riley, have you laboratory analyzed this white powder under the nail of his right index finger? Well, say, there is something under his fingernail. Yes, I have an idea. You'll find it's chalk. Chalk?  With these lily-white hands, hey, this guy was a pool player, a professional, maybe. Maybe, but don't bank on it. Now, Riley, about shorty. I'm holding him, Nick. Never fear about that. Now, look, Riley, he's a favor to me. Don't pull him in here. Oh, great jump and banshees, Nick. I've got to. Listen, Riley, he had nothing to do with this murder. If he were a party to it, he'd have dumped the body out somewhere, wouldn't he? Well... Certainly he would. Shorty's been on the right side of the fence ever since he got out of the big house. And he's given me a hand on cases from time to time.  Well, that's about it. Well, okay.  No longer, though, mind you. Thanks, Riley. Well, Nick, where are you going? To find a murderer. Wait, this is some buggy you got here, Nick. Four speeds ahead, a siren, two search lights. Anytime you need a chauffeur, regular, I'll hire on. Like driving my car. It's like handling a baby carriage. Uh-oh, we're turning to 54th Street now, Nick. All right, Shorty. Slow down a little.  One says the quickest way to get there is through the park. I'll tell you where to turn off. And then the other guy says it's on West 54th Street and there's a flag up. And then the other guy shuts the partition and I don't hear no more. Well, 54th Street doesn't run very far here on this side. I don't see nothing on this block. Flags, flags. Usually in public buildings, don't they? You think maybe this is going to be a clue, Nick? Shorty, everything's a clue when you don't have much to go on. Nick, look, flagpole. Hell, very handsome flagpole. Yeah, but it's a police station. A police station? Good. What's good about it? Let's get out of here. You're safe until tomorrow night, Riley. Riley keeps his word. You want they should keep going slow? Nope. I got the first link in our chain. You can put the speed on again. Where to now? To pick up Patsy. I sent her to the Bureau of Missing Persons on 30th Street. Oh, Nick, another carpouse. I don't like them places. George Day, 2345 Elmhurst Drive, Occupation Truck Driver. The last scene was wearing grey coveralls. He's not the one. Gee, Nick, the guy ain't been missing long enough for anybody to get excited about it. He's only been there a few hours. I'm playing a hunch, Shorty. You want me to read the rest of the names on the list, Nick? Wait a minute, Patsy. Do you have a school teacher on the list? Yes, how did you know? Never mind. What did it look like? Well, let me see. Ivan Johnson, number two, St. Ann's Drive, Occupation Professor of Ancient History. Good. The last scene was wearing dark blue overcoat, grey hat, white shirt, blue tie, and always... Where's Pinsnes glasses? Yes. So did our corpse. The glasses were missing at the time, but the bridge of his nose bore prints of them. Boy, I'm glad I'm going straight. Even at that wake up and talk when Nick Carter gets on the case... Nick, how in the world did you know it would be a school teacher? Well, I didn't for sure. But nose glasses, plus chalk under the nail of the index finger, plus a sensitive face, and the general appearance added up to teacher for me when I looked at the corpse. Next, I figured if he were a school teacher, he'd be expected home by five o'clock. His wife or family would be unduly worried if he hadn't showed up by eight or so and would call the Missing Persons Bureau. But who'd want to murder a poor school teacher? One step at a time, Patsy. And we know this much already. Mr. Johnson intended going to the 54th Street police station when he and his murderer hailed Shorty's cab. Oh, I see, Nick. Then you think that Professor Johnson was killed because of something he intended to tell the authority? Simple the way he tells it, ain't it? One, two, three. Yes, you're very clever, Mr. Carter. But don't you think maybe his wife could tell us what it was he was going to tell the cops? Perhaps he told her first. Yes, Patsy, that's just what I do think. Uh, what was his address? Just a minute. Here it is. Number two, St. Ann's Drive. Right. Okay, Shorty. Take us to number two, St. Ann's Drive. And hurry. Mrs. Johnson, I'm Nick Carter. And this is my assistant, Patsy Bowen. How do you do? How do you do, Mrs. Johnson? Did the police send you, Mr. Carter? Did they find him? Did they find my husband? I'm only here to ask you a few questions concerning your husband. Oh, then they haven't found him. I really can't say. Now, tell me, did your husband mention whom he was going to see after school hours today? Ivan always comes right home after his classes. I thought that he might have had some special appointment today. Oh, no, no. Mrs. Johnson, how was your husband feeling when he left for school this morning? Oh, he was in such a mood this morning. Talked about right and justice until my head fairly whirled. You know, he doesn't like to see people cheated, Mr. Carter. Ivan's a very honest person. What do you mean cheated, Mrs. Johnson? He said he wasn't going to stand by and see the students in his school tricked out of their dimes and quarters. He was going to see right and justice done. The kids were being cheated. What school is this? Central High School. Ivan is the ancient history professor. He's taught there for 12 years. And where's his office there? Why, he's at the same office all that time. Number 12 on the first floor. I've always been happy about that. It's such a sunny little room. Well, Mrs. Johnson, you've been very helpful. Do you think they'll find him tonight? Do you think something terrible has happened? Why, the police will keep you informed. Good night. Good night, Mrs. Johnson. Try to get some sleep. Thank you, but I couldn't. Not till Ivan's home safe. But Nick, I thought you were going to the school where Professor Johnson taught. That's not over here in the West Side Business District. I'm glad to see you on your toes, Patsy, and working in all four cylinders. Nose to the grindstone, shoulder to the wheel and all that. I'm proud of you. All right, all right. But what are we doing over here? In just a moment, you'll see for yourself. This is the place, Nick. Right, sweetie. All right, come on, Patsy. Want me to go with you, Nick?  Okay, and good luck. Come on, Patsy. We still got a lot to do if we want to keep shorty out of Lieutenant Riley's foul clutches. I'm glad they didn't lock the front door in this office building tonight. Hey, that's funny. There's no night watchman here. It usually is. Well, Patsy, never look a gift horse in the teeth. No watchman, no trouble. It's spooky in here. There's one little light in this whole foyer. Wish we'd brought shorty in with us. He'll do us more good, keeping watch outside. You really think this is where Ivan Johnson was this afternoon?  And this is the only office building in this block, all the rest are warehouses. It's pretty deserted if you ask me. Mm-hmm. And the elevators, of course, have stopped for the night. And this is a ten-story building. Well, Nick, maybe if we look at the directory board, we'll be able to figure out what office Professor Johnson might have visited. Well, that's what I'm hoping. Ah, let's see. Ah, there doesn't seem to be a name on this directory that helps us out at all. There isn't, is there? Oh, Nick, what'll we do? It doesn't take much brain work to figure that one. Maybe we can tell if we have a look at the doors of the offices in this building. So, we'll just have to go from office to office. Ah, come on. Let's start climbing. Oh, there's nobody on this floor. All doctors and dentist offices. Don't think Johnson's business was with any of them today. Come on, up we go. Is there anything on this floor, Nick? No, nobody or nothing to enter as a school teacher. Nick, I don't think I can make another floor. You've got to, Betsy. We must cover every floor. Well, this is the top. Yeah, and we don't know any more than we did before. Nick, this place is as empty as the number two ration book. We might as well... What is it? Thought I heard something. Someone in that office? Yeah, and yet the lights are out. The name of the door says Gerald Ramsey, promotion counselor. Let's pay him a visit. Stay behind me now, to the left of my flash. All right. And who is flashing that pretty light in my office at this time of night? Mr. Ramsey. That's my name and yours. Nick Carter. Surely you don't mean that you're Nick Carter, the great detective. That's who he is, Mr. Ramsey. Sorry to bother you, Mr. Ramsey, but my assistants and I were just having a look around this building. Oh, well, too bad the fuse is blown out of my office here. Or you could have a good look. Who are you after? You don't happen to know of any business in this building that might have dealings with a school teacher, do you? A school teacher? Let me see. A school teacher. Well, I know, I never heard of it, but then there's such a lot I never heard of. Uh-oh. Oh, you knocked over that whole stack of packages. Oh, I'm so sorry, Mr. Ramsey. I dropped my handkerchief and I was leaning over to pick it up. Anything breakable in them? No, no, no, it's quite all right. Oh, thank goodness for that. Yes, just some things a friend of mine left here until he came back. Just leave them there. I'll take care of them. Oh, at least let me pick them up. No, no, no, never mind. Just leave them there. They won't mind staying where they are for a while, I'm sure. Well, all right, if you say so. Yes, I do. So you can just run along and continue your search for whatever it was you were looking for. Good evening. Good evening. Now, Pat, see, if you're okay, we'd better be on our way. Sorry we disturbed your reverie, Mr. Ramsey. Reverie. That's good. Really? He was an odd specimen. You think he knows anything, Nick? If he does, he isn't talking. Come on. Oh, gosh, Nick, all that climbing up and down stairs just for nothing. I'm worn out. Maybe it wasn't all for nothing, Patsy. You mean you found a clue somewhere here? I don't mean anything yet. Oh, but, Nick... I hope you could still walk well enough to get down the ten flights of stairs ahead of us, Patsy. I don't feel quite like carrying you just now. I guess I can make it under my own power. Where to now? Central High School. Times are wasting. And we still haven't uncovered a clue to the murder of the man in Shorty's cab. Gosh, Nick, what do you expect to find in the schoolhouse at this time of night? Clues to Johnson's murder, I hope. It's no use, Nick. The janitor's not here. I'll have one more try. That racket should wake up the ghost of Hamlet. No answer. So? So, Nick Carter's trusty picklock will do the trick. It's black as pitch in there. Stay right beside me. Things to me, I heard that one before tonight. And look, Nick. I barked my shins in the dark in that character's office. And so, if you don't mind, this time I'd like to see where I'm going. Okay, Patsy. I'll use my flash and keep it down low. Shin height. No, that's better. Now, come on. Better hurry or our friend Shorty's going to be sitting in the clink with a murder wrap pinned on him. Okay. And she said his officer's on the first floor, didn't she? Yes, number 12. All bright and sunny. Here we are, Nick. Number 12. I wish it were bright and sunny in here now. This time we'll just dispense for the formalities of announcing ourselves. The door's open, Nick. Yes. So it is. Come on. Snap on the light, Patsy. Switch is right behind you. Okay. Hey. Looks like someone else is giving Mr. Johnson's room a going over. I'm afraid we got here too late. Papers all over the floor, window wide open. What do you suppose they were looking for? Same thing we are, Patsy. Clothes. Except for a different reason. You think it was the murderer? Could be. Well... What are you reading, Nick? There's a poster on the wall here. A dollar buys a destroyer, high school students. Subscribe just one dollar to the high school victory league and help buy a destroyer. That's a second time tonight. I've seen something like that. A dot. Oh, where's my inky? Need any help? No, I've got one right here in my pocket. There. Hey, wait a minute. Why'd you get this? What? The sticker that came out of your pocket with a handkerchief. Well, I don't know, Nick. Why? Why? It's got the same legend stamped on it that that poster has. Victory league. Well, so it has. Did you buy this sticker? No, I buy my destroyers by buying war bonds. Well, think, Patsy. What did you get? It was in your pocket with your handkerchief. Well, I don't know, Nick. I never put anything in this little pocket except my handkerchief. I can swear this sticker... No, Patsy! See anybody? No. Well, nobody here now. Are you okay, Patsy? Well, I guess so. What happened? I just happened to look up in time to see a man poking a gun through the open window. So that's why you pushed me out of the way so fast. Yes, there was no time to be polite. Thanks, Nick. Did you recognize the man at the window? No. Too bad, but he got away. Gee, Nick, you certainly shot that light out fast. Well, if he can't see us, he can't shoot us. A very logical deduction, Mr. Carter.  Do you think it means something to this case? You bet I do. I just remembered where I've seen one like it. Hooray, Nick! Never mind now. Well, Patsy, this case is beginning to add up. I'm not mistaken. The sticker splits it wide open. Come on, I've got a job for you to do on your own and right now. That means you've got a job that you're going to do on your own. Right. Now, this is the plan. And if it works, we'll nail our murderer red-handed. My dear fellow, you know I'm in here. Did you get the fuse fixed? Yeah, and while I was fixing it, I got something else too. Come on in, you. Hey, snap on the light and see what I picked up, snooping around down the basement of this building. See? Nick Carter. Well, well, well. Mr. Carter, back again. Still looking for the same thing? No, I found what I was looking for. Oh, good. Good. It's very fine. I already lifted his rod, boss. What'll I do with him now? You've had your chance, my dear fellow. Now it's mine. You know, I have a general impression you men don't like me very well. Oh, sure, Mr. Carter. We love you. But we'll love you a lot better when you don't talk no more. But very bluntly, Mr. Carter, but that is the idea. Now, Mr. Ramsey, just what do you think I could say that would harm you?  When I was hiding in the bushes outside the window back there at the school house, I heard him tell the dame the case was wide open.  So it was you who took those shots at us through the window.    Stop that fool tongue of yours. Now, what's a dip, boss? He ain't gonna live to tell it. Hmm, true. That's true. Yeah, since you know so much already, we have only one recourse, Mr. Carter. Give me the gun, Lefty. Yeah, he ought, boss. This one's on me. Just a minute, Ramsey. As long as I'm not going to live to tell it, maybe you'll confirm a deduction I made. Sadely, my dear fellow, a condemned man has always granted one last request. Speak up. This high school victory league's a fauna, isn't it? You're playing on the patriotism of school kids to get them to donate their money to build destroyers and planes, but the money never gets any further than your own pocket. Isn't that it? Oh, yes, Mr. Carter, since you put it bluntly that way, I am forced to admit that you're entirely correct. But may I ask, what it was that led you to believe that I was behind the league? Yes. When I was at Professor Johnson's office, I saw a poster on the wall advertising your dirty league. Oh, please, Mr. Carter. I mean just that. Swindling high school students out of their few dollars in the name of a patriotism that you'd ever do the meaning of is about the lowest form of stealing that I know of. Well, just let me take a poke at him, will you? No, no, no. We can afford to be good natured. Mr. Carter hasn't much time left, you know. You go on, Mr. Carter. As I said, I saw the poster on the wall advertising your dirty racket.  I recall then seeing that each of the packages she knocked over in here had a sample sticker pasted on it. It was easy enough then to put two and two together required four.  And all because one little school teacher suspected his kids were being cheated. Poor Professor Johnson. It is too bad for him that I found him wandering around his building, looking for the offices of the high school victory league. He told me he suspected it was a phony outfit and he was going to see right and justice done. I offered to take him right to the police station and I did. I wasn't with him when he got there. Very funny. Hurry up, boss. We got what to do. Yes. Well, Mr. Carter, this is it. Blastin' banshees, Nick. Don't do this to me again.  Oh, it's a matter, Riley. You got your men. A lion on the ground here howling like stuck pigs. Yeah, sure, but what if I hadn't hit him when he aimed at your neck? What if I'd missed? Come, Nick, your plan worked beautifully. The whole thing, getting yourself found by Ramsey's henchmen and my getting Riley up here to hear the confession and everything.  My heart won't stand it. Well, that was worth it. Just as he rams, he walks into the trap like a bear looking for honey. Hey, Nick. Oh, Shorty, come on in. Take a look at her hand to work. Gee, so that's the bum who tried to frame me to the hot seat. He'll be getting it himself before long. Thanks to Nick Carter. Riley, I want to tell you something. Of all the criminals I've tracked down, catching Ramsey gave me the most pleasure. A fellow like that trading on the patriotism of school kids is about the lowest rat in the world. Why, bad as the Nazis, a guy like this is worse. You're right, Nick. You said it, Nick. Oh, Riley, you've got all the evidence you need. The package of posters in the next room, the package of stickers here, and the confession. Right, Nick. We can take over from here. Thanks. Okay, Riley. So long. So long, Nick. So long, Patsy. So long, Lieutenant. Well, Patsy, come on. Chin up. Carry on and all that sort of thing. It's not my chin that's worrying me, Nick. It's having to walk down those ten flights of stairs again. That'll be the fourth trip tonight. Why, Patsy, and at your age too. Look, Nick, can't we just sit here on the top step for the next six hours? You think you'd be rested enough then to walk down the ten flights? I think that by then the elevators will be running again. And what a wonderful invention the elevator is. This has been another of the strange adventures of Nick Carter, Master Detective, which are brought to you regularly each week at this same time by W.O.R. Mutual. Now, tell us a little about next week's story, Nick. Well, next week's story includes rather more adventure than actual detecting. But if Nick hadn't been able to make the first few deductions that really started him off on the right track, there would have been no adventure. And there was adventure and plenty of it. I came nearer to meeting my match when I met Dr. Donaldson than at any other time in my career. Dr. Donaldson was a specialist in secret and dangerous poisons, and he tried one of them out on Nick. But in the end, I managed to get the better of him and solve a mystery that had the police completely stopped. We call it the empty coffin because it was an empty coffin that gave us the first clue. And it was two different doctors making out two separate death certificates for the same death that led to that first clue. Well, that's enough for now. Join us next week for the story of the empty coffin. So long. So long, folks. And so long to you, Nick and Patsy. Until next week. In the strange adventure you've just heard, Nick Carter was impersonated by Lawn Clark, Patsy by Helen Chote. The story was written for Nick Carter by Barth Connery. Original music was played by Lou White. The entire production was under the direction of Jack McGregor. Next week at this same time, listen to another curious experience of Nick Carter entitled... The Empty Coffin. Or Nick Carter and the Mystery of the Doctor's Poison. This story is a copyrighted feature of Street and Smith Publications Incorporated. The return of Nick Carter is produced in the studios of W.O.R. and is broadcast over most of these stations every Saturday evening at 7 o'clock Eastern wartime. And don't forget that the adventures of Nick's adopted son, Chick Carter, are broadcast over most of these stations Mondays through Fridays at 5.30 p.m. Eastern wartime. This is Mutual.


So I have been watching the leaders' debates on television, the leaders' debates for this year's general election. Uh, painful is the only word. It is absolutely excruciating. It's a stage show. It's a show. It's all very well scripted. They don't veer from the script. There's lots of umming and eyeing because they don't want to give a straight answer. When they're put on the spot to give a straight answer, they find something else. They rummage around in their heads nice and quickly to find something else to say to distract from the question. The one that I've focused on, and I've made some helpful notes, was one on ITV last week between Jeremy Corbyn and Boris Johnson. And again, painful. It is. It's painful to watch. That these two are the top of the heap is, it just makes, you know, I'm already worried about the future of this country. When I see that these two are the top of the heap and one of the two of them will be Prime Minister, it just compounds that worry and justifies it. Because, you know, it's just not good enough. It just really isn't good enough. Major questions are not raised. Questions like free speech, freedom of expression, the kind of left-wing thuggery we see on the streets, immigration. They're just not mentioned. Culture, multiculturalism, none of it's mentioned. These fundamental, fundamental issues about our liberties, our civil liberties, never ever mentioned. The fact that 70% of the country, around 70%, depending on where you read it, wants less immigration, never mentioned either. So let me go through some notes. And the first question that came up was on Brexit. And actually, I think Boris Johnson, well, Boris Johnson had a firm intention in mind when he came into this. He was going to mention Brexit on every question and I think he did. I think in every single one he managed to get out his mantra of get Brexit done. So that's what he's relying on. This is what Boris has chosen as the Tory ticket. Get Brexit done. That's it. He's repeating it over and over and over again and he hopes that will be enough. So, Corbyn's response to this and Boris is saying what you'd expect. He'll get his deal through. They'll get out of the European Union on this wonderful, wonderful deal and then they can get back to talking about things like schools and hospitals. And that's what Boris's message is very clearly. Jeremy Corbyn, while saying that Boris Johnson can't possibly get his deal past Parliament and negotiate a new trade deal with the US by January, though I'm not sure that was what Boris Johnson was saying. His response is that he's going to negotiate a whole new deal with the EU within three months. So he laughs at Boris Johnson saying he's going to get his deal through by January and saying he's going to come up with a whole new one within three months of winning the general election. He's then going to hold a second referendum on that new deal and this new deal, by the way, will achieve absolutely everything he wants. He's going to get everything. It's going to be perfect. The EU are just going to roll over and give him everything he wants. That is planned. So within six months, within three months, he's going to negotiate that. Within six months, he's going to put that deal to the people in a referendum. The options being you can take this fantastic leave deal that he's negotiated miraculously in three months or you can remain in the European Union. Insane. Insane. And he keeps pushing this, we need to let the people decide. How can you not let the people decide? Three years ago, the people decided. This is just such Orwellian stuff. A second question came up on is the Union, being the United Kingdom, to be sacrificed for Brexit? And Boris Johnson, to be fair to him, was quite clear on this and said, no, the Union is more important. Jeremy Corbyn did make me laugh at this. He really did. He said, well, of course, the Union is vitally important. I don't know what his friends in the IRA think about that. I don't know what they think about him saying that the Union is important. Very interesting. There was only one mention of immigration throughout the entire hour-long debate and that was just to reiterate this all problem-solving Australian-style points system. And I've addressed this in a previous video, which I'll link to below. The Australian-style point system doesn't work. You have to tell us how many people you're going to allow in under this Australian-style point system. If you're going to let the same number that are coming in now, then what's the point? And when they won't commit to numbers, that's what makes me, that's what I think is going to happen. They're just going to address the mass immigration up with something else and give it out under a point system instead of the way they do now. And finally on that, Australia is in dire trouble with immigration. So looking at Australia as an example of how to do immigration isn't the best way forward to my mind. No offence to Australia. It's actually one of my favourite countries. And I'm very saddened to watch what it's going through. It's following Europe swiftly down the rabbit hole. How to restore trust in Brexit? There was a question about personal integrity and this is a good one. Boris's answer was, we restore trust in politics by getting Brexit done. We get it Boris, this is your mantra. But I would actually say it's to tell the truth. If you throughout your career are consistent and truthful even when it's difficult, that's how you win trust.  We all make mistakes. We change our view on things sometimes. But if you are consistently telling the truth and honest and open even say, for example, if you've made a mistake or changed your view, that's what wins trust. It's lying. It's changing. It's giving one opinion on Tuesday and another one on Wednesday. That's why people don't trust you and that's what you all do. And also by the way, evading tough issues. That also grows mistrust. Why wouldn't it? If you want to answer a question clearly, why should anyone trust you? If you avoid and distract from the really difficult issues that the people want to talk about, why should they trust you? They won't. Miraculously to me, incredibly to me, Corbyn said you build trust by listening to people and that real leadership is listening to people and while I agree with that, that's not what Jeremy Corbyn does. He's not listening to the leave voting heartlands of his own party. He's completely disregarding and dismissing them. He's insulting them by telling them you voted wrongly. We're going to hold this vote again and we're going to have leave in name only or leave in name only or remain. Those are going to be the two options. This from someone who says he listens. He's turned his back on his own heartland and then says leadership is listening. I'm not crazy about the phrase you couldn't make it up, but you couldn't. This is absolutely crazy. And what's crazier is that they think nobody notices this. You can tell they think they're getting away with it. The viewing public isn't thinking, what? They think everyone is just lapping this up. They're not.  Anti-Semitism in the Labour Party came up. Now, Jeremy Corbyn gave a response that you would expect, which was to lie, and he said that any instance of anti-Semitism in the Labour Party is rooted out, that every incident is investigated.  There are people standing for Labour in this general election mired in anti-Semitism scandals. But again, he gave that, by the way, of course he did. He gave that compulsory dog whistle nade to the Muslim Council of Britain and Co. when he repeated a couple of times during his statement that they would stand up to all racism, deflecting away, moving away from anti-Semitism and making it about something else. And as I say, that dog whistle to the Muslim organisations who know and are waiting on him to criminalise Islamophobia. And on that, they've announced, they did announce earlier in the gear at their conference, that they're going to hold an independent inquiry, independent inquiry into the rise of the far right. This will include anyone who dares to speak ill of Islam or mass immigration, and the inquiry will probably be led by people from the Muslim Council of Britain or somewhere similar. And I'm not actually joking when I say that. So he's, of course, we don't talk about the reason for anti-Semitism in the Labour Party. And there are a couple of reasons for it. One is, of course, the rise of the extreme left, and of course, notoriously anti-Semitic. Absolutely despises Israel. And the rise of the far left in the Labour Party is one of the reasons for the anti-Semitism. But of course, it's also the Islamisation of the Labour Party. And this won't be talked about because if you point out that actually it's largely Islamic Jew-hatred leading the rise and anti-Semitism across Europe, well, that will be racist. And Jeremy has promised to fight all racism. He won't be allowed to say who is at the heart of the rise in anti-Semitism because that would be the equal to anti-Semitism, I guess. Yeah, more of the same. Absolutely more of the same.  Now, the NHS, and both of them have the same answer to the NHS. And again, in the immigration bluff video I linked to below, I discussed the NHS. The response of both Labour and the Tories is more money. We'll just throw more and more money at it. No discussion of how it's run, whether it could be better run, and of course, no discussion of demand. A doctor in the audience asked about the, you know, this creaking pressure that is on NHS staff that they simply cannot cope. And no mention, no mention of demand, no mention of the rise in demand. I'm at a loss as to how you can discuss the provision of a service without ever discussing a rise in demand for that service. It's like a Lewis Carroll book. It really is. It's absolute insanity. I do think at this point as well that Boris Johnson said the way to help the NHS is to get Brexit done. Okay, Boris, we really do get it. Jeremy Corbyn said end the privatisation of the NHS to some applause. And I actually agree with that. The privatisation of the NHS is a lot of what has gone wrong and why so much money is being lost. Massive debt, for example, is another reason that the NHS is in trouble. And this massive debt and increase in privatisation has happened under Tony Blair's Labour Party. So don't let them get away with that. Both of them are proposing massive borrowing. Boris is saying he supports business and Corbyn wants to destroy business. Well, that's probably the best comment of the night to me. But invest, invest, invest. And whilst I do agree with investing, there's never again on any of the public services, NHS, even fire, council housing, whatever the public service may be, there is never a discussion on increasing demand. How can we trust people to run this country effectively if they won't even address demand for public services? How can we trust them? We can't. This two-party status quo has got to go. The monarchy came up and Jeremy Corbyn said it needs a bit of improvement while Boris said it's beyond reproach. Prince Andrew was mentioned. Now, at this point, Jeremy Corbyn did his virtue signal. And again, it's like the question on the United Kingdom and his fluffiness and of course the United Kingdom was important while pandering to the IRA for years and his listening to people while turning his back on his own core constituency. Here he did this unbelievable comment. He made this unbelievable comment where he signaled his virtue by saying that we must discuss the victims, the alleged victims in the Prince Andrew scandal and nobody should be above the law. This from Jeremy Corbyn, this from the Labour Party which looked away and still looked away while thousands of young British girls are gang raped. Nobody can be above the law says Jeremy Corbyn except of course Muslim rape gangs still operating with impunity all over this country in Labour areas with Labour turning the other way. It's still happening now and he has the gall, the effrontery to pretend he cares about victims of sexual abuse. It is truly, truly astonishing. Next to come up was climate change. Both of them, as you can probably expect both of them swallow the climate change hysteria absolutely no question. There's no, neither of them said well hold on we're only hearing one very specific side of this argument. There are many, many in science who don't believe for a moment that we are at the edge of catastrophe with the climate. Why are they disallowed from speaking at universities for example? Why aren't they represented in the press? Why didn't the United Nations listen to a letter from 500 scientists on the day that Greta Thunberg spoke there saying there is no climate emergency? Why are our politicians not discussing this? Why is no one in mainstream politics willing to stand up and say hold on a minute we are spreading a belief that we are at the edge that we are only a decade or so away from obliteration and this is allowed to be mainstream commentary and anyone who says hold on a minute this is getting hysterical let's look at the science from all sides, let's look at the actual science is dismissed as a crank. This is crazy, this is upside down world and Boris Johnson is just as bad as Jeremy Corbyn on this. There's no difference, there's no one really saying it no one really demanding a proper sane discussion on this they're all hook, line and sinker, climate change, hysteria it's extremely, extremely troubling. Finally they were asked what Christmas present they would give each other and the Scrooge story is what Jeremy Corbyn said he would give to Boris Johnson and Boris Johnson in return said rather unimaginatively he would give Jeremy Corbyn a copy of his withdrawal agreement from the European Union. Well I would give Jeremy Corbyn an economics for dummy's book perhaps because free stuff doesn't work Jeremy and I'm not sure as many people are falling for it as you seem to think they are I'm not sure what I would give Boris Johnson perhaps a guide book to conservatism might help and in case that's my review of the leaders debate if you despair as much as I do when you watch these things please don't and know that there is better coming there is a brighter future than this if you want to be part of that brighter future check out for Britain and join us we are the future this country needs.