Welcome to today's day trading recap. Today's Wednesday, January 13th. Another solid day of trading, plus $12.57, $1,257. Back-to-back days, over $1,000. Let's go through the starting with the mighty 90. We had two trades, one winner, one loser.  Tesla, a winner for $390. No pairs trades. On the runner front, did really well. Over $1,000 just on the runners, took five trades, four of which were winners. Amazon plus $490. Beyond plus $60. Peton, my big winner, plus $730. Uber, $408.  Let's take a look at these and I'll show you what we did. Let's start with the mighty 90 trades.  We actually had two different trades in Netflix. So the first one, we had this big pushup, had some good volume. We got short right in this area here. Kept pushing up on us, pushing up. We added. We scaled in a little bit of size and when we got this little pullback, we just closed it out and ended up taking a loss on that one. Then we pushed up again, had another spike in volume. We got short here and got this moved down for a winner. So net net minus $167 in Netflix. Tesla plus $390. So in Tesla, we got long, had this big push down here. We got long right there. It was a big volume spike, almost as big as the initial volume spike. And so we were a little bit quicker to take profits, but we booked half of our profits here. They just kind of chopped around, chopped around, chopped around. And when it took this little bounce here, we didn't get the move that we wanted, but we ended up just closing out, still booked $390 on that trade. Next trades, going to the runners, Amazon. So Amazon, we got a winner for $490. And what we did here was on this big volume spike and push here, we waited for this pullback, got long right here, kind of chopped around for a little bit. And then boom, we only got in, Amazon's, their options are so expensive. We only ended up doing one contract on that, but got out for $490 once it peaked up above the kind of the highs of the day. Beyond plus $60. So this one was a bigger winner at one point. And then we gave some back. Didn't really do anything wrong, but the market took some back, I should say. So in beyond, when we got this big spike here, we waited for a little pullback, got in about right here and cut a nice move up, started to look like, and we got out of, I think half of our trade at this point.  And this thing just started bleeding, bleeding, bleeding. So we ended up just cutting out the rest of it down here. Still stayed positive, plus 60 bucks, but obviously it ended up getting up there, but too little, too late on that. So we still took a positive P&L. PTOM plus 730, so this was a nice one, where we had this pushup big, big volume spike here, big volume spike here. We got in on this little pullback long and just rode this thing up to the pivot. And so really nice trade there. Uber plus 408. So this is our last trade of the day in Uber. And we just got out of this one at about 12.30 p.m. central. So we were holding on, let me scrunch this in for you. Let me adjust this here. Okay, so Uber pushed up, started consolidating in positive territory. We ended up getting long for an upside run about right here. It pushed up, we shed half of our contracts here. We were super small. It came back down, we got back in, went up, we took some off, came down, we got back in again, and rode this thing back up to the pivot. So a few different kind of scale in and scale out. It's just playing the price action and ended up booking 408. And then lastly, win, win casinos. So we had a downside runner in win. Let me scrunch this in. So had this initial flush lower, big spike in volume here. When it bounced up, we started scaling in here and here to get short.  It didn't happen, it pushed up. And so we ended up just bailing on the trade somewhere around in, I don't know if it was here or here but ended up closing out the trade. Take a loss, 654. I think this thing would have continued lower except for Keith in our group. He was being mean to win and so it didn't like how Keith was talking to it and so it ripped our face off. So lesson learned, gotta be nice to the stocks you're in and they will participate. Cause as soon as we got out, this thing flushed lower. That's what happens. All right guys, plus 12.57 for the day. Hope everybody had a good day. I look forward to seeing you in the live stream tomorrow. See ya.


So every morning when I wake up, this is what I see, and it's a great example of Viewpoint, which is going to be the subject of today's lesson. Viewpoint, and we're also going to talk about camera angle a little bit, although really we're talking more about Viewpoint. This is an example of Viewpoint because, well, when I wake up, I always see my friend Frank here looming above me on my, this is sort of on my window sill, and I one morning when I woke up, I just thought, you know, I should take a picture of this because, well, I wake up every day looking up like this, and it's kind of a cool image. So I took the photograph, and it's a perfect example of a low viewpoint. So you have in photography, you have low viewpoints, and then you have high viewpoints, and we'll show you an example of what a high viewpoint looks like in a second. You also have one called iLevel, which we'll be taking a look at later as well. So let's take a look here at another low viewpoint. Here we are back in Montana, where I come from, and this is my sister on her horse Jake. This is another example of a low viewpoint, and you can tell that because I'm down on the ground, I'm in the grass, and the reason that I chose a low viewpoint in this case is because I wanted to emphasize my subject. Every time you're making a choice in composition, you're making a choice about emphasis. You're picking your subject, and you're saying, this is how I want to pull them out of all the mess and confusion of the image, and emphasize them. And in this case, I thought, you know, the best way to make Sadie and Jake stick out on this background is to put them on the sky because it's a big empty palette where I can sort of make that shape that says horse and girl on horse really apparent. And you can see I can still see the mountains in the background, mission mountains that I grew up near, and you can still see the field, but I chose to put that all on the lower third. We've talked about this in our Rule of Thirds lesson, and I decided to put everything else up top here and to really pull them out of the whole picture and make them the emphasis, make them the star of the photograph. So that's one reason to choose a really low angle. It kind of adds drama, it adds emphasis, and it also adds a level of importance to this image. It kind of gives it a sort of a different feeling than if you're looking down on the subject. Here we've got a high angle image, and this is just a snapshot. I was riding in the bus one day on my way home from work, and the sun was shining in from the west, and you can see it's causing a really great silhouette on this biker's sort of on her hair and sort of on her coat, and you can see the car is kind of lit up very cool. It's the light shining into my lens and catching some dirt right here and kind of causing a little bit of lens flare, but I just chose this image because it's an unusual way of looking at a street. You don't usually see the street from this angle, especially if you're walking around on it all the time, and so it's just kind of a good example of a high viewpoint. A high viewpoint also kind of has a feeling of looking down on someone, so there's also a certain sort of power relationship involved in high viewpoints.  So like in the last image where we were looking up at Sadie and Jake, up against the mountains and the sky, we were giving them a lot of the power. In this case, we're looking down on them and saying, we're bigger than you and we're looking down on you. So that's another thing to think about when you're choosing a viewpoint for an image. Here is an example of a house guest breaking the rules of the house. This is Spencer. Spencer was not supposed to be laying on my bed, but Spencer decided to anyway. And when I came in one day while he was visiting, I thought, well, this is a pretty cute picture. So I took a low angle shot and then I hopped up on my chair and I took a high angle shot. Now these are two very different pictures and you can kind of see why. Here you can see we're at eye level and I just wanted to take basically a portrait of Spencer. I wanted to capture him as you would experience him if you were sitting on the floor next to the bed maybe. Well then over here, I kind of thought it was kind of funny how this leg right here sort of matched this camera strap that was coming off. This is my camera bag right here. It had been laying there because I was doing some photography work that day and I had a microphone case there for something I was doing too. And I just thought it was kind of a funny sort of mirror image in a way that's sort of like my camera bag and the dog were sort of similar. And so this picture was taken just to kind of capture some of the humor of that. It's not necessarily very funny, but it just kind of is sort of meant to be a little bit funny. And this kind of just gets at the fact that using your viewpoint can tell two very different stories and that's really important when you're doing photography. Storytelling is really what you're trying to do and if you're trying to tell the story, if you're trying to tell this story with this picture over here, then you're going to have a hard time.  You have to try some different things. And I would recommend whenever you're trying to tell a story with a picture or whenever you're just trying to take a picture, try lots of different angles. Go low, go high, move around, try different things. Don't just shoot it from this angle, shoot it from over here as well. And that will produce more interesting and better images. Now here is sort of a more serious image. This is a very different image than the last one. This are some friends of mine from a project that I did a long time ago about them trying to get justice for their son Steven who was killed by a coworker. They felt that the government had mishandled the case in investigating Steven's death and so they were making a big case against the US government at that time and they still are actually even years later. I took this portrait of them with this picture of their son in their hands and I really wanted to make them important just like I did with Sadie and her horse in the beginning. I wanted to put them up against the sky but I didn't want to take them out of their context completely. So you can see here I put the background at about 50% so it's about half. You can see the background is taking up about 50% of the image and then I stuck them out up into the sky because I wanted them to be emphasized. I didn't want the sky if I was standing up straight up and taking the portrait from a normal eye level the background would have hit them right here and they wouldn't have seemed as important they wouldn't have seen as interesting and I also wanted to have Steven right in the middle of my portrait. You can see that I'm breaking the rule of thirds but I'm putting them in the middle and trying to create balance to offset that. You can also see that this is just a very different way of approaching horizon and this is getting at the point that you really want to think about what your subject is so our subject is here but you also want to think about your background and their relationship to that background. This background is important. This was this Steven right here worked in this corral a lot. This is where he kept his horses and this was his horse trailer over here for example or one that he used a lot and I wanted to have those things in the image because they told a story and I did that by lining them up so you can see that you have these three things all lined up right there. You can see that they're sticking out of the background and they're important but at the same time that this background is also important. So you want to think about those kind of things when you're composing your images and even if it becomes at some point subconscious you want to constantly be doing that sort of thing. Here's an image that I took at a local sort of community center on my street and I was just going to visit and trying to get some pictures of some people working. It's a sewing and sort of woodwork factory of types. And right here you can see our friend here is just putting needles into this cloth here. This image on the left is a very just standard picture that you would take as a photojournalist or even just as someone working at this place or taking a picture of your friend. It's eye level so you can see the camera is about at her eye level or a little bit below. And you're just trying to simplify the background but I felt like this image needed something else and so I thought okay. So here we've got our eye level attempt and then I thought well how about I get high and see what this looks like from above. So I stood on a bench and I looked down on the table and here I got this image right here which I thought I think at that moment and it realized was a lot more interesting because it really simplifies everything. All this stuff that's going on behind her right here all these shelves and things that are conflicting with the shape of her and kind of making her not stick out from the background. A lot of that stuff is simplified and yet you're still getting the same motion that you're getting in this image. You're getting it right here but it's just a little bit more interesting. So here we have a recent example of me kind of playing around with viewpoint and camera angle at the Holocaust Memorial in Berlin. So again we have here to the left we have a high angle shot and to the right we have a low angle shot. And these images tell very different stories. This kind of gets again at the storytelling element and some of more the maybe the kind of feeling part of photography that you're trying to kind of bring across to your viewer. Here to the left you can see the man is sort of searching and looking through. He has kind of maybe a feeling of maybe questioning where he's going and by taking a higher viewpoint you can kind of get to that feeling in a different way than you could if you were standing down at eye level with him or especially if you were down on the ground looking up at him it would feel like a very different thing. Maybe if you were low on the ground it would feel like he's conquering his way through this memorial and if you look at him from above maybe he looks a little bit more questioning in a way at the very same moment just by using changing your camera angle. And to the right here you can see this has just from the action of the person who you're photographing from your subject you have obviously a very different image. You can see these moving and jumping around and sort of playing so it's a more playful image. But it also has a different feeling because of your angle. Because you're looking down and you're kind of seeing this sort of like powerful young person diving across all of these big big stones and that kind of has a very different feeling than looking down on someone. So think again about the power relationship that you're kind of creating with this and sort of the emphasis that you're putting on an image here you can see the emphasis is sort of more on the sort of confusing sort of graphic element of the image where here the emphasis is really on the subject the young person kind of jumping across. So you want to kind of think about that as well. Here's also a recent example of a viewpoint sort of practice session that I was doing was I was shooting some people in a school and here we've got a high viewpoint and this is would be called if you were a cinematographer this would be called a POV shot. A POV basically means point of view and you're trying to see exactly how the person who would be working or doing or you're photographing would see something and you're just looking over his shoulder essentially and in this case maybe you're taking the point of view of a teacher who would be looking over the shoulder of your student. To the right you can see something I kept seeing the teacher of the class put his hands on the book and the students kept looking at him especially this student right here and I kept thinking how do I get this? Well I used then a lower, not a low camera angle but a lower camera angle so to kind of emphasize this I wanted to line up this action right here with this face and the only way to do that is to get low. If you don't get low then you just have the table and the finger and if you get too low then you just have the table and you don't have the student. So you want to have both of these things lined up and you can just do that by lowering your camera to a spot where you're gonna have this, this and these guys over here all in one image and not in two or three separate images. I was standing on the side of a highway once doing a little, I was doing some landscape photography and I saw this sweetheart bread truck coming plowing down the road at me and I thought I was in Eastern Montana so you can see things coming from a long way off there. I saw it coming, I thought how can I get this image and then I saw these little kind of sunflower-y sort of, I think they're called brown eyed susans I thought, oh boy, I need to line those two things up because this yellow is perfect for to kind of set against this truck. So I ran over and I got down low and I did the same thing I just did in the last image. I evened out the subjects. I wanted to have one subject in the background, a little blurred, I chose a slower shutter speed and I wanted to have the flowers in the foreground and I did that just by using my viewpoint. If I was standing up straight this image wouldn't have worked but by getting low, getting down at the level of this flower and then putting that truck right in the background you then have this sort of color tension from left to right. So it gives you kind of an idea of different ways that you can use viewpoint to make stronger images. You can learn more about photography and lots of other things at alversity.org.


Hey, everyone. Welcome back to Pig Prime. Okay, sorry about that. I don't know why I'm being so silly today. Let's get into the news. We have a bunch of stories for you today. This is some crazy, crazy stuff. We have Metroid Dread sales in from Japan. We have Switch OLED sales in as well, although all things are not peachy keen because, yeah, it appears that there is some controversy surrounding the development of Metroid Dread and proper credit being given to those who made the game. Beyond all of that, we have obviously more sales for Switch OLED. We have issues on Nintendo taking out some music, which I guess the issue isn't so much that they're taking out the music. The question is, why Nintendo doesn't have better music availability? And beyond all that, yeah, we actually have some rumors that sound somewhat believable that there could be a 4K Switch late 2022 or early 2023. However, it might be next-gen. And obviously, that sounds a little crazy in wake of the release of Switch OLED. Before we get into all that, I remind you we are giving away three copies of Metroid Dread. Enter all you need to do for now is be subscribed. I have a few other things that we'll be talking about later in the month here, about how to particularly win these things. But you must be subscribed to win anything we give away. So thank you guys for that. And let's get right into the Nintendo news. So first up, we have a problem. Metroid Dread is obviously an utterly fantastic experience. The problem is that there appears to be a number of people who worked on this game that are not being credited. They are not present in the credit of the game. And this appears to be due to a policy by Mercury Steam. Now, this article was written over in Vandal and is in Spanish. We are using a Google Translate. I'm just going to read this article to you because I want you to have the full context behind what's happening with Metroid Dread and why this is kind of a shitty thing. And I feel bad for those working on it that aren't getting credit. It says Metroid Dread, the long awaited Metroid V, that fans of the adventures of Samus Aran have been waiting for almost 20 years with the launch on October 8th. Despite being produced by Yoshi Sakamoto, creator of the saga, the development has been commissioned by Madrid studio Mercury Steam. Several former employees accused the Spanish company responsible for titles such as Castlevania, Lord of the Shadow and Space Lords of not having accredited their work in the credit titles, thus preventing them from demonstrating their contributions to the Spanish title best valued by the specialized critics of all time. So I'm basically just saying the game is really, really highly valued and they want to be able to reference their work on this game and the best way to reference their work is showing accreditation and they are not giving credit for this work. That obviously can affect future employment opportunities. I would like to sincerely congratulate Metroid Dread team for putting out such an exceptional game. I'm not surprised by the quality of game as the amount of talent on that team was through the roof. It said Robert Mejus, a 3D artist on his LinkedIn profile. I know at first hand because despite not appearing in the game's credits I was part of that team for about 8 months. The developer assures in the final version of the title he has detected some of the elements in which he worked on. So he ensured that some of his work was actually used in the game. When playing I have recognized quite a few models and environments in which I worked. So my work is there. I would like to ask Mercury Steam why am I not appearing in the game's credits? Is it some kind of mistake? We have contacted Mercury Steam and a representative of the studio has told us that by company regulation the credits of the game in the study appear with only developers who have stayed in the study so have stayed programming or writing or artists for the game. Basically worked on the game for 25% or more of the development time. This policy requires that anyone must work on the project at least 25% of the time of the total game development to appear in the final credits. He adds, of course sometimes exceptions are made when making exceptional contribution. MeGS in an email conversation argues that Madrid's studio is covering its back. They can always say that they consider someone's contribution to be exceptional and do whatever they want. A 3D artist points out that people roughly mentioned that it has been 3 years of production. He would not have reached 25% development time required by the studio. I was 8 months working there so I didn't get to 9 or whatever was required to hit that 25%. Another of our sources who prefers to remain anonymous points out that the game has been on the stow for 4 years, not 3. In addition he mentions that not crediting all the developers of a video game is common in all studios. It happens everywhere and the source ensures that he has lived his own flesh and gone on several occasions. Another different source who prefers not to spread his name to avoid problems. Again, these people don't want to affect future job gigs. Who worked at Mercury Stream and was involved in development tells us by email that he was working for more than 11 months and does not appear in the credit titles of Metroid Dread. Not accrediting the work of the team that puts all the love in the project and effort is a very ugly practice. Regarding the clause mentioned by Mercury Stream representatives eCommons a 25% issue sounds like an invented one to me but well above the case but neither 25% nor 1% if I participated you should put me in the credits. The other anonymous source neither affirmed nor denied the clause was a rule to force within the study. Roberto Mej... I know I'm butchering his name but he's one of the developers that has his name out there argues that his non-appearance in the credits may be related to his departure from the company. Mercury includes a clause in the contracts and notice of 42 working days. When they told me this I investigated a little and discovered the workers' statute in Spain establishes 15 working days as a minimum so basically 2 weeks notice if you're going to leave. Mercury Stream requires 42 days but that's not legally enforceable right? So the developer says that he left Madrid studio to fill a position in another company but that when he left Mercury Stream before the 42 days mentioned they imposed a financial penalty. This came to another colleague who adds another person in a similar situation who did not give notice of his departure within 42 days notice required by the study reported in human resources that according to the collective agreement it is only necessary to give 15 days notice and manage not to receive an economic sanction although neither appears in the game's credits after working on its development for 11 months. The 3D artist concludes I have been listening to colleagues for years complaining about how people are treated at Mercury Stream I was fed up with nobody doing anything about it I hope that more people are encouraged to give their version it is common in all studios in September of 2020 the North American medium Kotaku again Kotaku sometimes has good work published on the article how video game companies use credits to reward or punish developers among other figures they mentioned that more than 1000 developers who worked on Red Devil 2 do not appear in the extensive credits of the rockstar game Arkane Studios and Bethesda also didn't list everyone who worked on Deathloop the first person shooter for PlayStation 5 and PC release see I wanted to bring up this point obviously you mentioned that Kotaku article because I could have stopped at just the Mercury Stream but this is a common problem throughout the whole of the video game industry and it needs to go away this is not okay if you did work on a game and the caveat that work is present in the game you should be in the credits now if you ended up working on a game and your work ended up not being used I can understand why in cases like that it's sort of a a loss for the company it's hey we hired you to do something we decided not to use your work you no longer work here we're obviously not going to credit you because your work isn't present in the game right so in a situation such as that I can understand not putting credit in the game because hey that's just a loss for the company they paid you and you know they didn't use your stuff but when the game is finalizing comes out if your work is present I don't care if you worked on the game for a week let alone 11 months a year two years it's all matter to me you should be present in the credits that is like a bare minimum thing a lot of gamers don't even read the credits but the credits matter for employment purposes you can prove that oh I worked at rockstar but when they ask what would you work on and then you say oh I worked on this game and then they ask for proof and the only proof you can give due to NDAs because you can't literally share the work you did you need you know because even when you made art say you were an artist and you made concept art guess what rockstar in this case you know for Red Dead Redemption would own that concept art you can't just use that so the only way that you can give that a credit is to point out that your name is in the damn credits of the game but if it's not in the credits of the game that does affect your employment opportunities and this is a problem and it's sad to see that this has come up in particular with mercury steam now we haven't heard this issue being touted by people who traditionally work at Nintendo's in-house studios maybe it is a problem there as well I wouldn't know there hasn't been any public complaints about it but mercury steam is clearly participating in an industry standard practice that shouldn't exist now I will note the 42 days noticing to me sounds utterly ridiculous imagine that you have a job offer a better job offer that's better for your family but you have to give a company what a month and a half notice before you can leave that to me sounds like there's a potential for a civil lawsuit or something like that that could occur or corporate lawsuit or something but I don't exactly know how all the laws work in Spain I will say though that just sounds like a shitty thing why would someone need to give you basically six weeks notice that you're going to leave I understand it's more beneficial to the company but yeah the employee has a new offer that offer might not be there in six weeks so it's kind of shitty so I don't know something mercury steam as awesome amazing developers as they are and as much as I applaud you for your work on Metroid Dread need to clean some stuff up I think the whole industry has a lot it needs to clean up and it starts I guess bare minimum giving people credit and it really sounds like it's artists that are getting screwed because often times artists don't need to be working on a game the entire time from start to finish you don't always need concept artists and 3D artists and all the stuff you often only need them for a certain set amount of months and that really gives them you know the ability to exclude you from credits and again being included in credits is literally a big boost to getting future work so I really hope this is something that gets sorted out and I hope that this isn't a wider issue at Nintendo although I won't be surprised it is a wider issue in the rest of the industry after all. Alright moving on we do have some positive notes about Metroid Dread we have launch sales for Metroid Dread and it had 86,798 units reaching the number one spot for last week in Asu in Japan. This actually would be a record it would be the best-selling Metroid game of all time in terms of launch sales in Japan so that's really really good news for Metroid Dread. Obviously I look at 86,000 and go that's significantly less than a lot of other Nintendo games but we have to keep Metroid in perspective that it's not a big seller in general so we'll have to see how much the sales drop off in week two but that's really cool what's also interesting is we do have sales for Switch OLED because it also launched last week in Japan we have some exact numbers it was the number one selling piece of Harbor last week just yeah I'm switching in general combined sold like 180,000 but the Switch OLED model sold 138,409 units which that sounds like a lot as the number one spot however according to Takahashi Machizuki from Bloomer yes the same guy with all the Switch Pro rumors he said OLED sales in Japan aren't actually as strong as Switch lights at launch so it sounds like hey you know Switch lights a little better so demand isn't really that great for this platform but he has a caveat to this this has been due to supply issues Switch OLED is sold out entirely in all of Japan and Nintendo is having a hard time deciding which models the focus production on many have been contacting Nintendo this includes investors suggesting slashing the price of the current regular OG version 1 version 2 switch version 2 switch at this point to clear out inventory and then to just stop making that switch altogether and cut the OLEDs price down to 299 and just have it less confusing for marketing and obviously less confusing for production you can just make the light model and the OLED get rid of everything in between he does know though that this is probably unlikely to happen at least during the current holiday period which I tend to agree with not that Nintendo is going to cut a model or price cut anything right now in the middle of or right now heading into a holiday period I did know that this is going to be an issue for Nintendo in 2022 and I do see the current version 2 switch just being phased out whether or not they actually do a price cut to do that or whether or not they actually price cut the OLED model I have no idea but I do at least see the current OG model of switch being phased out in 2022 so I think Nintendo is already planning to do that it's just obviously right now it is affecting the launch of OLED because they can only make so many units at the factory when you're splitting it between three different models it can be pretty hard to hit demand for anything by the way this doesn't mean that all the switch OLED data is disappointing in the UK switch OLED massively outsold the switch light we just don't have exact figures this is according to several outlets that have access to sales data they're not allowed to disclose the exact figures but switch OLED apparently destroyed switch light sales there so there is also a case of where Nintendo might not have supplied enough of the supply to Japan versus other territories preferring to maybe push things more in Europe and the United States or something we won't have US figures until next month so that's pretty cool next up Nintendo actually nuked a bunch of music uploads on YouTube for Pokemon Diamond and Pearl this isn't surprising when you consider that Diamond and Pearl is coming back out in Brilliant Diamond and Chinese Pearl they did leave platinum music alone which suggests none of that music is going to be present in these games here's the thing Nintendo doesn't like when people just do straight music uploads you can use music uploads as a background to your videos but you can't just upload them on their own Nintendo does tend to leave them alone until they're about to release something that's going to use said music the issue I think here isn't so much that anyone should have a particular problem with Nintendo taking out videos that are just direct uploads of music from games I don't think that is a problem I know that some people used to get mad about this you know when Chaka Conroy and others were negatively impacted but I think the grander issue here is that we are reliant on these uploads to be able to listen to this music outside of the games Nintendo does not readily make this music along the Pokemon Company which probably has more say in this case allows this music to be heard on Spotify or you know any other service it doesn't have to be Spotify there are legal methods Nintendo can use to make all this music available that they just don't take advantage of so I think this more so isn't necessarily a knock on Nintendo for using their ability to copyright music and get rid of it off of platforms like YouTube I think everyone is pretty much okay if Nintendo does that so long as there's actually a way to listen to it somewhere else this is where we obviously get into hey you know when you pirate old games that aren't readily available people consider that to be morally justified versus new games that are readily available the problem with this music is it's not readily available and Nintendo in Pokemon Company there's highlights even more that they need to get with the times and actually offer a legal way to listen to this music and the thing is if they put it on Spotify they can even make money off it so like they're kind of leaving money on the table too it's so weird right I don't really understand the logic behind this no Nintendo has really certain albums on iTunes and all that but we should have a full collection of their music available somewhere even if it's just I do all right and this last story is a big one again I thought about splitting this into two separate videos but bottom line is sometimes when I make videos like individuals on this it gets a little controversy so maybe keeping this story within the context of other stories might help things out so don't get mad at me okay I'm just some of you are going to get mad at me bringing this up but I'll explain why we have new rumors new reports these aren't reports on a 4k switch and not just a 4k switch a next gen switch some details on it and how it might be launching as soon as holiday next year if not early 2023 think like March like they did with the original switch sounds insane considering hey you see that thing right there we just got switch OLED so kind of sounds insane to even be talking about this but let's get into this so Nate the hate Nate Drake he goes by a few names on the internet has a podcast he does with MVG modern vintage gamer is a youtuber but before being a youtuber he's actually a video game programmer and has accreditation in several projects so this isn't you know the Nate the hate well I don't know what his accreditation is he's obviously has connections with actual developers like modern vintage gamer and has actual sources in fact he was one of the only people on the internet during all the switch programers to keep touting that there was going to be two models that we're going to get some sort of XL OLED model and that there would be an additional more powerful model to come later now he got a little um conflagulated is that the word I don't know he got a little conflicted I suppose around E3 time because Takahashi Machizuki was confident in what he was hearing and they made him sort of second guessing his sources and he started to be like oh maybe we are going to get this stuff imminent and obviously we didn't get a switch pro imminently but the bottom line is that before being kind of maybe pressured by outside forces he really felt that there was going to be two different models and he was correct on a lot of things he's been correct on a lot of things you don't have to trust him it's fine this is why it's a rumor you don't have to trust modern vintage gamer either but they both talked about this on a new podcast episode and my lord if this stuff is real damn so let's get into this so they said what is coming from Nintendo no longer sounds like a pro aka an upgraded current switch model but it sounds like a switch 2 or a 4k switch or what you would consider a next generation platform from Nintendo on what they have learned and it all depends on how the marketing wants to present the product so the marketing could present the product as it's still part of the current switch generation so they are saying that it still could be considered a pro model but it's going to depend on the marketing so they might not call this the next gen switch or a switch 2 they might prefer to call it a switch 4k and market this as hey it's in the same family so they aren't saying this is for sure next gen but it feels next gen for several reasons we're about to get into but reality is Nintendo might not market it that way so and I did say if they did come out with some sort of pro next year they wouldn't market it as a next gen platform but there are obviously some issues such as backwards compatibility we need to get into so they said obviously 4k will be achieved through DLSS which aligns with every rumor about this platform since the beginning of time I don't think anybody realistically thinks native 4k is happening native 4k really isn't much of a thing even so yes through DLSS that makes a lot of sense we also have Nintendo's own patent that supports the notion that Nintendo is about to use DLSS from Nintendo themselves that they filed 18 months ago so yeah we could say there's actually something behind that DLSS stuff it doesn't sound like made up bullshit moving on big publishers and developers actually got dev kits in late 2020 or smaller indie ones getting them this year so dev kits have been out there and we noted that Takahashi Matsuzuki called out you know 11 studios that apparently have dev kits he's aware of and even though one of those studios publicly denied based on NDA's and other things they probably have to deny so bottom line is it sounds like a bunch of people already have dev kits alright now data miners have actually suggested that the switch 4k will have challenges with native backwards compatibility because of hardware differences because to get DLSS they have to use an entirely new infrastructure on the chip level and that new infrastructure isn't entirely one to one backwards compatible with the current Tegra X1 however in the podcast Modern Vintage Gamer who is a programmer and a game developer does suggest that there are options to have backwards compatibility now some of those options include recompiling all of the games which unfortunately that sort of has to be done by the developers that can be a bit of a pain in the ass because it's like re-releasing games there are other options though Modern Vintage Gamer doesn't go too deep into what those options are but he does note that while it is difficult it is not something that you know you just release a new piece of hardware like on PC and everything just still works there's a lot more work that has to go into it it's not impossible for a new SOC with new architecture to be backwards compatible with all current switch games without there really being much of a problem one of the methods that he does sort of mention is kind of one of those where most games would be backwards compatible and others would require quick little patch updates so that's probably a method Nintendo might explore where it feels like oh yeah most of your games just work and if they don't there'll be plenty of lead up time for developers to get a small little patch ready or something like that so again it sounds like backwards compatibility is not off the table and obviously would be needed and if you have full backwards compatibility at least based on Nintendo's history potentially that means same generation although 3DS had it so anyways let's get into more here it says the devs are working on exclusive so there are exclusives in the works for it from third party developers however there's also some PlayStation and Xbox ports and development as well both from next gen or current generation I guess PlayStation 5 and Xbox series and last gen so this does look like a system that's going to be capable of getting current generation ports which is very very exciting especially for people worried about an all streaming future for third party games because obviously we're getting more and more streaming games on Switch but what if it's only streaming if you're on an OG Switch but you can actually play it natively on this one that would be a very interesting way to approach full compatibility of games released that might not support the older hardware so again I kind of can see a world where they can coexist like that I hope that is a reality that does happen so the old people aren't left out but also hey you want to not be online you ain't got to get the new thing alright next up it says devs are targeting their games to be done at least the devs he's talked to by late 2022 he does note that a game being done doesn't necessarily mean that's when it's going to release for a lot of various reasons such as the platform isn't out yet games are often done before a platform comes out so it's possible that the development of a lot of games could be ready to launch by next holiday but if Nintendo is not ready to launch they won't obviously launch until the following year so but the fact that that's happening does still keep the door open for a 2022 launch here's that it will release within holiday 2022 so he's hearing basically from October through December somewhere in there it would launch you would assume November but it could launch in early 2023 so he says either holiday 2022 or early 2023 so basically October of 2022 until March of 2023 you got like a nice little six month period in there where he's pretty confident that this new hardware whether it's next gen or Nintendo markets it as a pro model will come out and then supply constraints actually make it hard to know exactly when it's possible meaning it could miss a holiday season so the idea is Nintendo probably wants it to come out during the holiday but again supply constraints and this kind of goes back to some of the actually Machizuki talked about earlier story about switch OLED supply in Japan and Nintendo just having a hard time figuring out what the hell to focus on well if you drop the OG model you're down to two that gives you room to start a third production line try to get out a bunch of these ready to go for launch and then by the time you launch this you maybe you could start dropping the light model or something like switch OLED model is such a vast improvement in handheld that I could see a world where they don't think that cheaper light model matters plus the light model is not like it's like the worst selling switch right now it's basically switch OLED OG switch and then the light model the light model is the worst selling I could see a world where they maybe drop that remember they did drop the 2DS before the end of the 2DS generation then again they redesigned it as the 2DS XL but that's not here nor there so folks I actually think this is a very good sign again all rumors I'm not really sure what to believe but I do think that it's going to be very very interesting and that we probably should have a deeper conversation about this on a live stream this week so either tonight or tomorrow we will probably have a live stream where we kind of dive deeper into some thoughts and some conversations with all of you on this now if you have any thoughts or opinions on any of our stories today be sure to hit me back down in the comments I try to read every single comment on my videos it's been a little crazy lately I had a tweet blow up on my Twitter yesterday that I definitely did not expect to happen I think what's interesting is and this is where I need to you know just give you a final thank you to everyone is my channel has obviously been seeing a lot of growth over the last you know few months really from you know May until now and it's reaching a point of a little bit of critical mass we're not at 100,000 subscribers we're not getting some crazy 50,000 views of video or something like that but we are getting a decent amount of views and to me this one makes me extremely grateful because as some growth goes and as viewers go it makes me realize that I need to be a bit more careful about some of the things I say sometimes not so much that I need to censor myself but so much that I need to be more considerate you know I make some of the mistakes I made over the last month which to me aren't like major ones but they're still mistakes really stand out even more because obviously the more attention your channel gets the more of those mistakes are going to be called out and the more I'm going to be a little bit more more in amateur bottom line is folks I'm just a gamer like the rest of you I'm really no different than you I'm no better than you I don't probably know more than you when it comes to gaming I'm not an expert I would say really anything in particular I'm a parent of 3 kids but I wouldn't call myself an expert parent I've been playing video games for 30 years I wouldn't consider myself an expert gamer and taking care of dogs for most of my life I would consider myself an expert in that programming for a little while I don't know that I'm an expert in anything but what I consider myself to be is a smidge a smidge of a jack of all trades which means I'm just pretty decent at a lot of things like any sport I pick up I'm pretty decent at it any game I pick up after a little bit I get pretty decent at it bottom line is I am pretty decent at this YouTube thing and I'm aware of that I'm also aware that I'm not perfect I'm also aware that my content isn't for everybody so for those that are still here I thank you so much for all the support you guys are amazing you guys make me smile every single day even some of you guys out there chastising me and frustrating me sometimes makes me smile as it comes with the territory I gotta learn better how to deal with it there's people out in my community now that are starting to recognize that I'm a YouTuber which I'm just not used to people in this town are recognizing who I am it's a little baffling to me I'm a little bit overwhelmed I suppose by some of the attention but it's all a good thing it's all a positive thing and I'm trying to take it all and stride and not not feel overwhelmed by it because it can be a little overwhelming when you know I take a break and I haven't looked at my phone for the entire 50 minutes I've been recording which I know the video is not 50 minutes long and I've literally got 723 notifications some of it from our discord servers a bunch of it from Twitter some of it from YouTube comments and then one text from my mom who's just saying have a good day thank you mom so you guys are awesome thanks so much taking this all in stride we're growing together we're figuring this out together and I think that's what's special about this place and this channel and this community as we're all together catch you guys in the next video


So let's start by drawing a very basic model of digestion. Now, the food our children eat can be broken down into three categories, and they're categories of what we call macronutrients. And all of these macronutrients are digested in slightly different ways, so I'm going to color code them so that we can sort of follow what happens to each of these categories of macronutrients. So the major macronutrients are carbohydrates, I'll write carbs for short, fats and proteins. When we use the term micronutrients, we're talking about things like vitamins and minerals and the other important components in the food that we eat.  So we're going to follow that tube and trace the path of food after it enters the mouth and as it passes down this long tube that leads all the way through the digestive system. Digestion actually begins in the mouth with the act of chewing. That's an important part of digestion that we sometimes overlook because it makes big pieces of food. It breaks them down into smaller, more manageable pieces that can be attacked by the different enzymes and some of those actually are secreted directly into the oral cavity or the mouth by accessory glands called salivary glands. And the salivary glands secrete saliva, surprisingly. And in that saliva are a couple of different enzymes and I'm going to color code the enzymes as well. So the first enzyme that's in the saliva is called amylase and amylase works to begin the digestion of carbohydrates. That's why I've done it in purple. We call that salivary amylase because there's also another kind of amylase that comes into play later on in the digestive tract. The other enzyme found in saliva is called lipase and we also call that salivary lipase because there's a different kind of lipase that comes into the picture later on and lipase begins the digestion of fats. That's why I've drawn it in yellow. So food is chewed in the mouth and then swallowed down in the form of what we call a bolus. That bolus has been mixed up with the salivary juices or the salivary enzymes and it passes down a tube called the esophagus. This is the esophagus and the esophagus leads down into a dilated part of this tube that we call the stomach. So this is the stomach and there's actually a sphincter here or it's kind of like a valve that we call the lower esophageal sphincter that guards the entryway to the stomach. And if that valve becomes leaky then food can actually leak up from the stomach and give us heartburn. That's where heartburn happens.  Things like hydrochloric acid or stomach acid and I'll just write HCl because that's the chemical abbreviation for hydrochloric acid. The stomach also secretes a digestive chemical called pepsin and pepsin I'll draw it in green because pepsin, you guessed it, it digests proteins. And the other thing that the stomach secretes is a chemical called lipase and this is gastric lipase. Gastric means it comes from the stomach and just like the salivary lipase, the gastric lipase continues the work of digesting the fats that have entered the stomach. Now the stomach is really muscular so it kind of churns all this food around the food that's come down the esophagus as a bolus and what ends up leaving the stomach is more of a liquid and we call that liquid chyme. That's what leaves the stomach and it leaves the stomach through another valve or sphincter. That's the pyloric sphincter. That's a good word for a spelling bee. Okay so once the chyme has passed through the pyloric sphincter, it enters into the first part of the small intestine and that part of the small intestine is called the duodenum. I'll just write that in, duodenum and some really important things happen in the duodenum or the duodenum as it's sometimes called and what happens there is that the liver secretes a chemical called bile and that bile is stored sometimes when it's not needed immediately. It's stored so it's created in the liver and I'll just draw it kind of coming out of the liver and then it actually is stored in a small organ called the gallbladder. That's over here so the gallbladder is going to store the bile and I'm just going to write that in for you. That's our gallbladder and this is our liver and then when the bile is needed and I'll just write the bile in here in yellow so you can probably guess what the bile is used to digest. When the bile is needed it's secreted out of the gallbladder and it enters the duodenum right about here and there's another accessory organ that also sort of dumps its products into the duodenum right about there at the same spot and I'll draw that one in blue and this accessory organ is called the pancreas and the pancreas is really important. It secretes probably the most important digestive enzymes into the small intestine and those enzymes are amylase and this is now pancreatic amylase. It also secretes pancreatic lipase, another way of digesting fat and then it secretes two enzymes that are used in the digestion of protein. One is called trypsin and it's cousin chymotrypsin. So all of that exciting stuff happens in the duodenum and after that the small intestine continues and it continues on for anywhere from about 15 to 30 feet so it's really long and coiled up on itself. I'm drawing it kind of spread out. These coils of small intestine are actually all curled up on top of each other. The second part of the small intestine and I'll just try and give you a sense of how long this part of the tube is and the second part of the small intestine is called the jejunum. And then the last part of the small intestine is called the ileum and basically the small intestine is where big particles of food are broken down into their absorbable units and absorbed in this tube, the small intestine. What happens next is that the small intestine joins the large intestine and the large intestine is sort of like a storage and drying unit, if you will, and it kind of curls around and there's an ascending portion, a transverse portion and the one I'm drawing now, the descending portion of the large intestine ends in an S shape part that we call the sigmoid colon. So this would be your ascending portion of the large intestine, the transverse and the descending here. I'll just write D E S for lack of space. Now what's absorbed in the large intestine are things like excess water, so the longer feces because this is ultimately going to be feces that's created out once it passes through the sigmoid colon. This is our end product of digestion and feces is going to pass out through the anus, so the longer the feces sits in the large intestine, the drier it's going to get because water is being absorbed and some solutes are also being absorbed in that tube. So the food we eat is going to be chewed up in the mouth and swallowed in the form of a bolus. The bolus is going to pass down the esophagus and through the lower esophageal sphincter into the stomach where it's going to be mixed with stomach acid and things like pepsin and lipase and turned into chym. That chym is going to pass through the pyloric sphincter and it's going to head down into the duodenum. And in the duodenum, bile from the liver and the gallbladder is going to be secreted into this part as well as the pancreatic digestive enzymes like amylase, lipase, trypsin and chymotrypsin. So while this food is digesting into its smaller absorbable parts, it's also being absorbed as it passes through this long tube and you can see how much time there is here to absorb all of the nutrients because we don't want food to pass through here without enough time for those important nutrients to be absorbed. And then it gets here to the large intestine and this valve, I didn't put this in, but this is called the iliocecal valve because it's between the ilium and the cecum and interestingly, in case you're interested here, this is where the appendix is. It's a little kind of pocket extension of the cecum and if, for example, you eat a grape and you swallow all of the seeds and you have pretty bad luck, then one of those seeds might get stuck in here and this appendix might get clogged and fill up with pus and then you've got yourself an appendicitis. But if you're lucky and that doesn't happen, then the food that couldn't be either digested or absorbed passes into this ascending colon and slowly moves up through the transverse colon and down the descending colon as it's kind of progressively dried and stored and then once it enters the sigmoid colon, then a bowel movement is triggered and feces are secreted through the anus. And that is sort of the big picture of how digestion works. Now, I just want you to have kind of a window into what it looks like if we took, let's say, a cross-section through this small intestine. Let's say I took a slice like this out of the small intestine. What you would see would be a muscular tube like this. Let's say this is the chunk we've just cut out and that tube on the inside is going to have these kind of finger-like projections and these finger-like projections are called villi. This is a villus, but I'll write the plural term, which is villi, and I'll just make this arrow point to two of them so you understand that that's the plural term. And the villi, what they do is they increase the surface area for absorption of all of those important nutrients that are going to be found in the lumen, so the proteins, the fats, and the carbohydrates that are going to be passing through this lumen. Better yet, to further increase the surface area, there are these kind of small, they look like hair-like projections projecting off of the villi, and this is what we call the brush border. These are called microvilli, microvilli, or smaller villi, and the microvilli make up the brush border. And what that does is it further increases the surface area for absorption in the small intestine. Now, just to give you another view of what the small intestine looks like, what happens if I were to give you another cross-section that looks like this through the wall of the small intestine? What if we were to kind of slice it open? What you would see, you have your muscular wall here and here are your finger-like projections called villi. Because we've zoomed in a bit, you can actually see that the brush border or the microvilli are actually made up of cells called enterocytes, and each of these cells has their own nucleus and they're actually selective cells that can aid in the absorption of all of the important nutrients in the small intestine. So these guys are called enterocytes. Now inside each of these villi, these finger-like projections, is something called a central lacteal. And the central lacteal is actually sort of a projection of the lymphatic system. So the central lacteals are continuous with the lymphatic system. And because I'm drawing them in yellow, you might guess that the fats that are going to be in this lumen, and they've been emulsified by the bile, they've been broken down into smaller pieces by the gastric lipase and the salivary lipase and the pancreatic lipase, all of these small units of fat are going to be absorbed into the central lacteal and pass into the lymphatic system. Now there's also in each of these villi, there is a little capillary network. So each of these villi, each of these central lacteals, is surrounded by a network of capillaries that bring blood toward the villus and then also take blood away. As capillary networks do, they carry blood away from an area. So the proteins and carbohydrates, so these are our carbohydrates and these are our proteins. And these guys are going to be absorbed directly into the bloodstream, into the capillary networks that sort of surround these central lacteals. There are our carbohydrates going in. So you can see that this is how the small broken down particles of the food that we eat actually get into our bodies, get into our bloodstream. And next we're going to be looking at how our body uses those building blocks for either energy, for growth or for storage in the human body.


Moving on, in Nigeria, reporting child abuse cases is often stigmatized with victims on show of getting justice. A World Health Organization reported in 2020 reviews that warning every five women and warning every 13 men have been sexually abused as a child from zero to 17 years. To this end, stakeholders in Lagos held a consultative workshop with the Nigerian police lawyers, child advocates and NGOs in the administration of the criminal justice system and child abuse cases to see how victims can get justice. Plus, TV4 meet Onwa Jeff Farris in the report. In Nigeria, sexual abuse in children is an offence punishable under several sections of Chapter 21 of the criminal code. In spite of this, a large number of children sexually abused daily is staggering and shocking to see the list.  Chajayara Foundation, in partnership with the Rule of Law Anti-Corruption Programme, has organized a consultative workshop with the police and stakeholders in the criminal justice system. The Ministry of Justice emphasized the need to report cases on time so that due process to conviction can begin quickly. The aspect of the Ministry of Justice is to ensure that cases of sexual offenses and domestic violence are quickly and proactively brought to court and prosecuted. The longer it takes for a case to get to court, the higher the chances of the person becoming disinclined to come to court. The police, on the other hand, promised to look into quality investigator cases and plan more training for its officers. One of the legal counsels said that some of our cases, or some cases are not well investigated, unless it is the statement of the one or two statement in the case file. I think that is a different ball game when it comes to this test here again. But I understand that going to the criminal level may have issues like this. And I want to assure you that we take care of that. We've been organizing training, like I said, with the Ministry of Justice and Rola, going down to the criminal level. We've been inviting the visual and crime officers, BPO's, area commanders. So once we have this continuous training, I think we will be able to improve on this aspect you have pointed out. The focus of the workshop, the organizers say, is not only to bring to the fore the ills of society, but to go further to try and nip the scourge in the birds. They insist with fierce determination that the work has only just begun. The Congress is over what the work has just begun because we were opportunity to have a meeting with the Attorney General's steering committee as we set up to develop and implement a child sexual abuse investigative and interview protocol. And the committee will consist of stakeholders in the administration of criminal justice sector so as to navigate the way to ensure the best practices of investigating and prosecuting child sexual abuse cases. The use of forensic interviews is helpful, not only in the persecution of perpetrators, but also for helping the victims not to relieve their trauma over and again. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Hello and welcome to the session. I am Deepika here. Let's discuss a question. Where the following is in an AP, if they form an AP, find the common difference D and write 3 more terms. 1 square, 3 square, 5 square, 7 square and so on. Let's start the solution. Solution. The given list of numbers is 1 square, 3 square, 5 square, 7 square and so on. We have a2 minus a1 is equal to 3 square minus 1 square which is equal to 3 plus 1 into 3 minus 1. This is equal to 4 into 2 which is equal to 8. Again a3 minus a2 is equal to 5 square minus 3 square which is equal to 5 plus 3 into 5 minus 3. This is equal to 8 into 2. This is equal to 16. Hence we have seen that a k plus 1 minus a k is not the same every time that is since a2 minus a1 is not equal to a3 minus a2. Therefore the given list of numbers does not form an AP. So for the above list of numbers is no they do not form an AP. I hope the question is clear to you. Bye and have a good day.


Amanda Lynn Shuman was last seen with a strange looking man back in the early 90s. She vanished minutes after this meeting with this man outside of an apartment complex, and she was never seen again. But the weird thing is that her family never reported her missing. Investigators say that they did look for her, but no one ever put in enough effort to bother finding her. In March of 1995, scavengers in California pulled an old fridge out of a drainage ditch. And inside was the body of a woman. An investigator working on the case was optimistic that he would be able to identify the woman. In 2023, a cold case team finally identified the lady in the fridge. It was Amanda Lynn Shuman who'd gone missing all those years ago. The only problem with the discovery was that while Amanda now has her name back, we're still no closer to finding her killer. Be sure to subscribe and check out my main channel for full length videos.


Hi everyone, Joe for JaspeysCaseBreaks.com coming at you with 2020 Leaf Metal Draft Football. Five box, left side serial number break, number seven. It's basically a random number block break. Just branded differently. Big thanks to these folks for getting into the action. Thanks to the numbers right there. Let's roll it. Let's randomize it. Six and a one. Seven times. Alright, Nick down to Dennis after seven. Six and a one. Seven times with the numbers. And seven the final time. After seven we've got five down to eight. Remember zero gets any and all redemptions, including one of one redemptions.  Nick with five. Adam with nine. Kevin with two. Jens with seven. Adam with three. Scott with zero. Leonard with four. Ryan with one. Kevin with six. And Dennis with eight. So let's order this by number right there. Bam. Great. Good. And there you go. Alright, I don't think anyone's going to be trading it. So while you're thinking about that, then we can see which box we're going to do from a fresh case. I have, Ross. It might still be processing. We actually just finished it not too long ago, so. But yeah, I did upload it. Alright, alright, alright, alright. There's five right there. There's five right there. There's only four right here. Alright, how should I do this? How did I do this before? Did I number all of these? I don't feel like numbering all of these. Here's what I'm going to do. We're going to do two dice rolls. I like that one right there. So we'll go one, two, three, four, five, six for the stack of four. And then I'll go one, two, three, four, five, six for that. It's random enough. It's the same as ram.org. Alright, so let's do this first. One, two, three, four, five, six, five, five, six. We're doing that stack right there. Now we'll go one, two, three, four, five, six, six, one, two, three, four, five, six, fifth box. There you go. There's four and then five right there. Alright, nobody's, no one's trading, right? No one trades in these things. Rob, nice. That's quite a surprise. Are we sure we sent it to the right person? Congrats, ma'am. That's nice. Alright, there are the numbers right there. Good luck. This is five boxes, right? Am I not going insane? Yeah, it's five. Why would Leif make a 14 box case? It's kind of weird. We got Kishan Vaan, touchdown Kings. I'm not too familiar with college football, but I guess we'll find out soon enough where guys like him will end up. So that's 10 out of 15, so that goes to number zero. That'll be for Scott with zero. We've got Gabriel Davis, two out of 60, Kevin Sullivan. Now there is, could be an instance where a card will not be numbered. In that situation, here's what we'll do. So the first, let's use these blank cards as an example. So the first non-numbered card that comes out, when we re-randomize everybody's names, the name on top will get that. If there's any more non-numbered cards, the second name will get the second one, the third name will get the third one, so on and so forth. We got Troy Dye, eight out of 10. Dennis. The redemption for Scott is a Jeff Okuta. I think I've heard of him already. He's pretty good. And then there's Tua Tagovaiola. Where's he going to go? Wow, that's a train whistle hit. Two out of five, Kevin Sullivan with number two. All aboard the bigot Express. It's a wooden train whistle day, folks. Interesting, that Tua. How does everyone feel about Tua? I read an article in The Athletic. I do pay for it. I read an article in The Athletic, and it's like this article this guy's been doing for a couple of decades where he gets scouts to real talk on upcoming prospects. I think they're anonymous. I think they used to be named, but now it's anonymous. I don't know. Anyway, I think the injury issue is big concern. It's got to be, right? Hip surgery, ankle issues. There's Jalen Rigor, Touchdown Kings. 23 out of 30, and it'll be for Adam Wilson. But he's just that good when healthy. But one of the scouts was also saying, it's like, guys like Kyler Murray, small, but can avoid like the hit, you know what I mean? But he was saying that the scout was saying just for Tua, 5 out of 20, Nick T with that one. Nice shape, Patterson. For Tua, like it's almost like he's, there's almost two, it's too aggressive. I don't know. The injury thing's got to be a little concerning. The hip thing, CD Lamb, nice CD Lamb, Touchdown Kings. I've heard of him, 25 out of 40. A lot of good receivers in this draft too. Nick T with number five. There's Cameron Dantzler, 60 out of 60, that goes to zero, Scott. DFS saying he's a winner. It's like Jalen Hertz, some guys just win. Can he stay healthy? Speaking of Jalen Hertz, there he is. Armed and dangerous Jalen Hertz. 14 out of 35, Leonard Yance with number four. There you go, Leonard. Tenacious D, Derek Brown. See, that is not numbered, right? So that'll be randomized to one person in the break. That'll be the first name on top, we'll get it. If there's any subsequent ones, then second name, third name, so on and so forth. State Pride, Rayquan Davis. That's also not numbered. So that'll be the second name on the randomizer. We got Antoine Winfield Jr. It's four out of 15. That'll be for Leonard. James Robinson. Four out of 30, another one for Leonard. And there's Jake from a state farm. Two out of seven, just a couple off a train whistle. But a nice one for Kevin Sullivan in number two. A couple of quarterbacks in this break for you, man, it's nice. A couple more to go. Yeah, I mean, Tua has looked good. He's been medically cleared. Good movement, footwork, all that looks good. All that looks good until he takes that first hit. First NFL hit, right? I think there'll be some people holding their breaths. Whoever drafts them gets them into action. And it seems to be suggested to me. Now, listen, again, I don't watch too much. I don't watch college football that closely, but the indication is that he's not as elusive as, say, a Kyler Murray or Russell Wilson. So it's a guy that invites hits, wants him. He's a tough guy, but doesn't have the size to go with it. Colin Johnson, three out of 10.  Colin Johnson for Adam Wilson, number three. There's Henry Ruggs, the third. That's number, there it is. 13 out of 15, another one for Adam Wilson. Is that a similar injury? Yeah, maybe the Bo Jackson Tua hip injury could be pretty similar. 39 out of 50, Cole McDonald, Adam Wilson with number nine, last Bob Mojo. Patrick Taylor Jr., 21 out of 25. That'll go to Ryan L., number one. Ooh, and another armed and dangerous Jalen Hertz. Different parallel, though. That's six out of seven. Nice one for six, Kevin Sullivan. There you go, Kev. Excellent break for you. So a very similar injury. Yeah, I think that's, I mean, no question. I think if he was 100% healthy, if he never had that hip injury, the suggestion seems to be that he would easily be the number one pick in the draft, but he's going to slip a little bit because... I'm still first round, right? He's going to slip a little bit because of those injury concerns. Leviska Chinalt Jr., 13 out of 15. I've heard of this guy, too. Adam Wilson with number three. Correct. Yeah, that's what Sean's saying. Yeah. Zach Moss, three out of 60. That goes to Adam Wilson. Yeah. Bo Jackson had a similar injury, but it just wasn't treated properly. Tua's was. So we'll see how he bounces back from then. What's frustrating because of all this COVID nonsense, it's craziness. I mean, the medical, like team medical guys can't really physically take a look at him.  KJ Hamler, touchdown Kings. 27 out of 40. That'll be for Jens with number seven. Can't wait for the draft though. T Higgins, six out of seven. That'll be for Kevin and seven. No, Kevin has six. Kevin has six. And we got Jerry Judy. Nice. Another great receiver here. 24 out of 35 Leonard Jans with the number four. And there you have it, boys and girls. Nice. All right. Couple quick randomizers to do. So name on top. We'll get this second name. We'll get that. They were in the order that they were pulled. So let's flip back here to this screen. Let's grab everyone's names really quick, actually, then put them into a blank list. Everyone has a shot at it in this break. Nine after nine. One. Two. Three. Four. And ninth and final time after nine, six and three, nine times. There you go. Adam Wilson, you'll get that first one. The tenacious D one. And Ryan, you will get the second one. The Ray Juan Davis state pride autograph. There you go. There you have it, ladies and gentlemen. Joe for jasperadescasebrakes.com. We'll see you next time for the next one. Bye-bye.