Going on everyone Sam here with late in sports cards from 23 upper deck. Goodwin champions hobby 8 box break number 8 random letter style Look again at your random results as always you can find these all on the website under the results tab as well as the link in chat So good luck here everybody. Let's do it.   Yeah, young guns. Drew Jones It's a cool day.   That is tomorrow Johnson Kajani, right? That is Jackson Holliday chrome rookie red will Anderson not numbered for the W spot young guns gg Jackson good game Gg well played to the next one that is a Dylan Cruz chrome Ultimat spring Georgia Really is Maria Sharapova I'm already Avery large green Yeah, fractured jaw. I know he's out on the IR.  Yeah, and it is juju Watkins No clowning.  That's awful. Oh We got something It's gonna be base and it is Pisces on the space patch.  So it's almost sold out now Sam moose to 299 and then Brandon Miller to 149 in the rookie exquisite Grats on that one there be spot. Very cool. That's awesome, dude I'm gonna share the like button if you guys are enjoying the stream appreciate it very much Appreciate it very much You're gonna tend to go on the next break everybody breaking next Goodwin champions is rookie of Caleb Williams Red Tend to go 70 bucks a spot It's a three box mixer one bowman draft jumbo one super jumbo in one choice. It's a little bit of everything Anthony Richardson Little bit of everything in that one all three skews of Bowman this year Bowman draft. I should say dislike Thanks, Zalators. Can we ban him please mods for a job for us? mods Sydney McLaughlin Laveron space worn. I don't think so. Hope Brandon Miller Pick it and this Jared McCain Maria Sharapova. Oh, it's glow in the dark. That's kind of fire young guns I'm a lever dude. It's glow in the dark. That makes even better. That's pretty cool After this break is I wish you turn the lights off Right when we're locking up tonight, we'll bring that in the back It probably works so good in the back. It probably would man There's it's poor yeah, like Jake. Where are you follow the Pisces sign follow the space pad? Will's alatoris on the Can we get him out of here, please? The acetate there's Derek lively He needs to get out. He needs to get out Heresy, do you know queso is the yes streamer ever see?  There is Garland Lord, man Our employees man our man our manager right now. What an example we're set along what an example are being set You can just let a stray here Who's supposed to lead us along the way there is Haley van lith we've got mercury nice there We go M spot that's cool space patch glow another one. That's glow in the dark Very nice Brandon S for the spot on the next one Jackson V with a flawless collegiate And a Kong with a the cubs in a break as well is brice young chrome honey got a sec. There's Nick Smith to 149.  Very nice Take that all day beef up. Thank you again, mr. Andrew H. We're gonna spot in the mixer coming up next. I Know I know you weren't kidding. That's like That's that's what makes it so bad Baltimore Fumble, let's go was a vent noise and then always been so good for us Juju Walkins. Yeah, we're down to eight eight to go in the next one everybody single digits single digit aronies Can't imagine it's gonna be a available for too much longer Cuz I'm ahead of you now you're good. You're good. Soak get me right now. That's Dylan Cruz rookie On the chrome Jackson holiday, bleep Karissa Moore Baby, let's talk or try it. Ah, man Anthony black he might not actually be kicking a ton today to be honest. Oh This is still seven zip Sold out false collegiate. Oh false collegiate is off the board Nick Smith jr. On the upside down card Like green and juju walkins Hey, Drew Jones another space patch That is Jackson holiday, we've got That is Ganymede I want to say Goodwin champions glow in the dark space patch. Yeah, I mean for the G spot nice one there G Kind of in on these these glow in the dark space patches. I saw that. Let's see it Jason. Come on, baby I was walled Paraz at a 299 sketchy something huge dude. It's a moon. Is it the largest moon in our solar system really? Interesting Karissa Moore FC South that'd be awesome Jason CJ Stroud refractor. Oh, nice. That's a 2001 US quarter 36 of 50 Haley Jones Hell yeah Huh, I'm in on that H spot. That's cool birth year coinage relics Haley Jones must being born obviously in 2001. I'd say 2001 quarter interesting.  It's like Nat Geo strife Keshon bouti Keshon a bouti at Young Guns What it's worth at least 25 cents Yeah That was a quarter man. Oh, yeah, I had GG Jackson to be 26 cents for it She likes Is will Anderson rookie Matthew Hoppe or hop Michael Jordan Or should send me a timestamp of the Uranus they pulled Troll dude, what a troll Good Lord. There's Kyle Kyle's in chat. Oh boy. Yeah, that's bad. I'll go made us some money here Scoot Henderson down to six in the next ice. We got Wang picking up a soul that's selling us out on flawless collegiate Gregory with some spots in What's it called? Erickie with a spot in the mixer Josh and with spot in both mixers and then Matt J with a bowman's best universe No, Greg picked up definitive. That's what I was gonna think of it. I mean T. You want a flat? Wait, what that's you want a flat so you're Anthony Richardson, so you already ordered Ran into crashes Getting into the shop and leaving loving that cheese. That's nice. It's always fun Yeah, I wouldn't go pick up Three crashes on the way back. It's awesome. I'd have had to go down a back road to get home. It was really fun Or soul man. We're down to six six Six to go on the next one everybody Sir like your marrow Mike bring in CJ Stroud young guns. That's nice There's your link for the bowman mixer breaking that Three box bowman mixer Justin Crawford channel to is a lot lobby Left early this morning to get food and crushed. That's always a bummer Brock Wilkins you 100 Even when you leave early you still get Brandon Miller orange Darius Garland to 499 and a Tyrese Hunter on the auto nice one there for the tea spot It's up Yogi. Yes, not a the conditions are horrible in Baltimore right now Yogi. What up? Yeah, not a not a great Not a not a super like fun game to watch From a football from a good football stand because of the conditions to be fair though It's up Steven. How you doing buddy? I think so. Yeah, we so a lot of space patches in those first couple Pedagraphy junior down to five in the next five to go next one everybody five to go links and chat Yes, it is Chris C picking up the spot. Thank you Chris smart Johnson young guns cruise and Eli P and as one box of each of jumbo Super Jumbo in choice.   I'm glad you stopped man. That is I guess why tech the I spot Mari Avery Can you pick it Nicholas? I'm a leave will Anderson jr. I guess why tech nice one there on the Acetate Chris a more holographic foil. Hell. Yeah, Steven There's garlic. I got a ride that lock man. There's girls. Do you have the the dressing fields? I would say run it back. Why not run it back Steven. I would say run it back Well, that is an Alyssa Knackin nice one there for the a spot. Oh, she liked the coach Should have the yanks one. Thanks. He's like the answer Giants. She was the one. She's the head coach like the tarpons Maybe the tarpons. I know she's a giant She's the first female full-time female coach on the history ice the first to coach on the field during She was you see a base coach She was a first base coach Assisting coach will Anderson young guns the interviewer for the manager position Michaela Williams refractor Oh That's right The last one He's still here. Hey true jump or to go or to go See you data Ramar's with a spot. Thank you. Ramar's Cole. I'm with a good one champ spot.  Hello Ramar's Seth with a spot, I think we're down to three to go We're speaking Spanish Rice Underwood committed to LSU nice greaty dick young guns. That's from arms. Yes Get with it Caleb Williams My bad Ramar's space relic In Griffey, Jr. It is a blue moon Very good beer go to the B-spot Once every three years the moon cycle have a 13th full moon, which will be the blue moon Well, the moon unfortunately does not change huge the rarity of the phenomenon. Let the common phrase once in a blue moon. Ah Interesting look at that Try that if you said it's good That is CJ Stroud to 499 This one there. We've not pulled the Uranus yet today. We've not pulled Uranus shady. I love to see it Love this man. Geo. There's Nick Smith, Jr. On the red. I have a beetle and put it in there There's Livingston Christian of a caro. That is diamond relic rookies to 99 Grats on that one at the C-spot And Jordan Walsh Rise young Yes, thank you to Mr. Seth They got a spot in 13 down to three to go everybody three to go three to go three tog oh three tog oh In at the next break and that'll go right after this And a TC black One to go in the next one to go in the next one everybody one spot Let's sell it out every week 14 on the one after no a clowny chrome Anthony Richardson young guns Come on come on. Let's tie it right now. He's proctor. Is it really so score? When did we score who scored who scored for the Ravens? Not been watching man. It's in the third right now. I just Hey, GG Jackson. Good game. Oh, I know I say it like this. Really? Yeah, cuz strive hidden a likely in a Hairs parlor. Yeah That's right. I remember now. Yeah, yeah, yeah J. J. Starling not snoop the real bot lobby Jace young nice one there on the goodwin champion order for the J spot Jace young Young guns is Mr. Jackson holiday as well. Likely's likely to score again. Oh boy. Thanks. You're Mickey Mouse sack. DJ one I knew you're gonna say some about it. Yeah, I knew you're gonna say something That is Sydney McLaughlin LeVron space relic is Hydra nice one there space patch. Hell Hydra Hercules family 15 constellations visible throughout the year from both hemispheres Largest constellation the night sky No, we can catch you orange Brandon Miller 499. Yeah, I don't want a home came in ball Anthony black refractive that is a will Anderson on the black diamond rookie to 349 congrats W spot W cards the W spot I don't like when they show Jordan stout. I like when they show the hunter Sean picking up two spots not gonna stout to one. Thank you, buddy Jake's kind of growing a sand beard a little bit You get a haircut need to shave need to clean up a little bit pull it together. Yes I'm gonna die my beard like on now. Yeah Hope you guys I'm a little Hope you approve. I'm safe inside You're copying me Tarzan burns at the long hair in the missing teeth missing tooth Gigi Jackson Caleb Williams chrome bleh Brandon Miller Sponsored Everybody can ask him to speak English Good Lord sold out sold out on the next one. Thank you everybody. Let's go Anderson. Nice one. They're 199. That's S spot 14 to go in the second I'm not so mistaken. It's a Jordan. That's Nicholas. I'm a leave it. You have a merino jayden bradley All right, we've got a cancer nice one there Go on to the C spot the cancer consolation the dentist of all the consolation families Demy's Dentist the dentist of them all this guy. I'm Dylan Cruz young guns lobby Is the abinaconda That is Haley van lithe Something here Elijah green it is a lake mead in Boulder City, Nevada on the National Monument map relic Grats on that Very nice Grats to the L spot Lake Mead Cody P selling us out. Thank you, Cody. Appreciate you buddy. I'm gonna drop you guys link to number 14 of the three box mixer Oh for needs to collect those relics man So you can actually be like, oh I'm right here. Okay. That makes sense. How do I get it? He's still not gonna know where he's at Brandon Miller doesn't know how to read man. Jerry's carland CJ strap through 49 is will Anderson Oswald, Parazza Sam Yous Derek Lively Scoot Henderson Haley van lithe Nick Smith Jr. Brandon Miller To 100 is Brock Wilkin the carot at 99 and Bryce young to 99 Some of our relics and autos we had a lake mead Hydra cancer Pisces Ganymede Blue Moon Mercury a coinage relic of Haley Jones 2001 US quarter Autos of Alyssa Knackin Jace young and Tyrese Hunter. I'm doing for the break everybody. Thanks again to the Phil up next is the first woman


to tell if a cat is playing or fighting. Ears straight up mean the cat is playing, but the second they go horizontal, it's time to keep your distance. Cats invite playtime by assuming a submissive position. Aggressive cats will stand all fours and appear tense. Like many other animals, cats will try to make themselves look bigger when agitated. Flat fur is a good sign. Never get between two fighting cats. If things are getting a little too heated, clapping your hand should break the tension.


Hey y'all, welcome to what Chelsea eats. Thank you for joining me today in this video I want to talk to you about the healthy vagina tea healthy vagina tea This tea was designed because of the women who contacted me about bacterial vaginosis yeast infections Discharge odor in the vagina. So I created this blend for that purpose So if you're somebody who experiences that this tea is one of those teas that can help clear out the congestion in your vagina area Also, I did a video. I guess maybe a couple of months ago I will link it down in the description box that goes into greater detail about what this tea actually does If you watch that video, you can get some tips on other things that you can use to help you to clear out That vaginal issue that you have It like I said, it helps with BV like especially if you've had chronic Bacterial vaginosis Gone to the doctors and the doctor keeps giving you an antibiotic or a cream or something like that And it's not working for you If the doctor if you keep getting yeast infections and there's nothing like everything you try is not working that's what this tea is for and Just follow the instructions on the package on how to use it and Watch your vagina change now. The other thing I want to say about these teas though Is that you can't just take the tea and treat your body any old kind of way? It doesn't work that way you may get some relief But you do need to take good care of your body by putting healthy foods in your body drinking plenty of water Hydrating your body with raw fresh fruits and vegetables that kind of thing. So Take a look at this go to my website whatchelsieats.com and then click on herbal blends And you'll be able to find the healthy vagina tea. All right, take care


So much fun to ride. You get so many possibilities. You can get really creative, man. There's a lot going on. Just gotta figure out those lines. But definitely pretty smooth. All the girls are killing it. I'm very impressed by the young bus. I love the course. It's my first time up here. Checking out what they built for this cool event. Wir haben uns bei den Kurs schon was ganz was Besonderes einfallen lassen. Ich hab's einfach niedergezeichnet, hab mal kreativitätfrei laufen lassen. Ich mag's voll gern, wenn man Trains and Rails verbinden kann. Wir haben mal Kettenrail drin und was auch sehr anspruchsvoll ist. Wir haben viele Kings. Wir haben Bowls. Für jeden Take-off ist fast eine Poollandschaft. Es ist halt nice, ein bisschen was anderes zu haben, wie ein 0-15 Set-up, was man in einem normalen Park vorfindet. I mean, for the Shaper did an amazing job. Just making the park like this was amazing. And then we shaping all the time, cause I was all the time 5cm. They have to leave it reshape all the time. So, honestly, big up to the guys. They really kid it. Our Shaper crew has about 10 shapers. We build up the whole park in about 10 days. We got 15 obstacles in the whole rail garden. From set rails to dunkies to king rails. Everything. The biggest challenge was probably the big volcano in the middle of the rail yard. Because it's so big and has like a pole jam into it. Then the bowl and then you have the straight down and the donkey. And everything has to be shaped perfectly. Because you can't ride on powder, all these obstacles. So, because of the snow that was falling down, we had to really shape a lot of it. We don't have any jumps, we just have rails basically. I think that's a huge difference to other parks. Because you just have takeoff c-shape and make sure the rails are ok. But you don't have any big jumps or anything. So, it's called rail jam, right? We're ripping, got a little bit of snow. That's in the way. But hopefully that will clear up. And hopefully they can continue to rip. Looking forward to see the show go down. It's the first time for me sitting on the judges table. For me it's definitely the flow, the style. And there's so many obstacles so it would be nice to see every obstacle a little bit in between. And not the same runs all over. It's hard to head and the cow system. Pretty hard, pretty hard level. But it's fun and fun to watch. And really exciting. It makes it really interesting, the whole competition. We got a nice judging team. It's Benny Bourbon next to me. And then Julia Baumgartner and Mary Lugn. And the head judge Shulin Heriko, which is a good setup I guess. I'm judging since 2005. I was judging and running at the same time. Judging that competition in comparison with other competitions I did. Like for example the US Open and the Olympic Games. For sure it's very different. But I really enjoy to judge with those riders guys. And it was a very good experience. And I can't wait to do it again. It was like, I'm really happy to be here. That was so much fun and it was fun to be with a good crew. I will come back next year.


I want to share my thoughts on time management, as this was always a debatable topic, with people coming with all sorts of different tips and tricks on how to manage your time, but the main thing that I think needs to be outlined is that you always need to be present with your mind. Any downtime throughout your day, whether you are driving to school, or showering, or whether you are in a public restroom, in any type of activity that doesn't seem to take much of your brain power, you want to be constantly thinking and ordering the rest of your day. This might be a little bit tricky at first, but once you get it done a few times, it will get into your default state of being. So imagine you are in high school and you have a quiz coming up in your next class. One thing you might want to do while walking is studying in your head, because you don't always need a piece of paper to study. So what you can do, you can train yourself to recall the topics you talked about in class, considering that you are following the class, and then try recalling the examples and study in your head. Then you walk to your next class and ask yourself, what do I need to study? What are the potential questions? On the same note, if you have a big exam coming up and if you didn't have time to study, you can pull up one more trick of your sleeve and do that before sleep.   While you are eating breakfast, you are studying. While going to the restroom, you are studying. While grocery shopping, you are studying. All these low-key activities where people usually just shut down their brains, you need to think. You can think. Always be continuing to study, continuing to plan your next step, your next meal, continuing to think about something. You might be thinking about the next blog post you are going to write. You might be thinking about the next course you need to take. You might be thinking about the next YouTube video you want to release. So it's about constant thinking in these downtime moments that a lot of people just simply waste. And I know that there should be time for relaxation as well, as one needs small pockets of time where the brain is not operating at its maximum capacity. And if you want time efficiency, you will need to stretch out each minute to its maximum capacity as well. So just think about your next daily activity and plan everything so that you won't waste time. So again, while taking a shower, you might be thinking about your next 20 minutes and lay them out perfectly so that you do everything very efficiently. And a simple template might look like this.  And while drying my body with a towel and dressing myself up, I might think about what am I going to have for breakfast. So I'll mentally pick my eggs, my peanut butter, my bread. I know where all these things are in the fridge, so I'm also trying to establish and imagine a simple framework and also the best framework I can use, the best series of steps to get to my end goal, which is my breakfast. And then I'm going to do the dishes. And while I'm doing the dishes, I'm also thinking about grabbing a healthy snack as well, because I'm going to sit in my desk for a few hours. So everything flows very easily. And if you do this on a micro level, it might sound a bit silly. But if you start looking at it on a more broad scale, on a more of a macro level, it can really change your efficiency throughout your day.


Everyone is faced with adversity at some point in their life, but how you bounce back from it is what defines you. This is one of the messages the Wounded Warriors amputee softball team is trying to spread and today they were in Brainerd for a softball game and our Anthony Scott has more on that story. We're here to show what we can do and still inspire people and we're blessed to be able to do it in front of a pretty big crowd tonight. And what a crowd there was as nearly 1000 people came out for this year's Wounded Warrior softball game. However, this night was more than just about playing a game. Softball is kind of an afterthought. It's more of the message. It's a community event for the whole community of Brainerd. It's for the veterans. It's for everyone to come here, smile, maybe shed a tear and just know how important the armed forces are to us and what they've done for us. The Wounded Warrior amputee softball team travels the nation trying to inspire people while playing the game they love. We're out here leading by example. We're showing you that we got knocked down but we got right back up and we're helping others before us. You try to put others before yourself. If everybody acted like that, we'd have a pretty awesome world. We almost created this mobile VFW or American Legion as a softball team. The team up against the Wounded Warriors today were the Brainerd All-Stars which featured a pair of professional athletes formerly from Brainerd. It's great to be able to come back and support the veterans and the Wounded Warriors. It's a great event. I mean they did a great job. You look around all the people that have come out and support. Besides last year, I haven't swung a bat in five years. Last year I came up with some batting practice. I think I had three singles last year so I'm hoping to I'm going to swing for the fence and see what happens. It might not work out but we'll see. Before the game, the veterans worked with kids with disabilities as part of the Miracle League, something that they will never forget. When you're dealing with mental issues and physical disabilities it really opens your eyes to what really is a bad day. I think in general America is kind of missing that a little bit. All proceeds from the game went to support this one's for Hop, a foundation to support youth sports. Overall it was a night that everyone in the community could enjoy. You look around here and the thing is you see people smiling and the thing is we all have to believe that no matter what happens in our life a tragedy might hit us. Something bad happens and we need to overcome that and the Wounded Warrior amputee softball team is a prime example of how we do that. Reporting from Brainerd, Anthony Scott, Lakeland News. This one's for Hop will also have their 40th annual softball tournament tomorrow at Mills Field in Brainerd with nearly 20 teams competing. If you enjoyed this segment of Lakeland News please consider making a tax deductible contribution to Lakeland PBS.


Given the unprecedented situation regarding COVID-19, base food service and Sodexo personnel are taking appropriate actions to keep USMC garrison mess halls clean and safe for Marines and sailors. We continue to follow official guidance from the commanding general and Navy national medicine authorities. We remain committed to the highest standards of food service hygiene and cleanliness and have strengthened our daily procedures to minimize the spread of disease. Enhanced measures include increased frequency of cleaning and sanitizing tables, chairs, restrooms, et cetera. Increased cleaning and sanitizing of contact points such as door handles, card readers, handrails, and even more regularly with disinfectants. All self-service items have been suspended as contractor employees dispense reusable forks, knives, spoons, drinking cups, et cetera, to prevent touching by numerous patrons. Informational posters and digital signs re-emphasizing the importance of thorough and frequent hand washing and personal hygiene. All mess halls are equipped with hand washing stations outside entryways with an emphasis on washing hands for at least 20 seconds. Normal mess hall service hours continue and may be extended as needed to ensure Marines and sailors are properly fed.


at the Mark 47 descent. Very nice rifle. The key customer for this is interested in 760 by 39. As you can see, it uses AK47 magazine, a lot more material, a lot more robust strength. The recoil assembly is contained fully within the action, which gives you fun features like folding stock and a compact form factor. Very easy to shoot with a shorter buffer system. It's a manual bolt catch. Well, you can't see that on a closed bolt. So this allows you to lock the bolt open manually and then seat the magazine and then push the bolt catch like a normal AR and chamber around BNT stock. So BNT makes this particular version for us and we use it on the descents. Trigger that we partnered with Rise Armor meant to make. People are really excited because anyone who likes the ergonomics and optics capability of the AR platform but likes AK round may want to check this one out as well as people who love 760 by 39.


A few months ago, we spoke about the mineral wheel. How hard it is to balance those minerals, not really being specific about where to get each individual mineral, and today I'm going to explain where each one naturally occurs as well as how to get it realistically in our modern diets. And this is coinciding with the various supplements I released on organ supplements earlier this week, as there weren't supplements on the market that made this practical mainly due to artificially high dosage. So starting with calcium. It's not really present in high amounts in any ancestral diet. Dairy isn't consumed by all cultures, and the form of calcium in plant foods is bound to oxalate anti-nutrients doesn't really get absorbed. In a perfect world, you wouldn't need that much calcium. That's why human breast milk is relatively low in calcium, whereas cow's milk is incredibly high. Think about the bone density of a cow versus a human. You know, most people actually don't need any calcium, but if you were carnivore, which is high in phosphorus and antagonist to calcium, you might have to increase your calcium intake for a few months. I personally used a high calcium mineral water, such as Gerlsteiner, and I started feeling a lot better, which only took a couple of weeks, but once I reduced my meat intake, it wasn't really necessary to continue taking calcium. I don't recommend supplements. There's nothing really available or practical. If you do tolerate dairy, that is an option. Copper is present in high amounts in certain seafood, salmon, shellfish, which is unfortunately polluted to the point where I don't really think it's safe to eat those foods, let alone on a consistent basis. Certain plant foods like mushrooms and chocolate do have copper on paper. They would have been higher in the wild or grown in better soil, but don't digest too well because they're in the plant form. Some people can't really absorb it too well.  It's deficient in the former and zinc imbalances copper in the latter. I took six milligrams per day, sometimes even eight for a month. Then I went down to about four milligrams per day for a few months, and now I'm taking two to three milligrams a few times a week at most. I do have some chocolate here and there. I do have potatoes, mushrooms, some higher copper plant foods. Manganese is similar to copper in a sense that it's high in that ocean food as well as certain plant foods. Similarly to copper as well as calcium, it's low on a beef-only carnivore diet, and most people develop deficiencies on carnivore. My trace mineral supplement has three milligrams of manganese, which is the average amount you would get by consuming food such as pine nuts, brown rice, lima beans, and pineapple. You really have to have quite a variety of high-quality foods in your diet to really check all the boxes for certain minerals. Magnesium might be the most important and most difficult mineral to get. It is depleted in soil first. We need it in a fairly high volume compared to other supplements. Usually, if you take copper, manganese, iodine, any of these other minerals, it's a relatively small pill. But to get the amount of magnesium you need on a daily basis, you're taking three, four very large pills. Translate that to food. Difficult, if not impossible to get. You need to provide them with D3 absorption, calcium metabolism. It's one of the few minerals that I recommend people take on a consistent basis over several months initially. I guess the same could be said with iodine, which is well known to be in seafood. But as we said earlier, pollution concerns. We did a video several months back going in-depth on that. Darian eggs do have iodine if they're high-quality, grass-fed. Since the pollutant halogens, fluoride, chlorine, and bromide are so common, we typically need higher iodine levels anyway, consistently. I formulated one on organ supplements to be 150 micrograms per day transdermal, which is equivalent to eating one serving of seafood. Next up, we have potassium, which there really is plenty of as long as you're eating high-quality, whole-natural foods. I did a video titled Stop Worrying About Potassium, where I explain that further. Phosphorus is ample in dairy and meat, and since most of us are consuming a base diet of high-quality animal foods, it's not necessary to supplement. Next up, we have sulfur. This is another problematic mineral on carnivore, even vegan diets. Meat, eggs, dairy, cruciferous vegetables, all incredibly high in sulfur. One mineral we don't have on here is molybdenum, which is antagonistic to sulfur, and something that's high in legumes, lentils, peas, beans. And I put molybdenum in the trace mineral supplement in the naturally occurring amount if you ate those foods on a consistent basis. Cobalt, like sulfur, is ample in meat, not really a concern in getting enough of it. It's bound to be 12, and some of you may be familiar with methylcobalamin or cobalamin supplements. That's referencing cobalt bound to those B vitamins. If you do have malabsorption or gut issues, this is where you might actually want to supplement some B vitamins, but cobalt isn't really necessary. Onto zinc, which is very high on carnivore, probably deficient on a standard American diet. I definitely wouldn't supplement zinc coming from a carnivore diet, and if you do ever supplement zinc in any context, you definitely want to take a coinciding amount of copper with it. The average person eating high quality animal foods that doesn't have gut issues is going to be absorbing plenty of zinc in their diet. We don't really have to touch on sodium. I've done several videos on salt. You just want to add salt on your food to taste, one to one ratio of sodium to potassium preferably, but your body will get there naturally with its cravings. You might have prosciutto one day, and then you don't want salt for a couple days. It's sea salt, any high quality salt, Himalayan salt, very easily accessible, doesn't have to be supplemented. Last but not least, we have iron, and from my videos about iron, you guys are probably familiar with iron overload, and the problem with minerals like iron and calcium is there are so many other nutrients required for proper metabolism and absorption that the imbalances in our modern world result in liver iron overload or calcification of various tissues. You might need to donate blood if your ferritin or iron blood work is elevated, but that's a bit more involved, and you can watch my videos on that. Selenium was not on the mineral wheel, but I think it's the most overlooked mineral, really helped me with my liver function, it's antagonistic to mercury and sulfur, which can be high on certain carnivore diets. One main symptom of selenium deficiency is infertility, which is probably why a lot of carnivore dieters lose their sex drive when eating only beef. I have a separate supplement for selenium itself in a dose that you would get from eating seafood or nuts, which are typically polluted or have toxins like mold. So in the case of some of these mineral powder supplements, even though they're synthetically made in a laboratory, it's still better than poisoning yourself with our modern food supply and not having a guarantee of absorbing them. Brazil nuts, organic, high quality, maybe it's okay, you can try them compared to a supplement, it's up to you. We didn't touch on boron either, and I think the boron bros are gonna hang me up if I don't talk about it. So I did put boron in my trace mineral supplement, along with the molybdenum and the manganese, as I figured it's the only remaining mineral that you can't guarantee in your diet. I honestly don't think boron is necessary for most people, maybe supplementing a few times a year, but there are so many reported benefits of supplementing boron that I haven't experienced myself. I don't know if it's a bunch of people trying to sell boron or it actually worked for them. So you could follow a balanced diet, focus on those foods I mentioned, and the majority of you would have all the nutrients you need in six months to a year, depending on past deficiencies. That is, if you don't have gut issues and everything was in check, which it likely isn't. And that's why having supplements with basically guaranteed bioavailability and absorption is a quick way to fix some health issues in months as opposed to years. Now I would have never fixed my histamine intolerance without copper supplements and a few other things like the selenium that I mentioned, the magnesium. All of these have helped me greatly. It takes weeks to months of consuming a food to see results from it. So by having access to these supplements, yeah, it's kind of like a double-edged sword. If you know what you're doing, it's great. If you don't know what you're doing, you can cause further issues. So thank you guys for joining me today. This was a little longer than I anticipated, so we'll wrap it up now. And if you guys do have any questions, please leave them down below. If you guys feel like I missed anything, please let me know. My brain is fried because too much stuff going on. So you guys can go to organsuppelence.com to see the minerals I have available. You guys can go to frank-pomod.com to see all of my other businesses. Frankie syringe me for high-quality animal foods. And hopefully, in the relatively near future, I can start providing you guys with high-quality versions of all of these foods that you can do to encapsulate complete human nutrition. So thanks again for joining me, guys, and I'll see you for tomorrow's video. ["Forever"]


The story is set at the end of the 19th century on the eve of the next one. After a certain mishap, the brilliant but socially inept engineer Sorano Apare and the shrewd but cowardly samurai Ishiki Kosome find themselves drifting on a boat from Japan to America. Broke, the two decide to compete in the trans-America wild race to win the prize and return to Japan. Hey everybody, welcome back to another First Impressions video. This time we're talking PA Works' cool new series Apare Ranman. This is one of my most anticipated shows of 2020. I was very excited to watch the first episode and I love how crazy the premise of the story is. You have all these characters basically doing an anime version of wacky races. You have these eccentric characters racing across America. I love that it's set in the U.S. so you can have different settings. You know, the topography is not going to be the same in LA over at New York. Especially in the late 19th century, early 20th century, it's going to be vastly different. So I'm very excited about that. The character designs are very cool looking. I love the main duo. One of the things I was really surprised when I started watching the series, the first episode I should say, is the character of Sorano Apare. I thought the character was a girl, but it turns out he's a very eccentric guy. But he is a character that reminded me of Senku from Dr. Stone in that he is moving at his own beat, the beat of his own drama I should say. He is very interested in how mechanics and steam powered stuff works. He's a scientist through and through, or a mechanic I should say, or an engineer. And that doesn't sit well with his family, which I thought was really interesting to see. We've had this plot point before in different stories and it's an effective way of showing a character breaking the tradition from a family and a family accepting someone in their household who's different. Will that pay off in the end? Well, we still have a lot of episodes to go, so we'll see what happens. But with the start of the series, I was very surprised that we got an early look at these characters and what makes them tick. Now it's not the most exciting start to the series, because when you see the trailers, everything looks so bright and colorful. The color palette is off the chain with this series and you sort of just want to jump in there. It sort of reminded me of things like Red Line, the anime movie. I wanted to see something like that at the beginning, but instead we do get the start of the race and it goes back into our two main leads and how they got there in the first place. Sordano being part of this very strict family and they not coming to terms with his eccentric nature and his disinterest in the family business and him just wanting to explore popular mechanics, if you will, and dreaming big, which is something that every teenager can relate to, wanting to reach through the stars and construct everything and see how everything works and literally travel across the ocean to other lands, travel to the sky, the stars, the moon, all that stuff. He gets appointed the samurai Ishiki Kosame, he's supposed to be his caretaker to keep him in line, but he gets entangled with his shenanigans and the two suddenly find themselves in America and they're going to take part in this race. I don't want to spoil everything about the episode, but it's quite interesting. Again, the colors and the animation are fantastic. PA works, I love the stuff that they do, and this doesn't disappoint in my opinion. Sure, it might not have been the best or the most action-packed start to this series, but I'm confident that good things are coming and the following episodes will surely deliver on the craziness of this race. Every car is different, there's some really wacky designs and the characters seem to know each other from the get-go or at least on a name basis, so I'm very interested in finding out how all the racers come to learn about each other and of course the actual race. The music is great and the characters, they look fantastic. I love it, I am really excited and hopefully the series does deliver. It's a very, it's a unique series for an anime. We've seen races across the globe before in literature and movies and all that stuff, but to have it in anime form, I can't help, but be giddy with excitement. I love when a series takes a bold, strong look at something and they construct something fabulous for viewers to enjoy, if you know what I mean. Apare Ranman! First episode is out, let me know in the comment section what you thought of the series, if you've watched it, if not, what are some of your favorite anime or manga involving racing and race cars? Very interested in finding out. Thank you everybody for tuning in. As always, thank you for liking, commenting, subscribing, being a part of A Week in Geekdom here on YouTube. I couldn't do it without you guys. Follow me on social media if you can, Facebook, Twitter, Instagram, all that fun stuff. I've got to go, I've got more stuff to view, I've got more books to read, and yeah let's keep the ball rolling. Thank you everybody, I will catch all of you on our next episode.


Everyone, let's do two minutes, project five questions, one more four questions. Although maybe we can say one more four questions maybe until afterwards we can go over some examples or something. But project five questions? Is that a good project question? Maybe. Let's stick with normal, let's prioritize, right? Normal project five questions. We're all done? This, laughter. Let's go with the opposite. Haven't started. Haven't started yet. That's bad things. Yes, we should start. It's going to get a little trickier than you think. And you have to think about it. You have to actually think about things. So that's why starting early is good. What's tricky? What should we not do? What should you not do? Yes. Why would I answer that? You should not wait to start it. Yes. Yes, if you start, because you can start thinking about it you can kind of off source and be like, hey, I think I did switch statements correctly but it's not actually working properly. And then I'll help you figure out why it didn't work. Cool. OK, front and back. I guess on the switch statements. So I imagine that you have to do some kind of recursive help because you don't want to have a case of difference. Say that again. You don't have to show them how many cases. Correct. Probably have to do some kind of recursive. Let's see. You can do it like that? Yeah, you're parsing. You could parse it recursively. For a switch statement, you don't know how many there is going to be, right? Is your parse statement list recursive? I mean, is it? That's more of a question. Because you can do that iteratively more recursively. So it really is up to you. You can do that either way. For those, I'd probably do that actually iteratively. Can I just find them now? Yeah, because you don't need to set up the if structure correctly, right? So you're going to make sure for every case statement that it's properly set up. Yeah. When you say iteratively, do you mean like when you start a switch statement, you'll go through until you hit like default or like right, right? And then you will store the statement? Yes. So you would create that because you don't know exactly how many case statements you're going to, right? So you could just like have a parse case statement that you call every time you see a case statement, and that will return to something. But then your switch statement, how to put those all together basically. So in this case, I think iterating over, like you see the first case statement, you have to call parse body, right? Because you don't know how to parse it. The parse body does. But then when you get that back, you have to figure out how to stitch that into your structure that you're going to return from the switch statement. OK, we'll say project five bonus questions and hover questions for after. So we are at the table here. So we should be able to get through runtime and start some landing calculus, which will be super fun. Everybody gets terrified because it has the word calculus in its title. The lambda? It's just a Greek letter. What if it was called alpha calculus? Would that be any scarier? That would be a lot scarier. Much scarier? What about omega? I feel like I could do it. You could do that. You're like, omega's. What if it was like an umlaut or something? Umlaut. Oh, that's right. What is like an o with an umlaut over it? I guess you're German. Isn't that right? I took German. Right? All right. Well, I'll just change it the way you say it. OK, NEA in Spanish, right? NEA, NEA calculus. That could be a thing, right? Is that any scarier than lambda calculus? No, that's actually the biggest calculus percent. Lambda sounds kind of goofy too. OK, so what we're trying to understand here is, oh, I'm not there. OK, yeah. OK, so we want to see, we want to somehow support local functions, right? So we've been trying to think about, OK, how can we actually, well, writing, so it seems kind of pretty easy how we could write local functions as a programmer from the programmers perspective. What we're trying to think about, right, is how can the compiler actually support local functions, right? And so let's look at an example of kind of what we want, what we would want out of this to support. So here we have some function foo, and inside it, it's declaring a local variable x, and then foo declares a local function bar, and inside there, that actually declares a local function baz. And it's going to set x is equal to x plus 1, and if x is less than 10, we want to call bar. So can we do this with the scoping rules? Because bar, so where's the name bar valid? So if we go with our normal C style rules, right, if we have a function declared in the global scope, that name's valid there inside the function and after that function, right, in that scope, in this case it's the global scope. So here bar, right, bar is available to be called inside a bar, right, and it can also be called from foo, but can another function call this function bar? Sure. So inside bar. Outside, yeah, outside foo. If we have another function main. Oh, no. It's local. Right, it's local, just like local variables, right, you can't just reach into a function and take out its local variable. Just like here you can't reach in and take out that, or call that local function. Then we have bar calls baz. So what's going to happen here? So I guess let's first see, we set x equal to 0, then we call bar, and then we print out the value of x. So what's this program going to execute? Let's initialize here. Should we print out 11? I think 10, yeah. But the question, the really interesting thing, right, is trying to think about what's the call stack here look like. So function foo is called. The first thing that happens is it sets x to 0. Then it calls bar. So we call function bar, and bar defines a local function baz. And then from bar we then call baz. And then we increment x. So x was 0, now it's 1. Is 1 less than 10? That's easy math. Then we call bar, which calls baz. Does it declare a separate instance that declared the same one? Is it a declaration? Yes. Describe a little more what you mean. So if you call multiple instances of a function, and each one of those instances is on the call stack, you'll have a local instance of some variable in that function. Does the same thing happen for a local function? Ah, so that is part of the question. I mean, it's actually part of how is this implemented, right? It kind of goes back there. So with the first call of bar. So let's think about this, right, baz. Is the code of baz going to change? So if you think about it, there's global functions. We have a function called itself multiple times. There's not different copies of the code of that function, right? It's not a global function. But it is not a global function. But what is the fact that this is local? What does this actually change from putting this in a global scope? So what are the two, there's two main differences here. It exists once. It can only exist once. In declaration ones. Okay, yes. It can only be declared once with that name. Yes. And runtime, it will have its own function frame. Correct. Right? Exactly. Okay. So it's going to have its, so, but when we invoke these functions on the local scope, they're still going to have their own function frames, right? They have their own frames and everything. So what about, so we said that you can't call bar from outside foo. So what does that mean applies to this local foo? The scope, right? Because the scope of bar only exists inside foo. So local functions A affect scope. Does that have anything to do with having different copies of the code? No, right? We kind of saw that we could have the compiler just actually rewrite that local foo, local bar to a global bar, right? And that would be semantically the same. But what is happening inside Baz here? What is key to having this Baz as a local function? It's constancy every single time bar is called. What does that matter for the execution of this program? Does Baz have any local variables? No. No. So, but local regular functions that aren't local still have local variables, right? And those just live on the function frame and they're separate copies. So you don't need different code to do different local variables. But what is Baz doing here? This is a global variable? Oh, sorry. Global, not global, but local in the scope. Yeah, so it's kind of crazy, right? It's changing a variable that's outside its scope and that is not global. It's changing another function's local variable. Where does this x live in foo's function frame? Exactly. In foo's function frame, which is somewhere on the call stack, and is it a fixed difference from Baz to foo? No. No, right? Because every invocation of Baz is going to reference this same variable x. So does it keep track of how far away it is? Yes, so kind of. So we'll see that. But hopefully that shows that we don't actually need different instances of Baz. We don't need different code of Baz, as long as we can make sure that we're accessing the correct x. So does it use, so knows where it is in the function frame? Does it use the base planer to then calculate all the stack? Yes. So it knows they pass in, every function gets, what we're going to see in a second, but they get a link pointer that points them to their lexical parent. Because here, Baz's lexical parent is bar, that's scope, and bar's lexical parent is foo. So I know by accessing those links, I can properly get to the variable x. Whereas I can't just do that at runtime, because I don't know how many functions there are between Baz and bar and foo. We'll see an example of this, but everybody's seeing what's going on here, how this function is executing, right? So we were here, we had one, we called bar, we're inside bar, we call Baz, x is now two, we checked two is less than 10, we call bar, which calls Baz, two is three, we keep doing this until x is going to be 10, so this check will not pass. And then we have this huge call stack, right? But 10 instances of bars and Baz, they will all eventually return, and finally we will print out the value of x, which is 10. So it's less than, it's the key to the question about 11 versus 10. Okay, so we compiled this code in assuming a compiler that actually supports local functions. GCC does not support this, this is not going to work, but assuming that we did, but other languages do, right? So we're looking at C because we've been looking at C and because you've been using it in your project, but other languages, Python supports this, JavaScript, it kind of supports it, yeah, it definitely does, it does. It gets a little more complicated though, yeah? Is there a C compiler that actually supports this? At this point you're not C anymore, right? You've extended the C language to be something different with local functions. So is there a modification to GCC or one of the other compilers or a completely different compiler that supports this C plus this thing? Probably. GCC is open source, you can make it support it. So is that LVM or Clang or whatever, right? I'm sure somebody's done it. That would be kind of a cool class project actually. Okay, so if we do this, it will output 10. So the question is, does the C-deckle calling convention that we've been studying, can it actually support this? It could be that the calling convention supports it, but C didn't want to add that overhead to that complexity so they just didn't do it, right? The calling convention is separate from the language itself, right? So let's kind of look at this, right? So we're in here, so this is just the call stack, right? So here it's not the actual stack here, we're just abstracting this to see these are the function frames that are on the stack, right? So we first are calling foo, so foo is on the stack. Then foo calls bar, so bar is on the stack. And then bar calls baz, so baz is on the stack. We increment x, now the question is, how does this baz, right, this instance of baz, where on this stack does x live? We're talking about normal C-deckle. Where does it want to go, where does x live? In foo, right, it needs to access foo's function to change the value of x, right? It needs to access foo's function frame, right? So let's say it does that. Then we call bar, then we call baz, right? And here we can maybe say, well, just go to whoever called you, right? So we actually have, we saw that every function of location saves the parent's, the parent caller's base pointer, right? And that's in a fixed location. So a function can actually go up using the base pointer to see who called it. And this is actually exactly how anybody, oh, I'm gonna get really sad when I ask this question, so maybe I shouldn't, but anybody used GDP to look at the stack trace. If you do like stack trace or ST, it shows you all the function calls that are up to your breakpoint.  This is exactly how GCC does that, is it looks at the base pointer that's saved for every function, and it can see exactly what functions are being called there. So this is how it does it, right? So you can think, well, yeah, we could do that, right? We just go up to access x in there because the compiler knows the offset where x is from foo's base pointer, right? So as long as I get foo's base pointer, I can change x. So we say, okay, that's fine. That'll support that. But now I call bar again, which then calls baz, which then needs to access x, right? But can I just go to up? I'd need, so what could I do? Let's talk about some, or some ways you could do this without doing the way we already talked about. So what do I need? What do I want to find on a stack? Access is variable x, right? What do I want to find? Function foo's, yeah, function foo's frame on the stack, right? But we looked at x86, we looked at cDecl, right? Does it actually know which frame belongs to who? No, right? Each function just has, I know the parent, I know who called, like, where to return to with the saved instruction pointer, and I have the saved base pointer of my parent, right? That's all the information I know. But what if we could change maybe cDecl calling convention to store the string of the name of the function that's called, and then we could use the base pointer to just look up and say, keep going until we see a function named foo on the stack, and then access x based on there, right? We can do that, you can actually do that, and that would work here. Because the whole point is, we don't know exactly from what we have with just these links here, we don't know how many to go up to find that foo. Because here we need to access foo here, and so we have to keep essentially crawling up the function frames until we got to that foo, but we have to know that we actually got to foo. I guess technically if you're being smart about it, you wouldn't use a string, you could give a function maybe just an integer, and as long as that's in a fixed location, then you can know exactly what it is, or maybe you hash the name or something if you want to avoid those things. But would that work? We may not work with. How would that work with cross-module compilation? I guess you could have a link or do it. Sorry. Okay. So this is where another way to do it, what we know is we know that bar's needs, bar's parents, we know that the lexical scope here is that bar when it accesses x, a baz accesses bar's parents scope. It's accessing x in foo. Lexically it's only two steps up in the scope, thinking about symbol tables and scopes. And for bar, if bar accesses x, it would know it only needed to go up one lexical scope. So the idea is we add an access link to the calling convention. So EVP, the saved base pointer, saves the caller's base pointer, the dynamic caller. But we want the base pointer of our lexical parent, not our caller's parent. We want a pointer that points to our lexical parent's... Yes, you definitely need both. Yes, you want both. This is what we want. This is what we have. This is what we want. So we want to add this, essentially. So we need to add another element to our calling convention. So we add an access link, and this would be our lexical link that would point to our parent. That way, a function can follow access links until it finds the correct scope. For instance, here, on the right-hand side, we have the base pointers, the base pointers. Each saved base pointer points to its parent. Now for here, every instance of VADS is going to have a pointer to its parent's lexical scope with the access link. So what's lexically here? What's VADS' parent's scope? Bar. So is this VADS going to point to this bar? No. No, why? Yeah, it's going to be the first bar on the stack, because there could be separate invocations. So that is where we do have lexical functions. So if every instance of bar set X to be zero, then only calls to VADS inside that bar would access that zero. So this VADS will have a link to bar, but what does bar have a link to? Foo. Foo, right? It has a link to its parent Foo. And similarly, this bar has a pointer to bar. This VADS, sorry, has a pointer to bar. And this bar has a pointer to foo. So this way we know, the compiler knows X is two parents, two hops away on the access link, right? So this means it can write code that says, when I want to access X, follow the access link once, and then follow that with the access link again. This way we wouldn't have to keep track of the names. Exactly, yes. We don't have to deal with names or anything. But we have to make sure that when we call a function, we're passing its parent's classical frame. And this way, we have the nice thing is when we're getting way down here, right? We have all these access links, or these, sorry, the base pointers, which point to our callers. And then we have all of these links so that every instance of VADS only needs to travel two links to get to X. Passing on this, it's kind of cool, right?  You know, like straightforward-ish. Right? But then how do you actually implement that? So the computer actually implements the semantics of what you want from the language perspective. This mess of errors makes sense. So this is how... This only applies to global functions, right? Yes. Or does it apply to global functions? It would not need... Global functions can only access local variables and global variables, right? You could maybe think of the global scope as one function frame, right? So you could maybe do this with, like, global variables on a global X scope. But then I think you would have issues with, like, cross-compilation. So is the... The access link is a thing that only gets trapped in a language where this is supported? Yes. Yes. But you can do it, and you can do it very efficiently, too. Right? So here, VADS and BAR, right, is a compilation question, right? The code for BAS and BAR is compiled and is the same, right, just like for any function. Like, it doesn't live in the code of foo or anything like that, right? But it just knows... So that when BAR calls BAS, it knows it needs to pass in its own... It's... Because BAS is lexical parent, right? BAR is the... the access link for BAS, so it passes that in when it calls BAS. And just like when BAR calls foo, or when foo calls BAR, right, it knows it's its lexical parent, so it knows to pass in its... its access link. Its base pointer has the access link. Cool. All right, I'm going to stop this, actually, and then split this lecture into two.


In this video, we provide the solution to question number 12 for the practice final exam for math 1050. We have to solve the exponential equation 2 raised to the 2x minus 8 power is equal to 2 raised to the 5x plus 1 power. Now, as exponential functions are 1 to 1, if you ever have the expression that a to the m equals a to the n, you can essentially just cancel out the bases and you end up with m is equal to n. So if 2x exponential expressions of the same base are equal, it must be that their exponents are equal. So since both sides of this equation involve a power of 2, we can actually remove the 2 from play and just set the exponents equal to each other. So this becomes 2x minus 8 is equal to 5x plus 1. Solving this equation, I'm going to subtract 2x from both sides. I'm going to subtract 1 from both sides. We end up with on the left hand side, negative 8 minus 1 is a negative 9. On the right hand side, 5x minus 2x is a 3x. So we want to divide both sides by 3 and we end up with x being equal to negative 3. So we see that the correct answer would be choice F.


worksheet. Get ready and don't fret. Remember, the board's totally fretted already. So you need to be the calm one in the relationship. Here we are in Excel. If you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but we did so in a prior presentation. So if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking up this from a music theory standpoint because we'll simply use it as a tool to map out the fretboard, give us the scale and chords that we're focused in on. If you do have access to this workbook, though, there's currently like seven tabs down below. We've got like six of these green example tabs, one OG orange tab to start out with, and then we'll make another tab to the right, the OG orange tab representing the original worksheet we put together in a prior section. It now acting as our starting point going forward, mapping out the entire fretboard, giving us our entire musical alphabet in letters, numbers, and combining them together, giving us our key so that we can change this green cell, which will then map out our worksheets on the right hand side, providing the scale that we're working in, in this case, C major and the chord constructions within that scale. We now then wanted to work in the C major scale and look at the chord constructions from the notes in that scale, starting, of course, with the one chord, the C major chord, which we did in this first tab, mapping it out in the fretboard in open position as we define it, frets one through three, we mapped out the one three five of the C major chord, and then we discussed it in detail. We did the same thing skipping then to the four chord, the F chord, we didn't go to the two or the three, but first the four because the one four five is going to have similar constructions, those being the major chords as opposed to the major chords. We mapped out the F major chord in frets one through three open position talked about it in detail. Then we went to the five chord, which also is a major chord because it's part of the one four five constructed it from the C major scale, mapped it out open position on the fretboard discussed it in detail. Then we baked back up to the miners, back up to the miners for the two chord, which is a D minor chord, and we mapped it out on the fretboard discussed it in detail, then the next minor chord, the E minor, which is the three chord of the C major scale mapped it out in open position to discuss it. And now we're skipping down to the six chord. So we've done everything from one and now we're getting to the six chord, the seven chords kind of special or kind of different. And so we'll talk about it separately. But these six you can think of kind of together the one, four, five majors, the two, three, six, the miners. And this minor construction is actually my favorite scale to play in because if we rearrange it to its related mode, we get to the A minor. So this is basically you can think of this as though you're going to be playing around the six note of the C major scale as we did with every other note, thinking of it as the related mode. But because in Western music, the minor scale is so well used, you probably will want to think of it as its own scale in and of itself, but you still want to see the relationship of the minor scale to it being a mode related to the major scale. So what we'll do is we'll first map this out, we'll copy over the og tab, this will be Excel intensive. However, if you're looking at this from a music theory standpoint, I still think it's worth doing because we'll do things like map out this information on the fretboard. And we'll do some things like mapping out the major scale, putting the pentatonic on top of it and layering on the chord construction on top of that, which even if you're not into Excel, I think is is a good practice just from just to watch from a music theory standpoint to see how it all kind of fits together. But it will be Excel intensive and then we'll use this worksheet in the future to further drill down on some of these concepts as well. So what we'll do is we'll copy over the og tab will then map out the 135 and open position will map it out then on top of the pentatonic scale, then we'll map it out on top of the major scale will combine then major pentatonic and the chord and then we'll talk about the the movable positions which you can think of as the six to three or the you know, starting on the sixth going to the two to three or you can think of it as it's related mode AOLN or minor. Those are two words for the same thing. So let's go back up top and we got a lot to do. Let's let's do it. Let's go to the og tab. We're going to start by copying this over left clicking on the og tab. I'm holding down control and then right clicking on the og tab and dragging it to the right. I'm going to double click on the og tab that we've copied over so I can rename it as practice. And this is going to be the a minor.  Let's make that blue. I'm going to make it this light blue here. Okay, going back to the left. So up top we are so we already have so this is our numbering system we have it we're mapping it out on our key for the C the C major and then we're looking at the six chord and relative minor which is to the right. And below this worksheet we usually had the minors that are going to be in the same the same starting note or the modes. So down below we have the minor with a C and so on. We want to replace all the ones below with the same top construction because we want to be able to see the fretboards on top of each other that are related to the same modes. But before we do that, let's get rid of this conditional formatting here. Don't put the cart in front of the horse. The horse doesn't like it home tab style.  Okay, so then we're going to let's copy from one down to here, down to the bottom this blue, I'm going to right click and copy. I'm just going to paste that on down. So I'm going to paste it here, control V. I'm going to paste it there, control V, I'm going to paste it there control V. I'm going to paste it there, control V. I'm going to paste it there, control V, and one more time, control V. I think one more time. Right? That's it.  So now we have the same thing on repetitive on down. Then I'm gonna hide everything that's past fret four or fret three. So let's go from E and I'm gonna hide till we get to our worksheet over here. So we don't need the little keys and the entire musical alphabet. I'll hide all of that. Right click and hide that stuff. So now we've got just the open frets. I'm gonna scroll in a bit. Then we're gonna get rid of the top bit. Remember that this is kind of mapped out just with the numbers, the absolute numbers without the letters. And I still think that that's really useful to look at but most people probably don't wanna do that. But notice how nice it is. Even if I just didn't have the numbers here and I just had the letters, look how much harder that is just to look at than if you just have the numbers in part due to the sharps and flat issues, right? Where if you're just looking at this, that's actually a lot easier to kind of visualize if you were to see all the notes as numbers. But nobody's into that to that extent at this point. So we'll hide that. So I'm gonna hide from here down to here. Right click and hide. And then I'm gonna go down to here and I'm gonna hide from the bottom of this blue. I'm gonna hide all the ones that are the numbers only that look like the Ahsoka game, the Sudoku game, the Jedi Ahsoka game. Hide, no, it's a Sudoku, not Ahsoka. Sudoku, it's totally different. They don't even sound the same.  Okay, they sound similar to me. I don't know. Maybe my ears just aren't used to it. But I feel like they sound similar. They're not even close. Ahsoka Sudoku, Ahsoka, okay. All right, stop, stop, get over it. Moving on. We're gonna then hide all of the numbered ones. And then, so here's another one, last one. Uno, vase, mas, right click, hide. Okay, so then now we're going to map out the six. Now again, I just wanna point out as we do this, the importance of visualizing this or recognizing that in Western music, even if you're not like a real into music, you haven't done like a lot of music theory, you've probably heard more of the minor scale more than you have like the Dorian or the Phrygian and whatnot. And possibly having it in our minds as big and as important as the major scale, which you can think of it as being. But we also kind of think of it sometimes as though it's not related to the major scale or that it's not like a mode. And it is basically a mode. We can think of it as basically the six mode or Aeolian mode. So we're just basically taking that six note and doing the same kind of thing to it. However, because it's mapped out so often as such an important scale, you probably do want to rearrange it oftentimes in your mind more often than you might do as you're practicing the other modes so that you're not just saying, I'm just going to play around the sixth note of the C major scale, but rather make it the one note. And if you did that, I'm going to just hide these cells to the right just so we can see this right click and hide. Then you would have it as the one note. So this is the A minor or Aeolian mode just taking the six, making it the one. And that's kind of nice and easy to remember when you're practicing as well because in this minor mode, you've got the one, four, five, which are all minor. They happen to be the minor chord constructions when you make the six, the one here, when you make the six, the one. Whereas over here, we've been seeing that the one, four, five and the major construction are the majors. So that's kind of nice. So you could say, okay, if I'm playing in a major scale, the one, four, five are going to be the major chord constructions from that scale. If I'm playing in a minor scale, the one, four, five are going to be the minor notes. The minor scale is related to the major scale because you usually think of it as going from the major to the minor. We're just taking the six note and moding it out, making it the mode or Aeolian mode, making it the one. Okay, we'll talk more about that later. I just want to touch on that because it's important. I'm going to right click and unhide. Also just want to touch on the fact that the A minor scale to play in it is basically my favorite scale as a guitar player. And it's probably a lot of people's major favorite scale kind of to play in or like the first scale that they might learn because it has some advantages that we'll kind of see or we'll talk about basically as we go here, but it's want to point that out. Okay, so here we go. Let's map this thing out. So I'm going to select these cells and map out the one, three, five. So remember how do we get to the one, three, five? We start with the A, skip every other note, A, C, E. But we're not calling it the six, one, three. We're calling it the one, three, five because if I was to see the minor mode over here, here's the minor, the one, three, five would be the A, C, E of its related scale, right? A, C, E of its related scale. Okay, so then we're going to select these and go to the home tab, style group, dropping it down. And let's make the one is going to be green. It's going to be green. And then we'll make the three dropping it down. The three is going to be red. And then the five is going to be yellow. Those are the colors we came up with. Those are the colors that we're sticking with. Why are they that color? Just because we said so, because we said so. You can't change it now or it will confuse people. And then I'm just going to put some boxes around the actual chord that you would be holding down. So you would just be holding down this note, this note and this note. The A would be ringing out up top. And then this one could ring out down below. So you would just be holding down these, pointer finger, ring finger, middle. We'll talk about the fingering later. Ring in the A out, muting the E up top or you can ring the E out if you want to, but then the A wouldn't be the lowest note. So oftentimes you mute that if you want to make it really A minor sounding. And so again, one of the benefits here is that you have this open string. So in other words, like you might kind of compare to the piano, when you learn the piano, you often learn the major scale because it's the most famous kind of Western scale and all the white notes are in the C major scale. And so that's what you would do on the guitar. It's kind of similar, but the minor actually has some advantages over the C major. So looking at it, the same notes as the minor could have some advantages in that one. You've got an open A, which is nice, kind of a bassy sounding A, it's a lower tonality string. And that's really nice. Whereas the C, you don't have any open string over here. And this shape is very easy to play. You can do some hammer-ons with these. If I lift up this A right here, you've got an easy seven chord to play. The C is easy to play too, but you have that advantage. Also, if I go back on over here, just to look at the whole fretboard, this position in the middle of the guitar, where you have this pentatonic shape that a lot of people learn right in the middle happens to have that A right on the fifth fret, which again, is very convenient. It's a nice placement to be right in the middle of the fretboard to play that kind of A minor or thinking of it as an A minor pentatonic type of shape. Whereas if you think of it as a C, the C is all the way out here on the eighth fret, right? So it's common for a lot of guitars to actually play the C major scale, but thinking of it as the A minor as kind of like they're starting, the first scales, first things you start to kind of learn. But you'd like to be able to see it both ways. So that's the idea. So let's go ahead and map this out over here. You're not supposed to be talking about theory, right? We're just mapping it out right now. You talk about that stuff later. Right now we're just doing the Excel thing. Okay, so there's that. So then if we go down, let's now map it out on top of the pentatonic scale. So it's mapped out on top of the pentatonic scale. And so I'll say, here's the pentatonic. Now the pentatonic is another I have to just point out. The pentatonic is a little bit strange as well when you try to map it on top of the seven notes because we see that we made all of these chords from the seven note major scale. And we saw that some of these chords then are not gonna fit into the five note pentatonic scale because for example, the four chord includes an F as the one note, which isn't included in the five note pentatonic. But so when you look at the six though, which you could call the minor scale, because if we reconstruct this as the one, then all five notes fit in the pentatonic. So the A, the C, and the B are here. A, C, I'm sorry, A, C and the E are all within our five notes that are within the pentatonic. So when you think about this pentatonic shape, the five note shape that's within the seven note chord, you can think about it as either like a C pentatonic shape. But again, a lot of guitars will actually think of it as the minor pentatonic shape. And one of the reasons for that again is that if I go to the tab to the right when I learned that scale construction in the middle of the guitar, you actually start on an A when you play the scale construction. So a lot of times it's kind of actually formatted the pentatonic shape more to be like an A minor than a C major, but you can think of the pentatonic shape as being a C major pentatonic or an A minor pentatonic. You can't really think of it as being like a D Dorian pentatonic as much because again, there's gonna be notes like this F that aren't in the pentatonic shape. And if you get to other more obscure scales, like in jazz or whatnot, then you can have pentatonic scales that are related to like the two, the Dorian or something like that. But with the normal pentatonic, again, you kind of relate it generally to either the major or the six, which is the relative minor. Okay, so let's make them all green as has been our tradition, home tab, style, dropping it down. And then we're gonna say this is gonna be equal to, let's pick up the C. Do you see the C? I see it right there. Pick it up, make it green. Make it green, okay. And then next one is gonna be the D, make it green, make it green and okay, okay. Next one is gonna be the E, don't you see? We already saw the C. Now we're on the E, make it green, make it green.  And then we're skipping the F for going down to the G. G, make it green, make it green on the G. And then the A, of course. One more time. Uno, vase, moss, pour, five, or if you will, please the A. Okay, so there it is. So now we have our classic, this is our pentatonic shape in this position, five notes out of the seven notes of the chord. So you could learn this position, we'll talk more about that specifically later so you could play it up and down and whatnot. But for right now, we just wanna map out and show that this chord fits in it perfectly because this is like the relative minor mode, right? So we're gonna say, okay, this is gonna be, whereas remember some of these other ones did not fit perfectly, this one does. So that's one of the special things about the six mode A-olian or otherwise known as the minor. So we're gonna say this is gonna be A, we'll make that this green, different green, dropping it down, we'll make this is gonna be, this C is gonna be red and then the five is gonna be E and it's yellow, it's yellow. And then let's say that this is gonna, let's pull this over here to the A and then pull this to the C and then I'll pull this to the E and then I'm gonna copy my fingering up top, we'll say I'm gonna hold down control and select these so I can just copy that whole thing, copy it and I'm gonna paste it right there, boom. And so there's our fingering on top of it. So now you can see the pentatonic in green, the notes that are colored this way are the notes that are in frets one through three that are in the actual chord and then the ones with the red around it are the ones that we actually put our fingers on. All right, so let's go down again and this time let's map it out on top of the major scale. So now we're gonna map out all seven notes this time. So we're gonna select the whole thing, we'll put this over here first, I'll put this on the six right there. So that's where our focus is A, the relative minor mode. And so then I'm gonna say, let's make them all blue this time. Make them all blue, so there's the blue and blue. Okay, and then this one's gonna be equal to blue, blue. Is that the right blue? No, it's too dark. It's too dark, man. Lighten it, lighten up, will you? Will you lighten up crying out loud for silent sobbing sake? All right, so this is gonna be blue and then this is gonna be blue and then we're on the A, blue two and then one more time with the B. The B needs to be blue, be blue. Okay, so there it is. So there's our shape, there's the whole pentatonic, I mean a whole major shape and then we can put the chord on top of that, which of course will fit on it because we built the chord from the major scale. It's just picking up the A every the note C to the E. So let's pick that up and just say, okay, let's put this on top of it with our standard color scheme, the A being green. The standard color scheme with the A being green. Hold on a second, is that green? Does not look green, I think I picked the wrong one. You picked the wrong booger this time. Your nose is bleeding now. Okay, so now we're gonna say this one's gonna be red and then this one is gonna be yellow. Mui B to the N, BN. Hippies settle for just BN, man, but I'm not happy with just BN. Mui BN, Mui BN. That's what I'm talking about. Home tab, we're gonna format paint this one here and then format paint that one there and then format paint that one there. All right, so now, so there it is on top of the major scale. Now let's layer this thing out. So we're gonna pick up the major scale on the bass and then we'll put the pentatonic on top of it to see how it fits in it and then we'll put the six chord, which is like the minor chord on top of it, which will fit perfectly in both the major and the pentatonic because the six is the special minor mode, otherwise known as Aeolian mode, if you wanna sound fancy and impress people or piss them off because you're trying to sound fancy, depends on what kind of crowd you're running with, I guess, if whether it's gonna impress them or piss them off. But in any case, we're gonna put, let's make the blue first here and then we're gonna say this is gonna be the D, we'll lay down the foundation as all blue first and then we'll build on top of that. This is gonna be the base, this is the foundation of the home. This is like, this has to be solid. You cannot build something on like quicksand, okay? This needs to be a solid foundation, blue solid foundation, blue bricks down here. This is like concrete that we're putting down at the base and this is gonna be A, no skimping, no skimping on the foundation and the B, okay? Once you have the foundation in place, we have our scale, we can learn that scale and then we can say, okay, how does the pentatonic five out of the seven notes fitting on top of it? So now we'll put the green stuff on top and it's gonna, the whole thing will not fall down because we put that foundation down there with blue cement, cement, so it's solid. Not sure I stressed that enough. Did I stress the solid state of the foundation? So there's the E and then now I'm gonna go, skip in the F to the G, so the F's not in the cool group, but it's still important because it's part of the foundation, it's part of the foundation, even if we're not building on top of it, it's like one of the support beams that doesn't look important, but it's doing what it needs to do. Okay, so now you've got then the green is the pentatonic and then the two notes that aren't in the pentatonic, which are still kind of like fair game if you're thinking about yourself and the C major or relative minor are now out here with the B, the F's and the B's, F's and the B's. Now let's put the chord on top of it, which will fit cleanly in both the pentatonic and the major scale, which is something that will not always happen with all the other ones, which all the other ones would fit in the major scale, but not always so cleanly in the pentatonic scale, but now we're on the six, which is the special mode fits in perfectly. And so let's do it. So then we're gonna say that this is gonna be the A, oh, not an O, an A, A-oh, just an A. A-oh, this is gonna be yellow.  So then we have the A is green, the C is red and the E is yellow. So this, oh, wait a second. So this is kind of a chaotic thing to look at. Well, let's now put the finger in on top of that.  Now again, this is kind of chaotic to look at, but hopefully when you see it built, you see the major on the foundation, the pentatonic fits inside of it, of course, because we just have five out of the seven notes. And then on top of that, this sixth chord fits on top of it perfectly because none of the notes in the sixth chord are made from the four or seven notes and the major scale, unlike some of the other chords that are not that way. And that's one of the reasons possibly that the minor mode, otherwise known as the Aeolian mode, is special and so important in the Western music. All right, let's go down and then say, now we're gonna map out like all the minors. So we'll do the A and say, what if I wanted to move that shape up the fretboard starting with that A shape down here on the A. And then let's say I'm gonna copy that and say, what if I moved it to the other related minors? I would have moved it up around the circle to the one and then I would have to move it up to, I'm sorry, not to the one, to the two, to the minor around the circle to the next minor, which is the two. And let's make that yellow. This is gonna be my rostic-colored one. And this is gonna be yellow and then this is gonna be green. I'm pretty sure that's rostic-colored, so I'm not totally sure, but pretty sure. Red, yellow, green, this is gonna be green. Okay, so then let's unhide some of the fretboard. I'm gonna hold down from D to AK, right-click and unhide and then I'm gonna go out and so let's go ahead and pull this in because this one got all crazy out there. That's not what we wanted it to do. All right, so then I'm gonna hide from, let's go 12 frets out. I think that'll be sufficient. So I'm gonna go from 12 frets out on over to our major, right-click and hide and then boom, so there we have it. And so now let's go ahead and select the fretboard in these positions. I'll copy this over here and say this is like position one and we'll put that up top like that. And so we'll map the same, oh, hold on a second. We'll map the same thing out like we did before. And so then I'll just map this out and then we'll map it out up the fretboard. So I'm gonna go home tab styles. Let's make this once again, A is green. And why is the A green? Cause that means like it's jealous, but it's the one chord, it's the super cool chord. Green doesn't mean jealous. That's just Shakespeare just made that up with the green-eyed monster cause it sounds cool. Green doesn't have to mean that the one chord is in any way jealous. It doesn't have to do with that, okay? We just picked green. I don't know what you're talking about. So this is an, now if we pick up this A and I move it up till I find the next one, which is a D, I can move it up and there's the D there. Or if I just wanna look at these three strings, I can move this one up till I find the D here, right? And then I could say, okay, I'm gonna build my same A construction up top right there. And that'll be an A minor shape, but a D chord, which we'll talk about later. We're running long on time. So if you could just rush, if you can go a little faster, we would appreciate it because we have things to do. Let's make this green. And no one likes to hear your babbling. This is gonna be red. People do too like to hear me babble. This is what I do. This is like my job, I babble for a living. Home tab, let's format paint this over here. And format paint this here. And then I'll format paint this here. And then we're gonna say let's format paint this here. And then let's format paint this here. And then let's format paint this here. And then I'm gonna copy my fingering. I'm holding down control, selecting these. I'll just copy that and put that down here, boom. And I'll put it right there, boom. But I'll make it yellow right there. So I'm gonna make this one, these ones need to be yellow. Okay, so then I could move it up to the E. So there's the D, the E is right there. So I could take the same shape and I can move it up to the E. A, E, A, O, A, E. Okay. So then we're gonna say the E this time because there's some overlap. Well, let me do it this way. I'm just gonna copy this again, but then I'll make them green. I'm just gonna copy that and put it on the E, but then I'll make them green just to show the green. So if we move this shape up, I can think of it as starting on the six and moving it and moving this A shape up to the two chord up to the three chord or I can rearrange this in my mind, which is quite common to the common relative minor. I'm just gonna hide these. And so here's my relative minor. So you could see, so I could just say, I'm just gonna keep it the same here and say now I've got not my six, but my one with my same, it would be the same construction, right? So now I'm just gonna say, well, here's my one and then let's copy the yellow and here's my four and then I didn't copy it. What in the world? Okay, whatever, I don't know what happened. Let's put that there. And then here's it did it again. It's putting it over here somewhere. Why is it putting it over there? Now I've got, oh, Excel, you need to check yourself. You better watch yourself, best buy yourself a full length mirror, because you need to watch yourself anyways. I'm gonna make this, let's color this. So now you've got the one four five, right? So I'll make this, the A is green and then this is gonna be, and then this will be this and then the D, let's make this is gonna be this color and then this is gonna be this color and then this one is gonna be this color. So it's quite common, of course, to rearrange this as the minor and then you can see it as the one four five. Remember, we didn't really do that so much when we looked at the other modes because it's not as common in Western music to say, oh, I'm looking at this in the Dorian mode. You could, and if you get good at it, we'll look at that more later, but even if you're pretty new to Western music, you're gonna say, oh, the minor mode is very important so you're probably likely, more likely to say, I'm not gonna see it as the sixth note that I'm focusing around on the major scale, but rather rearrange it in your mind to make it the one chord of its own minor scale and then you have the one four five as the minor chord constructions within the minor scale, which again, it's kind of easy to remember because the one four five of the major chord, when you look at it this way, of the major scale are the major chords. Okay, so let's unhide this stuff. I'm gonna right click and unhide and then I'm probably gonna have, so that looks good. Okay, and then I'm gonna go up top again and let's hide from four on over to the minor, right click, right click, right click and hide. And so there is our worksheet. I think that's good. I think that is good. No, I went over to the minor. I'm gonna unhide this, right click, unhide and let's pull this on to the side. Why is this way over here? What are you doing way out here?  I don't, what am I, what are you talking about? I'm gonna hide from four over to the major scale, right click and hide and then scroll in a bit. So now we have our worksheet that we'll use to practice going forward, looking at the fingering, then looking at it in relation to the scales and then of course looking at it in relation to the intervals.