How's it going everyone Caleb here with late in sports cards next tonight Kevin s for 2021 contenders optic football Hobby boxes. Thank you very much Kevin. Good luck here on the order. Let's do it man Kevin s we can find all right Season ticket TJ Hawkinson rookie ticket Javante Williams rookie ticket to bond a Smith. That's red to 175 not bad there and Round two numbers Rhonda Elmore and Pat Fryer mute nice one Not a bad start We have redemption here Rookie ticket auto Joe try on on the redemption there you go Kevin and Numbered here 14 of 20 Dwayne Estridge rookie ticket orange variation autograph Solid man Not a bad start there Kevin Scourge to get it going That is the variation orange to 20 you go Next one up Tyree kill season ticket Red Tyree kill season ticket to 175 We have a storefront in a popka, Florida not Kate May a popka, Florida Optic illusion gold Josh Allen three up ten nice card There you go, man. Nice Allen three up ten beautiful optic illusion Congrats rookie ticket semi fahoko Next up lions Levi and Woosarique rookie ticket auto grab me some regular sleeves please And we have perennial contenders auto to uh gonna be numbered To 30 nice one there on the to uh perennial contenders to uh to 30 Solid man, there you go Kevin nice to other not a bad box to to go Let's find a nice rookie QB now Josh Jacobs season ticket base Rookie ticket Jalen Darden that is going to be a blue Joe burrow number to 99 season ticket And we have round numbers orange semi fahoko and Noah Gray to 50 base auto hunter long base auto there on the hunter long and Base auto chiefs Noah Gray. All right last box up man. Good luck. See you. Let's see it All right, we got a to uh Mike Evans there it's orange to 50 Exes and O's pink there Tyron Matthew Patrick Mahomes to 75 on the pink Rookie ticket here Kenny and Wangu just one auto is Brevin Jordan rookie tickets Just one auto so Kevin S. I will make a note of this And then my manager and rich will make a decision on what the call is there that was a one auto box They'll get back to you on that via email Kevin So thanks again so much man. I do appreciate it Kevin. We'll have all of those well protected up and sent right out to you


The most connected man on Earth at any given time, Chris Dancy, utilizes 700 systems at once to monitor his every move. You might say he's the closest thing we have to real-life cyborg. Chris and his 700 sensors are here and I have one question for you. Why? Why all these sensors and monitors? Gosh, you know, five years ago I started looking at the employment situation in the United States and I thought to myself, within a decade it's going to be so drastically different. What's going to be important? And for me it was really about personal information. Right now so much of our time is sold by attention. How quickly can we get someone's attention? But it's the information that we trace it out. So are you marketing something here? Is that what you're doing? No, I don't know. These are all things I buy. Actually no one's ever given me anything. What is it that you're monitoring? I mean you've got the watch on. You've got the phones. You've got the Google Glass. You have sensors all over your body that you can't see, right? Yes. Yes, so right now I'm wearing a posture belt. So if I start to slouch, my mom would be happy. It tells me to sit up a little bit straighter. Okay, what else? I have a heart rate monitor on that right now it's... I'm doing okay. You're okay. You're not making me do that. You're not very nervous, okay. And then I've got something called a body media which does galvanic skin response and then this for movement. And then so anything in white is actually displaying information to me. Anything in black is actually collecting information. It's like those little cameras taking a picture of a few seconds. So how do you have time to process all this? I don't. This is the beautiful thing. Okay. So what I did was I just said, hey all this information should be mine. So I just started looking for ways to get out of these systems to let me touching anything and into one place where if I needed to I could search.  I can say show me the last time I was on news with someone. So what, so what have you learned about yourself that's been particularly useful or shocking? I have a lot of bad habits. Really? Like what? Like give us the clean ones that we can have on television. What's a bad habit? Well, no, I just, I found for me, you know, I've lost a hundred pounds. But how I... Really? Yes, I've lost a hundred pounds. A data driven lifestyle. Okay. So basically I was looking at the habits that happened before and after meals and saying, is there some correlation I can make here? And then started saying, well, maybe I could change the temperature in the house or maybe the lights could be different or... So what did you change that helped you lose a hundred pounds? I've got a lot of people out there would like to follow on. What did you learn from all this that helped you change that? Well, one of the first things I found was that how I ate was really directly related to a lot of the things I was engaging in. So certain people would stress me out to a way that I wasn't aware of and I would eat terrible a few hours later. Certain television shows, certain types of music would either make me anxious or more healthy. So really being aware of those things and then removing them changed your habit. Is there a way for you to make money off this? Are you going to market any of this or any of this knowledge, write a book, something? You know, I have no plans to do any of those things right now. Right now what's important to me is helping people understand that their future is probably tied up in their own way. There's a way to make money off this. We'll talk after the show because the show is called Money Joe. Let me ask you, what do you think about all this?  What do you want Apple to come out with next or what are you hoping for? Right now I think Apple, a lot of people don't know Apple doing something called Health Book, which will help us keep track of all of our body sensors and information. I think Apple should be able to make that information portable to our doctors. Right now we have a lot of health applications and our trainers can't see that information. Our trainers and our physicians need this information. But there's HIPAA laws that stand in the way of that. But there's nothing, but I can share it on Facebook with my doctor. So those laws are outdated. Very good. Thank you for coming on. That's not right. So yeah, I think we're good. I think that about wraps it up. Great. I'll send a follow-up email. I don't, there's nothing much to follow up on. So I... Well, we should regroup. We just regrouped. This is the regrouping. Cool. I'll pin you later. You're pinning me now. What do you want to ping about? Next steps. There are no...


CHAPTER XII The Moon Shown Down Upon a Cloudless Sky A huge, swollen moon that seemed so close to earth that one might wonder that she did not brush the crooning treetops. It was night, and Tarzan was abroad in the jungle, Tarzan the ape-man, mighty fighter, mighty hunter, why he swung through the dark shadows of the somber forest he could not have told you. It was not that he was hungry, he had fed well this day, and in a safe cache were the remains of his kill ready against the coming of a new appetite. Perhaps it was the very joy of living that urged him from his arboreal couch to pit his muscles and his senses against the jungle night, and then too Tarzan always was goaded by an intense desire to know. The jungle which is presided over by Kudu the sun is a very different jungle from that of Goro the moon. The diurnal jungle has its own aspect, its own lights and shades, its own birds, its own blooms, its own beasts. Its noises are the noises of the day. The lights and shades of the nocturnal jungle are as different as one might imagine the lights and shades of another world to differ from those of our world. Its beasts, its blooms, and its birds are not those of the jungle of Kudu the sun. Because of these differences Tarzan loved to investigate the jungle by night. Not only was the life another life, but it was richer in numbers and in romance. It was richer in dangers too, and to Tarzan of the apes danger was the spice of life. And the noises of the jungle night, the roar of the lion, the scream of the leopard, the hideous laughter of Dango the hyena, were music to the ears of the ape man, the soft padding of unseen feet, the rustling of leaves and grasses to the passage of fierce beasts, the sheen of opalesque eyes flaming through the dark, the million sounds which proclaimed the teeming life that one might hear and scent, though seldom see, constituted the appeal of the nocturnal jungle to Tarzan. Tonight he had swung a wide circle toward the east first, and then toward the south, and now he was rounding back again into the north. His eyes, his ears, and his keen nostrils were ever on the alert. Mingled with the sounds he knew there were strange sounds, weird sounds which he never heard until after Kudu had sought his lair below the far edge of the big water sounds which belonged to Goro the moon and to the mysterious period of Goro's supremacy. These sounds often caused Tarzan profound speculation. They baffled him because he thought that he knew his jungle so well that there could be nothing within it unfamiliar to him. Sometimes he thought that his colors and forms appeared to differ by night from their familiar daylight aspects, so sounds altered with the passage of Kudu and the coming of Goro, and these thoughts roused within his brain a vague conjecture that perhaps Goro and Kudu influenced these changes, and what more natural that eventually he came to attribute to the sun and the moon personalities as real as his own. The sun was a living creature and ruled the day. The moon, endowed with brains and miraculous powers, ruled the night. Thus functioned the untrained man-mind, groping through the dark night of ignorance for an explanation of the things he could not touch or smell or hear, and of the great unknown powers of nature which he could not see. As Tarzan swung north again upon his wide circle, the scent of the Goman Gani came to his nostrils, mixed with the acrid odor of wood smoke. The ape-man moved quickly in the direction from which the scent was borne down to him upon the gentle night wind. Presently the ruddy sheen of a great fire filtered through the foliage to him ahead, and when Tarzan came to a halt in the trees near it he saw a party of half a dozen black warriors huddled close to the blaze. It was evidently a hunting party from the village of Mabonga the Chief, caught out in the jungle after dark. In a rude circle about them they had constructed a thorn-boma, which, with the aid of the fire, they apparently hoped would discourage the advances of the larger carnivora. That hope was not conviction, was evidenced by the very palpable terror in which they crouched wide-eyed and trembling, for already Numa and Sabor were moaning through the jungle toward them. There were other creatures, too, in the shadows beyond the fire-light. Tarzan could see their yellow eyes flaming there. The black saw them and shivered. Then one arose and grasping a burning branch from the fire hurled it at the eyes, which immediately disappeared. The black sat down again. Tarzan watched and saw that it was several minutes before the eyes began to reappear in twos and fours. Then came Numa the Lion and Sabor his mate. The other eyes scattered to right and left before the menacing growls of the great cats, and then the huge orbs of the man-eaters flamed alone out of the darkness. Some of the blacks threw themselves upon their faces and mold, but he who before had hurled the burning branched, now hurled another straight at the faces of the hungry lions, and they, too, disappeared as had the lesser lights before them. Tarzan was much interested. He saw a new reason for the nightly fires maintained by the blacks, a reason, in addition to those connected with warmth and light and cooking. The beasts of the jungle feared fire, and so fire was, in a measure, a protection from them. Tarzan himself knew a certain awe of fire, once he had, in investigating an abandoned fire in the village of the blacks, picked up a live coal. Since then he had maintained a respectful distance from such fires as he had seen. One experience had sufficed. For a few minutes after the black hurled the firebrand, no eyes appeared, though Tarzan could hear the soft padding of feet all about him. Then flashed once more the twin fire spots that marked the return of the lord of the jungle, and a moment later, upon a slightly lower level, there appeared those of Sabor, his mate. For some time they remained fixed and unwavering, a constellation of fierce stars in the jungle night.  When this lone guardian saw that Numa was again approaching, he threw another firebrand, and as before Numa retreated and with him Sabor'd the lioness. But not so far this time, nor for so long. Almost instantly they turned and began circling the Boma, their eyes turning constantly toward the firelight, while low throaty growls evidenced their increasing displeasure.  Again and again the black warrior hurled his puny brands at the two big cats, but Tarzan noticed that Numa paid little or no attention to them after the first few retreats. The eight men knew by Numa's voice that the lion was hungry and surmised that he had made up his mind a feed upon a gomengani. But would he dare a closer approach to the dreaded flames? Even as the thought was passing in Tarzan's mind, Numa stopped his restless pacing and faced the Boma. For a moment he stood motionless, except with the quick nervous upcurving of his tail. Then he walked deliberately forward, while Sabor moved restlessly to and fro where he had left her. The black men called to his comrades that the lion was coming, but they were too far gone in fear to do more than huddle closer together and moan more loudly than before. Seizing a blazing branch the man cast it straight into the face of the lion. There was an angry roar followed by a swift charge. With a single bound the savage beast cleared the Boma wall, as with almost equal agility the warrior cleared it upon the opposite side, and chancing the dangers lurking in the darkness bolted for the nearest tree. Numa was out of the Boma almost as soon as he was inside it. But as he went back over the low thorn wall he took a screaming negro with him. Dragging his victim along the ground he walked back towards Sabor, the lioness who joined him, and the two continued into the blackness, their savage growls mingling with the piercing shrieks of the doomed and terrified man. At a little distance from the blaze the lions halted. There ensued a short succession of unusually vicious growls and roars during which the cries and moans of the black man ceased forever. Presently Numa reappeared in the firelight. He made a second trip into the Boma and the former grisly tragedy was re-enacted with another howling victim. Tars and Rose and stretched lazily. The entertainment was beginning to bore him. He yawned and turned upon his way toward the clearing where the tribe would be sleeping in the encircling trees. Yet even when he had found his familiar crotch and curled himself for slumber he felt no desire to sleep. For a long time he lay awake thinking and dreaming. He looked up into the heavens and watched the moon and the stars. He wondered what they were and what power kept them from falling. His was an inquisitive mind. Always he had been full of questions concerning all that passed around him, but there never had been one to answer his questions.  He was never quite content merely to perceive that things happened. He desired to know why they happened. He wanted to know what made things go. The secret of life interested him immensely. The miracle of death he could not quite fathom. Upon innumerable occasions he had investigated the internal mechanisms of his kills and once or twice he had opened the chest cavity of victims in time to see the heart still pumping. He had learned from experience that a knife thrust through this organ brought immediate death nine times out of ten, while he might stab an antagonist innumerable times in other places without even disabling him. And so he had come to think of the heart, or as he called it, the red thing that breathes, as the seat and origin of life. The brain and its functionings he did not comprehend at all. That his sense perceptions were transmitted to his brain and there translated, classified, and labelled was something quite beyond him. He thought that his fingers knew when they touched something, that his eyes knew when they saw, his ears when they heard, his nose when it scented. He considered his throat, epidermis and the hairs of his head as the three principal seats of emotion. When Kayla had been slain a peculiar choking sensation had possessed his throat. Contact with his to the snake imparted an unpleasant sensation to the skin of his whole body, while the approach of an enemy made the hairs on his scalp stand erect. Imagine if you can a child filled with the wonders of nature, bursting with queries and surrounded only by beasts of the jungle to whom his questionings were as strange as Sanskrit would have been. If he asked Gunto what made it rain, the big old ape would bet gaze at him in dumb astonishment for an instant, and then return to his interesting and edifying search for fleas. And when he questioned Mumga, who was very old and should have been very wise, but wasn't, as to the reason for the closing of certain flowers after Kudo had deserted the sky, and the opening of others during the night, he was surprised to discover that Mumga had never noticed these interesting facts, though she could tell to an inch just where the fattest grubworm should be hiding. To Tarzan these things were wonders. They appealed to his intellect and to his imagination. He saw the flowers close and open. He saw certain blooms which turned their faces always toward the sun. He saw leaves which moved when there was no breeze. He saw vines crawl like living things up the bowls and over the branches of great trees. And to Tarzan of the apes the flowers and the vines and the trees were living creatures. He often talked to them, as he talked to Goro the moon and Kudo the sun, and always was he disappointed that they did not reply. He asked them questions but they could not answer, though he knew that the whispering of the leaves was the language of the leaves. They talked with one another. The wind he attributed to the trees and grasses. He thought that they swayed themselves to and fro, creating the wind. In no other way could he account for this phenomenon. The rain he finally attributed to the stars, the moon and the sun. But his hypothesis was entirely unlovely and unpoetical. Tonight, as Tarzan lay thinking, there sprang to his fertile imagination an explanation of the stars and the moon. He became quite excited about it. Tog was sleeping in a nearby crotch. Tarzan swung over beside him. Tog, he cried. Instantly the great bull was awake and bristling, sensing danger from the nocturnal summons. Look, Tog, exclaimed Tarzan, pointing toward the stars. See the eyes of Numa and Saber, of Shita and Dangle. They wait around Goro to leap in upon him for their kill.  And the light that shines upon his face is the light of the great fire he has built, frightened away Numa and Saber and Dangle and Shita. All about him are the eyes, Tog. You can see them. But they do not come very close to the fire. There are few eyes close to Goro. They fear the fire. It is the fire that saves Goro from Numa. Do you see them, Tog? Some night Numa will be very hungry and very angry. Then he will leap over the thorn bushes which encircle Goro, and we will have no more light after Kudo seeks his lair. The night will be black with the blackness that comes when Goro is lazy and sleep-laid into the night, or when he wanders through the skies by day, forgetting the jungle and its people. Tog looks stupidly at the heavens, and then at Tarzan. A meteor fell, blazing a flaming way through the sky. Look, cried Tarzan. Goro has thrown a burning branch at Numa. Tog grumbled. Numa is down below, he said. Numa does not hunt above the trees. But he looked curiously and a little fearfully at the bright stars above him, as though he saw them for the first time.  To Tog they were as the gorgeous jungle blooms. He could not eat them, and so he ignored them. Tog fidgeted and was nervous. For a long time he lay sleepless, watching the stars, the flaming eyes of the beasts of prey surrounding Goro, the moon, Goro by whose light the apes danced to the beating of their earthen drums. If Goro should be eaten by Numa there could be no more dumb-dumbs. Tog was overwhelmed by the thought. He glanced at Tarzan half fearfully. Why was his friend so different from the others of the tribe?  The apes scratched his head and wondered dimly if Tarzan was a safe companion. And then he recalled slowly and by a laborious mental process that Tarzan had served him better than any other of the apes, even the strong and wise bulls of the tribe. Tarzan it was who had freed him from the blacks at the very time that Tog had thought Tarzan wanted Tikka. It was Tarzan who had saved Tog's little baloo from death. It was Tarzan who had conceived and carried out the plan to pursue Tikka's abductor and rescue the stolen one. Tarzan had fought and bled in Tog's service so many times that Tog, although only a brutal ape, had had impressed upon his mind a fierce loyalty which nothing now could swerve. His friendship with Tarzan had become a habit, a tradition almost, which would endure while Tog endured. He never showed any outward demonstration of affection. He growled at Tarzan as he growled at the other bulls who came too close while he was feeding, but he would have died for Tarzan. He knew it and Tarzan knew it. But if such things apes do not speak, they're vocabulary for the finer instincts consisting more of actions than words. But now Tog was worried, and he fell asleep again still thinking of the strange words of his fellow. The following day he thought of them again, and without any intention of disloyalty he mentioned to Gunto what Tarzan had suggested about the eyes surrounding Goro, and the possibility that sooner or later Numa would charge the moon and devour him. To the apes all large things in nature are male, and so Goro, being the largest creature in the heavens by night, was to them a bull. Gunto bit a sliver from a horny finger and recalled the fact that Tarzan had once said that the trees talked to one another, and Gozan recounted having seen the eight-man dancing alone in the moonlight with Sheeta the Panther. They did not know that Tarzan had roped the savage beast and tied him to a tree before he came to earth and leaped about before the rearing cat to tantalize him. Others told of seeing Tarzan ride upon the back of Tantor the elephant, of his bringing the black boy Tybald to the tribe and of mysterious things with which he communed in the strange lair by the sea. They had never understood his books, and after he had shown them to one or two of the tribe and discovered that even the pictures carried no impression to their brains he had desisted. Tarzan is not an ape, said Gunto.  We should kill him. Immediately Tog bristled. Kill Tarzan?  But others joined the plotters. They thought of many things which Tarzan had done, things which apes did not do and could not understand. Again Gunto voiced the opinion that the tarman gany, the white ape, should be slain, and the others filled with terror about the stories they had heard, and thinking Tarzan was planning to slay Goro, greeted the proposal with growls of a cord. Among them was Tikka, listening with all her ears, but her voice was not raised in furtherance of the plan. Instead she bristled, showing her fangs, and afterward she went away in search of Tarzan. But she could not find him, as he was roaming far afield in search of meat. She found Tog, though, and told him what the others were planning, and the great bull stamped upon the ground and roared. His bloodshot eyes blazed with wrath, his upper lip curled up to expose his fighting fangs, and the hair upon his spine stood erect, and then a rodent scurried across the open, and Tog sprang to seize it. In an instant he seemed to have forgotten his rage against the enemies of his friend, but such is the mind of an ape. Several miles away Tarzan of the apes lulled upon the broad head of Tantor the elephant. He scratched beneath the great ears with the point of a sharp stick, and he talked to the huge packet-derm of everything which filled his black fat's head. Little or nothing of what he said did Tantor understand, but Tantor is a good listener. Swaying from side to side he stood there enjoying the companionship of his friend, the friend he loved, and absorbing the delicious sensations of the scratching. Numa the lion caught the scent of man, and warily stocked it until he came within sight of his prey upon the head of the mighty tusker. Then he turned growling and muttering away in search of more propitious hunting grounds. The elephant caught the scent of the lion, born to him by an edding breeze, and lifting his trunk trumpeted loudly. Tarzan stretched back, luxuriously, lying supine, full-length along the rough hide. Flies swarmed about his face, but with a leafy branch torn from a tree he lazily brushed them away. "'Tantor,' he said, "'it is good to be alive. It is good to lie in the cool shadows. It is good to look upon the green trees and the bright colors of the flowers, upon everything which Bula Mutu Mumo has put here for us. He is very good to us, Tantor. He has given you tender leaves and bark and rich grasses to eat. To me he has given bara and horta and pisa, the fruits and the nuts and the roots. He provides for each the food that each likes best. All that he asks is that we be strong enough or cunning enough to go forth and take it. Yes, Tantor, it is good to live. I should hate to die.' Tantor made a little sound in his throat, and curled his trunk upward that he might caress the eight-man's cheek with the finger at its tip. "'Tantor,' said Tarzan presently, "'turn and feed in the direction of the tribe of Kerchak, the great ape. The Tarzan may ride home upon your head without walking.' The tusker turned and moved slowly off along a broad tree-arch trail, pausing occasionally to pluck a tender branch or strip the edible bark from an adjacent tree. Tarzan sprawled face downward upon the beast's head and back, his legs hanging on either side, his head supported by his open palms, his elbows resting on the broad cranium, and thus they made their leisurely way toward the gathering place of the tribe. Just before they arrived at the clearing from the north there reached it from the south another figure, that of a well-knit black warrior who stepped cautiously through the jungle every sense upon the alert against the many dangers which might lurk anywhere along the way. Yet he passed beneath the southernmost sentry that was posted in a great tree commanding the trail from the south. The ape permitted the goman-gani to pass unmolested, for he saw that he was alone. But the moment that the warrior had entered the clearing, allowed "'Kregor!' rang out from behind him, immediately followed by a chorus of replies from different directions as the great bulls crashed through the trees in answer to the summons of their fellow. The black man halted at the first cry and looked about him. He could see nothing, but he knew the voice of the hairy tree men whom he and his kind feared, not alone because of the strength and ferocity of the savage beings, but as well through a superstitious terror engendered by the man-like appearance of the apes. But Bulabantu was no coward. He heard the apes all about him.  He would sell his life dearly, would Bulabantu, under chief of the village of Mabonga the Chief. Tarzan and Tantur were about a short distance away when the first cry of the sentry rang out through the quiet jungle, like a flash the ape-man leaped from the elephants back to a nearby tree, and was swinging rapidly in the direction of the clearing before the echoes of the first cry-gaw had died away. When he arrived he saw a dozen bulls circling a single Gomangani, with a blood-curdling scream Tarzan sprang to the attack. He hated the blacks even more than did the apes, and here was an opportunity for a kill in the open. What had the Gomangani done? Had he slain one of the tribe? Tarzan asked the nearest ape, No, the Gomangani had harmed none. Gozan, being on watch, had seen him coming through the forest, and had warned the tribe. That was all. The ape-man pushed through the circle of bulls, none of which as yet had worked himself into sufficient frenzy for a charge, and came where he had a full and close view of the black. He recognized the man instantly, only the night before he had seen him facing the eyes in the dark, while his fellows grubbled in the dirt had his feet too terrified even to defend themselves. Here was a brave man, Tarzan had deep admiration for bravery. Even his hatred of the blacks was not so strong a passion as his love of courage. He would have joyed in battling with a black warrior at almost any time, but this one he did not wish to kill. He felt vaguely that the man had earned his life by his brave defense of it on the preceding night, nor did he fancy the odds that were pitted against the lone warrior. He turned to the apes, Go back to your feeding, he said, and let this go-man-ganee go his way in peace. He has not harmed us, and last night I saw him fighting Numa and Saber with fire, alone in the jungle. He is brave. Why should we kill one who is brave and who is not a tactus? Let him go." The apes growled. They were displeased. "'Kill the go-man-ganee,' cried one. "'Yes,' roared another. "'Kill the go-man-ganee and the torment-ganee as well. "'Kill the white ape,' screamed Gozan.  "'Kill Tarzan,' bellowed Gento. "'Kill, kill, kill!' The bulls were now indeed working themselves into the frenzy of slaughter, but against Tarzan rather than the black man. A shaggy form charged through them, hurling those that came in contact with to one side as a strong man might scatter children. It was Tog, great, savage Tog. "'Who says kill Tarzan?' He demanded.   Tog will tear your insides from you and feed them to dango.  "'There are many of us and few of you.'" And he was right. Tarzan knew that he was right. Tog knew it. But neither would admit such a possibility. It is not the way of bull apes. "'I am Tarzan,' cried the eight-man, "'I am Tarzan, mighty hunter, mighty fighter, in all the jungle none so great as Tarzan. Then one by one the opposing bulls recounted their virtues and their prowess. And all the time the combatants came closer and closer to one another. Thus did the bulls work themselves to the proper pitch before engaging in battle. Gento came, stiff-legged, close to Tarzan and sniffed at him with bared fangs. Tarzan rumbled forth a low menacing growl. They might repeat these tactics a dozen times, but sooner or later one bull would close with another, and then the whole hideous pack would be tearing and rending at their prey. Bulubantu, the black man, had stood wide-eyed in wonder from the moment he had seen Tarzan approaching through the apes. He had earned much of this devil god who ran with the hairy tree-people, but never before had he seen him in full daylight. He knew him well enough from the description of those who had seen him and from the glimpses he had had of the Marauder upon several occasions when the eight-man had entered the village of Mobonga, the chief, by night, in the perpetration of one of his numerous ghastly joes. Bulubantu could not, of course, understand anything which passed between Tarzan and the apes, but he saw that the eight-man and one of the larger bulls were in argument with the others. He saw that these two were standing with their back toward him and between him and the balance of the tribe, and he guessed, though it seemed improbable, that they might be defending him. He knew that Tarzan had once spared the life of Mobonga, the chief, and that he had suckered Taibo and Taibo's mother, Mamea, so it was not impossible that he would help Bulubantu. But how he could accomplish it Bulubantu could not guess, nor, as a matter of fact, could Tarzan, for the odds against him were too great. Gonto and the others were slowly forcing Tarzan and Tog back toward Bulubantu. The eight-man thought of his words with Tantor just a short time before. Yes, Tantor, it is good to live.  And now he knew that he was about to die, for the temper of the great bulls was mounting rapidly against him. Always had many of them hated him, and all were suspicious of him. They knew he was different. Tarzan knew it too, but he was glad that he was a man, that he had learned from his picture books, and he was very proud of the distinction. Presently, though, he would be a dead man. Gonto was preparing to charge. Tarzan knew the signs. He knew that the balance of the bulls would charge with Gonto. Then it would soon be over. Something moved among the verger at the opposite side of the clearing. Tarzan saw it just as Gonto, with the terrifying cry of a challenging ape, sprang forward. Tarzan voiced a peculiar call, and then crouched to meet the assault. Tog crouched too, and Bulubantu, assured now that these two were fighting upon his side, couched his spear and sprang between them to receive the first charge of the enemy. Simultaneously a huge bulk broke into the clearing from the jungle behind the charging bulls, the trumpeting of a mad tusker rose shrill above the cries of the anthropoids, as Tantor the Elephant dashed swiftly across the clearing to the aid of his friend. Gonto never closed upon the ape man, nor did a fang enter flesh upon either side. The terrific reverberation of Tantor's challenge sent the bull scurrying to the trees, jabbering and scolding. Tog raced off with them, only Tarzan and Bulubantu remained. The latter stood his ground because he saw that the devil god did not run, and because the black had the courage to face a certain and horrible death beside one who had quite evidently dared death for him. But it was a surprised go-man Ganny who saw the mighty elephant come to a sudden halt in front of the ape man and caressing with his long sinuous trunk. Tarzan turned toward the black man. Go, he said in the language of the apes, and pointed in the direction of the village of Mabonga. Bulubantu understood the gesture, if not the word, nor did he lose time in obeying. Tarzan stood watching him until he had disappeared. He knew that the apes would not follow. Then he said to the elephant, pick me up, and the tusker swung him lightly to his head. Tarzan goes to his lair by the big water, shouted the ape man to the apes in the trees.  Tog and Tika may come to see Tarzan, but the others must keep away. Tarzan is done with the tribe of Kurchak.   For a moon the tribe saw nothing of Tarzan of the apes. Many of them probably never gave him a thought, but there were those who missed him more than Tarzan imagined. Tog and Tika often wished that he was back, and Tog determined a dozen times to go and visit Tarzan in his seaside lair, but first one thing and then another interfered. One night when Tog lay sleepless looking up at the starry heavens, he recalled the strange things that Tarzan once had suggested to him that the bright spots were the eyes of the meat-eaters, waiting in the dark of the jungle sky to leap upon Gorl the moon and devour him. The more he thought about this matter, the more perturbed he became. And then a strange thing happened. Even as Tog looked at Gorl, he saw a portion of one edge disappear, precisely as though something was gnawing upon it. Larger and larger became the hole in the side of Gorl. With a scream, Tog leaped to his feet, his frenzied, Creogs, brought the terrified tribe screaming and chattering toward him. Look! cried Tog, pointing at the moon. Look! It is as Tarzan said. Numa has sprung through the fires and is devouring Gorl. You called Tarzan names and drove him from the tribe. Now see how wise he was.  See the eyes in the dark jungle all about Gorl. He is in danger and none can help him, none except Tarzan. Soon Gorl will be devoured by Numa, and we shall have no more light after Kudu seeks his lair. How shall we dance the dum-dum without the light of Gorl? The apes trembled and whimpered. Any manifestation of the powers of nature always filled them with terror, for they could not understand. Goal and bring Tarzan! cried one, and then they all took up the cry of Tarzan! Bring Tarzan! He will save Gorl! But who was to travel the dark jungle by night to fetch him? I will go! volunteered Tog, and an instant later he was off through the Stygian gloom toward the little landlocked harbour by the sea. And as the tribe waited they watched the slow devouring of the moon. Already Numa had eaten out a great semi-circular piece. At that rate Gorl would be entirely gone before Kudu came again. The apes trembled at the thought of perpetual darkness by night. They could not sleep. Restlessly they moved here and there among the branches of trees, watching Numa of the skies at his deadly feast and listening for the coming of Tog with Tarzan. Gorl was nearly gone when the apes heard the sounds of the approach through the trees of the two they awaited, and presently Tarzan, followed by Tog, swung into a nearby tree. The ape-man wasted no time in idle words.  Up into the great tree he clamored, higher and higher, until he stood swaying upon a small limb, which bent low beneath his weight. Here he had a clear and unabstructed view of the heavens. He saw Gorl and the inroads which the hungry Numa had made into his shining surface. Raising his face to the moon, Tarzan shrilled forth his hideous challenge. Faintly and from afar came the roar of an answering lion. The apes shivered. Numa of the skies had answered Tarzan. Then the ape-man fitted an arrow to his bowl, and drawing the shaft far back, aimed its point at the heart of Numa, where he lay in the heavens, devouring Gorl. There was a loud twang as the released bolt shot into the dark heavens. Again and again did Tarzan of the apes launch his arrows at Numa, and all the while the apes of the tribe of Kirchak huddled together in terror. At last came a cry from Tog. Look! Look! he screamed. Numa is killed! Tarzan has killed Numa! See! Gorl is emerging from the belly of Numa! And sure enough the moon was gradually emerging from whatever had devoured her, whether it was Numa the Lion or the Shadow of the Earth, but were you to try to convince an ape of the tribe of Kirchak that it was Ott but Numa, who so nearly devoured Gorl that night, or that another than Tarzan preserved the brilliant god of their savage and mysterious rights from a frightful death, you would have difficulty, and a fight on your hands. And so Tarzan of the apes came back to the tribe of Kirchak, and in his coming he took a long stride toward the kingship, which he ultimately won, for now the apes looked up to him as a superior being. In all the tribe there was but one who was at all skeptical about the plausibility of Tarzan's remarkable rescue of Gorl, and that one, strange as it may seem, was Tarzan of the apes. End of chapter 12. End of Jungle Tales of Tarzan by Edgar Rice Burroughs. Recording by Ralph Snelson, Springville, Utah.


Good day, fellow investors! First, let me thank you all that have joined my research platform. I'm amazed by the number of enrollments and I am really, really thankful. This gives me great feedback that what I do really gives value to you and you expect more. So what can I do? I can just dig into it. I'm so motivated to really over deliver on whatever I have promised and therefore you will see a lot of sectors, a lot of stocks and a lot of risk reward analysis so that we can pick the best risk reward for our portfolios. And one of the sectors that I'm keeping an eye on, it was in trouble. Now there is a little bit more trouble so more trouble means more opportunity for those who know what they are doing and one sector country that I'm keeping an eye on is Argentina. Last year, two years were very positive for Argentina, the new president came in and emerging markets frontier funds like T-Row, like Morgan Stanley, they invested about 17% of their portfolios in Argentina. When things are good ETFs keep piling money there where things go well because their market cap waited. I do the opposite, I wait for things to be very bad so that everything is on the chip that those ETFs are forced to sell those markets, which makes them even more, even cheaper because such emerging frontier markets are really shallow and when there is a lot of capital outflows value, it's really, really on the chip. And the good thing is that by looking at those frontier emerging markets here and there, each time there are some very, very cheap markets.  So life goes on there, the businesses go on there, the value remains there and if you can put yourself there, the best thing is to go to see a frontier market, see how people live in Argentina and then you will decide whether it is okay to make an investment or not. People in Argentina have the internet, watch television, do all the things that we do in other countries, so just to put things into perspective. Further, iShares even launched an Argentinian ETF just recently and all seemed so good, but interest rates in the US started rising, which made people think more about the risks of frontier and emerging markets and that spiked a selloff in Argentina. The Argentinian stock market, this is in the peso, so has to be adjusted to the dollar, but performed very well even when adjusted and then you can see from 2018 the increased risk and the big selloff that's really spiked in the last weeks. However, just to adjust everything from the depreciation of the Argentinian currency, which was huge, it was one dollar was five pesos, now it is 25. Now there are a few things to think about when looking at such situations. The impact of past speculation, a year or two years ago people were greedy and chasing the Argentinian higher yields despite the inflation, we have to look at the value of real assets, we have to understand our exposure risk reward as always and always always look for great businesses that have value. My logic is this, producing assets in Argentina that will continue to produce, I don't know, electrical energy, the best real estate in Argentina will always have value, no matter what happens, similarly in other frontier and emerging markets and what we have to take advantage of is the volatility that's created by greed and panic and investors chasing greedy returns and then panicking and running back home as soon as something troubling happens. Inflation in Argentina reached even 40% at the beginning of 2016 and has been constantly above 20% since. However the Argentinian government kept issuing notes in pesos with yields significantly above the inflation rate and the peso depreciation which attracted a lot of speculators, which is why what is with people and charts that show price increases will always beat me. Nevertheless the situation changed and usually when that happens panic creeps in and all those that chased returns try to get out as fast as possible. Just an example is Mercado Libre, the largest position of the MSCI Argentinian index which dropped 25% and that shows how prescient Benjamin Graham was when he said that we should expect all of our holdings to increase at least 50% from their lows and drop 33% from their highs in a five-year period. So my key point is we really have to differentiate between market fluctuations and value. When you get value for something wherever it is it is value and market fluctuations are there to be taken advantage of. I just did a video on chapter 8 of Graham, Mr. Market. Mr. Market is someone that when it's in panic offers you a very low price tries to sell everything to you at whatever price and when it's greedy, enthusiastic, exuberant tries to buy everything from you at whatever price. That happens all over the world and we are here to take advantage of that. Now the key is how to take advantage of that. First Argentina is a frontier market and as I said it is a very shallow market so capital inflows outflows have a big impact on the prices, price levels, big volatility so you have to take advantage by first not risking too much. You never know what can happen and you always have to be ready to buy more if it is even worse than what it is now and first you have to okay see what's the intrinsic value. That's number one what's the debt, what's the risk of the security you're investing in. When you find something that you like then you see okay what can still go wrong and then you create exposure. So here we are really talking a few percentages of one's portfolio. Not more because when you are well diversified across the globe, cross sectors, across countries then you can take advantage of these volatility runs. Let's say you have own 3% of Argentina it drops 50% you increase it to 3% and then it goes up 50% and you lower it back to 3% then you have earned 1-2 percentage points on your portfolio and what this makes you when you put everything into the 20 sectors countries that you follow when you put that all along it adds a few percentage points constantly year over year and that's where the difference is made on a well balanced long-term portfolio. On a more specific level the key is to look for great businesses no matter what no matter where. So to conclude I come from an emerging market I have had several times returns above 500% from investing in emerging market taking advantage of the panic and then the exuberance that comes in a shallow market so I'll be keeping an eye on Argentina I'm a little bit waiting for even worse times even worse things to come unfortunately for the Argentinian people and my friends from Argentina that are watching sorry but I'm waiting a little bit to see if I will open a portfolio position in Argentina and I still have to see go through all the stocks that I like to see which one is the best at this moment under valuation and not under the risk of the peso and other similar risks that are affecting Argentina. Here are a few ideas from you this is the iShares Argentinian ETF top holdings Mercado Libre another interesting play is a real estate company called Cresud which if you like you might want to dig deeper. Thank you for watching looking forward to a comments any ideas where there is value in Argentina I can't wait to hear what you think about this thank you for watching see you in the next video


Ever since I was born, I've been linked to an entity. His name is Aiden and he's always with me. My name is Nathan Dawkins.  Did he do that to you? No. That was the monsters. The agency wants you to join their military school program. Training starts tomorrow at 5 a.m. They know what you and Aiden can do. Welcome to the agency. Something happened last night. They've opened a passage? To Aiden's world? So tired. They're coming. Jody, what have you done?


Hey there, friends. Thanks for checking in at the range now. We've got the Marlin 1894 357 Magnum lever action rifle. I featured this at shot show. I couldn't wait to get my hands on it and Here it is. Now these were created in the year 1894 and they did so in pistol caliber rounds they developed the rifle for 357 and the late 70s But this is a dark series. Can you imagine why they're calling it the dark series a little more tactical look to it? Well, let's go ahead and shoot it. I've got one in the chamber now the magazine tube holds nine rounds Ten rounds total. Let's see how it does. There we go. And that's it What a beautiful rifle The optic that I have on here is a vortex spitfire. It's a prism optic a one-power prism optic that is really nice. I sighted this in at an indoor range and I Literally did that within five rounds. It was that close right on the package a little bit more about this rifle The stock is actually wood with a texturing over that That's a nice feel about a half inch wide butt pad. The loop there is A wide loop Right, you can see that a wide loop and it comes with a paracord wrap around it Makes it comfortable on the hand will work in the action an excess ghost ring rear sight with a All-steel rail which is also excess and a ramped up front sight Very nice and an extended hammer spur right there cross bolt safety And all in all a good look also comes with this paracord sling Which is a nice touch now it comes in other calibers I chose the 357 Magnum because I wanted that ten round capacity and that's what I got out of this in regard to the optic it uses a triple-a battery and It has two circles with a dot in the middle and my goodness is this thing nice I am so happy I went with the vortex spitfire And I think that this is going to be my go-to optic with rifles from now on because it illuminated Radical it is an etched reticle, which is nice in case your battery runs out You've got the etching in there to keep you on target and it's just a nice package. It's actually light They slimmed it down a little bit for a prism optic. It's pretty phenomenal. I'm gonna load it up and we're gonna back up I've got the Marlin dark series 357 Magnum. I Can see that it looks like I'm shooting over my range bag. I'm actually not it's off to the left But let's see how it does Seven-inch target. Let's try the rabbit. There we go. Rabbit again nice in the middle Seven-inch and that's it. Wow This is as exciting as I thought it would be I Am really getting into lever action rifles It was an area that I have not explored as much until lately and I'm really enjoying it low maintenance easy to operate and A lot of fun plus it's got a rich history behind it You know if you're into that which I am a little bit. I like to learn but Nonetheless, this rifle is a lot of fun. I think it's beautiful too. Check that out So there it is Marlin 1894 chambered in 357 Magnum It's a side loader that I noticed Initially the spring was really tight the tube spring was very tight to get those rounds in but as I Continually load it and shoot it and do everything with it. It's gotten easier to get in so it makes it nicer Loading not that it was a problem, but it was just tight at first. That's not too unusual Everything about this has been a lot of fun. It's worked exactly as it is intended And I really enjoy this Marlin 1894 and I Expect to do more with it. Yeah, if you like videos like this, please subscribe and share I always appreciate thumbs up button. Thanks for watching and you guys be safe


What's happening guys silent mic and before we dive into the video something that comes up all the freaking time the two probably the Two most common questions are I've taken a long hiatus from the gym two months three months. Maybe six months. Maybe even years How do I get back in what do I do and? I'm a real beginner. I've kind of messed around with some cardio, but I've never gone to the gym How do I begin? How do I start strength training for strength? Aesthetics, how do I look better? How do I perform better? How do I lift more weight and instead of doing a video? I gathered up with the kai Zen boys omari soft bark one and basically what we did is we designed an absolutely free Four-week program that's available right now. Totally free cost you nothing For beginners or if you've taken a really long break a nice hiatus from the gym And you're trying to get back into strength training. Check it out now. It's available. It is free kai zen training Dot-com kai zen training dot-com links in the bio check it out I hope you guys enjoy and I hope you enjoy the video Ladies and gentlemen solid mic back with another video today We're going to talk about breaking through plateaus some ways that can help you This is from a comment in the youtube video So I'm going to take all the answers and kind of direct them towards my man So if you want your questions answered if you want some help some education some entertainment Be sure to leave your comments below Let me know what you want to know what you want me to cover the next upcoming videos Be sure to do me a favor. You guys have been great. Let's see if we can get a thousand likes on this video Be sure to subscribe new videos Monday Wednesday Saturday and brand new podcasts every single Wednesday dive in in today We're talking plateaus. So my man says Mike, I wonder if I could talk about how to dig yourself out of a plateau I started with 531 at the beginning of the year and all my looks continue to improve apart from the squat In actual fact my squat progressed stalled Uh recently and has now regressed. What's going on? What's going on? What's going on? What's going on?  I highly suggest so plateaus Common things and plateaus most common things are probably people not following a program Not following a solid enough program that doesn't allow enough frequency or volume Not enough recovery and recovery is a huge topic on instagram. Everyone's throwing you guys supplements and gimmicks to help your recovery. That's not what i'm talking about I'm basically talking about food and sleep enough protein enough carbs enough protein recover enough carbs to fuel your workout And enough sleep consistently and i'm not talking. Oh, I got seven seven hours Monday through Thursday And then you're raging all weekend where you get three hours while you're drunk Which isn't quality sleep. So pay attention to those And then last uh I think that's it those are the main two there may be some technique stuff But if you've been lifting for a year or more, you know, I doubt that's the limiting factor Normally the more volume and frequency you get obviously you better get you get better at technique So that's not going to be number one 531 in particular great strength program Jim wendler, I don't know if he did or the internet did it but obviously a great job marketing And it's a overall solid scheme. Now. I would never bash jim. He's has an insanely Smart guy insanely great reach, but he was writing a general strength program Now if your goal is to increase your one rep max and the squat bench deadlift as a raw lifter I highly suggest Doubling if not tripling your frequency in all three of those lifts Now the deadlift typically one to three times depending on the athlete how advanced you are um Squat anywhere from two to four maybe even five times a week and then bench same thing two to four Maybe even five times a week depending on the individual Because it depends on what you can recover from kind of your body weight, which you can handle obviously genetics But your schedule if you can only get an hour or half an hour workout in you might have to do more workouts To get more frequency in rather than three bench days that take an hour You can do four bench days that take half an hour to 45 minutes spreading out that volume But the majority of people that are plateauing that i've noticed are probably just not following a solid enough program And they're not being honest with themselves. Maybe you set your one rep max too high Where you hit a 400 pound squat, but it was high. It was slow. It was ugly rather than the most efficient one rep max And this is mostly beginners But if you hit 375 and you put that into a program and now you're using weights Properly in training. Uh, plus the sleep stuff sleep is number one when it comes to recovery for almost all athletes It's not another question on another day. So for my man, I would find a new program I would get more frequency more volume and then obviously pay attention to nutrition and sleep Uh, I saw another question a different day about how I deal with stress I was doing a q and a on instagram follow me selling my two k's Um, go like all my photos. It makes me feel good about my existence, uh What people were talking about was stress and how you deal with it I think they're Mainly not talking about lifting. They're just talking about me and my life and stuff like that But relating this to the question is that we kind of have a pool of stress or a gas tank or a fuel tank of stress That we can handle as human beings and each person's different in what you go through life. It may change.  We're throwing stress at our body Obviously, it's a little bit more physical to mental, but the mental aspect is also the same Being disciplined in your nutrition being disciplined in your life saying no to that extra beer saying no to that chicken All these things plus obvious life things right relationships financial stuff kids cousins family Work all these stresses vacation planning whatever all these stresses are tapping into the same fuel tank And so we start to get too drained on this fuel tank from potentially things that have zero to do With lifting you know dealing with your mother dealing with your siblings dealing with your You know significant others or your partner some all these stresses start to affect our training in the long run And sometimes they'll be quick and you might notice like man I just everything feels heavy today But chances are it's going to be slow over time And so the whole process of this lifestyle that I like to live that I like to teach with you guys that I like to share Is kind of a little bit obsessive But what we try to do is analyze everything going on in our life And we try to not only optimize it, but try to find ways that we can be content and live Happy and through everything we do. So, you know routine helps me a lot And that helps a lot of people I think with their nutrition and their lifting and their sanity And then just you know making decisions based on what is best for you And your very close loved ones will allow you to hopefully have less of that stress And then obviously progress always feel good. I feel like progress I preach about it being the main goal, but maybe it shouldn't be the main goal Maybe progress should be our icing on the cake and our main goal is just to have that cake You know, we're all very lucky Anyone watching this youtube video is in a spot where you have 10 minutes to waste watching my fat face So we're all very you know should be very thankful in the scheme of things very grateful for what we have So that's kind of a cake and focusing in on keeping that cake together make sure it's not dry Not too moist.  So that's that for me got a little deep there. I appreciate you guys all the questions on instagram are sick All the questions here. I absolutely love it. So comment below. Let me know. I'll cover the next video sound like I'm out


If there's any team in the NFL, when you as a player feel like all hope is lost, that you're not sure if you're still gonna keep playing or not. You're not sure if you still got it or not. Chiefs are the team that will make any and every attempt to try to revive your career or try to see if, just squeeze any more juice that you still got left. We've seen the Chiefs attempt to do this and sometimes it's been successful. Sometimes it hasn't been successful. With guys like LeVion, Bale, we've seen them do it with Josh Gordon. And more recently, they just recently picked up Melvin Gordon and also Brian Edwards too, to their practice squad. And now, so Brandon Williams with him, it was no different. And Brandon Williams, former Baltimore Raven, he was a defensive tackle, interior defensive lineman, run stopper, just more so a two down lineman. You're gonna use him on the goal line and stuff like that. But with Brandon Williams, he had a decent career with the Baltimore Ravens. Definitely toward his last year there with them last season. It was trending downward and I think everybody knew that he wasn't gonna get re-signed. But it's crazy because I didn't think that it would take this long for him to be signed with a team. I really didn't. I really didn't. But with the Chiefs, I'm not sure what their situation is at defensive lineman. I'm not sure if they just need some help right now, or maybe they're dealing with injuries or something like that. But he's in the spot. He's in it. I mean, he's obviously on the good team, number one in the AFC right now. And I mean, the Chiefs are so used to being number one in the AFC, it's like second-aged for them. But something that I didn't know with Adam Shepter, he actually reported it when this came out yesterday that Joe Cullen, he's getting back with him again. And I know Joe Cullen, he was over there with the Ravens for a minute. So I had no clue that he was with the Chiefs. So that'll be nice for Brandon Williams to have some familiarity. And it's always nice when you go to a new scenario, but you have a familiar face, somebody that you're comfortable with, because that can help you be even more comfortable in that new scenario. And you know what, let's read the report straight from Adam Shepter, what he said. He said, long time former Ravens defensive tackle Brandon Williams, who had been waiting for the right opportunity. Just wait, yeah, he certainly was waiting. We going into what, week 12, I think. So he was waiting. But was waiting for the right opportunity like Lin-Vell Joseph and Adam again, Sue, two Eagles. Now, you know when he first reported that, when he first said that, I was like, oh, Brandon Williams, he going to the Eagles too? But anyway, he is signing with the Chiefs practice squad with the idea of going to the active roster for his sources, Williams reunites with Chiefs defensive line coach Joe Cullen. So that part, with them signing him to the practice squad, it is such, such a low risk. And I'm glad that the NFL implemented these new practice squad rules, because if you signing a player, especially at this point of the season, or really whenever, if you signing a player to the practice squad, even a veteran, I like that they implemented that rule because now some teams, they can finagle it and whatnot. Like, cause you have to, you can call the person up to the active roster two times. And then after the third time, you had to call them up to the, they have to, you got to place them on active roster or you got to just let them see if they clear waivers if you want to sign them back to the practice squad. But I do like the rules that they put in place for the new practice squad. But it's super low risk. It's very low risk for the team. I know for the player, they still get paid. They don't get paid as much, but it's like a tryout. It's like an extensive tryout. So we'll see how Brandon Williams does over there in Kansas City. Gonna be interesting to see him on the other side now. Just like Orlando Brown, Jr. He's done pretty good overall. I know he had some rough moments and whatnot, but again, we'll see how Brandon Williams does. So anyway, Team Game of the Clean, I appreciate y'all. I love y'all. And like Brandon Williams said, to free agency, I'm out.


And this is why you guys can all find value in having things beyond just your music because Reese Witherspoon's Hello Sunshine sold for $900 million. She started a book club and then does a deal with these authors to get her book read by that book club and then turns those best books into TV shows and movies, sells them to Netflix and other companies. Like what Kanye did was Adidas and the Yeezy brand. You know, he had the collab and he was pushing into his audience while he was building the fashion narrative. People are really taking to the designs and things so we're gonna give you this entire shoe brand. True, true. To build off of. Right. What's up, what's up, what's up, I'm Brand Man Sean. I'm Cory. And we are back with another episode of No Labels Necessary Podcast. You can catch us every Tuesday, every Thursday on YouTube, Apple, Spotify, whatever you stream, your podcast here at the intersection of creativity and currency. Today, we got a quick little mini-sole for y'all, some really dope topics focusing on business model which is so important for creatives. Nobody has this talk enough. So we're gonna talk about a genius business model that maybe you can get some inspiration for. From two, we're gonna talk about how the record labels business model is a little messed up and how artists can kind of think about their team in regards to that. And also the last one, we'll keep it a surprise, just a little update on one of our other topics that's become an ongoing thing. The first thing, the very first business model that I gotta speak on, gonna shock you with this.  Reese Witherspoon. That's cause I ain't heard that name in a minute. In a minute? Yeah. That's cause she been working, y'all. She been working. Content creators, listen. Reese Witherspoon's Hello Sunshine sold for $900 million to some media company. I'm not gonna even get into all those details. And this is a new, by the way, this is in 2021. Now, what is the lesson to take away? Cause I heard this news back when it happened just randomly on a meme or something like that. But more recently, I've learned the business model that she uses and how she got things, pop it off. Reese Witherspoon started a book club. Okay, I was gonna ask what is Hello Sunshine. It's a book club? No, okay. Actually, Jacory wants to delay the payoff. I like what you're doing there. We about to find out what Hello Sunshine is officially. It's her media company, generally speaking. Okay, that makes more sense. So, Reese Witherspoon's Hello Sunshine has been sold for north of $100 million, $900 million to a media company backed by private equity firm Blackstone. We talking money money when you talk Blackstone. It's a $900 million kind of thing. Yeah, that's a trillion dollar business you're dealing with. But here's the overall business model, right? Let me read another little quote and then I'll give you all those details because it is worth listening to. Trust me, today marks a tremendous moment for Hello Sunshine with Reese Witherspoon said in a statement, I started this company to change the way all women are seen in media over the past few years. We have watched our mission, oh, thrive through books, TV, film and social platforms. Today we are taking a huge step forward by partnering with Blackstone, which all enables us to be able to tell even more entertaining and impactful stories. All right, cool. So the entire conglomerate actually does include the book club. Now this is why it's jeans. And this is why you guys can all find value in having things beyond just your music because this is beyond her being an actress, right? She took a step back and started being a part of the back end. So what did she do? She leveraged her influence. She started a book club for all her fans and women who are interested in her. Okay. All right? She then took that book club and then made a deal with authors, probably authorises. I'm sure that's the thing out there. You know, they flip everything. I think so. You know what I mean? Did a deal with all of those authors and they would then read their book, all right? Other women artists. That's the pay plug into the audience that she's already. She plugs them in. Wait, wait, wait, wait. It's not just a normal paid plug though. Okay. She has a book club, builds an audience with her clout for a book club, goes to authors and then does a deal with these authors to get her book read by that book club. Okay. Then she A.B. tests which books are the best and most engaging books through the book club and then turns those best books into TV shows and movies, sells them to Netflix and other companies. God damn. That sounds like a mix of like Oprah and Tyler Perry, you know what I'm saying? With a little bit of Amazon. Yeah, a little bit of Amazon, yeah, exactly. It's a brilliant business model. A brilliant business model because how many times do we see movies come from books or video games and things like that? Uh oh, somebody might need to figure out how to do that for now. Video games, the way it happens is a lot harder to get it popping. Yeah, you could figure out faster too. But there's some version of that, right? But this is a clear, perfect example of how you can be known for one thing, right? Leverage your adjacent interests. In this case, reading. And I've been saying, I've been saying book club for years to people, right? It's just one of those random interests. And I know out of all the opportunities we talk up about like gaming, like Smash Brothers tournaments and basketball tournaments and all these things, I always feel like people give book club the least energy that don't sound like you can make money. But it's a clear example, right? She used it, A-B test, the power of A-B testing and then literally used that to then adapt into movies. And I mean, come on, you got a built-in fan base. Everything is, it makes it easier to pitch because I can say A-O, Jacory. Like people are already engaged around this. So it's an easier sale because you're worried about investing in something that's not going to get a sale, right?  Like it's an ecosystem man. Building your own ecosystem based off of your celebrity because every artist, what you're building is celebrity as a part of your brand is going to help you escape being in the hole or being, escape the limitations of music money. That's why I keep saying that's my new motto, escape the music money limitations, man. Like, hey, you ain't heard of Reese like that. She acts on what she wants to. She don't have to be in a pop movie anymore. You know what I mean? She come out whenever she want to. That's why she got that money. 900 million, I ain't doing no more movies. I'm in the house. What's the other woman name who has the honest company? She was Honey. That movie Honey is supposed to be like the hip hop Jessica Alba. Jessica Alba. Hey, like they started getting that other money and it creates freedom, right? So that's just one thing, business model. Now let's flip it to the music industry specifically. We just talked about the business model in the record label specific category. Yeah, I was like, what would be the music equivalent of this? Well, oh, wait, wait, the music equivalent of this? Cause I wasn't switching, so I'm totally different.  The music equivalent, let's give it like a two minute brainstorm. What would that be for, wait, within music or just for another artist and what they could do? Yeah, let's say for, let's say, I'm Lil Kory. Lil Kory. And I wanna apply this. I didn't know about your demographic though. My demographic is 16 to 25 year old mixed race kids. Bro, we might need to do a real artist, bro. You gotta do a real artist. All right, let's say, let's say, all right, let's make it easy. Travis Scott. Travis Scott, okay. Travis Scott, what would Travis Scott be able to do? There's so many categories. I mean, obviously you could do that with like a fashion category. Yeah, that's what I was about to say. That's like the easy go to. So, you know, like see what people like and then allow them select and then, you know, make something pop from there. Actually, I guess an example that's kind of been done is like what Kanye did with Adidas and the Yeezy brand. What do you mean? It started off as kind of like just, you know, he had the collab and he was pushing into his audience while he was building the fashion narrative. And then I feel like eventually that kind of saw like, oh, like the designs or people are really taking to the designs and things.  True, true.  Right, right. I look at, cause it sounds to me it's like, all right, she built this focus group that she could use to monetize, use to monetize with other creatives. And then based on their performance within the focus group, she can monetize even higher by now, turning it into a movie. So I kind of sit at the same place like, hey, I can take your shoe, sell it to my audience. And if I see that like it enough, then just give me a whole, give me a shoe, like a real shoe line. Test my designs, prove myself and prove the designs. And because I have obviously such an audience, you can see the hype around it. Cause we can always just kill a shoe we want to. Just put the design out, it's not getting divide. You know, and we see a lot of stuff with that too, that those things that never came out. Maybe like, well, what happened to the XY? Oh, only two were actually made or 10 were actually made, or it was never released. And they say it's like some other non-business related thing, but really it was the fact that it wasn't gonna sell. It's like, oh, the materials are no longer available. Right, right, right. All that kind of stuff. So yeah, I think that's a good enough example. We should do an episode that deep dives on that though. Like try to find those type of examples. We're gonna switch up for now, but I like that actually has a great idea. So, all right, so I wanna give a reminder that being independent is not just about not being signed to a label, it's actually making money without being signed to a label, being able to have a sustainable career. And for those of y'all who actually want to be able to make money from your fan base, you're serious about figuring out how to monetize, I have a free video that you can check out. I don't need your email. I don't need your phone number. I don't need any information. All you have to do is go to www.nolabelsnecessary.com slash monetize. And I'm gonna show you the lies that artists have been told that have been keeping them, probably you too, from monetizing your fan base and how shifting that perspective has allowed one artist we're working with to be on track to make over $500,000 this year. This is a different era. Don't fall for that trap saying artists can't make money. Artists do not have to be broke. So if you wanna escape that trap, go to www.nolabelsnecessary.com slash monetize. You do have to make sure you put the www in the beginning when you type it in your URL and watch this free video again. You're not gonna be asked to put in your email. You're not gonna be asked for your phone number, but it won't be up forever. Check it out. Record labels and an issue with the business model. I was just talking about, and many of y'all might not actually have had one of these scenarios happen to you or know of these scenarios. But a lot of times you have these A&Rs, if you will, or just middlemen, if you will, that will build up artists and send them over to the labels, right? It sounds like a great deal.  I'ma get you poppin', and now that you're poppin', I've built your market value and I can sell you off to the labels. But here's the real issue that happens a lot of times. You have somebody who works with an artist, helps build them up, sells them off to the label, but you get rid of one of the most valuable parts of that artist or their path and their blowup because that person who was really integral in blowing them up, sold them off to the label, and now the label doesn't necessarily know what to do with them. And sometimes, a lot of times, the artist doesn't know what to do with themselves because that person was way more integral than the artist thought, right? That'd be the big one. That's the thing. And then the label is like, you're investing in half of a business because that goes into underappreciating the value. Let's just say this marketer, A&R, whoever, who leveraged their resources and maybe even directed the artist, told them what to do throughout certain scenarios, and now you're just left with the artist and it's bad for everybody, right? Label's like, oh man, I don't know what to do with this next thing you know, well, we'll just drop them. We'll just consider that one of the Ls. So there should be in every other industry, well, most industries that I know of, they have a clause when they buy a business, they try to negotiate something where you have to stay on for a year or two. There's a transition period before you can leave because we don't want all of a sudden a company to just blow up. Everybody say, hey, we were loyal to Corey or there's too much IP of why things were working and we need to make sure the transition is smooth, right? That same thing exists with these artists. And I feel like people don't acknowledge that enough if an artist starts taking off and there's people around them don't just allow that. I mean, I don't know who that's worse for the record label side or the artist because at least the artist got in a better position. You know what I mean? They're signed, but then got in a better position for a moment in time. Yeah, I was about to say, yeah, it's temporary. Temporary, good position. Temporary, but now you're just flailing in this label, unacknowledged, nobody knows what to do with you. The vision that got you there is not longer than the person who was selling you to other people. That's another part. They just helped you and sold you to another organization. That means it's not just about selling you to the label, you still need that selling ability in understanding how to pitch you ability throughout everything you're doing as an artist because a great manager is always pitching you to playlist or, well, people they know around playlist, sometimes it's directly a playlist of sponsors, booking agents, whoever. You always need somebody who has the ability to pitch you and if you just get passed off and needless to say, some of these artists, managers are not necessarily that one that got them there. I think that's where it gets lost, because there are those positions that have, I think, seen that and figure out ways to bake themselves in. Typically, I see it being managers and A&Rs. Managers and A&Rs are finding a way to stay attached to the situation, right? Some of them. Some of them, yeah, good point.  Yeah, or the A&R is like, I'm gonna pass you off, I'm going to the next hot guy or something. All right, I'm trying to build another business and sell it off. I'm buying sellers my entire way of moving. They flipping. Man, but I do feel like what's so harder, what's hard about that is it's hard, sometimes to quantify who was actually impactful and blow up until, to your point, you can kind of step back and look at the, now that the process is over with, you can analyze it more clearly and then you start to see like, damn, bro that videographer I hired, I'm really seeing people saying they missed the old look of my videos and then realizing that dude, I got rid of to go get, you know what I'm saying?  You know what I'm saying?  I'm paying 10 extra amount of money and then people are not messing with it. Yeah, it's like a .5 extra result. So I do think that's one of the issues.  We've been in that position, man.    It was fun working with you while it lasted. Hopefully we see you back in another three, four months. Not for good reasons, but like we've been in that position where it's like, man, you know, I get it, it's gonna be hard for you to fight for the marketing team, but you need us. You know what I'm saying? Cause we've already done the research to your point. I think too, it's like, man, we spent, like they have been clients where we've spent two years just talking to them to understand them enough to give them even an inkling of success. And then to your point, they never get passed off to this group of people that not only have to learn them, but they have to also learn them while figuring out how to keep the momentum going and keep growing them. It's a hard thing to do, you know what I'm saying? While they're also handling other artists. Yeah, exactly. While out in a lot of other artists too. You know, when you talk about getting to that level. So it's like, man, I was just telling somebody that, man. I had a conversation with another client off line and I was saying like, that's the interesting thing about, I think artists working with labels is like, they sell you on, you have this team, this individual team, but what they don't tell you is that everybody there is working on 100 other things at the same time. So like you are like, oh, I got a marketer, I got an A&R, but then that marketer got 50 other artists on this roster. So you might realistically get 30 minutes of that person's time and work out the whole week.  Like, yeah, but we only working with like 15 people, man. So, you know, more expensive, but more time. So I do get it. More tension, hands on. I do get it, man. We only work with 15 people no more. You get that out there. Don't put that in the universe. Oh, you're right. My bad, y'all a lot. I'm listening to that. It's about five max. And I think too it has to do with just like, like how do you quantify, because to your point, right? Like if I'm an artist, let's say I've somehow lucked up and I got eight people helping me with different things. Right? When I pop or when I have a big moment, all eight of them are going to evenly feel like their contribution is what helped me get here. The booking agent is gonna feel like, yo, me getting you on that open and set it rolling out really pushed you a long way, right? The marketer's gonna feel like me optimizing those ads and getting those five or six influence posts really helped you out. The A&R is gonna be like, yo, me help connecting with that one producer really helped you out. So then how do you as an artist or a person that's a core part of the artist team accurately assess whose contributions really were what helped you go? Cause there's an argument that all of them, all their contributions are the reason you're here social, all of them make a case to, you know, be sunsetted in, you know? Or do you step back and go like, all right. Eight of you were impactful.  Six of you only contributed 10%. These other two contributed 20% of peace, right? So I'm taking these two with me. You know what I'm saying? How do you quantify that? Yeah, it requires discernment for sure. I think it's understanding for one, the artist themselves, all right? So it's gonna be a little subjective, but and also the fan bases. Like what seems to be most important to the fans, right? And how can I control that? It's like when you think about a marketing department these days, the best marketing departments for companies are in-house cause they understand the brand, the taste, you know? All of that so they can better communicate that and they can keep things consistent, which leads to more impact. So if you have like this consistent videographer where your artist has a good rapport and you're like, oh yeah, my artist is comfortable with this person so they have better videos as a result, right? You pay attention to those things. And I think that's especially important for maybe a manager to pay attention to. Or you know that, I think the videographer thing is easier to pay attention to. Who else would be on the team? You can get fan feedback on that, you know what I'm saying? Marketer, then you will just be like, does this marketer tend to understand what's going on with this artist? Like do they just seem to see the vision? They come up with really great narratives. They seem to get the artist pitch ideas that have a high percentage of the artists actually liking versus, you know, cause you know, we could throw out plenty of ideas and the artist just doesn't stick, right? So I think it's just judging those little things based on what someone's doing first. Like not even among all eight people. Let's just say there's eight people around the artist that they've worked with over time. Just first of all, like what's their quality of impact based on what they're supposed to be doing? Okay, yeah. Once you get that baseline, then you see is there, like so are they top level that? Then you start to gauge like, all right do they go beyond that somehow? Do they creep into other areas where, you know, like us, yeah we can do ads for people or something like that, but then, and we can pitch some ideas to go around a song, but we also do like creative direction. Like mindset shifts. Mindset shifts, yeah, we coaching and things like that. Like, I mean, I will literally have this one guy, and I'm telling him the exact angles. It's like, no, you need to be closer up when you shoot this shot for this video. And then this happens and that needs to happen. Then he'll shoot a video and then we'll make some adjustments on how to come back. Like those are like smaller details. And then, but you have to also probably have some context of what another me looks like. Cause if you're not comparing me to anybody or don't know, cause I think that's a lot of times, some people, let's just say we'll talk ourselves up for a second, right? If we're their first experience, they don't know who to, like the context of like, oh, other marketers might not know X, Y, and Z, right? Or do X, Y, and Z, right? And we pride ourselves on like really staying on the cutting edge. And I think part of it is just cause we've had to, right? So we've just trained to look at everything differently. So I think it's one impact on fans. And like, what is that, is there a synergy there in terms of like what this person is doing is having a high impact on the fans. Two, is there a synergy with the artists that things just seem to click, right? Three, of course, and this is not in any particular order, do they do the job that they're supposed to do at a high level? You know what I'm saying?   But boy, I'm really coaching and getting the artists in their bag and pitching these ideas. Then you say, all right, well, how can I get him off of those things? But I still understand his impact enough that he needs to be here. And that's the difference between great coaches in sports. They understand their pieces. Phil Jackson, when Dennis Rodman say, yo, bro, can I go to Vegas? And we in the middle of the playoffs. And he say, yeah, go ahead. Cause he know that Dennis Rodman gotta get his thing going and he's gonna be good. But if I was playing, I would not be able to go to Vegas and come out like moving like Venice. Most people can't do that, but he had, but you understand that he psychologically has a different way of moving. So I guess that all that to say is, you know, pay attention to your people and pay attention for them. And then pay attention to the team collective as a whole. Cause that really what it is, it's team psychology. Yeah. I think it's crazy. Cause now I think about it. It ties back to the bigger narrative of labels don't like to develop talent. And I think we tend to think about that musically. But then what I'm hearing in your point is like, it also applies to just the back end times. Like, cause to your point, while that marketer that maybe sucks at running ads, but he or she is really good at getting the arts out the comfort zone with the content. And maybe that's been what's been making the ad swing. The ad setup has been shitty, but he's been coaching him through some good ideas. So it worked out the easy way would be, okay, yeah, we're going to just replace you with an ad person. I think the better it would be like, all right, let us help you get better at this thing. So we can keep you here because then everybody wins that we don't have to like mess up the flow of this operation and you get a level or two better, which like, if you were doing great with a shitty skill set, imagine how amazing you're going to be once the skill set is sharpened, right? Now, I know this, this is a easier one. Like we talking about ads, which is a easier skill set to sharpen like that. But from what I've seen, yeah, most of them are not doing that. They're not going to do that. It's a time lane. Like, I know, I know a person that got a job at a label and like, they were basically talking about it. Like when they got the job, they were just kind of thrown into the fire. Like there was no real like training period. There was no real, it wasn't like a orientation period where they like, oh, this is the right way to kind of do things. They just had to come in, you know, pay attention, listen and pick up and then just get into, get into flow, right?  Nobody has time to stop you and go like, yo, like, this is the way we send emails. This is the way we, right?  You know what I'm saying? And that's how they train.  Don't, don't do that. This is the right way to do it. But they're not like formally sitting down. Like when we hire like market, so like we put them through like a training period. You know what I'm saying? We're like, all right, we're gonna, you hop on the call of me and Sean, you know what I'm saying? Like two or three times a week, you know what I'm saying? Every week for like the next three weeks and then, and then we throw you into the fire. I don't think, yeah, I don't, I won't say every label isn't doing it, but I would argue most of them aren't doing that. You know what I'm saying? But then you look at it and it's like, you look at the artists as this dominant and rough that needs to be developed. Most artists aren't getting picked up out of obscurity. They more than likely built some type of a team around them.  Which I don't know, maybe I'm built different, but that's what I would do. I'd be looking like, oh, you already got an ad guy? Great, we can save some money on that side. You know what I'm saying?  Yeah. You know what I'm saying? Like, oh, this is beautiful, bro. Like, yeah, what he need? You know what I'm saying? Yeah, that's what a conflict of labels comes in when they have all these bureaucratic corporate initiatives or the way they're trying to save money and get things done that prevent them sometimes from doing what's best for an artist. Because really it's easier and it's less work even on you individually. But then, you know, a label might be like, well, I went on this ad data or, you know, we've talked about- We don't trust y'all homie with the budget. How are we gonna spend the whole 10K? All these different things. And they'll throw stuff out like that to hide their real reasons. You know what I mean? It's like, oh, that's a good angle I'ma come at, but that really, I just don't wanna give it over.  We just don't use them. I just thought about it. You know, the free money we'll get from the ad programs and stuff like that. Yeah, the greatest. Yeah. But I feel like we can get to more deeper into that maybe another episode. Let's get into the last topic. Quick topic, quick little update. Okay. You know that theory, right? That this Drake AI song being submitted for a Grammy helps further prove that this is probably some label that is behind this whole situation, right? That we talked about that theory. And a huge thing that I spoke on was like, oftentimes when you take situations like this because we know that there are rights issues, you can't, whether it's a copyrighted voice, right, or whatever the particular language is, right? So anybody can take my voice is not technically illegal yet because the tech is ahead of the actual laws. Well, all right, cool. If I can't do that, I can make something really bad happen, something really obvious happen at scale. So then I can then make an argument to the government. Yo, we need to do something about this. They're using this guy's voice. This song is taking off. It's doing so well. And this is a travesty to Drake. This is a travesty to the weekend. This can tarnish his brand. Why would we allow people to use people's voices without their permission? All right, I can make that better argument, no different than when FTX collapse, I can then make better arguments to regulate the crypto industry, right? So there's that theory and we were like piecemeal and certain things together saying, oh, UMG might be behind this because they got Drake and 21 Savage and the 21 Savage song just came out. And all universal artists. Yeah, all these universal artists that are attached to this. However, there's also that theory that Jake is the artist who did the ghost writer stuff. So here's an alternate theory. If it's not UMG behind all of it, like in terms of like they didn't create the ghost writer situation, here's an alternate for me as UMG. Let's just still pretend it's UMG that's still using this so I can expedite the regulation in this spot. Corey, you're not a UMG artist.  Me as UMG, I didn't like that this could happen anyway, but I might say, you know what, this is my opportunity. Let me help blow you up and make a big fuss around you so then I can still make the regulation argument. So I didn't create the spark, but I leveraged the spark. And a lot of business opportunities, just medium manipulation, even things that we do, right? Is not some things get created and then some opportunities come to you and you leverage that. So it might have been one of those things as well. They might not have created it, but they might very well be helping push it along or create some level of attention for it in some way or just making a big fuss about it just as that example. So their fuss adds to the attention, only holding that argument, because I'm just having fun for the conspiracy sake of it, but the only holding that argument is, well, this next Grammy consideration thing, that would have still had to come from that camp. If they're not a part of it, that would still have to come from the artist that has nothing to do with them. And Jake isn't a, and if it is Jake, as people like to say, because of that video of the guy doing a deep dive with his incentive B to UMG, which I wouldn't see any, you know, I feel like that's a stretch, but still just the exercise of it, I think these are things that are important for people to think about. We talk about business models and just leveraging things. All right, sometimes you can expedite a situation that to the masses seems like it's not beneficial to you at all. So then you can use that as leverage in a different space. And it happens all the time. Man, they play the public so much, man. They play the public like a violin. And I just be so sad sometimes when I realize how gullible the public is. That's the nice way to say it. Beautiful, man. If the public wasn't gullible, we wouldn't have a job, man. I know, I know. I got to take the good with the bad, man. Y'all keep being gullible, not y'all, but those y'all that watch it, keep being gullible. The masses that be the fans of the artists and those out there, for sure. But that's it for this episode. Just wanted to drop some quick thoughts for y'all. Let us know how y'all like this type of flow. This is yet another episode, another episode of No Labels, another episode of Podcasts. I'm Brandon Sean. I'm Corey. And we out. Peace.