Today, we're going to talk about why we're so gosh darn pedantic about staying balanced on your mid-foot. So we're going to start today without the barbell like we've done in a lot of our squat videos. And we're going to talk about why the mid-foot balance is so important in both the squat and the deadlifts. Let's start with the squat.  And the goal here is you're going to think about staying balanced on mid-foot. So you're going to go down just below parallel and stop, feel the balance on mid-foot. Equal between the heel and the ball of your foot. Go. Right there. Put your knees. Yep. Perfect. Now, that's perfect. Now, rock forward till you're on your toes. That's too far forward and you feel like you're going to fall forward, rock back to your heels where you feel like you're going to fall backwards. You can see that. And now settle in the middle, find mid-foot and drive up here. That's the goal, right? So the goal is that mid-foot balance. So when I'm back on my heels, I feel like I'm going to fall backwards. Something has to go forward to counterbalance. Only one of two things will go forward when I counterbalance if I'm too far back. And that's my knees will shoot forward to counterbalance or I'll bend over more and let the weight counterbalance me so I can stay on mid-foot, right? That's what happens if I'm too far back. If I'm too far forward, all I have to do is reach back more with my butt and think about staying on the mid-foot.  And what they're trying to do is they're trying to keep too much of their body underneath the barbell. So they're like, I'm underneath the barbell. But I actually want you to sit back and shove most of your weight behind the barbell while thinking about mid-foot. That mid-foot cue is kind of a master cue that we use. All right, now we're going to do the exact same thing but with the empty barbell. So you go ahead and take your normal squat grip, low bar position, normal squat stance, take it out with authority, walk back. Good. Now, let's do the first one. We're going to go down and pause in the bottom on mid-foot. So all the way down, just below mid, perfect. Now rock forward, ooh, that's too far on your toes, rock back, ooh, that's too far on your heels, find the middle, and fire up. Just like that. So because by the time you got to mid-foot, you're going to go high, give me two reps, just below parallel, perfect squats. Just nice and smooth mid-foot, fire up. Perfect. And you can actually see your shoe compress right over the strap where it says iron eave. That strap. Let's do one more. Sorry, I know I told you to. Let's do one more. You can actually see the foot compress exactly perfect in the middle of the shoe. Walk it in, touch it upright. That looks great. Perfect. That's a really nice job. Let's put a little weight on to it. It looks like with some weight. Now we've got a little weight added to the bar, so there's a little more to push against. It's also a little easier to keep the bar itself over mid-foot because now you've got a little weight on the bar. Excellent. Mid-foot again. Excellent. Tiny bit deeper, half inch deeper, slow and smooth on the way down.  Give me one more. A little deeper. Come on. Big stretch. Last one. Big stretch, big stretch. Fire up. Perfect. Just like that. Nice job. All right. Now the same situation applies to the deadlift. Lots and lots of beginners pull with the bar forward and they're pulling like on their toes. It becomes very difficult. They have to try to sweep the bar back. A lot of professional power lifters, guys that have learned from Westside, they actually swing the pendulum too far to the other direction and they pull and they're driving through their heels. You can actually see their toes being up off the ground. We want heavy feet. And so we're using squat shoes, even on the deadlift squat, everything because it lets us stay really solid on the floor and push right through the middle of our shoe, right? So on the deadlift setup, and again we've talked about this in many of our videos, the first step to the deadlift setup is to walk forward until you're one inch from the bar. And that's obviously sort of a generalized term, but what that one inch from the bar does, you can see it sets the bar directly over the straps and her shoes and that's basically going to put the bar directly over midfoot. If the bar is forward of midfoot, she's going to be on her toes. If she walks, go ahead and walk forward till it touches your shins. If she's there, she's going to be heel heavy. And so, okay, walk back to your one inch from the bar somewhere in that ballpark. Now from this point forward, your feet don't move, the bar doesn't move, it doesn't roll, go ahead and do your normal deadlift setup. Let's do like two reps, set it up, knees forward, shins forward, chest up hard and drag up your legs. Perfect and perfect on midfoot. Stay on midfoot on the way down, go down, just like that. Roll it back, chest up and pull, good and down. Now, we're going to intentionally screw this up a little bit. So roll it forward about two inches right there, somewhere in that ballpark. You see people do this all the time at a powerlifting meet. Now try to deadlift without rolling it back. It's going to be hard for you because you've done this for all. She's a 400 pound deadlifter, right? So this is hard at 135, chest up, pull. You can see it wants to swoop in. It's way harder, right? Way harder and yet we see people do this at powerlifting meets all the time. Down. Now let's do the opposite. Roll it all the way back to your shins and make your shins completely vertical.  So we know you're heel heavy. Go ahead and squeeze your chest up and try to have the best form you can. And same thing, not so straight like deadlift, you're heel heavy, right? So back down, let go for a second, stand up, take a step back, take a step forward, and let's do two more reps, perfect. So you can see how much more efficient it is and how much more effective it is when we set this bar up right over the midfoot.  So that cue is, I always want to feel right before the lift occurs. So I've got this setup where I walk forward until I'm an inch from the bar, I grab the bar, shins the bar, knees out, chest up. The last thing I think is, can I push through my midfoot? Am I pushing the floor away through the midfoot? Like a leg press, not with my toes, not with my heels, the same way you would in a leg press, you would leg press with the whole foot. Not up on your toes, not back on your heels. It's the same thing on the deadlift, it's the same thing on the squat. When I get down to the bottom of the squat, I'm going to push through that midfoot as much as I can, make my foot heavy against the floor, and just think about pushing the earth away. Whether that's the squat or the deadlift, that will put you in the correct balance. That will again allow you to use the most muscle mass and lift the most weight. That's the key, right? So, for more instructions on how to deadlift correctly, squat correctly, from certified professional barbell coaches, click the link right up here.


Without further ado, let's give a warm shabuigan welcome to Taiko Project Albums. History is starting to incorporate more into traditional Japanese music and theater, so just going Kabuki. And then it wasn't until about the fifties when a band named Raihachi O-Kuchi, you know, the jazz musicians decided to try to put Taiko together and play it in a kubo ensemble kind of setting. And that's what you see here today, and it's called Kumi Daiko, which means kubo. The next piece that we would like to share with you is a piece called Yodon Fuchii. Yodon in Japanese means four, so we're actually going to be playing on four different sides of the drum. This is a piece that comes from a group in Japan called Ska-no-ku Taiko, so it's in Yodon Fuchii. A Japanese festival without Taiko. He went upon himself to go back to Japan and taiko here to America. And this group is called Kina Taiko. And their philosophy is more of a Buddhist side of things. Naka sensei, his group, sometimes we kind of go with an energetic, you know, therapeutic thing. But for Kina Taiko, it's a little bit more laid back, a little bit more Los Angeles, a little bit more laid back, a little bit more West Side kind of thing. So we're going to play a therapy. This is a piece called Shishimai. And this is the lion dance. So it's got your whole thing. And we like to incorporate a lot of different kinds of stuff into our music nowadays. So this is Shishimai. It's actually one of the middle sized drum. This one's unique, too, because instead of the rope, or the nothing most, we actually have two drum heads that are tapped on individually by hand. And this is made out of one solid piece of wood that's just hollowed out. And the cow hides are tapped on. And this one has a significantly lower pitch. 300 lbs. 5 lbs. 1 lb. 2 lb. 3 lb. And Kina in Japanese means flat. And this is a flat drum. If you see the concept of playing this piece, you can see it by yourself. Waikouk, or Hinoki, the type of Japanese theater. And sometimes they're made from a special premium brand of Honepō Dao. But we also have these colors. This one we're going to have Jen play. He drew in this next song. He's called Koutou. And this is kind of like the Japanese version of a heart or a tickler. And it has a number of strings on it that are tuned to the western scale. He sold it playing a song and also... He sold it. He sold it. He sold it. He sold it in a station where all the drum sounds that can be made have a sound that we can make with our voice too. And so we normally learn how to sing a song with our voice. And then learn how to translate it onto the drums. And just the same way you would take words and arrange them into a sentence. We take them and we arrange them into a song like so. Dōng, dōng, dōng, dōng, dōng, dōng, dōng. And try it out. Before we do that, we're going to play our last song called Omiage. We've got Sushi. They chop it up into those tiny pieces. Right here we're going to need a giant space. The pause is going to demonstrate for us. You can be speeding up until you can't play any faster. And then there'll be one... Once you're on stage, you can go ahead and select your instrument. You'll see that there are sticks where they hold up. Okay. So, once again, the piece of the thing is called Omiage. The first thing you have to do is get to our stance. I want you to put your left foot forward. And we're ready to put it back. You can take only a nice strong stance if you want to hit the drum. We really are... Here we go. So, even though there are many of us in this room, there are ten of you on stage here. We want it to sound like one drum. Okay? One drum. We all have to play together. In the audience, I'm going to ask you guys to give me a favor and help them out. Okay? So, I'm going to say each knee, we're all going to give a nice big sore to help them start on stage. Is everyone ready? Oh, no. Yes. Okay, here we go. Each knee. Sore! We're going to be our volunteers. Okay, hit the drum. So, if you hit the drum hard, they won't break. Your knees put that. So, when Ma's moves his arms, you're going to move your arms.    Yeah, here we go. We got that idea. Okay, so let's try one hit. Okay? I'm going to say each knee.  Ma's going to do one hit only, and we're going to try to follow it. Okay? So, all eyes should be on Ma's. Very nice. Arms in the air. Here we go. Each knee. Sore! That wasn't a mistake. Here we go. Again. One hit at a time. We're going to be following our leader, Ma's here at the front. We're going to be playing Orochi all together. Here we go. Each knee. Okay. So, again, this is going to be Orochi. We're all watching Ma's. Okay? One hit at a time. We're going to be speeding up until we can't get any faster. And then, one last door in the air. Here's my audience ready. On my stage. Here's ready. I'm going to take that as a yes. Here we go. We're going to be playing between a shoe and a sock. It provides lots of grip, but it's lightweight. So, it's like the perfect blend of shoe and sock. And we can tell you who we're ninjas. Another question? Yes, Ma? Do you practice or how many times do you practice? We practice twice a week for about three or four hours each time. We always talk about wanting to practice more. And we also teach about four different classes a week as well. Kids as young as seven years old that start playing with us. And we have students that play with us until as old as 81. So, age is never a factor to not play taiko. Or anything else about it? Yes, in the back. It is not fake. But there's a lot of spirituality that goes behind making a taiko. Because, for example, the taiko maker that made most of these drums has been making taiko for about 403, 404, 405 years. And they talk about generations of creating taiko. It's kind of like a blend of earth through the tree that makes up the body of it. Like plants as the tree of the body. It's a blend of earth through the metal attacks and also the life of the animal. And how high that's usually the head of the taiko. So, sometimes horse tides are also used to create a different sound. And sometimes big skin are also used for taiko. But, yes, you saw the real thing. We're trying not to have too much fun. We have a ton of fun. We love playing taiko. Does anyone want to maybe say something about playing taiko? Well, for me, ever since I was like a music and sports, I actually started in college. You're going from high school to college. I knew I wanted to join a club or something, but I didn't know why. And then I came across Taiko. Oh, this is perfect. With music and sports combined into one. So, that's the way to go. I think taiko is very interesting because it combines a lot of different influences. There's martial arts, there's dance, there's the physical training aspect of music. But I think for me, even though all of those things are important and these guys can tell you I harp on musical stuff a lot, there's something deeper about just watching the taiko performance, especially the first time you see it. It just kind of touches you in a special place. And that's what happens to me the first time. And that's why I chose to not be an engineer like my parents wanted me to. And to do this for my living. Taiko is life. Taiko, I also grew up with it. I was watching it at the festival with us. And my parents tried to get me into it a little bit. They liked one of their music and one of them. And also, in general, outside of Taiko it's kind of another group of friends or family. I have a family, we have a lot of friends together. It looks like we're having fun and you like watching it too. So at least the worst thing you have to go last is everyone's sense actually. But basically we have the same name. Like you guys got to experience today there's a lot of physical movements and visual aspects of Taiko and not just the music. Like for us, we did incorporate a lot of the more things that we grew up listening to but there's also those traditional elements in the music that we try to preserve and be respectful of. And then also studying also the movements. It's also very abrasive on the body. Practicing many, many hours and hitting so hard. So we are always studying the best way to get the best sound without hurting our bodies and still being humans for a long time. For example, Maz has been playing since he was six. And so 20 over 25, 30 years. It's kind of healthy. But, yes. So, yeah. Yes, and Richard. So the koto is a 13 string zither. The vibrato is played a little bit but there are those little white bridges. Do you can see them? So they're actually movable. So after the show we're going to take it apart and take all the bridges out. By moving it left or right. By moving it right it kind of raises the pitch of the strings. Moving it left lowers the pitch. And then depending on what song you're playing you can tune it to different tunes. And I think traditionally there's many different kinds of folklore to me and scales and overcurrents. Cool, thank you. We're actually going to conclude our Q&A but we're actually going to be out in the lobby. We have a seating as far as we can hear more of our music but we'll be out there and people have any questions and we'd like to know anything more about Tycho or our group but we'd like to thank you for being a great audience. This is our first time doing a new responsive.


Personal notice. Stanges my stock and trade. If the job's too tough for you to handle, you got a job for me, George Valentine. Bright full details. Standard Oil Company of California, on behalf of independent Chevron gas stations and standard stations throughout the west, invites you to let George do it. Man behind the frame. Another adventure of George Valentine.   I'm trying to talk on the telephone. How can I... Well, that's better.  Hello. Yes, yes, now I can hear ya. Lawrence Ferguson? The kid? Sure he works for me. Came down from Emmitsville with me just yesterday. What'd he do? Get high on too much soda pop? Oh, look, friend, whoever you are, I'm no nursemaid. Don't bother me with any of this.  He what? When? Where did he... Look, Lieutenant, for gosh sakes, tell me. All right. Of course. County Jail. I got it. Dear Mr. Valentine, my name's Vic Burnett, Federal Office Equipment Company. You remember, the guy sold you the wire recorder for your office. Well, I'll cancel out the last three payments on it if you come down fast to the County Jail. I need help. A crazy rube I brought into town for a convention just so he could see the sights is now staring at the inside of a cell. He's been locked up for murder. Okay, Mr. Burnett, okay. I feel responsible for him. He's never been down here before. He's not even a salesman. You see up in Emmitsville. You want to see him, Valentine, or don't you? Just a minute, Lieutenant Johnson. He's never done anything but read comic books. But I can't let him get railroaded like a common... Well, he sure is not being railroaded for anything. And a woman is dead, isn't she? Miss Brooks, listen to me. This kid is... That's a good idea. You listen to her, Brooks. Come on, Johnson. Gladly. I just want to hear it from the kid himself. That's all.  My poor boys in the hands of the law. Oh, well, that guy's just trying to help. I'm an old man. Guys like Burnett helped me get that way. What's eating you? You'll see. Here. Through here. A woman was murdered, huh? Take it from there. Hotel apartment where she lived, named with Sally Pfeife. High-speed typus. Yeah, where do you meet her? What happened? You'll see. Oh, look, Johnson.  Little party? Little gal about 35, fast talker, neat, clean, small business of her own that didn't amount to anything. Fight, sure, a fight of some kind. What else? This is a very refreshing, original story. Why was the kid picked up? Were the witnesses? He was caught trying to run down a fire escape this morning. Taking us all day to even pry his name out of him. Well, I don't see why. He's 26, skinny, sandy-haired, pimply-faced, 26, and probably never earned more than 26 a week in his life either. You'll see for yourself. Hey, wake up. Ferguson. Oh, excuse me. Oh, sir. Sure. I don't stand up, can't I? Just thought you were asleep. No, sir, I can't sleep.  I do it in the office sometimes so people don't know I'm thinking. Okay, I'm not, sir. This is Mr. Valentine. Sure. How do you do, sir? Whatever you say. Yeah, hello. Sit down, Lawrence. Yeah. You want to hear it too, I guess. I don't feel very good, you know. Last night you had some drinks. Yeah. See, Mr. Valentine, I'm just a clerk in the office up in Emmitsville. I mean, been there nine years. I beg so many times to come to conventions of Boston. It's Mr. Burnett. He felt... Last night you went to a movie, and after that a bar called a Silver Duck and you had some drinks. There was a banquet on the schedule, but, of course, I'm not a regular salesman. I mean, just a clerk, you know. But I do handle the boss's correspondence and the district records and things. Well, I was alone last night. I don't know anybody in the city or anything. You knew this woman, didn't you, this Sally Fife? No. What? No, I didn't. Until then, in the bar, I mean... He met her there. Very refreshing. It's true, too. Go on. Well, I had several, I guess. You know how it is when a guy's alone on the town, so to speak. I don't remember very well, but I guess I met her. She was awful nice. Anyway, sometime later, I didn't feel very well. Yeah, sure. It was a long way back to the hotel, and she said she'd make me some coffee up at her place, close by. But she was nice. I don't want you guys thinking anything. Yeah, yeah, yeah. We know all about it. Tell them what happened when you got there. I've told you. I don't know. It's not clear. I'm not used to... I mean... I don't know whether I'd drink the coffee or not. All I know is that it's daylight and I'm asleep on the solar... All right, hold it, kid. Hold it. There was a fight, wasn't there? You had trouble with this girl, and then... Oh, stop it. Leave me alone. All right. I ran. Sure, I ran.  I would have got away if it hadn't been for that. That's this morning when they caught you. Get back to last night. Well... There she was. There. What do you think? I killed her. Oh, you did. Well, tell me about it. Refreshing, original stuff. I don't know. I'll tell you what. I wanted to have excitement when it feels like to be kicked around and yelled at by all in salesmen. But, Clark, sure, you'll never get any place where they're all fakes. All of them. Loud and mouthed jerks. I could wrap her in my finger any time you asked. Salesmen, I'm better than any of them. Hold it out, kid. Now, easy.  I must have. I just see nobody else was up there. I remember it. I'm sorry. I'll shoot my mouth off, but I'm just trying to forget it. I wish I was just being a clerk now. Remember, forget it. It was her idea you have some coffee last night, I suppose. It seems that way. It wasn't mine. How did you know? Oh, for the lover. Kid, haven't you ever heard of a thing like this happening to anybody besides you? What? Well, nobody ever got in trouble like this before. Nobody ever did the things that I must. Oh, cut it out, Rub. I can't stand it. Yeah, the facts are all true, Valentine. The ones we could check. Same old story. What are you talking about? I'm just a guy who...  Oh, never mind, Johnson. Never mind. What's he held for? He signed a confession of anything? You think I'm milk-taking milk away from babies? Suspicion, that's all. Then how about taking him out of here? What's the name of that boy you said to the silver duck? Come on, Lawrence. I want to see if you know how to swim. What's the idea, Mr. Valentine? This is where I was all right, but... Relax, relax. Nobody's noticing my handcuffs. Yeah, but just to stand here all the time... Keep watching. Neighborhood plays same people every night. It's about the same time now, too. The girl, Valentine. That's the part of it that doesn't fit. She wasn't a type. Wasn't a regular customer. Yeah, Johnson. It does fit. I'm just all mixed up. I want to go back here. Lawrence, on your first night in a big city, how did you meet this Sally fight? Uh, how about a demonstration? I want to see how a boy from the stick strikes up a conversation with a strange woman. Well, I know my way around her. Oh, no. I don't know. She said hello to him. What do you think? He probably blushed, too. Johnson, you contradict yourself. You said she wasn't quite the type. Brisk, sharp lady with a sharp... There's one. That guy. Which one? Point him out. There was a guy. Just came in. I don't know. I'm not sure. I must have seen all the people over here last night. I remember the waiters. Excuse me. Valentine, wake up. What's the most likely way the kid here met Sally Fife? Got picked for a patsy or whatever it was. Somebody probably introduced him, don't you think? So I'll see you later. Hello, friend. Oh, excuse me. I just wondered if I could borrow your newspaper a minute. Hey. What kind of a cigar is that? There's a change, Lopie. 15, 20, 25. Okay, Jake, I'll see you. Wait a minute, friend. The newspaper? Help yourself. See you later, Jake. And sit still. What are you picking the fifth? Must I hit it nice and fancy?  I still got to figure a high alia. Hey, look at all my arm, man. I want to ask the bartender, Jake, here about you. What do you want? He's all right, Mr. Sit down, sit down. Name's Lopie, huh? What do you want? Turn around. That skinny young guy standing over there. Ever see him before? One next to the heavy-set man. No. Hey, Jake, what are you with snoops like this in for? Lopie's all right, mister. Lopie, you haven't been doping the races at my alia. The papers turn to the front page. News about a murder. And that kid's picture. So at least you've seen him before in the paper, haven't you? I didn't notice. Hey, what do you want? Yeah, Jake, here's my selections, all of them. I'm getting out of this. Sure, Lopie. Give me that. Hey, look out. There's a cool-off. That other guy coming is a cop. I got nothing to be afraid of. Oh, no, no, no. I just wanted to get rid of these notes in your pocket. Only they're not all racing selections either, are they, Lopie? Porn ticket, huh? Mister, I told you Lopie here's all right. What's going on, Valentine? I don't know, Johnson. Porn ticket for a thousand bucks. What? Yeah. No wonder he pays his debts today. Smoked such fancy cigars. Now, look, golly, I ain't got nothing to hide. I just don't want to know what to do about it, that's all. I'm Lopie Fife. Fife? Did you say? Sure. This dame had got killed. Well, I've been wondering if I should volunteer as expert testimony or something.  Rhymes. Sally Fife? She's my wife. Well, how do you like it? Come on, friend. We're going to have a little talk. Now, look at me. Take it easy. I ain't done nothing. Oh, no. Just hiked a mink coat for a thousand dollars. Well, that's what it says here in the pawn ticket. One mink coat. Oh, here's no doubt. Well, it's a cold night. All right, so what? So I did so much. Sure, it's here, but I've done it before. She don't mind. I always get a win at the next day. Brings me luck, that's all. Raise a little quick cash. She don't mind. If you're talking about your wife, what do you mean? That she's too dead now to mind? Cut it out, I said. She and me were just friends. God rest her soul. So stop looking at me that way.  Ain't it so, Jake? That's what you're called, platonic, that's all. We're going to give her the mink, not me. Sure, go up there with Bill. Big shot salesman. He's the one. Yeah. Yes, click on that. We'll return to tonight's adventure of George Valentine in just a moment. Listen to the difference. Yes, now you can actually hear authentic, scientific proof of the difference between new RPM motor oil and premium type motor oils as designated by the American Petroleum Institute. Auto engines are equipped with irradiated piston rings. And during operation, my new particles of radioactive metal wear off the rings. Geiger counters are thus able to detect the amount of wear actually taking place. And now as the Geiger counters click off the difference. First, the low wear rate of the new RPM. Now the much faster wear rate of the conventional oil. Now new RPM again. You have just heard authentic, scientific proof that new RPM motor oil cuts in half the wear rate of critical engine parts, doubles the life of the average auto engines between major overhauls due to lubrication. Brewed in the laboratory and checked out in severe road service, new RPM motor oil is sold with a money back guarantee of satisfaction. Ask for it at standard stations and independent chevron gas stations where they say and mean we take better care of your car. And now back to tonight's adventure of George Valentine. Vic Burnett, the big man from Emmitsville here in town for a convention. He wanted you to help one of his employees, the unclerk Lawrence Ferguson. Because Lawrence was locked up in jail for murder. Too confused even to defend himself. The only trouble is, though, the girl Lawrence said that he met for the first time last night. The night of her murder now seems to have been mixed up with Vic Burnett himself. So if your name is George Valentine, you're pretty much inclined to agree with Claire Brooks when she says... I never did like his looks, George, from the day he sold us this wire machine. I didn't like the kind of stories he told. Sure, sure, Brooksy, but don't break the recorder on account of him. You get the rest of my notes on it? Oh, didn't you finish? I'll hook it up on the phone again. No, no, that's all. Burnett didn't tell you where he was going after he left the county jail, did he? No. How do you like that? Right up your notes for a client that doesn't even... Well, we can't find him either, Brooksy. Salesman must have sold himself a powder and then taken it. Valentine, now you're just getting my boss in trouble. He wouldn't have done a thing like that. Kids, you want to save your job or your neck? I don't know. I'm all confused. I don't feel very good. This place just reminds me... Lawrence, we brought you here to her apartment to see what else you could remember. Well, I'm not helping any. I know I'm not helping any, but if you just leave him out of it... Burnett's in this up to his ears. Now, for the last time, relax. Forget what a sucker you've been and think. I'm trying, Lieutenant. That's the couch I woke up on. I know that. Wash the glasses. Did you open them? No, I don't think so. Must have been drugged. Weaned glasses. Liquor stains on the table and floor. I came up here to have a cup of coffee, I know, but... Kid, that husband loopy. You saw him in the bar when you met her. Didn't you see him up here, too, later on? Sure you did, didn't you? I didn't see anybody here except her. Oh, for the love of... Okay, Rube, wait for us here. And by the way, there's a sergeant outside the other door. Well, going to get around to me now, huh? Just wanted to give you time to make your story good, loopy. I know you guys. I think you keep me cool and I'll get hotter, hey? Well, let me tell you, I'm just a husband, see? But we're the boss. I'm not surprised. She was a businesswoman.  Incompatible, that's all. Just one of them things. Give the little lady a happiness, I said, but still, play Sonic. Soft spot for old loopy. You know how it is. Which brings me to the mink coat. A little matter which was over and done with yesterday afternoon. A little over the mink, so loopy could pick the horse of the right color. If you don't mind my lifting your figures of speech. Just saw her for a minute and met Bob, but I never came up here later on. Vic Burnett gave her the coat, huh? Yes, sir, but you see... When? Last year. How long's he known her? Several years, maybe. Fancy apartment. Her typing service didn't buy her all this. It's how she met him. Special work on his district records or something. He's down here a lot. And she used to write to his office when he wasn't. Boyfriend, that's all. It's quite legally legal. In love with business. Any painter and mink. All right, so she knew a few things about him. So she had a liking with the finer things. Now you're warming up, friend. She blackmailed him, huh? She did not. You can't talk that way about my wife, God rest her soul. A shakedown artist, so that's what you wanted. I didn't say that. Oh, stop it. Well, a quartet. Pick him up over that office machine convention, Lieutenant. You see, I wasn't running any place. Just dodging a little. I know, Mr. Burnett. Hoping we'd have it all solved by now. I'll hung on somebody else. Thanks, Sergeant. I guess you don't need me anymore. So I guess I'll just... Oh, no, you don't, Lobby. Stick around. Okay, okay. Listen to me. I want you guys to understand something. I hired you, Valentin. I don't forget that.  So old, no matter what he said, no jury would ever convict him. But that doesn't mean you couldn't be the man behind the frame, does it? Sure, he must be. Listen, I said, I would have told you everything. You know how it is. Head salesman, travel a lot. Why should I tell you about Sally? She was my style. She never asked more than I could afford. She was all right. She was a good sport. When did you see her the last time? Last night, supper. Go on, make something out of that. There you see, supper. He's already supper. How was she dressed? Huh? Well, I don't remember. Very nicely. Was she wearing a mink coat at supper, or wasn't she? Sure. The one I gave her. Why? Grab that guy. Lloyd. Oh, no, you don't. I'm no sucker. Come back here and grab him, Sergeant. Grab him. He's the one who didn't get him. He got away, George? Oh, yeah, sure. Of course he got away, Brooksy. Johnson and Burnett after him, like a couple of overfed bloodhounds. The kid's here with me. Oh. Well, why didn't you go with him? I wanted you to read me back some notes, that's all. You see, the closet's been all torn up ransacked. So it had to be Loopy who got the coat. We know that. But he didn't get it until after supper. So he was up here late, probably after he'd been in that bar. George, he saw his wife with Lawrence, so it would have been easy for him to follow them up there. Yeah, yeah, sure. George? Yeah, I'm right here. Look, I'll be back up to listen to those notes myself instead, OK? Well, I'm just typing. Yeah, I'll be up at the office. Let Johnson look for people I'm all through. Wait for me. Notes for Burnett. Interviewed Lawrence Ferguson in jail. Has stack of circumstantial evidence against him, including the fact that he was caught running the scene of crime. Oh, George, I'm just getting started on it. The only trouble is... Oh. Hello, ma'am. I heard that voice and thought it was Mr. Valentine. I thought you were.  That's right. Do you mind if I sit down to wait for him? How'd to know? Hmm? No, no, sit down. I'll describe to you, I guess. Oh? I was all dressed up last night. I don't look like much anymore. Don't be silly. I thought George was with you. I can't afford to buy the kind of clothes a salesman do. You're jerks. You know that? Everything... Where is George? Oh, I don't know. He was on the phone. I was waiting for him. Then he hung up and took off like lightning. Or maybe he'd come over here. I heard him say that. I still got on one of my handcuffs. I guess I'd better wait for him to take me back to jail. That's all I'm here for. Go on with your work. I'll just sit here and wait. Well, thank you. Only trouble is a matter of a make coat. Lupi, Sally, Fife's divorce, no good husband. Mr. Valentine didn't know yet, I guess. Lupi got the coat last night. That's what it is. With a man who committed murder, maybe even with a coat as motive, seems to me he'd be a lot more likely to sell it. Mr. Valentine's a smart man, isn't he? At the time, Lupi hawked the coat. Today, he didn't even know his wife was dead. I'm sort of like Mr. Valentine in some ways. Smart. Where is George? Tell me. If he left to come here and you were with him, he'd be here by now. I don't know. I'm waiting. Just like you are. Yeah. He said the closet at Sally's apartment was all ransacked. Lupi wouldn't do that, would he? He'd know where the coat was. Maybe he already got it.  Maybe. She wasn't wearing it. How did you know she even had a make coat? I don't know, ma'am. I'm all mixed up. Yes. Play some more. That machine that salesmen sell. Big shots. Jerks. They even got a song. Salesman of all F.O.E. We will have prosperity. Isn't that a laugh? Like a bunch of high school kids in a football game. Well, I see what goes on. I can make more money than any of it. Lauren, stop. I'll play it if you want. Sell it. Also, Mr. Burnett, it bothers me you'd hire me and still keep things secret. But you did hire me, so answer a few questions. Your correspondence up there in Emmitsville. Sally Fife did business with you, so whoever handles your correspondence would know about her. Check? And that's your clerk, Lawrence. He would have known about her through the handling of district records, too. But he insists he didn't even know her name until last night. Why? You killed her. Poor innocent boy being framed. You killed her. Mr. Valentine's smart.   I'm sorry. That's what she said. I'm sorry. They were sorry for me. They thought I'd been framed because I made it look that way. I used to lick her on the rug in the table. I pretended. I used to give Sally information about Mr. Burnett, and then she'd get mink coats in there. I don't care. I don't want to know. She wouldn't give me my share.  Don't. Don't touch me. Why not?  Get away. Sally couldn't give me my share. I thought I got even with her. They caught me. I still made it look like I'd been framed. I looked for the code, but it was gone. Get away, I said. But I still got away. Stop it. You only can balance out. Stop it. I wasn't sorry. I'm sorry. They thought I'd been framed because I made it look that way. I still lick her on the rug in the table. I pretended. I used to give Sally information about Mr. Burnett. You did that. You should get mink coats in there. I don't care. I don't want to know. You turned the thing and started to record what I said.  The same thing you did. You think you got a confession, don't you? Why is the button on this crazy thing? I didn't know. You didn't. You bumped it yourself, but you were going to prove I am. And so, Mr. Burnett, I guess you don't need a report.  Where's the button? Oh, yes, it will, Buster. Oh, George, you're here. I'll show you the button. George. Now, hey, hey, Angel. Cut it out. It's all over. He didn't hurt you. But I didn't know where you were. I thought he'd done something to you. Back when I was telephoning, he was outside with a cop. He slugged him and ran. But I told you I was coming right over. George, why didn't you say what had happened? Why didn't you? Well, let's now take it easy, Angel. I didn't want to scare you. I wasn't positive he was headed here, and besides, I came as fast as I could. But you must have got here a long time ago. You must have been standing outside and listening. Well, Angel, it's all over. I know you needed real evidence against him. I wouldn't have let him hurt you, Angel. Come on, let's go. You didn't do that on purpose, did you?  Look, see, what kind of a guy do you think... Well, it just happened that way. Oh, look, darling. Come here. Let me convince you. No. I don't believe you. Oh, but... don't stop trying to convince me. If at first you don't succeed. Some things can be out of sight and out of mind without creating any special problem. But you really can't afford to forget about your car's battery. Neglect the battery and you take chances with your car's starting power with the efficiency of headlights and taillights and accessories. For your own convenience and safety, have the battery inspected periodically at a standard station or an independent chevron gas station. A few minutes for this car saver service tomorrow may prevent hours of delay later on. And you'll know that your battery has a high enough charge. That the water level is right. The terminal posts and clamps are clean. You'll know that the battery is ready to give your car fast starts and to keep the lights bright for night driving. So for your own comfort and safety, wouldn't it be wise to ask for battery inspection tomorrow? Ask at your independent chevron gas station or your standard station where they say and mean we take better care of your car. Tonight's adventure of George Valentine has been brought to you by Standard Oil Company of California on behalf of independent chevron gas stations and standard stations throughout the west. Robert Bailey is starred as George with Virginia Greg as Bruxy. Let George do it is written by David Victor and Jackson Gillis and directed by Don Clark. Ken Christie is Lieutenant Johnson. Ed Begley was heard as Burnett. Rollin Morris as Lawrence. Hal Gerrard as Loopy and Jim Nussar as the bartender. The music was composed and presented by Eddie Dunstetter. Your announcer, John Heaston. Listen again next week, same time, same station to Let George do it. Let George do it is heard overseas through the worldwide facilities of the Armed Forces Radio Service. This is the Mutual Don Lee Broadcasting System.


I'm going to tell you the cold hard truth.  These old ones where I tell you how to design a Spider-Man suit, not good at all. So I've been thinking about how I can make a better and way more comprehensive video that combines all of my knowledge of Spider-Man suits into one video. And I've finally found my answer. I'm going to make one video that has several chapters, each being a specific core tenet of what I think is important to Spider-Man design philosophy. We're going to cover theming, color formatting, consistency, logo work, lens work, and accessories. After this video, hopefully my ideas will be fully fleshed out to you and you'll be able to make some pretty critically good designs. Of course I understand that not everybody will agree with everything I say as most of my ideas are entirely based on subjectivity, but I will not deny that my ideas about Spider-Man costumes are heavily respected and I am hoping that I can show why the community respects me here. I am also open to debating on whether or not some of my ideas hold up. Now with that out of the way, I'm going to show you how you can design your very own Spider-Man suit. Of course the first question to ask when designing is, what is the theme for my Spider-Man costume? A theme can be anything. For example, the Iron Spider suit is Iron Man themed. You can tell by its color palette and the metallic shine it gives off. But it has a one suit as theme to be edgy, proven by its more complex weblines and sharper emblems. But the worst thing that can happen to your Spider-Man suit is for it to have a theme that isn't conveyed all too well. This can happen when your suit has too many conflicting elements. For example, whenever people try to combine Spider-Man and Captain America's suits, it just does not work. You're taking the themes of America and washing out all of the spidey aspects from the original costume. If that's the case, why does the original Iron Spider work? That's because Iron Man has a fairly bland costume. Notice the lack of any symbols or iconography. You could argue the arc reactor is his symbol, but it's just a triangle that glows up. It's nothing compared to like a spider or a star. The most iconic part about Iron Man is his armor and his color scheme, so mixing it in with a costume that already has a super apparent spider iconography works. Because Iron Man's costume lacks any significant iconography, unlike Captain America's. Spider-Man and Captain America both have very apparent themes. They have either spiders, stars, stripes, or webs, and combining these two suits cannot work without sacrificing significant iconography on one of them. It causes the two designs to clash against one another, and one costume usually ends up having more representation in the costume than the other. This is why the Iron Spider works so well, because all of Iron Man's important design traits, such as his color palette and metallic shine, work well with Spider-Man's, because while Spider-Man's chest spider can be front and center, the rest of the suit is fully Iron Man-themed. There's no fighting for turf on this costume at all, because it's already reached perfect homeostasis. When you're picking a theme for a costume, think to yourself, is this theme well thought out? Is there too much going on with my costume? Does the theme overcomplicate the design? Before we get into color formatting, I'd like to show you guys a rule I invented in a previous video, which is the superhero color costume rule. Your superhero costume should be constructed out of a primary color, a secondary color, and an accent color, and of course you have your exceptions. Your primary color is the most important part of the suit. It should be the first color you think of when you picture your costume. It should be placed so that it takes up at least 45% of your costume. Which should absolutely cover all important parts of your suit. For example, Spider-Man's mask is fully red, and if you think of Spider-Man's costume, the first color that will probably come to mind is red. Good choices for primary colors are colors that are visually striking. For example, a bright red or a cobalt blue. Your secondary is the color that supports the primary color on your costume, and fills in everywhere where your primary color isn't, and of course you have your accent colors. Your accent color should be viewed as anything that decorates your costume. For example, Spider-Man's web pattern, or his eyes. If your primary color takes up about 45% of your suit, and your secondary color also takes 45, your accent color should probably only take about 10% of your suit's color. You should only have about four different colors on your costume at most, including any more than that can complicate the design. And honestly, I don't think I've seen a good superhero costume that includes any more than four. Hey, but if you know any, tell me about them in the comments. Now that we've gotten the costume color roll out of the way, let's finally get in the how to balance the colors out on your costume. There's a lot of different ways you can balance out your costume's colors, and I'll demonstrate by showing off some costumes I like that have really good color balancing. The Spider-Gwen suit, specifically from Spider-Man Into the Spiderverse. Spider-Gwen's suit goes for a sort of half-white and half-black theme, where the top half is white, and the bottom half is black.  But to introduce some more differences in between these two sections, they added a hot pink accent color to the white sections, and a cyan blue accent color to the black ones. Not only do we have two very interesting color palettes coming together into one costume, but we also have the cyan and pink mimicking how the black and white interact by having them interact outside of their set places on their respective colors. The cyan webs decorate the pink on the white sections, and pink shading lights the black sections of Spider-Gwen's body. Spider-Gwen's costume is a work of genius. Its color balancing is all about contrast, and how very two different elements can work together while also contrasting one another. Now let's talk about a few costumes that I don't think succeed at color balancing as well as Spider-Gwen's costume, and compare them to one that I think does a pretty good job itself. Here we have three costumes. Spider-Gwen's 2099, Miles Morales into the Spider-Verse suit, and the black suit. As you can tell, they all have a very similar layout, but only one of these costumes successfully balances out the colors. These are all a standard one color costume with the second color doing the rest of the work. We have secondary colors on the arms, face, and chest. But notice how the 2099 suit and the black suit both failed to carry out their secondary colors onto the lower ends of their costumes, while Miles Morales costume succeeds by including red souls. While Miles Morales costume balances out the red all over his body, 2099 and the black suits both have their colors drop off the waist area, leaving the bottom unbalanced. These suits are what I'd call top heavy, as their colors mostly stick around the top of their costume. While these costumes still do look great, I can't help but think about how these costumes are somewhat unbalanced, and could be balanced out with some minor tweaks. At the end of the day, what you should learn from this exercise is that you should always be thinking about how the colors you've chosen for your suit are balanced out onto the rest of your suit, and ensure you have the perfect amount of color on all different parts of your costume. This element is one of the most important parts of any Spider-Man outfit or any superhero outfit in general. All of the elements mentioned before and after this one will need to implement consistency. Your theme for your suit? It needs to be consistently implemented throughout most elements of the suit. Implementing good color balancing is part of creating good consistency.  For example, let's look at the Spider-Man Beyond Suit.  But I know how you could fix this without centering the Spider logo. I feel like if the rest of the costume leaned into being off-center, people wouldn't have hated it as much. But if you boil down the issue to its core, the reason people didn't like this costume was because it was inconsistent, inconsistently asymmetrical. The logo is one of the most important parts of your Spider-Man outfit. If you're making a Spider-Man costume for a movie, the logo will probably be used for branding. So make sure it looks good. Make sure your logo works a near theme. Look at the Tazimone suit. The logo is sharp, thin, and jagged and almost scary looking, just like the Spider suit it's on. If your logo is big, make sure it works into the formatting of your costume. Sort of like how the Tazim2 Spider logo has its Spider legs shift inward to fit into the red arrow that goes down Spider-Man's suit. If your logo is smaller, make sure it doesn't get lost within your web pattern. This can be done by including a space for you to fit a Spider within the web pattern or changing the color of the Spider to make it break away from the color of the webs. But if you have more than one Spider logo, it is incredibly important that you use logos that both have similar elements to one another. For example, let's look at these two Spider emblems from the Spider-Man Raimi movies. Both of them have sharper elements, multiple different leg joints, more detailed Spider heads, and similar abdomens on their Spiders. These logos have perfect synergy. I don't think anyone can disagree that logo synergy isn't a good thing.  It just looks better that way. I don't know what to tell you. Like, look at these two. Are you going to tell me that these logos work well together? No, they don't. This classic Spidey logo is thick and chunky, and this other Spider logo is thin, has several jointed legs, and a more anatomically correct approach to making a Spider logo. These two logos just would not work well together. Your lenses need to work pretty much the same way your logos do. They need to fit in with your theme and they need to work organically within your web design if you have one. Let's look back again at the Tazimone suit lenses. The lenses are small and sharp. The lenses aren't white. As if they were white, they would give the costume too bright of a color. But since they're yellow, it almost makes the lenses look off-color and makes the eyes appear to be rotted or less pure. This benefits the suit's already sinister look. These lenses are a great example of working a theme into your lens design. A general rule of thumb is that rounder lines give off a friendlier look, while straight and jagged lines give off a more menacing feel. You don't have to use the basic Spider-Man lenses either. Let's look at Spider-Man 2099 again. These lenses are not traditional Spider-Man eyes, yet they still imply a more menacing tone via their strict lines and pointy shapes, fitting Spider-Man 2099's character. Now there's only so many accessories you can add to a Spider-Man suit before it gets too crowded. Webshooters, those are fine. You can add web shooters to almost any Spider-Man costume without, like, a huge loss in quality. But then a utility belt on top is too much. And so is a jacket. Okay, you get the point. There's only one suit that can properly display how to add accessories. And that's the original Scarlet Spider suit. Like, this costume is not a Spider-Man suit. It's more like a Spider-Man outfit. Ben Riley wears a blue hoodie without any sleeves, a utility belt, web shooters, and leg pouches. But underneath it all, it's just plain red spandex. But why? It's so simple. Exactly. If this costume had its own design and then had all these accessories thrown over it, it wouldn't look as good. It would make you confused, because why are you covering your design with all this outerwear? But the outerwear is the design of the Scarlet Spider suit. The hoodie and all of the gadgets are essential to the design, because without it, you just have a man in a red suit. But what can you learn from this costume? To think about how the accessories of your design is elements that need to work with the suit itself, and not just clothing items to be thrown over your costume. And that's about it. Uh, I just told you everything you need to know about what is necessary in designing a Spider-Man costume. And now, you can design your own Spider-Man costume and send it to my Discord server and the Fan Designs channel. And I'll make a video in a week or two critiquing your design. All you have to do is join the Discord and the link in my description.


I think it's obvious where we gotta start. We gotta start in the Tennessee Titans backfield. Derek Henry, he's gonna be out in extended period of time. Jeremy McNichols and Adrian Peterson, likely going to split that backfield now that they got Adrian Peterson on Monday. Adrian Peterson's probably gonna see early down work and goal line work, but he's not that much of a pass catcher. He's never been that much of a pass catcher throughout his NFL career. Jeremy McNichols, he has over a 10% target share this season. I think he's gonna see some work in the passing game and then see more work on the ground as well. So how do you approach this? I think if you're more in a standard league, you can go after Adrian Peterson because he's probably gonna see that goal line work. He's probably gonna see more work on the ground than Jeremy McNichols. But if you're in a PPR format, even half PPR, I may lean McNichols, but neither of these guys are gonna take over and just be Derek Henry in this backfield.


Hello, this is Gerard Leonhard, future list and CEO of the Futures Agency. We're having today a conversation about digital transformation with Simon Torrance from London and Rohit Talwar, also from London, both working with us on the various issues of digital transformation. First question we're going to discuss is what does it actually mean to have digital transformation? It's a very trendy word like social media was years ago and the next thing is artificial intelligence. What is digital transformation? Well, I suppose the pundits or the researchers these days will say it's about a fundamental change to the way you do business by leveraging new digital technologies and a potential enabler of growth, a new enabler of new growth. Okay, it's not like Mojo, like social media, cheap marketing, basically. No, it's not that. No, it's big data like the re-invention of how to make money. What is it? Well, inevitably there's a little bit of marketing hype in all of these things. But for me it's also the cultural mindset shift because you've got a clash of two planets. You've got the old world born physical who adopted digital technology but always saw it as a tool and were always constrained by how they saw physical problems in their heads. They're now clashing with the world born digital who see everything as software and algorithms and data and algorithms and see everything as being something you can tackle with a small piece of software. So it's that clash between those two worlds is playing out and it's how the old world really learns to become digital and embed it in every part of its organization and start to think in a way that actually you can do anything you want with digital technology. That's the big mindset shift that's coming from here. To me this transformation thing is interesting because I talked in the past a lot about companies change innovation, right? Now for me transformation is basically saying you're going to be somebody else, right? Now the car companies are becoming service providers, right? They're not actually changing only. They're actually going from a butterfly to vice versa, from the cocoon to the butterfly. So that's actually transformation and the painful part is even five years your revenues are 50% from new revenue streams, which is the case for many companies now. How do you find them? Yeah, well I guess I mean you have to think about what markets are you, do you have some capability or what capabilities and assets do you have? What markets might be interested in those? And then how do you reconfigure what you've got and address those market opportunities? So as you say, the connected car is a prime example. Well, car companies are not going to be just selling you the car. They're going to be selling you a subscription service to insurance, which is paid for based on how you drive. You've not just sort of just your age bracket and it'll sell you content and it'll sell you all kinds of other goods to help you manage your journey or make your journey a more pleasant experience. You know, one of our colleagues, Yuri Fanges, just wrote this book, co-wrote the book, The Exponential Organization, we discussed a lot when we were together in Doha. And that is part of the transformation that I see is that all of a sudden the life of companies isn't linear anymore. It's becoming very exponential, which means either up or completely down, moving very quickly. So what are the things that we need? What is the chemistry we need in those companies to actually do that? I think we've got to be very careful with the hype around exponential organisations. It's a very, very small portion of companies that can demonstrate some sort of exponential growth, whether it's the number of patents they're issuing or how quickly they can bring a product to market. 99.999% of companies out there are not exponential in their thinking, in their behaviour. And the challenge right now is about starting to learn what digital makes possible, how it enables you to completely rethink the way you deliver something. So for example, in the car industry, you know, Ford would tell you that there's five to six thousand components in an average car. It takes you three to five years to develop a new model, along come the new players who are putting less than 50 components in the car because they're 3D printing them. And they're totally changing the thinking about how many prototypes you can build, how quickly you can develop a new model, all of which is enabled by digital thinking. And it's that mindset shift that you have to get your organisation to get its head round if you're going to embrace digital technology. And then you can start to see the areas in your organisation where you can get truly exponential growth. There's a good example, actually. There's an organisation called Quirky. It's a sort of community of inventors. And in the old world, in the linear world, you can come up with product ideas and you go to make, speak to your R&D department or your marketing department and you might speak to a few suppliers. And that's a very small world that you're really operating within. But this organisation called Quirky, you call Quirky. You put out the area that you'd like some new ideas on new products developed. And Quirky, this external crowd that you've never met and you don't know how they operate, can take an idea for a consumer package good from idea to the shelf in a shop in 29 days. 29 days. The individual organisation takes 290 days, typically, to do something like that. I think this is a good example for what I understand for the exponential organisation. It's not exponential growth, exponential process, I think, yeah. It's capability, suddenly. It's discovery, exponential discovery. Let's close this session with two pieces of advice for each of us. So if you're looking at transforming because of the digital economy and what it means, what are the two things you need in a company? The two top things you need? Yeah, well, I think my view would be you need to properly understand what you mean by digital. So it's the CEO and it's the board. The board tend to be made of old men who have got their particular interests in managing a company. They and the CEO need to understand what digital means for them. It's not just sales and marketing. It is something quite fundamental. So that's the starting point, education, understanding. And then it's creating a, I guess it's the right or starting to create the right culture and approach to testing and iterating the application of digital technologies and new, I suppose, digital innovation approaches. OK, I'd actually turn it on its head like 180 degrees and start with your customer and start with an understanding of what's coming at your customer from other sectors in terms of the way they can get to goods and services, how they're paying for them, and really understand what's shaping the imagination of your customers going forward. Because if you only stick within your own framework, you tend to limit yourself to what you've seen in the past. Opening up to holding new ways of paying for things, holding new ways of buying is the first. And doing it through the eyes of your customers is key. The second is, think about your entire value chain. Look at what you used to consider as being your domain versus the domain of your suppliers or your channels to market. And really look at it as an ecosystem now and start to understand how the new digital solutions cut right across that ecosystem, eliminating a lot of the old barriers. Take local motors, 3D printing cars, they've eliminated all the component suppliers in that and they're going direct to market with the products that are eliminating the dealerships. So firstly, understand how your consumer behavior is changing. Secondly, understand how the overall value change is being transformed by digital. And then start to think about all the options for us in the way the game is changing. Very good point. I was going to say the same thing, basically. I mean, be your customer, right? That's kind of a, you know, you wouldn't believe how many companies I've worked with don't actually, they want to swim, but they don't want to get wet. So they're simulating the experience, but they're not actually all of the experience. So they have no emotional connection to what actually happens, right? They're looking from the outside as the record label looks at the music fan, that same thing, I didn't work, won't work. And so, and the second question is that that I find when people talk about this, you have to think about if you are digitally contestable with whatever you're doing, that will it have a digital component that can contest the way you're doing it and some other component. For example, now also for us, now there is lots of resources. And in fact, there's the first robot who's going to speak at a tech conference. Okay. So are you digitally contestable? This is an important question. If you're honest, you can look at them, you say, yes, this is where I'm contestable and then you have to do something. So that's my cup of tea. So we have Simon Torrens, we have Rohit Talvar, Gerard Leonhard, you can find out more at thefuturesagency.com. Thanks for tuning in.