What you shooting today Jeff? Just a few more freight cars. X Rock Island car patched by 1st Cog and Northwestern. Like they acquired about 500 of those then the other two are just a couple more tangent. Home and standard 4750s pretty mild weathering on. Mostly going to be used for background cars later on. Props for photographs. We've got more tangent cars here these are nice ones Jeff. Probably my favorite model that's out in the market right now. I gotta do much too and right out of the box they're pretty much ready to go. Is this an athern caboose? Yeah that's one of the athern Genesis C50-7 I believe. That's nice weathering on that. Thanks. I always love it when you bring freight cars. The guys love seeing all the really neat weathering techniques and what have you. Now you've got this this metal effect it looks like with a metal collects on the waves of the box cars on this is this another feathering job with the black oils. Yeah mostly done with oil sometimes powders but mostly I prefer to use the oils because they stick better with the powders once you hit it with dull coat it kind of kind of can ruin the effect of the powders it almost kind of disintegrates somewhere they kind of melt but with the power with the using oil paints they seem to be pretty much set after you give maybe a day or two to dry they're not going anywhere even after you hit them with dull coat. Oh man thanks for sharing this stuff with us it looks terrific. Thanks for having me. For this segment of What's Neat I want to discuss layouts and layout sizes. Now you're familiar with the large home layout that I've built but the fact is so many people do not have room for a great big layout like that. So then we come down to the scale to where okay I'm gonna build a smaller layout something that would look great in my man cave something that would look good in a den and not be too obtuse so that's when we come down to a smaller size layout like this three and a half by nine foot layout which is great for that but let's say you live in it in an apartment or a place where you're always traveling all the time and you don't necessarily want your layout to be completely up and out all the time it's not obtuse it's not too big but it's still out in the open maybe you're a little bit shy about the hobby so in that case I've come up with a really neat concept for designing and constructing a layout that in fact would fold up something the size of simply six feet by four feet where you've got a continuous run very well weathered nice looking setup but the key here is the design where this one's gonna fold up and be able to be stored away we've got piano hinges built in but the hinges the magic is the hinges are hidden by fake fur because fake fur can bend you can complete your scene make it look perfect and still be able to fold up the layout for storage and let me show you just how easy this is this is a complete layout ready to go and now you can just simply fold it up store it out in the garage put it away and anytime that you're ready to use it you open it up again drop in with your lift your lift sections of track I've got sections of track that are literally built like bridges across the creek and they simply drop into place onto the layout and everything works out really nice so that continuity and it all runs so if you're thinking about designing a layout where you don't have a lot of space something that you'd like to be able to store away but still have enough ample room to operate and run this is a great concept to follow so follow my lead on this this is kind of a neat way to design your layout come on get in we're going on our first what's neat this week field trip segment of what's neat I want to talk about getting your own creek rock your own gravel for scenery and for ballast as you can see in this scene I like to do my ballast using sifted gravel and it looks pretty good also I also like to do it as in this trestle shot you're looking at where I've done the texture of the Colorado scenery using various granular sizes of rocks and that's what we're here at this creek now to do today when I like to come to the creek I usually bring a screen with me and in this case I like to use these deep fryer baskets that you get at the restaurants of lighthouse because what they're good for is breaking down the rock to a size and when we get back to the shop we can sift out into eight different sizes of gravel to use for various projects on the layout on the model railroads so that's what we're going to do today I'm going to show you briefly what I like to do is when I go to the creek I look for these areas where the gravel is really fine where the creek has undulated and brought up the finer sifted material the nice thing about it is it's clean and it's been washed already and it's also kind of pretty dust-free so you don't end up with a big mess when you're working with it what I like to do is I take a laundry tote I take this screen that I've got here and I simply pour up good material now sometimes I'll use a larger screen because I want this bigger material but not today a lot of times I like to just bring a window screen down and just you know sift with a window screen so I'm going for the finer material but today I'm opting to use this screen and it works really well so let me just get a little bit more material and we'll go back to the shop and I'll show you how we screen it into eight different sizes now that we've come back from the creek it's time to take and process all of the wonderful creek rock that we've got we're going to run it through seven different size screens so that we can make the material dimensionalized for all the various projects that we're going to need it for we're going to divide this up into different sizes and when I say that I'm talking about one half inch to one inch stone that you can use for either n scale or h o scale ballast one and a half to two inch stone three to four inch stones six inch stones eight to ten inch stones then we're going to break it up into other dimensions of the 12 inch stones two to three foot stones and then the larger dimensions of anything over three to six feet that's what we got left for scenery type work so we're going to divide this up and screen this out and let me explain to you what these screens are I ran usually I go to the hardware store to get hardware cloth that's simple enough you build a box using the hardware cloth and it works out really well I built the box as an example here this one is using a very fine plumber screen and we're going to go into these two screens later we start with the screen that's going to create our three to four inch material so that we can sift it and break it down easier that way so what I want to do is I'm going to scoop this out of our of our bucket and this will be the first screen process there's no real magic to this it's like popping popcorn when you hear the sound stop falling you know this batch is done and what this is doing is making me some real nice stones anywhere from one half inch right now up to four inches through this deep fryer strainer that I'm using and this is the kind of rock that I'm going to get from that after that we're done with this then we're going to put it into a colander that I picked up at the grocery store and this is creating rocks now six inches in diameter somewhere in that range that you could use for oh and 30 ballast and it also looks good spread on scenes when you're finishing a scene on your layout this works really well for doing colorado type scenery and once you hear that it stops falling and it doesn't take long to go through this batch like this I'm getting some bigger stones in there accidentally but it'd be really easy to filter those out and we're going into a larger deep fryer size basket and this is going to create eight to ten inch stones for our scenes and this goes very quick here it's getting quiet that means there's not a lot falling out anymore and I'm going to switch over to this screen it should give me 12 inch stones and this goes very fast I'm going to put it on top of this grate and this grate's going to give me my two to three foot stones and then anything left over is above three feet just dump into there this screen is the primary screen that I like to take with me to the creek when I don't want the larger size material I want to just cut to the chase and have a smaller material to work with this is a very fast way you go to the creek you just drop it onto here and shake it into your bucket and take the whole load home with you to do your final screening okay you just watch me run the screens five different size screens in order to make our material now this first screen is cranking out material that's anywhere between four inch material down to half inch in powder okay so what I want to do is take this what we got from this results from this and break it up further into the one and a half inch to one inch stone I'm sorry one half inch to one inch stones to the one and a half to two inch stones and a three to four inch stones I want to be able to separate all three because those are the most important sizes that I'm going to be using so I start with this calendar which is is responsible I don't know what size and describe this to you as but this this also came from the restaurant supply house and this calendar breaks it up starts my screening process where what comes out of this calendar right now is turning out to be a one and a half to two inch stones and I really like that what's left in the basket is my three to four inch stones so we're keeping everything and we're separating everything so that's all I got on that here's here's my sifted material which I am now going to run further through another screen here and this is a plumber screen this is plumber's mesh this is what you find in your sink it's very fine I think it's like 60 threads per inch this is pretty fine and what this is going to do is take the dirt out of it and separate the dirt which isn't really dirt it's one and a half it's one half inch to one inch stones so I'm going to dump this in here without making any fuss and now I'm going to shake this and screen this through this real fine plumber screen and a lot of material is going to drop through here and that's the rich stuff that's the n scale ballast and the smaller h o scale ballast and then what's left is the one and a half to two inch stones which is absolutely perfect for our h o scale material and that's the seven screen process as you can see I've got the fine powder in here which I'll take and I'll dump into this container my my one and a half to two inch stones now we'll go into this container and then what's left from the last container will be my three to four inch stones so we've actually broken everything up now into actually eight different size rocks that we've got to work with you use the finer stuff for ballast use the coarser stuff starting at four inches for sprinkling around on your scenery and if you're modeling colorado you want to mix all three sizes of this rock together I know it seems silly that we've just screened it out if we're going to mix it together again but when we apply it to our layout we want to be able to control the amount of each size stone that we've got to make the scene look correct and so by screening it this way we have complete control at how it goes down and how it looks so essentially that's what you've got to do we've gone from the creek to the final process where you've got material ready to go on your scenes anytime you need it and the price is right for what we've just done so I hope you've enjoyed this that's how you sift rock and make your own ballast for this segment of what's neat you know how when you get an idea it's something so simple a simple idea but something you want to share because it's a great idea now here you see I'm working on a foam diorama on one of my modules and it's upside down and what's going on here is last night I put in all the uh I put in all the block wiring for the blocks it's all self contained in the module just like I always do except something different underneath I had to run wires because they were too far to run on top so I grooved out grooves with the router I put the wires in and right now there's six wires inside here running from block tracks to the block switches but what I've done here is I've taken foam this orange foam great stuff in a can and I put it on top of the wires filled the groove took a saw cut it off real smooth and what I've ended up with is a channel with the wires in it self contained and there's no way for the wires to dangle out now because I know the wiring is correct I don't ever have to get to it so covering it up with the foam like this makes it permanent but I don't have to get to these wires so here's another very interesting kind of a cool idea for modular design for containing the layouts the wiring underneath the layout I just I wanted to mention it it's a it's a neat idea it worked I've tried it for the first time and I think it's worth investigating if in fact this is the way you build your modules self-containing the wiring underneath with foam so that's a tip for what's neat this month I'll show you kind of a cool project that I've been working on now I've been working with these blackstone models for over a year now but I've got nowhere really to run them and it's been driving me crazy just short of tearing down my layout and starting to build Colorado my thought that I got the other day and it's working out really well as I've been taking out I've been drilling out holes in the main line of my HO scale track and adding us a third rail so I can run dual gauge so I can run my HO scale models and my blackstone models through the same layout that I've already got and so far it's working good in the yard area I've already replaced a few turnouts with three rail turnouts which are really fun to lay not very complicated as long as you make your cuts right because they've got live frogs in them they're not what they call DCC friendly but I prefer live frogs I'd rather make a few notches make the jumper wires and have the switches work out really well for me like the old-fashioned chin and harrows used to do but now this is kind of working out neat so check it out it's something to think about doing if you want to earn the narrow gauge or even tempting to think about starting to add a little narrow gauge to your HO scale layout you don't want to rip up all your tracks and start over maybe just add a third rail drill it out with the dremel spike it in a little contact adhesive underneath the rail and you're off to the races you can start running trains tomorrow afternoon so it was just a thought that I wanted to put on this what's neat tip of the month that last run by was pretty cool wasn't it there's another really neat run by coming up before the shows after I close the show with another neat run by is what I'm trying to say now the reason I want to talk about turnouts a little bit more because in that last segment I don't think I really left a good description of what I'm talking about specifically about turning or about notching out the frogs notching out the rails on these turnouts because they've got live frogs now Shinohara turnouts code 83 or DCC friendly they come that way code 70 and narrow gauge turnouts from Shinohara come with live frogs and like I said in the last segment I really prefer live frogs because the smaller equipment that the t-12's and the smaller locomotives can get across without stopping without stalling when you've got a live frog well generally what you've got to do every time in order to take a live frog turnout and make it DCC friendly you've got to catch the top notch out the two center rails right before you get to the frog now on a three-way turnout on a three rail dual gauge turnout you simply notch out the center two rails and the third rail leaving the outside rails alone we want to conduct electricity through those all the time and then when I say jumper wires what I'm trying to explain is I run jumper wires from the outside rail to track number ones outside rail and then from the inside rail to track number ones inside rail and by jumping like that it ensures the fact that I've got electricity in these rails after the frog now if you want to avoid all of that and you don't mind how insulated rail joiners look you can go ahead and just use insulated rail joiners and put them on the two center rails right be right before the frog and you'll alleviate any short problems and now your turnout will be DCC friendly but if you do what I'm saying and you make the notches on the center rail on this HO scale number 10 Shinahara for example or the notches I just finished making on this three rail turnout where I've notched out the two center rails and the third rail towards the center if you do that and then you put in your jumper wires now these turnouts are DCC friendly and you've got live frogs now if you use code 83 Shinahara turnouts that have got the dead frogs there's you know there's a lot of aftermarket products that are available the frog juicer is one that comes to my mind that I've heard about on the market where you can have these frogs that are dead on 83s you can power them up so that depending upon which way the switch is thrown you'll then get that correct polarity in the frog that's one option but again I prefer the switches that are controlled where the points conduct the electricity to the frog the frog is live I've made my notches and I can take a regular good hot frog switch and make it DCC friendly for the layout so I really wanted to go over that and explain that a little bit more in depth so you would understand that and now let's get ready to watch that really cool run by for maze what's neat this week tool tips I want to talk to you about a tool that is very useful in the shop I mean you can clean your wife's jewelry with it don't put her pearls in it they'll explode but what I'm talking about is an ultrasonic cleaner and I use an ultrasonic cleaner for cleaning my paint bottles my airbrush parts and when I'm painting brass it's the best way to get the residue off right after sandblasting so let me show you this what you're looking at here are paint bottles that haven't been cleaned in 14 years it's been that long since I've uh I had an ultrasonic cleaner that I purchased from micro engineering about 14 years ago she quit working and I just got her fixed so it's nice to have a machine operating but what you're actually seeing is bottles that haven't been cleaned in many many years they're hard caked with paint and the ultrasonic cleaner is literally vibrating the paint right off of the bottles in an upcoming video on how to paint brass I'm going to show you how this tool helps to clean a model after you've sandblasted it but this is just absolutely an amazing example of what this thing will do just cleaning paint bottles I mean in about 30 minutes I'm going to come back and these bottles are going to be easily wiped off and clean and I've got a slew of bottles to do here so that's just some interesting thing to think about if you need a tool and they make much smaller ones check out ultrasonic cleaners they're absolutely useful for our hobby


It was very hard to find black women in anything around pop punk especially. Girls especially too, like we only had Healey Williams to look up to really. There wasn't any of that and so when I found them, it was so important that I was a part of it because it felt like it was gonna be something and it felt super important. It was so awesome, I felt like two girls that like what I like. I see myself in them too and it was like, I couldn't let go of that at all. I think a lot of people find familiarity in us because we represent so many different walks of life. It makes people feel comfortable to love us and comfortable to come to our shows. So many girls have walked up to us and been like, this is my first time like mashing. It's really amazing and I'm really happy we're able to do that with our band because people don't really feel welcome but they feel welcome with us and that's amazing. I remember being on my computer just like on YouTube and I always say that it's fate that I'm here and that we're together because I didn't look anything up. It was just a video in my recommended videos and it was out of this video that she posted called I'm on a band and we need a singer. And I was like, I'm gonna be in this band. It was the last thing I do because I felt so connected to them because they're girls, they're girls of color, they're around my age and we all liked like the Warped Tour culture and like email and pop hung and that was so hard to find and I didn't want to be in a band of white dudes at all, I wanted like the familiarity of them felt very close and very important. There's been so many parents who have brought their like little girls and we know how much that would have meant to us. Especially like we'll have them come up like in front of the barricade and stuff and we'll like make sure to interact with them. We'll give them like we have these pairs of converse that we doodle on and just give away and like it just means the world to see their little faces light up. I love Made Me at the Altar specifically because it's so badass to see in all of them rock and roll group. Someone that looks like me, people who I can identify with but also just have such a great message of women in these punk spaces. It's incredible to see our fans for the first time that I come in and see us and it really makes like, you feel like all the openings lots we did were so worth it because we've gained a lot of fans from those. So I grew up in a town called Davenport, Florida. Didn't really have a strong music scene growing up. Kind of just like stuck to myself and listened to like this script and the fray and like as time went on, I really started getting to like Paramore and like Blake 182, the starting line. It wasn't until I met out of that that I like really got into pop-punk which was like in that deep knuckle plug at the story so far. But I remember getting a guitar for my seventh birthday. It was my first electric guitar and I would just sit in my garage and have the radio going and I taught myself how to play by finding the notes that I was hearing on the guitar. I would watch music videos and I would pause and look at the guitarist's hands and just recreate the shape on my guitar and that's how I learned. I grew up in North Plainfield, New Jersey. It's mainly a predominantly Hispanic town. I'm Hispanic, my family is. All of the friends I made were through the internet. Like everything one of them was just how it was until like high school. Tana found a drum cover that I made and contacted me through that and like instantly became friends and then instantly we just started the band. Not even knowing it, whatever that meant. We're just like, yeah, we're a band now. Like just two people in completely different states. It's cool to see how representation can really change someone's lives and I went to a Paramore show in 2014. It was their tour of Fall Out Boy and seeing her on the stage made me realize that that is what I wanted to do. Like I could be up there too, why not, you know? And then here we are. Who knows where we would be if we had something more direct to like that we really, really saw ourselves in and it's cool that we get to be there. Haley Williams had to go through so much being like one of the first like women to really break out into the scene and we have experienced that ourselves with just how it is to be treated as a woman in the industry. And she was so young. She was like 16 when they started. So she really paved the way for a lot of women in the scene and in rock and I don't know, she's just very inspiring. It's really cool to be able to connect to an artist and feel like they understand what I'm going through and to feel less alone and to have something to kind of jam out to when I'm feeling low and to kind of boost myself up a little bit. I feel like maybe the altar is changing the face of Fun Brock. We have such a diverse fan base and I love that like our show is like a safe space like a melting pot. Everyone is there. So there's not really like a set demographic and I love that. I think they're fans of like a lot of different types of music because I think our music has a lot of different influences from different genres and they're like metal, Paul, they're like, they're music lovers, I think. The All Girl Mosh Pit is just so filled with energy, charisma, excitement. There's honestly nothing like it. I was always scared to get in the pit. I've been punched in the face many times but like some huge dude. So there's no dues and I tell everyone to move away and all the girlies get in the pit and the breakdown starts and they're moshing. It's so sick to see you all in real pit. It's so cool. For our debut album, Pass for the Future, we worked with John Fields and we went to John Fields because he produced like all of our favorite early 2000s records like Jonas Brothers, De La Lado. He had a pink record, Switchfoot. It's a really big one too. And we wanted that raw like familiar production but also still keep it very new. I think he was a perfect person to go to. Edith is so amazing and so amazing at harmonies.  It was a complete pleasure working on the vocals with her. So, I mean, I was blown away. I mean, they were asking me a lot of questions about this song or that song. And I think it was just kind of cool for me to actually meet like professional musicians at this point who were influenced by something I had done that long ago. Just their excitement and exuberance like in the studio. To me, it's the best thing about being a producer is working with young new acts. Even lyrically, we really focus on honesty and I feel like he helped us bring that approach to the recording aspect too. We're talking about a world-class act that has just kind of gotten started and this is, I can't even imagine where they're gonna go from here. I just hope to get to work with them in the future and hopefully we have a cool bond like that and they trust me again. We definitely wanna play arena tours. Like that is a huge thing for us. More festivals with which we've been getting a lot of those recently. Hopefully radio one day, that'd be really cool. A movie soundtrack. It's so important because like looking up to just like male voices kind of like, oh, like yeah, like we love it. But then it's also great to see like my story. Like instead of like just seeing it from the guy's point of view, there's also my point of view. The more people looking at you, the more opinions you have like to read and everything.  We see your comments and you, basically. Like it's crazy. Like we get like industry plan comments all. That's the biggest one. And then people would say like, we were the most organically formed band ever. Yeah. Yeah. We're so young too. We were 14 as like industry plans. I know.  The advice we have for young musicians is don't think too hard about it. Just do the steps. You're gonna have to work very hard to get to where you want to be. But that's all part of it. And manifest, try, make good decisions. But don't doubt yourself for sure.


So we actually have a pointer that works today. This is good. I guess we just needed battery's minor detail. All right, so we're going back to Ferris, the Notre Dame. Sadly this is the spire that collapsed when Notre Dame caught on fire and it's now dark and they're going to try to rebuild it for three years. But this is what it looked like prior to the time when the massive fire about took it out. This is what it looked like on the inside. Really gorgeous. Pretty amazing when you think they built it in like 1100 by hand. So pretty impressive when you see that. And this was the one window that they kept showing when they were trying to put the fire out. This is the side window that survived. This is Paris City Hall. So we're just continuing our tour of Paris. And there's a plaza out here where protesters always hang out. There's always protesters and people on strike. It's kind of a national pastime in France is that you just go on strike all the time. All right, so we're going to go back and talk about IOLs. And we can't talk about IOLs without going back to Mr. Ridley. So this is Mr. Ridley's plaque in St. Thomas' Hospital in London. And so Alan Crandall and I were there for the ESSRS. As you can see by our hair, this was several years ago. Although Alan's hair is always brown. I'm not making any comments. It's always brown. Mine has gotten a lot more gray. But in any event, we went to St. Thomas' and we asked the information person. We said, where's the Ridley plaque? And they said, who? And so unfortunately, Mr. Ridley, who's really the pioneer of intraocular lenses, was completely unknown in St. Thomas' Hospital, which is where the first implant in the world was put in. And so after going down many, many hallways and back stairs and things, we finally found the Ridley plaque in a back hallway at St. Thomas' Hospital in London. All right, this is Mr. Ridley. When he retired, he liked to go fly fishing. And these are his flies that he tied himself. So you really need to understand the story of intraocular lenses. And so legend has it that Ridley was operating with a student and they were taking out the cataract. And then the student said, well, aren't you going to put a lens back in? And of course, nobody did that back then. You took out the cataract and then you would leave the patient with a fake spectacles. And if you've never seen a fake spectacles, you may not see people with them in the clinic. They're those huge plus 15 spectacles. And people can be 20, 20. They can be 20, 15 with these. Yet they have a huge scatoma peripherally because of the way that the light rays are bent, if you can imagine. And so these poor people would experience what's called the jack-in-the-box phenomenon.  And then suddenly a car pops up out of nowhere because you've got this scatoma there. This was very disturbing to patients. It magnifies things about 25%. It was very, very, very disturbing. And so Ridley at the time was, you know, in London during the Blitz when the Nazi planes were bombing London and the RF fighters were going up to intercept the Nazi planes. What was happening is, you know, machine gun fire would hit their cockpits in the plexiglass and the cockpit would go into the fighter pilot's eyes. And so as Mr. Ridley is taking these pieces of cockpit out, he finds that they're completely inert. The eye is not responding to him. There's no inflammatory reaction, very inert. And it turns out serendipitously that these plexiglass cockpits, plexiglass is PMMA, polymethymethacrylate. So Ridley finally put it together and said, hey, if we're going to put a lens back inside the eye, why don't we put a lens, you know, back inside in the posterior chamber where it belongs. And so he had Rainer, which is a company that's still in business now, make him an intraocular lens. This is what it looked like. It was a disc. It was very thick. It was very heavy. And you would put it in the posterior chamber. Did they ever try using like a glass lens? They did make glass. There was a company called Linel, which made a glass lens in the United States. There was one minor problem is that when the glass lens first came out, this invention called the Yag laser came out.  So that company lasted about a week after the Yag laser came out. But if you could get this into the bag, these lenses were amazing. This was a cadaver eye that came to our laboratory 30 years after a lens that was put in by Mr. Ridley. And so you can see it was totally encapsulated within the capsular bag and it lasted for 30 years. Well, the problem is this is what the edge of it looked like. They weren't very, very well finished. And now surgery at this time, you have to imagine how crude the surgery was. And the surgery at this time was using loops. There were no microscopes to do this. They're using loops to do this. They're making a 180 degree incision with a graphe knife. So you poke through the limbus on one side, go all the way around to the limbus on the other side, and you basically saw the corny in half.  And then squirt some fluid in there and squirt the contents of the cataract out. So you can imagine there's not a capsular axis, there's not an intact capsule in a lot of cases. And so putting these lenses in the posterior chamber, if you got it in the bag, it was fine. But oftentimes they were just in the posterior chamber somewhere. They would dislocate, they would scrape the iris, they would cause pigment dispersion, glaucoma, all kinds of problems. And so these really did lead to problems when these lenses were put in. Now because of that, the people in Europe, this was all going on in Europe, by the way. And so I have to say our wonderful American Academy of Ophthalmology, or Mr. Ridley, he came over in the mid-50s to the United States, very excited to give a talk on this wonderful invention he had. And basically the American Academy of Ophthalmology president said, if anyone in the U.S. puts these dangerous devices in the eye, I will personally come and testify at their malpractice trial. And so this was the reason why the ASCRS was developed, because the Academy was against IOLs, they were against FACO, they were against these cowboys out there with these new techniques, and we should stick to the tried and true traditional techniques. And so this was the reason why the Inter-American Intrural Implant Society, which became the ASCRS, was developed. And so the ASCRS was a rebel society. They were out there, they were the rebels against the establishment AO. So all of this took place in Europe. So there were several doctors that said, hey, you know, doing these extra caps isn't working really well, we're not having good work, and about that time, a guy named Percy Amoels from South Africa was working with a cryoprobe. And sometimes if you really look carefully at the cryoprobes you use for retina now, you look at it, it'll say Amoels on there somewhere. And so he figured out you could take this cryoprobe and you could stick it to the lens capsule and you could break up the zonions and you could pull the whole cataract out of there, which was really good at getting the cataract out of there, but there's no capsular support. So a lot of people said, hey, why don't we put an implant in the anterior chamber? And so one of Mr. Ridley's residents, Mr. Peager Choice, decided, well, you know what, since the posterior chamber lenses aren't working well, people are now doing these intra caps. Let's get a lens made of PMMA and put it in the anterior chamber. So this was Choice's first one, and this was the time people were flying jets faster than the sound barrier, so Mach 1, Mach 2 sounded really cool. So this was the Mach 1 lens. And this was the lens he put in, and he went through several different designs, and eventually the Mach 8 was the design that stuck. And so the idea is it's a one-piece PMMA, it's got four-foot plates which rest on the iris. And now, again, we're making large wounds here. These are, you know, 11-millimeter wounds that people are making, and so you're putting these in the anterior chamber. And this lens, the materials in there, if it was fit perfectly, it did okay. But we didn't have ultrasound then. We didn't have OCT then. Didn't have a lot of other things. I wasn't born yet then, so I'm not that old. But Cretol, you know, he was around then, so. But in any event, the problem with these is they have to be sized perfectly, and it was very imperfect ways of sizing these. So what would happen? Now this was, again, this was the Mach 9. This was his most recent one. So this was the one that he did. So the problem is, is when you put these in, if they are too big, they tend to tuck the iris and oval it and scrape against the iris. If they're too small, they would move like a propeller. You could see these things, you know, you'd be trying to take these out of the eye and you'd go in with your irrigating solution and just go boom, just spin around. So this was one that's too big. And what you see is, you see that it is, it is actually digging into the angle. It's causing a hyphaema here and causing just chronic, chronic inflammation. And so this is a cadavera high now. We removed the cornea. We're looking at it anteriorly, and it looks like a cat's eye. And so you can see that this, these foot plates are tucked into the iris, ovaling it, and this particular one rotated right into the peripheral aeridectomy. So you'd get pupillary block with these and so you had to do a large peripheral aeridectomy. And so sometimes these would actually rotate right into the, right into the peripheral aeridectomy. And you see that cat's eye pupil that you'd have with these. You can imagine that's not real good for, for, you know, not, not causing inflammation and sitting in the eye for a while. So, and this is what it looked like when it would tuck the iris. So as we're looking right here, this is a trabecular mesh work. Look at all that pigment in the mesh work. So this has disrupted the pigment. Look how thin that iris is. It's tucked all the way behind the ciliary body. It's disrupted pigment. The pigment is clogging the trabecular mesh work. You're getting a pigmentary glaucoma. You're getting chronic inflammation. And look, it's tucking that iris all the way back almost to the parched planar. So the problem with these, unfortunately they came in two sizes. You've heard the joke always, you know, too big and too small. So those were the two sizes. And so you take a caliper that was humor. Or humor, okay, so you take a caliper and you measure the light to light and you would add one. Well, if you've ever looked at an eye under the slit lamp, light to light, and you can be off a millimeter on that. It's very vague where you call the light starting. And so you would end up with lots of problems with these. And the other problem is when they started making these, companies in the U.S. saw, hey, you know, these new implant things, you're going to be a good idea. Let's start making them. And so this was a ripoff of a choice lens, an unlicensed copy. Look at the edge of that. That's an EM looking at the edge. So for fun, when I was a Dave Apple fellow, we took a Coca-Cola bottle, we broke it on the curb, and we took an EM and it looked like that. So you can imagine what that's going to do scraping on the iris and cutting it. And so one of the first talks I gave was as a Dave Apple fellow, I hadn't even done a residency yet. I was at the American Intracurricular Implant Meeting I was giving a talk about these horrible lenses and unfortunately Mr. Choice was on the panel. And so he immediately stiffened his back and he clicked his mic and he made it very clear to me that these were unlicensed ripoff copies. These were not his lens. His lens was much more well polished than that, which was absolutely true. So I made a point to stop calling these choice type lenses because he was very upset about that. All right. So what could you do to take care of that problem? And so again, this is now in the early 70s, people in the U.S. companies are starting to say, hey, we're onto something. These implants are going to be the future. So let's start designing them. And so what's happening is people were designing IOLs on napkins of cocktail parties. And so they'd be sitting down with an IOL company and they'd say, hey, I've got an idea. They would draw it out and they would name it after themselves. So this was the Azar lens. And so you have to put numbers on the lens. It sounds pretty cool. So this was called the 911Z because Z sounds cool. So this was 911Z. And at one time, this was the largest selling lens in the U.S. And what it has is it's got a PMMA optic, but it's got these haptics made out of polypropylene. And the advantage of these is they have loops in them. And so if you put them in, instead of having these flat footplates, digging in, these loops supposedly would fit right into the area of the angle. And these would be easier to put in and that they would be better tolerated. And indeed, for about the first year and a half, these things did pretty well.  This was the Azar 911Z. At this point, sorry. At this point, how did our FICO come out? At this point, people are doing manual extra caps or incher caps. Actually, at this point, the average American surgeon was still doing an incher cap with a crowd probe. So no capsular bag intact. So Lyske from New Orleans decided he's going to design one. The difference is Lyske made one that was square. But same idea. Prolene haptics, PMMA optic, and these were called closed loop lenses. And again, people came up with all kinds of ideas. This was one that was made strictly out of PMMA. This was PMMA. But again, it didn't have that solid footplate. It had this open loop that was right here. And lastly, this lens drove us crazy here. This was the stable flex. This was the lens that people, yes. I don't understand the timing because I thought FICO comes out in the 60s. Now we're in the 60s. Calvin invents FICO in the 60s. FICO doesn't really become the primary mode of surgery in the United States until mid to late 80s. Okay. Yeah. So it's really not widely used. Again, because the Academy said it's crazy. It's cowboys out there doing it. You don't need to do an extra cap. It's fine. So this was the stable flex lens. And the idea is you make these open loops and they don't close them off completely. They open a little bit, which makes it more flexible. And there was a surgeon in town here who put in like hundreds of these. And the problem is, is these loops would get totally fibrosed into the angle and into the iris. And so you would have to cut this in like eight different places to take these damn things out of there. So these were just a nightmare. And what would they cause? Basically what would happen is, is these closed loop lenses would dig into the iris. So these little round loops would dig into the iris and they would cause chronic UGG syndrome. Hopefully you guys have heard the term UGG. Uveitis glaucoma hyphema UGG. And UGG was first named by a guy, Ellington in South Dakota who saw these people with these old choice lenses that would get this inflammation. So they called it the UGG syndrome. This is a different closed loop. This was the Hesper glands. This one looked like a T that came out here. And this you can see, corneal edema, chronic inflammation, high pressure, inflamed eye, UGG syndrome. So these loops would dig into the iris. They would cause chronic uveitis. But again, they would cause the angle to close off and cause glaucoma. This is a cornea of a patient with a 9-1 Z lens. And so the first paper I ever wrote as a Dave Apple Fellow, we had 14 corneas from patients with 9-1 Z lenses that first one I showed you that had corneal edema, boluscotopathy. And the guys in town here who were putting them in were going around saying that this is the greatest thing ever. I've put hundreds of these in and never had any problems. Well, and we say it to this day, well, of course you don't have problems because when there's a complication, you don't see them, they go to the university. So it's the same thing now with multifocals. People say, I put them in, I never take them out. Well, of course you don't, because they come up here with a complication and Alan and I take them out. So it was the same idea back then. And so this guy in town was touting this lens, it was a wonderful lens, and I was giving talk, saying, well, wait a minute, this has problems. This is maybe not the best design. And so in Dave Apple's lab, we were looking at IOL complications and we found that these closed loop anterior chamber lenses cause bolus caritopathy. So that's a cornea that's edematous. And this is a cadaver eye. Again, we've removed the cornea, so we can see it because the cornea is cloudy. Look at these loops. They're literally into a tunnel almost in the angle that's fibrosed over. And so you can imagine what that would do in terms of glaucoma, but again, that would scrape on the iris and cause chronic ugg syndrome. This is what it looked like. This is the angle. This is the iris posterior surface. And look, this loop digs all the way to the root of the iris. So it completely buries itself in there. So these closed loop lenses, even though they look good for a year, year and a half, were probably not going to be the answer. Were those loops like springy, or are they like pretty stiff? Well, the idea was is that they would give a little bit. But one of the problems is if they're closed loop, like the one we showed you previously, if you compress them, the optic tended to vault because they were closed loop. And so the person would rub their eye, and we did tests in the lab where we would squeeze them with a little squeeze gauge, and what would happen is the optic would vault forward. And so you can imagine that vaulting forward and literally bouncing on the cornea when someone would rub the eye. People like leaf springs on a big truck that you see driving around. It would vault forward when you would do that. So the idea is they tried to make these open loops with the idea is that it wouldn't vault as much. But the problem is these things would just get fibrosed into the angle, and you can see they did two giant perfleuridectomies, and these were just held to get out. This was an interesting idea. This was a doctor in Washington, D.C. who said, well, if these closed loops are bad, let's make open loops. And so he put these three broad loops. It looks like a propeller on an airplane. One, two, and you can barely see the third one up here. And so the problem is these would literally close off the angle, about two-thirds of the angle, so these patients would get a severe glaucoma. And so, you know, and again, there was a guy in town who put tons of these in, and so we had lots and lots of patients who would come in with these with severe glaucoma.  And so when I first was a fellow in 1984, the most common indication for corneal transplants in the United States was pseudophicic bolus carotopathy. And so I just shot way up, so you're getting tons of corneal transplants because of these lenses. There you see a cornea with bolus edema there, bolus carotopathy. What else would these cause? All right, anybody? What do we look at at right here? CME. CME, exactly. So what part of the retina are we in? Outer plexioma. But we're in the scope of the retina. We're in the macula because you see the ganglion cells are more than one cell layer thick. And sure enough, here in the outer plexiform layer, what do we call that layer that's right near the fovea? Henle's layer. And so you actually see exudate, cystoid macular edema from the chronic inflammation from the ugg syndrome. So you could get CME from ugg syndrome. So we call that ugg plus. Ugg plus CME. So finally, Kelman. The same Kelman who invented the ultrasound said, you know what, if these closed loop IOLs are really causing this ugg syndrome and causing problems, why don't we make an open loop IOL? Except let's not make it really stiff and bulky like the choice lenses were. Let's make one that's more open. So his first design was a tripod. And we joked about it. We called this the Pregnant 7. And so think about it. It's a 7 and it's pregnant. So the Pregnant 7, we called it that. And so Kelman had an argument and he said, you shouldn't have four point fixation in the angle because if you were in a bar and you have a stool with four legs on it and the floor's uneven, it'll wobble. But if you have a three-legged stool, it won't. That was his argument. He used to go around and give lectures saying that. So he came up with this tripod design, the Pregnant 7. Well, the problem is, is this thing was really stiff and this would poke into the eye. So I'll give it to Kelman. He would figure things out pretty quickly. So people would tell him, no, no, that's too stiff. That doesn't work. So he changed it. So he called this the OmniFit lens. And so he made it thinner. Still made of PMMA, thinner haptic so they'd be a little bit more flexible. But again, the tripod design just didn't work.  Does this look familiar? I don't know if you guys ever see it in your chamber. I don't know. But this is the lens we use now to this day 35 years later. So this design stuck. So this is PMMA. It's open loop. And so when we would test these in the lab, if you squeeze those haptics, the haptics take the squeezing without vaulting the optic. So if you rub the eye and those squeeze, they're cantilevered. And so they would take the pressure on there but without vaulting the optic forward. So big advantage there. Secondly, these foot plates, you notice that they go concave in instead of convex out. And so the idea is, is they just kind of touch the angle in two places. So they don't completely occlude the angle. And because these foot plates are a little more oval rather than round and a little flatter, they don't get the tunnel growing over them of fibrous tissue. So this really was the answer to anterior chamber IOLs. And indeed 35 years later, this is still the IOL that we use now. I should look familiar to you guys. This is the old Apple Core.  So I don't know who this swarming Greek guy with the mustache is. And these were another couple, another fellow of these guys who were a couple students. And so this is how we would write papers. And so the lab was churning out papers like every month. And so it was an incredibly exciting time to be a fellow because this is uncharted territory. No one was looking at IOL complications. And you see we had these folders and all these EM pictures crammed in him. So this is the so-called Apple Core. And he loved it because he's German. So we even had shirts made up, you know, this is the Apple Core. Get it? You know, okay. We had shirts made up with the Apple, from Apple computers with a little bite taken out of it. So the Apple Core. All right. So also in Europe, at the same time, people were looking at, okay, enter your chamber IOLs. Maybe they're not the best place to do it. Why don't we take an IOL and clip it to the IRAs? And so there were a couple of people who did it. Jan Worst, there was, you know, Worst did it in Binkhorst. A couple of guys in Holland and Belgium decided they were going to do it. So this one, I'm sorry, it's not a great drawing, but these would have these loops too on each side. One would go behind the IRAs.  It would literally clip it to the IRAs. And so four loop plans would clip it to the IRAs. And finally, while Worst said, okay, these clip lenses, if you dilate the pupil widely to look at their perforatina, they'd fall out. They said, we can't have that. So why don't we make a hole here and suture this thing to the IRAs, but still keep the clips posteriorly, hold it in place, and even we'll put a little peg on here to hold it.  This was, but his name was John Worst. So this was the worst lens. Now the problem is, is these loops were all made out of proline, polypropylene. If you put proline into uvial tissue, like the IRAs, like the angle, it would start to hydrolyze and you'd get these mudflap cracks on it. And so this is the so-called cracking. Now, that's even pertinent to this day because if you're suturing an IOL to the IRAs, now, post your chamber lens to the IRAs, what do you use? You use proline suture. So if you use a 10-0 proline and it starts to degrade like that, it can spontaneously just disintegrate and break. And so always use 9-0 proline. Don't use 10-0 proline. 9-0 even though it doesn't seem like it's much bigger, it's about 40% stronger. And so this is what proline sutures do also. This was a proline haptic and proline would degrade in uvial tissue. So somebody said, well, proline degrades, let's make these out of metal. So they made them out of titanium. Well, first off, titanium is really expensive. Secondly, titanium you can't polish. Thirdly, titanium is really heavy. And so these lenses would literally drop into the vitreous and would dislocate and would cause huge problems with ugs. So again, titanium didn't last long. The reason I'm showing you all these is every once in a while, I'll get a resident and we'll pop up and say, hey, I've got a great idea for an eye well. Why don't you do this? And my answer is, well, yeah, we did that 30 years ago. It didn't work. And so this was actually metal and this was titanium. So they said, titanium's inert, this would be a great, but it didn't work. Was it easy just to experiment on patients with all these different eye well? Oh yeah. This was the wild days. These were the cowboy days. These are people who are putting them in left and right. The FDA did not have a device section yet. Well, I guess this is a good time to tell the story. Since you brought it up, we'll tell you the story. So at this time, this is now the early 80s. People are starting to put in a lot of eye well. And again, the academy is grumbling.  This is blinding people. So Ralph Nader, you've heard of Ralph Nader, right? Nader's Raiders. So Ralph Nader decided these things are blinding people. And so Nader's Raiders looked into this and said, we've got to, you know, shut these things down. These are dangerous. And so the FDA said, my God, we really should look into this. And so they had congressional hearings and fortuitously, Dick Crats, who sadly just passed away in Southern California, great guy, he did a cataract surgery on an actor who at that time was the lead actor in the number one show in America. So at that time, there was a TV show called Marcus Well BMD. And Robert Young was the actor. And he was America's dad. He had been in a show, Father Knows Best. And he was this well-known actor. And this was the number one show in America. And he was a private practitioner who would see, you know, two patients a day and go to their houses and take care of them and go to the hospital. And was the doctor everyone wanted to be? Well, so he was the number one actor, the number one show in America. He had cataracts and Dick Crats took out his cataract, put it in an IOL. And Robert Young came and testified in the House Committee when this was going on and said, this saved my career.  This is the greatest thing that's ever happened to me. And because he was the most famous man in America, he had all this publicity going on. And so as a result, they didn't shut down IOLs. The FDA set up a product division, which it hadn't had before. And they set up a study. And so at this time, all IOLs were part of an FDA study. And so when you were putting in IOLs, you had to fill out an IOL investigator form for every single company. You know, at this time there were like 14 companies. And so when you're putting these in, you had to fill them all out and then the results had to be reported to the FDA. But bottom line is we were allowed to keep IOLs and the research went on. And all because Dick Kratz operated on a famous actor. So, sorry. But it's always an interesting story. This is stories today anyway, so. All right. So what would happen when you put these in? This was a worst lens. And the suture here broke. And look at that iris. They're regular. They're synechia. The pigment's all blotchy. There's a big PI here. And so these would again cause UGG syndrome. And again, cause corneal edema just from the chronic inflammation. And so these caused problems also. And if you did, this is an EM now of one of these lenses that was removed. And this is actually part of the iris just completely stuck to it.  So very, very difficult. So at this time, people were starting to do a magical kind of surgery called an extra cap where you were leaving the capsular bag intact. And so as a result, they started putting loops here that would fit in front of the lens capsule. The idea was that this would have capsular support on it. Now, what was funny is as these companies were doing these, these were the ads that were appearing in the journals. So this is Copland. Copland would have wishing you happy holidays. These are the little Copland elves making these Copland IOLs. And so these guys came up with an idea, why don't we make an IOL that you put two loops behind the iris, two loops in front of it. And it holds it in place. So this was the Copland lens. And it would give you a square pupil. So here's the loop in front of the iris. Here's the loop behind the iris. Here's pigmented giant cells all over the IOL. Here's synechia forming here. So again, these didn't work really well, but the cool thing is you've got a square pupil so you can always recognize these. You'd go, oh, Copland lens. Now, the problem with a lot of these is if you dilated the eye to try to look at the peripheral retina, sometimes these would dislocate. So that was an issue with a lot of these iris fixated lenses. Retina guys did not like these. And again, this is a Copland lens. You can barely see it because of the severe corneal edema. This is a patient with corneal edema. This was my favorite ad. This was from one of the companies. I loved that. I made a copy of this. Proven, safe, and effective, discontinued. So, you know, they wouldn't come out and say, yeah, this was bad. We're pulling it off. They would just, they'd have this whole page of all their IOLs. You know, proven, safe, and effective. Oh, but by the way, we discontinued it. So these would eventually all be discontinued. All right. At this time, again, people were starting to now do not only extra caps, but FACO was starting to come into practice. And so as a result, because of that, we now had the abilities to leave the lens capsule intact. Now also, people started using microscopes to do surgery, so you could see much better what you were doing. And so as a result, you have an intact posterior capsule. So finally, someone said, hey, wait a minute, maybe Ridley was right. We have an intact capsule. Why don't we put an implant in the posterior chamber where it should go? Away from the cornea, away from the iris. And so a guy named Shearing in Las Vegas, interesting. These are names you don't even hear of now because they thought of one brilliant idea, and that's what they did. And so Shearing said, why don't we put some little J haptics on this round optic made of PMMA and put it in the posterior chamber? You know, where it should be. And so soon as this came out, ophthalmologists are a very innovative bunch. Immediately they said, wow, that's a great idea. And so things just exploded right at that point. And so a guy named Simcoe in Oklahoma said, hey, those little J loops are pretty hard and pretty narrow. They look like an umbrella stand. Why don't we make ones that fit better? So he made this broad C loop. This was the Simcoe loop. The idea was that this would fit into the capsule or bag better and would fill the bag completely. Now, you ask, what are these things? Those are positioning holes. So this is before we had OVDs. So you would put these in and chamber would be collapsing and put hooks in there and try to maneuver these. You couldn't see what you were doing. Some people put air in there to try to keep the chamber formed. And so you have no idea what a great invention Helan was. So Helan was the first OVD, how you're on a gas it. And so Helan was like a miracle because you could keep the chamber formed and you could maneuver inside the eye. Well, when Helan first came out, it was expensive. But it was almost like there was a drum roll. You'd say, get the Helan. And so they would go to the back to the secret refrigerator and they'd put it on a golden pillow. They'd bring it out to you, the Helan. So you would use it. But it was a wonderful invention because you could maneuver inside the eye without causing damage. But before we had that, these IOLs all had these big positioning holes. And look, there's pigment stuck to it. Can you imagine these positioning holes scraping on the iris? So Bob Sinski, and again, you guys have heard the Sinski hook. He just passed away recently. Sinski said, well, you know what? The J-loop is a good idea, but it's too stiff and too straight. So let's modify it. So he did a modified J-loop where he put a little bit of a bend to it here. Bend to it or still a positioning hole. Interestingly, IOLab was the first big manufacturer in the U.S. to have their name on the IOL. So this is great. This is a great NITIS for giant cells to attach. And they would put the power on there too. So you could see that when you looked in there. So this was the Sinski modified J-loop. And this was when I was training in the mid-80s. This was the most popular lens in America. This was the lens. And so as a matter of fact, we would sit around its residents and say, wow, look how far we've come. We're doing extra caps. We're cutting the IOLs in. We're cutting the sutures at eight weeks. Patients are, you know, 20, 25. This is great. This will never get better than this. How could surgery get any better than this? So you guys are laughing at this now. You know, we got clear corneal incisions and foldable IOLs, and people can see the next day and FACO. And so this was great. This was a huge leap forward at the time. Now, there was an argument then about where to put the IOL.  Where do you put it inside the bag? And so there's a big argument. And the guys at Johns Hopkins were arguing that you should put it in the sulcus. That would be better. So again, we looked at a ton of cadaveris. We said, no, no, sulcus is a really bad idea. You should put it in the bag where it is sequestered from uveal tissue. And obviously, where do you put it now? In the bag. You don't put it in the sulcus anymore. And this is a problem if you put it in the sulcus. That's why we're looking at it from behind from the Apple Miyake View. This is where the haptics were. You can see where that haptic in the sulcus scraped on that posterior iris and scraped off all that pigment. So definitely, I'll put it in the bag. I'll put it in the sulcus. So this is what it looks like in the sulcus. Here's the iris. This is a big summering's ring because you've got nothing in the bag to prevent it. This is the loop digging into the root of the ciliary body all the way back behind the iris, almost to the greater iris circle. So that's an Iowa loop. And you can see there's synechia here where this was pushing it forward. The iris is stuck and the mesh works completely blocked off here. And here's that haptic way back there. So that's what would happen if you put them in the ciliary sulcus. And so if you put them in the bag, if you look, here's a modified J loop IOL sitting in the capsular bag. Look at that, it's beautiful. There's no inflammation, there's no scraping of pigment. It's situated inside the bag. That is the ultimate. Put that lens in the bag and that's the ultimate. This is what it looks like. Here's the iris. Here's the capsular bag. Here's the ciliary body. Look at that, nicely protected behind the iris. So this is what they look like and you can see why the results are better when you put it in the bag. Now at that time people were saying, okay, these are fine but what else can we do here? And so Iowa Manufacturing got better and so this is a one piece now PMMA and they got a computer laid that would cut this. You know, prior to this time you would have an IOL and then someone would hand polish it and so now they came up with a computer laid that would cut an IOL out of a block of PMMA and you would tumble polish it. Look at the edge of that. It's beautiful and so they still do it to this day. It's almost like, did you ever polish rocks when you were a kid?    Now, we can't talk about IOLs without talking about how cataract surgery evolved and this is where your question was was pertinent. So the way that surgery was done in the 70s and even into the early 80s you would make an 11 millimeter incision. You'd pre-place a lot of sutures because you didn't want the whole idea to expulse just in case it did. You could close it. So then you'd lift the cornea up. Imagine what that's doing endothelial cells. We didn't have endothelial counters yet then. Imagine what that's doing endothelial cells and then you'd go in there with the cryoprobe and you'd stick the cryoprobe to the capsular bag. Now by this time we wouldn't just break the zonules. We would have alfacima trypsin so you'd squirt alfacima trypsin and it would dissolve the zonules and then about a minute later you'd go back in with the cryoprobe you'd stick it to the capsular bag and boy, you know, you just pop that thing right out and so you'd get that huge lens out whole, the capsular bag and all. But again, no lens capsules so the capsular bag is not intact.  Well, you can imagine what a great advance Faco was and again, even though Kalman was playing with Faco in the in the 60s when he was doing this it really didn't take off in the U.S. until the mid-80s and so as Faco took off the idea is hey we can make a three millimeter incision and take out this cataract and we're still doing little scleral tones we weren't doing corneal incisions yet and we were coming up with ways to do that the second invention that was really good is in about 84 a guy named Thomas Neuhann in Germany and a guy in Canada came up with an idea Gimbal to do a circular capsule on me so again, at that time we were using a cystotome we were making a bunch of punctures in the capsule so that capsule would not be completely intact well, they came up with the idea why don't we make a circular tear and that was a great invention and so that's again, we're doing that now we ensure that that capsule is totally intact we can put the implant in the bag the problem is is that you had to make the incision bigger to put in an IOL you know, we didn't have foldable IOLs then and so you would make this three-plane incision you'd go through the sclera then you'd tunnel forward and then you'd enter the cornea but as foldable IOLs got invented and people started using foldable IOLs then we could proceed to a clear corneal incision so that was a great advantage because you didn't have to use a retrobober block you didn't have to operate superiorly you could sit temporally where you had better exposure and you could make a clear corneal incision that you did not have to stitch so the sclerotunnels would always be superior? yeah, the sclerotunnels would be superior because you wanted to have them covered by the lid and you put lots of stitches in there so you really wanted the patient not to be bothered so much by them so you did it all superiorly so if you're sitting superiorly when you did the surgery you'd take a suture and you'd put it through the superior rectus muscle and then you'd pull it up and you'd pin it to the drapes and that would turn the eye down so imagine you get a terrible red reflex with that but that'd give you exposure to work so when we went temporally you had easier access to the eye you had better red reflex and you could now do a clear corneal incision so again technology would go lockstep and of course this was only made possible by the invention of foldable IOLs can you do sclerotunnels now? you can do them temporally now because they're smaller a lot smaller and you don't stitch them now we're making these big smile incisions now that you don't have to suture so those are tolerated better temporally so technology in removing a cataract and technology in IOLs went lockstep and so when people jump to FACO you know when you were doing extra caps the wound is 11 millimeters there's no need to have a foldable IOL but as soon as people started saying hey this FACO we can remove a cataract from a smaller incision why should we open it up to put it in an implant is what pushed IOL companies to make foldable IOLs and so again the technology would change it would force other technological changes and so they would go in lockstep and of course that led to the development of foldable lenses so this was the first foldable lens this was a silicone lens it was a plate lens but it rolled up like a taco so Tom Masako is the guy who invented this so they called it the Masako Taco so it would be like a soft shell taco you put it in there it would unfold it was made of silicone well silicone was maybe not the best material and this is what it looked like this was a silicone plate lens and so people started saying hey there's better material and the material was hydrophobic acrylic which is what we're you know used now in the majority of IOLs in the US at least and so the first lenses the hydrophobic acrylic you would fold them up in half and you put them in now other companies then started jumping in this was Starz lens they looked at different materials this is now made of PVDF a whole different material then probably more resistant to degradation and even now hydrophilic acrylic lenses started coming out and so this was a hydrophilic acrylic lens that had grafted haptics on it so the idea is there's more than one way of getting a foldable IOL into the capsular bag that still centers well in the bag and then finally of course this is the Alcon Acrosof and you know this was the again the ultimate lens it would have good you know low yagrates it had a sharp edge on it it would limit PCO it was thin it didn't have a bulky you know bulky mass to it and so you know again this was this was the material that Alcon settled on and now of course we've got the one piece with haptic IOLs but it's still this hydrophobic acrylic material and I stopped there because you know you guys are going to learn all about IOLs now that we're using at the moment this is a Notre Dame this is a group now why Teschi is at a cornea meeting I have no idea because it was in Paris and so he signed up for the meeting and came and hung out for three days but in any event this is our this is our little group here Liliana Werner who lived in Paris for seven years gave us the grand tour of Paris and this is the bridge across the Seine where Notre Dame is so this is Paris alright so next week we get back to path okay I believe it's glaucoma we can see I think it's glaucoma yes that's correct okay so read glaucoma because next week you guys are going to talk not me okay alright questions we've got four minutes questions about IOLs or cataract development alright very good


Black patients are more likely than white patients to be diagnosed with advanced melanomas at diagnosis, but they have a lower survival rate overall. This suggests that black people should be targeted in public health campaigns to increase awareness of melanoma and encourage early detection. In-depth interviews revealed that many black people are unaware of the term melanoma and its features and do not consider themselves at risk of developing it. Additionally, many black people are surprised to learn that melanoma can occur on palms, soles, and nails, which are often overlooked when discussing skin cancer prevention. Furthermore, black people reported feeling excluded from public health messages about melanoma, as they do not see themselves reflected in the images used in such campaigns. Finally, the importance of relationships with healthcare providers was emphasized, as well as the need for healthcare providers to check high-risk areas for melanoma, including the palms, soles, and nails. This article was authored by Eleni Linoz, June K. Robinson, Susan Sweeter, and others.


What's up everybody, Jason here for jazbyzcasebreak.com. We just sold out 2022 Top's Five Star Baseball. This is a eight box case break package, number 22. And here we go. Last ball mode of Steve, get the Nationals. Or gets the Nationals. And here we have another case down. First case, we had a Kenny Pickett auto to 99. We had a one-on-one drone bed is insert. We had a gold crystal lava. But I don't know if anything's super jaw-dropping. But I'm sure the Pickett's probably gonna sell nice. Excuse me. The cruise for the Marlins. And just like that, the case had Joey Vado. Patch autograph for the Reds. Going to Ed. I am your Marlins, it's Steven. Thin pack, most likely Pintomorous or Redemption. To 75, Gavin Sheets for the White Sox that's going to Ed again. And then Five Star signature of Hideki Matsui. Back-to-back Matsui hits. That one in the last break. Yankees, going to Tim. Out of 15, Ronnie Dawson. And then Matt Chapman for the Blue Jays. Blue Jays is Robert Runkle. And then Reds is Ed. All right, next one. Halfway through, guys, after this box. Jake Burger. And A out of 75, Jim Rice. It's on the website, Chad. On the website, buddy. And Red Sox, that's Jonathan. We have a Louise Deal. And how about a little nice Jordan Alvarez, Golden Graphs, 16 of 40. Nice one there for Houston and Nathan. Yankees again, it was Tim. Next one here, guys. Out of 50, Kyle Muller. And Joe Ryan for the Minnesota Twins. That's Atlanta Braves, Michael L. All right, two more boxes, guys. Again, the next five shows in the store. It's already in single digits. I could break that later tonight. Potentially, it'll be our last break of the night. Riley Adams. And a 14 of 15. Mariano Rivera. This is actually that royalty. Baseball royalty autographs. Solid hit right there, very nice. National Zoos, last ball mojo. And then, of course, Tim. With that Yankees hit. All right, last one here, folks. Good luck. So it feels really light. Actually, it's the same thing. Trick me. All right, we got Tyler McGill and a little Yvonne Rodriguez to 15. And that is Marlin's edition. So Marlin's going to Steven. Metz is going to Howard. Alrighty, guys. And just like that, another case down to five star. Next one, number 23's in the store.  We have plenty of time. We got a pudge, that nice Mariano Rivera was pretty sweet. Yordon. Jim Rice. With a redemption at Sui with a Joey Vado hot chocolate. So appreciate it, folks. Jasminskatesrace.com.


a fiery horse for the speed of light, a cloud of dust and a hearty high old silver, the lone ranger. No greater champion of justice can be found in the pages of history than the masked rider of the planes. It was he who brought law and order to a lawless frontier. It was his strength and courage which protected the early settlers from outlaws and hostile Indians. And it was his knowledge of the country which made it possible for the pioneers of progress to win their battle against the wilderness. Return with us now those thrilling days when the West was young. From out of the past, come the thundering hoof beats to the great horse Silver. The lone ranger rides again. Come on, Silver! We're having worse before... The 1860s had scarcely begun when, following close upon the inauguration of the Pony Express, still another important project was undertaken that would bind the East and the West even more firmly. Gentlemen, I have great news. We have been successful. Today, Congress has voted $400,000 to help us with the expenses of our venture. I can promise you this. Before winter is here, Western Union will have linked the Atlantic Ocean to the Pacific with the first telegraph wire ever to span a continent. Bring up the wire! We're on our way to Fort Bridger! Silver, where? Oh, it's got holes. Look at it, Tether. Ah, a thin copper wire that carry messages across a wilderness. It calls for men with courage to undertake a venture like this, Kimosavi. That's right. Before they finish, they'll have to meet and conquer stampedes, droughts, storms, mountains, Indians, or thousands other obstacles. Ah, but there and those crews are the men who can. Despite these obstacles, the telegraph has strung across country with amazing speed. While one party worked westward from Omaha, a second erected poles and stretched wire eastward from San Francisco, Fort Bridger had been chosen as a point where both parties would meet and it had become a race to determine which would arrive there first. But as the goal was neared, certain men found that the completion of the telegraph would be contrary to their interest. We heard you was looking for us, Mullins. I have been. What did you want? Let's get a table. There's one coming along. What else you done? What's on your mind? Don't pretend you don't know, Randy. I thought you and War Club were such excellent friends.  Well, they haven't. They've done what they could. It could have been much. No? Well, they sure hacked down poles, or plenty. Yeah, which probably delayed the telegraph all of 24 hours. You know what I wanted? I wanted rage on the camps. All the Cloud wouldn't risk it. Too many good Indian fighters with them. So that was a waste of time. Well, Jake, what's your issues? I mean, why didn't I keep them from getting supplies? What did you think I meant? All right, I'll show you why. I didn't hear. Look here. Another inch to the right and I'd cashed in my chips. Got drilled, eh? Who did it? Tex Morgan. How come?  If it hadn't been too dark for him to recognize me, and if I hadn't let out proof, I wouldn't be here now. Too bad. Huh? You being funny? If I am, I don't feel it. You know what this thing means to me, what it means to all of us. The telegraph must be delayed until after winter sets in and the miners close down their claims. That's when the smeller at South Pass will have more gold on hand than any other time all season. Yeah, but what do you expect? Wait. Neither of you seems to understand the situation. We can strike at the gun. We can strike at the guards and make away with the gold. That won't be difficult. But we can't escape to the north or to the south. Our best chance is to the west. And if they connect up the telegraph to four bridges... They can put the alarm on the wire within five minutes of the hold-up. Within 30 minutes, every army post east and west of South Pass could have been on the trail. It would be blocked in every direction. It would be finished. And worst, then Union crews should be done within a month. And no freeze up in sight. It'll come. It's you almost any time now. But that doesn't mean we can just sit back and hope it arrives before the lines finish. What can we do? Repride most everything. Then we'd have succeeded if it hadn't been for one man. You mean? Fix Morgan. He's poison. Just so. And that's where we've made our mistake. We've tried to delay the work, but have done nothing to get rid of the one man who's done more than anyone else to spoil our plans. Boss, I recognize savvy. If you don't, I'll make it clear. Forget everything else, but get Tex Morgan. The progress of the telegraph line was an interesting thing to observe. First men dug post holes, following the route of the old Oregon trail. Behind them came others, un-reeling the wire upon the ground. Still others distributed the poles, and bringing up the rear came that part of the crew whose duty it was to erect the poles and attach the wire. Tex Morgan, scout and troubleshooter for the entire organization, was responsible for the safety of the laborers. Oh boy, oh, over there, oh. Hi there, Tex. Hello, Buck. Well, how do you like it? By nightfall, we'll have done close to 20 miles today. Not bad, huh? Boy, you just ripping along. Bet the fellas work in the east and Seoul Lake City can't do no better. We'll beat them to Fort Bridger yet, which you see. Where you been, Tex? Back trailing? Uh-huh. There's been something I wanted to tell you. Keep your eyes peeled. There's trouble in the wind. And they just engine troubles either. Yeah? Somebody don't want this line finished. Tex, I ain't sure I said anything. I ain't either. But you said that. All I can tell you, Buck, is a little I know. A couple of days ago, I talked with a friendly engine. Said his name was Tondo. Told me some skunk, uh, a white had been trying to get War Cloud to attack our camp. We're going to be raided? Nope, I reckon not. Tondo said War Cloud weren't looking for no trouble. Thank gosh for that. But it shows somebody don't like it. And it ties him with a couple other things, too. Take that load of poles you lost for in the river. Look mighty funny. And last week, one night last week, some army tried to set fire to our supplies. We're just lucky didn't, and he got away. Five underration, Tex. Why in blazes should anybody be a Guinness? Don't ask me. But you don't know as much about it now as I do. So watch things. Who's this? Which one of you gents is Tex Morgan? Well, that's me, I guess. Looking for me, mister? If I can talk to you alone. Hey, what is it?  I'll talk to him. Well, I'll see you later. All right, let's have it.  Huh? Who told you that? That's my business. Look here, mister. Hold it. Where and how I heard of this mile fare. I just dropped by to see if maybe you wouldn't like to know what I find there, gents. The one tried to burn our freighters? Right. Where is he? If I take you where he is and point him out, what's in it for me? What's your handle? That ain't none of your business, neither. I'll tell you what. Take me to the pole, Cap. And I'll see you get paid what is worth. Which is plenty. Ha, ha, ha. Good. But if you don't, I'll blast you out of that saddle. Hey, you didn't have to draw on me. I don't take chances. And I want that Albury bed. How far we have to ride? Just this side to South Pass. And get moving, friend. I'll be right behind you.   Get up there.  It was the following day that the Lone Ranger and Tonto rode their horses at a trot down a narrow trail that led in the direction of the construction camp. On their right and extending as far as they could see, a cliff towered above them. Suddenly a voice hailed them from a ledge overhead. You hear someone calling to us?  Where are you? Up on him. What do you want? That depends on the message. What is it? If it is important, yes. But why don't you? You're private. I got it here in an empty can at the back of it. Let's have it. Him throw can. Right. Steady, boys. Steady. Me. Me. Get him. Give it to me. Not answer. Because he's cleared out. What matter? Bloody. Whoever that fellow was, he knew what he was doing when he chose this place. It would take us three hours to circle the cliff and make our way up to that ledge. We'll have to take up his trail later. Right now, this message must get to Holstead. Who him? The engineer in full charge of construction for Western Union. Oh. And when he reads what's here, there'll be fireworks. Let's go. Get him up, Scout. Come on, Silver. Come on. Holstead, the engineer, had been riding from crew to crew, asking questions of each. Finally, he came to Buck Goodwin, the foreman to whom Tex Morgan had mentioned his suspicions just the day before. Come on. Come on. Come on. Look. Come here. Oh, howdy, boys. Can you see you right up? What's new there? I'm looking for Tex. Have you seen him? Yes, but he's not since. Why? He disposed a report to me last night and didn't. I'm worried. He chugs, boss. Tex ain't nobody to worry about. There's a gent can handle himself anywhere. Quit your fussing. Whatever Tex is doing, you can bet he's right as rain. I wouldn't worry about that ombre in any kind of a tight place. He's one of them gents comes up topside no matter what happened. Take my word for it. I have known him longer than you. We've got to get the telegraph to Fort Bridger before the months are. Oh, we all know that. And we're getting married, we. Yes. Without Tex, we wouldn't have had a chance. The way that fella's kept trouble from us has been a wonder. Yeah, but no. If anything's happened to him, I. We'll still make up, but nothing has. Why don't you ride back to headquarters? Wouldn't surprise me if you found him there waiting for you. You may be right, Buck. I hope you are. Just the same, I. Buck, what in blazes are you doing? What you better? Getting my gun handy. Look at these fellas coming. One's masculine. The other's a red skid. What the? Oh, oh. Oh, Scott. You. There's no need for that gun. Paul said. What do you want? I'll give him the message for you. Read it. Who gave you this? Read it. What's in it, boss? Let him finish. But I. Raise your hands. I won't. They don't get their hands up higher. All right. Stranger, you and the engine. That'll get going. Get him upstow. You. Did he hit you? Just knocked the gun for my hand, boss. But it aches like all blazes. When I should get the fellas to chase them on, you'd never catch them. Not on the horses they're riding. Then you mind telling me what's going on here? I'll have to. Man, stop your work. Go back to your wagons. Do nothing more until you get further orders. But, boss, we got a schedule to keep to. We ain't got an hour to waste. How long do we have to lay off? A week. Maybe longer. You're crazy. No, Buck. Not crazy. I just happen to believe that a life is more important than any schedule. I don't get you. Tex has been taken prisoner. Unless we stop work, he dies. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Now to continue our story. It was several hours later that the Lone Ranger and his faithful Indian companion made their way to the top of the cliff of which had been hailed earlier in the day and drew their great stallions to a halt.  This is a tunnel. Yep. Yeah. See? Look below there. Oh, me, me, see. See those pines? That's where we stopped when that fellow called to us. That's right. So this must be the ledge where he was hidden. Let's take a look around. Oh. See what you can find in that direction. Now look over here. Come to do it. Oh, wait. No, no, come here. You pine trail? I found something. Most of this ground is hard packed. But look at this. What do you think of it? Oh, here, Pellar Neal. Yes? There mark him naked toe. He got on one knee to look over the edge here. Oh. And his horse must have been over there, out of sight from below. And let's see. Nair sign. You've got keen eyes, Tata. Where? This side, rock. And now I see it. And look here. And now it's plain. Tata, this is where he mounted again. The trail leads there to the south. That's right. Cold scout. Here's scout. Here's silver. Yes. Paul said thought we had something to do with Tex Morgan's capture, Kimosabi. Yep. So we've got to find Tex. Not only to make it possible for the work to go on, but to clear ourselves. And ride slowly and lead the way. We can make better time once we're away from the cliff.  Come on, old fella. Days of idleness followed for the telegraph crew. The wagons in which the men made their quarters in groups of fours were drawn up into a great circle not far from the mining town of South Pass. Anna was here that Hallstead conferred with a group of his lieutenants. Buck, what have you done? Everything I could think of. Me and Ed and Frank there done more riding in the past three days than we'd ordinarily do in a month. We rode and searched out the country all the way from the Sweetwater to the Black River. And they found nothing. Boss, I ain't like sin to say it, but... What what? I got a notion Texas dead. I won't believe it. Well, I don't want to. This country's too wild. You couldn't have searched all of it. I don't claim we did. It'd take a year for that. You saw nothing of that masked man or the Indian? Nothing. I see. Well, Clay, what about you? I ain't had no more luck than bookish. You picked up nothing? Boss, I've just about lived in South Pass. I've hung around every cafe. I've talked to everybody. There weren't either D for dumb. Nobody's got any notion what happened to Tex and nobody's got the least idea who could gain by holding back the telegraph. I'm sorry. I didn't hope for Buck to find anything, but I did hope there'd be gossip in town to give us a clue to what's behind this. If there is, then I missed it complete. I got a little good news for you, boss. Yes? About the Mormons. The Mormons are building east from Salt Lake City to Fort Bridger, you know. Well... It's a tough country they got to work in. They ain't making as good a time as they figured to. I know. I heard that yesterday. Well, that means we can still beat them to Fort Bridger if we only get started again. You're suggesting that I give orders to go on with the work? Yeah. When that message told us Tex would die if we did? Tex was as much my friend as yours. I told you what I think. It's my opinion. Nothing we can do now can either help or hurt him. What are the rest of you think? Well, it doesn't matter. It's my responsibility. I'll have to make the decision. What's it to be, boss? When they hear of these back-east men, they won't like it. But we don't string a mile of wire till we know what's happened. In the meantime, at South Pass, Mullins was as impatient as hosted, although for another reason. I've been waiting for you. I couldn't make it no sooner, Mullins. I hurried faster, could I? How's for a drink? Not now. But I need it. We keep clear heads until we're finished here. Now, what's going on? What are they doing in the Western Union camp? Still setting on their hands. And Morgan? Safe as a bug in a rug.  You can forget about him. Why hasn't red come here? That wouldn't be sensible, would it? When somebody might recognize him as the fellow that rode off with Tex, better for him to stay out of sight. Yeah, I suppose it is. Have much trouble with Morgan when you took him prisoner. None at all. Red's scheme works slick as grease. He let him pass where I was hiding. Let me get the drop on that ombre and there wasn't nothing more to it. He just had to give up. If he hadn't, it had been his finish and he was smart enough to know it. Good. If the weather would only turn cold enough to freeze the streams and stop them mining, would it? Well, turn cold, but it's turning right now. Didn't you know it? What's that? Sure. Just stick your nose outside if you don't believe me. I'll bet there's been a drop of 10 degrees in just the past hour. And it's time. No, wait, my lord. We can't. Get up, you're riding. Without even just one drink to warm my inside? Without one single drink. Uh-oh. How'd you listen to me? Yeah. I was red back in town before midnight. Bring him to my cabin. But what's the hurry? You there. You tried to hear what we're saying? Me, no. I'll be. Clear that. They couldn't have heard you. There's no telling what a red-skinned can hear. Well, what you start to say? Jake, we strike for the goal before morning. It was after midnight. Dan, with the exception of the few who stood guard, the men at the construction camp were sound asleep. Suddenly a cry rang out for the still night air. Wake up! There's that last pillar. Wake up! Wake up! From every wagon, the men tumbled to the ground and ran toward the man who had given the alarm. There he is. Really? Bring him down. Come on. What is this? What's the trouble? Horse, look up the trail for its town. The masquerade. Yes, sir. And get away again. He could tell us what happened to Tex. Horse, think we're going after him this time of year? We are.  Get out to that fellow. It was still an hour before dawn. A heavy wagon of the kind employed to freight supplies whitted behind the horse smelter at South Pass. The door of the strong room stood open. On the ground to one side lay the bound and gagged figures of several men. Other men working swiftly and silently moved between the wagon and the mill, carrying heavy burdens. How much more? Red's bringing the last. There. Gosh, them bars are heavy. Don't know if the gold's worth all the work it takes to get it. My back's near busted.  Red, hurry up with that. I'm coming. Stand aside, Jake. There you are. That's all of it, Mullins. Yeah, that was fast work. It didn't take 20 minutes. How much gold do you figure we got? A hundred thousand at the very least. More than likely twice as much.  These guards here, what about them? Leave them as they are. Red, you'll drive. Which way? West. Follow the regular trail. I've got horses waiting for us beyond town. And the gold? We'll hide. I know a place. We can come back for it when the search is dead down. Come on, Namlet. A fight.  There was a whole town. I'd quick up into the wagons. Right. What do we do? Pick the reins. Red, get going.  Get along there, you critters. I drive slowly now. All the actors know we're in a hurry. We know the raw suspicions will be all right. Better keep your guns handy just the same.  There they are. Somebody's being chased. Don't mind them. Keep your eyes on the horses. Look at that white horse in the lead. Hey, ain't that a dandy? It's... Mullins. That ombre atop it is masked. Yeah, that looks like a red skin. Here they come. See if they don't just ride past. That red skin, I've seen him somewhere. Pull up there. What the...? Pull up, pull up, pull up.  Let all of them rain. Get back. We've got the horses.  I'll pull my hands.   You kids, tell me. Ranger, listen man. Let us go and we'll make it worth your while. You don't understand it. You're staying here. Here come other pullers. $1. Lash your hands before you get drilled. Hold on. Don't try to get away. We've chased you through all the way here. You didn't say, sirs. We led you. You were looking this wagon. These fellows have just robbed the mill. They've got $100,000 in gold here. Look at this tax up back here. I don't understand. This gold here. You say you ought to serve us into me, and then judge for yourself. Talk. These are the men who kidnapped tax. That's a lie.  These men kidnapped tax. The fellow and I found where they'd taken him. You mean... We've known since the day we delivered that message to you where he was. We left him there on purpose. As long as they didn't attempt to harm him, he was safe. We left him there until we could discover why these fellows wanted the telegraph delayed. Don't believe in me. The man's talking. You can still get the Fort Bridger in time, homestead. No harm's been done. And these fellows have put their heads into a noose. Stranger, that's a smooth story. But there's just one thing wrong with it. Yes? If you've been telling the truth, then why isn't tax here? He will... I am here. And force the masked man's told you the truth and start to finish. Tax! This means we get back to work. We're going to stretch that telegraph to Fort Bridger in nothing flat! Two weeks later, here's the message, sir. I've written it out. Thank you. Force, read it out loud to us, won't you? Men, this is the moment when all of us deserve to be proud. I'll read you what's written here. To Abraham Lincoln, president of the United States. In the temporary absence of the governor of the state, I am requested to send you the first message which will be transmitted over the wires of the telegraph line, which connects the Pacific with the Atlantic states. The people of California desire to congratulate you upon the completion of the great work. They believe that it will be the means of strengthening the attachment which binds both the east and the west to the union. And they desire in this, the first message across the continent, to express their loyalty to the union and their determination to stand by its government on this, its day of trial. They regard that government with affection and will adhere to it under all fortunes. Signed, Stephen J. Field, Chief Justice of California. Proud! Boss, I'm fit to bust! I'm sure you have just heard of the copyrighted feature of the Lone Ranger Incorporated.