So, I spent the last couple of weeks reinstalling ArcoLinux here on my main production machine. I had ArcoLinux on this machine previously. I had the same installation up and running for about four years, but I had so much stuff installed on that installation, thousands and thousands of programs that I've tested out software over the years for purposes of the YouTube channel. I had like a million different window managers and programming languages. I had so much stuff installed on that installation that I had eventually, I was starting to experience some problems, some breakage packages either weren't working properly or in some cases weren't working at all. So I did a fresh installation of ArcoLinuxD, which is a minimal version of ArcoLinux. ArcoLinuxD and I installed the Qtile window manager on it. And with Qtile, I'm using my Qtile configs, not Arco's configs because I've got my own configs for practically everything that I've saved over the years. So I'm back up and running on this machine and it's quite minimal. I've only got the one window manager Qtile installed. And for a software suite, as far as, you know, desktop software programs, I installed only absolutely what I needed thus far. So I've got OBS up and running so I could record today's video. I've got Kaden live so I can render the video later. I've got GIMP so I can make a thumbnail. I've got the Brave browser and a few other odds and ends. Like, you know, I've got Emacs installed, of course. But I've tried to keep things quite minimal. That way, if I do run into breakage, anything that breaks, it's obvious what is the problem because it's going to be that package that I just installed, right? If you install thousands and thousands of packages and your installation is broken, it's very hard to figure out what is the problem there, right? But when you slowly add packages, it's obvious if you do run into any issues. And right now, I've got everything up and running. Let me show you my Qtile config. So let me go ahead and launch my Qtile config and let's go to my readme.org here. And let me zoom in here. So I've had to make some minor tweaks to my Qtile configs because I did run into some annoying situations where SDDM, which is the login manager that Arco Linux installs by default. And I like SDDM so I left it as the login manager. But when I log into Qtile from SDDM, it would hang, sometimes hang for a long period of time, like it would take 60 seconds for it finally to load Qtile. And sometimes when it finally did load Qtile, it didn't launch all the necessary programs. It didn't launch the session manager or the compositor PyCom or it was not launching background services needed for GPG keys, like the password store, like the pass command, things like that. Every now and then, you know, it would sort of log you in, but it didn't launch everything that it should. And it was kind of weird. And I assumed that it was having a problem with some of my startup services with Qtile because SDDM, when you log in, you tell what window manager to log in, in my case, Qtile. And it was trying to run some of these commands from these Qtile configs. And it was probably something not quite right with one or more of the commands. And you know, it was just causing me issues. So I started over with the Qtile config. Well, I didn't start over, but I really started with a blank canvas. And I tried to add only what I needed to the config. So this is a org document, by the way, for those of you that haven't seen my 50 to 60 Emacs videos, right? I write a lot of my config files in org. So readme.org actually writes out to a file called config.py. That is actually the proper Qtile config. If I scroll down, there will be the source code blocks here. So what this is, this is Python code inside the source code block. And it gets written to a file config.py, right? But by doing a org document, it also allows me to do a proper outline with comments. These comments will not get exported to config.py. They're just for purposes of documentation when I push the readme to my GitLab. And also for purposes of this video, it's a little easier on video for me to show you this stuff because it's obvious what each of the sections of the configs are because I've got it outlined as an org document. So I've tried to keep things pretty simple here. The first section is about this config. And this is simply all of the copyright and licensing information that is at the top of the default Qtile config.py. So I kept all of that, that's part of this source code block here. That's really the first source code block is just these comments. And then not part of config.py, but part of the readme here, is information about my GitLab and my YouTube channel. The next section is, of course, the import. So this is all of the Python libraries that I'm importing, so that I can use inside the Qtile config. The next section, of course, is variables. This is where I set up variables for my mod key, mod4. That's the super key. I always use super as my mod key. You could use alt. You could set mod to mod1 to use the alt key for your modifier key for your window manager. But if you use Emacs or many other programs on Linux or not just Linux, but pretty much any operating system, the alt key is used in a lot of other places where the super key is really never used. So I strongly recommend using the super key as the modifier key for all of your window managers. I also set up variables for my term. I use the alacrity terminal. My browser is Firefox. Now I actually don't use Firefox. That was part of the default config for Qtile. I'm actually going to change that to Brave. I actually did not know that was set. Let me write that and let me go ahead and do a org bevel tangle to write that over to my config.py, which is, again, the actual file that Qtile reads. I also set a variable for my Emacs, and that's going to be the Emacs client command because I always use Emacs as a client-server relationship. The next section is custom functions. These are just three custom functions that I created because they solve some problems that I needed to solve. The first one, add tree tab section. What this does, it allows me, if I'm using the tree tab layout within Qtile, I can add a section within the tree tab layout by assigning this a key binding, essentially. I don't actually have the tree tab layout enabled in my config currently, so I can't show you this, but if I ever do in the future want to use the tree tab layout, being able to quickly add sections to that layout with a key binding would be a nice thing to have, so I've created a function for that if I want to use that, and the next two I actually do use. These are this function here I called minimize all, and then this function here, maximize by switching the layout. So minimize all what it does. It allows me to have a key binding that runs this function to minimize all the windows on the screen. So let me show you this in action. Let me open up three terminals here. So if I do super shift M is what I've assigned this, super shift M minimizes all the windows. So all those programs are still up and running, but it hides them, right? Now to toggle that back on, super shift M again will bring all three of those windows back. Let me super shift C to close all those windows. The next function is a weird little function. I was having a problem when I wanted to full screen windows. Let me go back to a empty workspace. So let's imagine I've got two windows open. Let me make this one here full screen. So if I do super F, it makes it full screen. It essentially makes it like a max layout, right? But I was running into a problem where I'd sometimes toggle this full screen mode and I wouldn't get the layout I was in back. So most of the time on most workspaces, I have the Monad tall layout, which is your traditional master and stack layout. And what I wanted is if I was already in Monad tall and I decided to do super F to go to this max layout, it would go to the max layout, right? But if I was already in the max layout and I hit super F, it would switch to the Monad tall. But what this does, it basically allows that to actually be a toggle kind of thing, right? Now I'm in Monad tall. If I do super F, it's max, right? If I, right now I'm in max. If I do super F, it goes back to Monad tall. Or you can see that's what's going on with the if and the else statement. If I'm already in Monad tall, make me max. I'm already in max. Then make me Monad tall. The next section is probably the biggest section of the config. It is the key bindings. And of course, this is just org comments here, this table and this is not part of what gets exported to the config.py. This is just for documentation purposes. So if you go to my get lab, to my dot files repo to Qtile, right? You'll see a proper table that's nice and formatted for some of the more important key bindings, right? But this is actually the source code block begins here, keys equals, and I have a lot of different key bindings. So one thing I did want to mention is I had always, I've been using D menu for my run launcher forever, but I decided since, you know, I was changing things up a little bit doing a new installation. I went ahead and changed my run launcher to Rofi. So you can see I'm going to do super shift return. Now launches Rofi. So super shift return launches Rofi and you see D run. So that's searching for your desktop files. So proper desktop applications, right? Where D menu searches all the binaries on your system. Now I could change this if I do Rofi dash show and run instead of D run, run would actually search all the binaries, not just the desktop binaries. Well, for the most part, you know, all of my key bindings are basically the same things I've been using for years and all of my window managers. I've got a key cords set for launching Emacs related key binding. So I'm using the key cord, super E, say key cord mod E, super E followed by another key. So super E followed by E just launches Emacs. Super E followed by A launches E-M-M-S, which is a audio player, music player in Emacs. Super E B launches the Emacs iBuffer yada yada yada. And I did go ahead and set one other a kind of neat key binding here. This key binding runs a couple of commands. And that's super E followed by F4, kind of a weird key binding, but it's not something you'll use very often, but occasionally I need to do this.  So I set a key binding for it, like if Emacs ever hangs, if it ever crashes for some reason, this is the nuclear option, right? Super E followed by F4 will kill Emacs, restart the daemon, and then super EE. I could launch Emacs again back at the dashboard. And then the next key cord section, super P for prompt, super P followed by another key, launches all of my D-Menu scripts, my DM scripts, although I've got them all using the dash R flag, which means run the DM script using Rofi instead of D-Menu. So if I do super P H to run the DM hub, it runs the DM hub through Rofi rather than D-Menu. The next section is groups. This is pretty self-explanatory. Group names, one through nine. If you use my config, don't change group names. Group names, one through nine is important because super one through nine, how it determines those key bindings is the group name, super plus, and then it takes this list, right? So don't change this. If you want to change the actual titles of the Workspaces group labels, it's actually where you would change that. You can change this, but don't change group names. But for me, I have them both set to the same because these days I just prefer one through nine as the labels as well. And the default layouts, you can say I use monad tall on pretty much all nine layouts. Except three and four, I have set to tall. And then after that, you've got these four loops in Python. These four loops are what make the magic happen with super one through nine, super two, for example, I'm already on two, super three takes me to Workspace three, super two takes me back, super nine would take me to Workspace nine, right? These are what makes that kind of magic happen. So these four loops, don't touch these unless you really know what you're doing. These also handle a super shift one through nine, super shift one through nine would send a window to a workspace. So super shift three, just sent that Emax window to Workspace three, super three takes me to Workspace three, super shift two, sends that window back to Workspace two, super two takes me back to Workspace two. Next section is color schemes. This is all comments. The only bit of code is this code block here and this one line colors equals colors dot doom one. So I'm gonna use the doom one color scheme. And what this does, it takes that color scheme from a file that I have called colors dot pie. So you have config dot pie, which is your actual Qtile config, but I created also a second library that gets imported called colors. And I have defined like 10 or 12 different color schemes.  So if I have colors set to colors dot doom one, doom one will be the color scheme for Qtile. For the widgets and the bar. If I'd set that colors equals colors dot Dracula, then the bar would be using the Dracula colors, et cetera, et cetera. Then I have this section here default settings for all layouts. So all of your layouts, monad tall, max floating, whatever it happens to be. I want them all to use the following of variables. Border width needs to be two, margin needs to be eight. Margin is the gaps between the windows. Border width, focus needs to be this color, border normal needs to be that color. So that just saves me from unnecessary code duplication later where when I'm playing with the individual layouts, you know, I know I'm going to use this and all of them. So let me just go ahead and set that right now. And then the next section is titled layouts. And it's a rather lengthy code block, but most of it is commented out. So what I've done is most of what I've got here are layouts that is pretty much all the available layouts in Qtile. I've got them all in my config. I don't use, but like four of them. But I've got them here again, mainly for documentation purposes. So if you guys want to try them out, for example, maybe you wanted to try this BSP layout. Well, you just uncomment that line, right? Now for me, I'm not going to use the BSP layout. So I'll undo that right and comment that back out. But you can see you've got all of these other things like ratio tiles, vertical tile, the matrix layout.  That's kind of weird. Maybe depending on your monitor size and the orientation, you may want to experiment with some of that stuff. But I'm just using monad tall, tile and max. Max is full screen. Tile is a tiling layout. Let me actually open two windows in the tile layout. This is tile, right? I'm not using any gaps. And I have one window bigger than the other. And this is kind of weird. Why do you do that, DT? Well, I have certain situations where I actually want this, where for example, when I'm recording videos, I typically have OBS and a file manager open side by side. But OBS, I need pretty big because I want to actually be able to preview what I'm recording. But in the other window, I just want like my file manager open to the directory where those files, those video files are being created. So I can verify that the files are being created and recorded because I never want to hit start record in OBS without actually seeing that that file has actually been created because sometimes you'll mistakenly think that you hit start recording in OBS, but you really didn't click it properly, right? And you'll talk for 20 minutes and then realize you didn't record a dang thing. So this is, I use that for recording videos. I also use this for streaming videos where again, the big tiling section will be for OBS and the smaller tiling section would be for the YouTube browser window and like the pop out chat so I can actually monitor the YouTube chat during the live stream. So that's what I use that particular layout for. Next up is the widgets section. This is the biggest part of the config. It's all the widgets in the panel. You can think of this as the panel configuration. I'm just going to scroll through it. I'm going to really discuss this. There's a lot to it, but you guys, I've done videos on how to configure the panel and the widgets before in Qtel. The next section is the screens. Screens are your monitors. I have three monitors. So what I'm doing is this definition here, a knit widget screen one. This is my second monitor, the middle monitor. This is actually what we're watching here. I'm saying on this monitor, I want you to grab a knit widgets list. So basically grab all of the widgets that were part of that widgets block that I showed you a second ago. I want everything, but on the next one, a knit widget screen two. So this is the widgets that get displayed on the other two monitors, monitors one and three, right? I want you to display a different set of widgets on the panel on those monitors. Basically all the widgets that set up, I want you to delete two widgets. You see, I give it a range of 22 to 24. What this does is it deletes a sys tray widget and a spacer widget. So it basically gets rid of the sys tray on one and three, monitors one and three. Monitor two can have the sys tray, monitor one and three can't have the sys tray. And I did this because Tutile does not like you having multiple sys trays, it won't allow it. So if you use multiple monitors, you gotta get rid of those extra sys trays. So that is how I am doing it as I just have separate functions essentially for each panel on each monitor. The next section that I've entitled here some important functions. These are, I believe these were just default definitions in the default Qtall config. I did not create these. These are handling things like how windows get sent to previous screen, next screen, things like that. If you use key bindings for things like that. And the next section is drag floating layouts. So this is what your mouse does. So my mod and the left click will drag a window mod and the right click resizes a window. So mod left, mod right, just drags it. And then I can mod F to make that full screen mod F again to send that back. Super shift M, remember minimizes. Super shift M would bring that back. Then near the end of the Qtall config, we've got some window rules. So this is a list of various windows that I want to float. So you can see, you can specify a class name or you can specify title name for windows. And every time it finds a window that matches that class name or that title name, it will make sure it floats it. For example, match title calculate. I use calculate as my calculator. So let me super shift enter to launch Rofi and let me search for calculate. And it launches calculate as a floating window. If I didn't have that rule there, it might actually try to force that into a tiling layout which would look very bad for a calculator, right? So that's how you force windows that need to float to float. You just specify right here. And if you have a situation where you're not sure if what the program is, what it's window manager class name is or what it's title is, what you need to do is use the xprop command. Type xprop in a terminal, let me zoom in. So you can see xprop, x-p-r-o-p. Hit enter and your cursor is gonna turn into a X, like a cross, right? Click on the window that you wanna figure out the class name for, for example, this terminal window if I click on it, right? Now I get returned here in the terminal, window manager class name is alacrity with a capital A. Make sure you get the spelling, right? If you wanted the window name itself, when I ran the command was xprop space the tilde character because I was in the home directory. Now the window manager name of a terminal is gonna change depending on what you're doing in the terminal. So in this case, if you want all your terminals to have a floating rule, you would specify the class name, alacrity. But if you only wanted it when you're running a certain command and that command always showed the same title of the window, then you could specify by title name if you prefer. Other than that, the end of this config is one I definitely didn't want to just briefly talk about. Auto start programs. So one of the things, this function here, what it does is it runs this shell script, autostart.sh.  This file was much bigger before because I had a lot of different for loops and if statements, I had a lot going on in it. And some of that stuff I think was causing some of those login issues where things were hanging a little bit. I've really slimmed this down to where all I'm doing in this config now is I'm assigning a color scheme, doom one. So this variable color scheme equals doom one. I'm using that because here I'm gonna have that variable actually be substituted for doom one. And basically these lines here, these individual lines are programs that will be executed. So lxsession is my session manager, pycom dash dash daemon launch pycom as a daemon. And then emax dash dash daemon launch emax as a daemon. Then em applet is the network manager applet. So that's your networking applet. And then I want you to run dot screen layout layout.sh. This is a shell script that a render which is a GUI front end to X render executes. It basically fixes my monitor order because by default my monitors are plugged in in a weird order where they're all backwards. So I have this a render script that fixes the monitor order as soon as I log into Qtile. And then I sleep for one second just to give the computer time to breathe for one second. And then I launch conky. Conky of course is the system monitoring program that runs here. And then finally I have like four different ways to assign a wallpaper for you can comment out this one and you know, choose a different one if you want. For example, maybe you wanna use the find command and then use XRs to randomly pick a wallpaper for me. I'm always going to set a wallpaper that is found in dot cache slash wall. So this is just a plain text file that has a the location to an image saved. And so if I do super P B to run one of my DM scripts and I do set it launches SXIV which is the image viewer, right? And I just scroll down to any image I like such as this one here. I hit M on the keyboard to market super shift C to close that window. And what it does, it sets that wallpaper and it writes to that file dot cache slash wall the location to this image. So the next time I log into Qtile, Qtile with the X wallpaper command draws this wallpaper again. That's how it always remembers the wallpaper and always sets the correct wallpaper. So that's just a little bit of what I've been playing around with here in the last couple of weeks getting my fresh installation of Oracle Linux back up and running streamlining a little bit of what's going on on my computers. Qtile is running beautifully. I'm going to push the latest configs to my GitLab. So if you go to my GitLab.com slash DWT1 that's my GitLab. Look for my dot files repository. You'll find my Qtile config and dot config slash Qtile. Now before I go I want to thank a few special people. I want to thank the producers of the show Gabe James, Matt Paul, Steve West, Arkotic, Armor Dragon Commander, Henry George Lee, Matthew, Methos, Nate, Erion, Paul, Peace, Archon, Fedora, Realities4Less, Red Prophet, Roland, Soul, Astri, Tianran, Tools, Devler, Wardgentune, Ubuntu, and Willy. These guys, my highest tiered patrons. I want to thank these guys because I couldn't do what I do without each and every one of these guys. I also want to thank each and every one of these fine ladies and gentlemen as well. All these names you're seeing on the screen right now. These are all my supporters over on Patreon. I don't have any corporate sponsors. If you like my work, want to see more videos about Linux and free and open source software like Qtile, subscribe to DistroTube over on Patreon. Peace guys.


For me economics is the way to understand what goes on in the outside world. When I sit here at Penn State, the institution I've worked for for the last decade, you might think of it as a university, but I think of it as an economic machine that resounds to various incentives and reacts in certain ways.  They're all governed in large ways by economics. And so I think with the type of economics we talk about in this class, we're able to better understand how these institutions operate and how best to place ourselves in these groups. First thing you have to understand about economics is most people think that the most important part of economics is what we call macroeconomics, which is whether or not the economy is going up or down a particular period. The kind of discussions that you see on say CNBC or Fox Business Report or anything like that. And so that's what you see on TV. And so I have to report to you two things. First of all, this isn't what economists generally focus on that macroeconomics over the last 40 years has really been a declining field. And the second is what you see on TV is complete nonsense. So if you see anybody predicting, say, where the stock market is going to go, ask yourself, if they're so smart, why are they telling you? Why don't they just invest a lot of money in the market, take their profits, get out, go retire to Tahiti? Well, they don't. So what we're going to talk about in this class is the nuts and pults of economics, microeconomics, how markets work, supply curves, and demand curves. In particular environmental economics, we're going to talk about how markets don't work. Because what happened is firms create externalities, which generally you thought of as pollution. And these are what are called market failures. And so the idea in this class is to talk about what constitutes a market failure, and then what you can do to solve this problem. We're going to talk about what's under the hood, how markets actually work, and how you can use markets in a policy sense to reach towards society's goals. Many people view environmental issues as black and white, good and bad. But from an economic point of view, it's simply people and firms responding to their incentives, often in ways that are bad for society. So I don't think of polluting firms as bad and clean firms as good. I think of polluting firms as firms who are interested in making money, but who have been given the wrong incentives by society. And it's society's challenge to address those firms in a way that stops them from harming society in ways to improving society. And so that's the real challenge from society's point of view, to use the forces of the market to help keep society clean and to keep society rich. Microeconomics is based on the free market paradigm of supply and demand and the interaction which results in market prices and the amount sold. And this market system in the idealized state that we'll talk about in this class generates the perfect, the optimal, the best world there is in this kind of ideal situation. Of course, no market is ideal, no market is perfect. Some markets work pretty well and we can with them and we're happy to do that. They've what's brought about a very rich society here in the United States. Other markets don't work so well. And those are the markets that public policy needs to focus on to bring about a richer society and environmental context, a cleaner society, and even perhaps should I say a greener society.


Welcome, viewers, to our ongoing program, Focus, coming to you from Channel 17 Center for Media and Democracy here in Burlington, Vermont. I'm your host, Margaret Harrington. And viewers, the title for today's program is The Vermont Reproductive Health Bill is Bad Legislation. The longer title is H57, the Vermont Reproductive Rights Health Bill or the Abortion Bill, is Bad Legislation for Human Beings in Vermonters. So I'm going to read the opinion piece that I sent to various publications here in Vermont over the past month and which have not been published. They have not been published, and I'm going to read this for you so that you understand what is on my mind and on the minds of thousands of Vermonters regarding this H57 bill. An individual ingestation at a particular time is treated as living at that time if the individual lives 120 hours after birth. According to Vermont Statute Title 14, Chapter 42, Descent and Survivors Rights in Vermont Law, this individual ingestation is legally an afterborn heir and can inherit a decedent estate in Vermont. Vermont is in a state of emergency to pass a Vermont Reproductive Health Bill, and this is one example of existing rights that can be taken away if this bill is signed into law. Following our three reasons why H57, the Vermont Reproductive Health Bill, as passed by the Vermont House and eminently to be decided in the Vermont Senate is contrary to precepts of democracy. Number one, H57 removes legal protections already set in place by the Supreme Court row versus weighed decision. Two, there was no voter discussion of specifics of the abortion issue prior to the November 2018 elections or prior to the passage of the Vermont Reproductive Health Bill in the Vermont House. Three, the bill was lobbied for and written by a corporation. The legal protections in row versus weighed specify protecting the woman's health and protecting the potentiality of human life. In H57, the trimester framework is discarded and the rights of the woman seeking abortion to safe medical care are not protected as in row versus weighed. H57 is an emergency bill which preempted all other issues that candidates talked about in Vermont prior to the November 2018 election. There was no discussion with voters about this abortion bill. The majority of Vermont voters did not know they were voting for candidates who would vote for abortion on demand and Part C of the bill. Quote, no fertilized egg, embryo or fetus shall have independent rights in Vermont law. Repeat, no fertilized egg, embryo or fetus shall have independent rights under Vermont law. In town meeting Vermont, there was no civil discourse on this issue. In addition, there was a paucity of input in the restricted time at the H57 hearings where every change or amendment offered by anybody at all was thrown out. This resulted in passage of the bill as written by all of Vermont Democratic Party representatives. Planned Parenthood lobbied for the H57 bill by promoting abortion access under the emergency condition that row versus weighed will be overturned by conservative judges on the Supreme Court. So H57 has to protect abortion rights. Yet, H57 throws out rights stipulated in row versus weighed. Planned Parenthood is a corporation with an annual total revenue of $1.3 billion, including approximately $530 million in taxpayer funding such as medical reimbursements. This corporation lobbied successfully to block single-payer medical coverage in both Colorado and California. The revolving door between working for Planned Parenthood and being a Vermont legislator is apparent and raises this question. Is the legislator working for the people of Vermont or their interests or for corporate interests? Is the legislator working for Vermont people's interests or corporate interests? The issues of states' rights versus federal law, the power of corporate money in politics, and the silencing of the Vermont voter's voice in legislation have been drawn into clear focus by this divisive abortion bill H57. The Vermont reproductive health bill should not be passed by the Senate and not signed by Governor Scott. The prospect of having to overturn such a law in the Vermont Supreme Court would be tough in a case of the people of Vermont versus the state of Vermont. But given the transparent assault on precepts of democracy, it would be worth the fight. So viewers, that is my opinion piece that I sent to the Burlington Free Press in Vermont Digger. They have not printed it in the whole month. They've had this issue on their table. I'll end with a poem by Emily Dickinson, which speaks to all of us. This is my letter to the world that never wrote to me. The simple news that nature sent with splendid, with tender majesty. This is my letter to the world that never wrote to me. The simple news that nature told with tender majesty. Her message is delivered to hands I cannot see. For love of her, sweet countryman, judge tenderly of me. Thank you. Until next time. And we will have a continuation of this issue with different experts in the field of ethics and liberty, First Amendment rights. Thank you.


What I'm trying to show you is a terminal chart over here, I actually want to draw your attention to gold on the daily time frame, looking for a closing breach of this descending trend line resistance here, 1815, to confirm that we are at a minimum going to correct this decline here, which it looks in positive fibroid sequence. So that would set up an ABC quality objective at 1871, using the 1788 as the invalidation point for this thesis. Could be then that we are in a more significant corrective move if we can take out that trend line resistance, so then we can start to think about upside objectives into the 1990 area. But let's see how we trade there. As always traders, plan the trade, trade the plan, most importantly, manage your risk. Until next time, thanks very much.


My experience at night has been great. It's almost like you're working for a family. Everybody knows you. It's kind of like Cheers. Everybody knows your name. Sometimes you gotta know your name.


What's going on everyone? Sam here with late in sports cards, ripping one box of 2022 Leaf Best of Sports for Dylan P Good luck here Dylan. Let's let's just pull something sick, dude. I love these things. These are so cool We just been pulling absolute fire out of these It's actually kind of wild some of the cards that are in here.  LeBron silver tribute PSA 9 Wow, dude congrats Dylan.  That is gorgeous Absolutely gorgeous the PSA 9 on that one on the tribute one of the very like I want to say iconic card, but like With how all the hype for 2020 prism when it came out And this was the card number this is card number one, so I mean this is the one everybody wanted that's so cool, dude Congrats on the LeBron James That'll do it for your box there Dylan congrats on the card buddy. We'll get it right out to you. Thanks again


Sometimes you have to write or produce something creative and you do not feel creative at all. But you need to power through.  Walk. For centuries, people have sworn that taking a good long walk is the perfect remedy for writer's block. Semi-recently, Stanford researchers Merrily Oprezzo and Daniel Schwartz sought to find real evidence to support that claim. They conducted a number of experiments in which people's creative thinking and reasoning was measured and found the average increase in creative output was around 60% when participants were walking or had recently been on a walk. The environment didn't matter. Even if people were walking on a treadmill facing a blank wall, their creativity was increased. So if you're feeling stuck, get moving. If you have mobility barriers or walking isn't an option for other reasons, check out some of these other ideas. Collaborate. Talk to people. Ask them about their ideas and any creative projects they're working on. Let ideas build on other ideas. Get feedback from people. Sometimes other people's creative energy is contagious. Get bored. Don't do anything that requires decision making or a strenuous thought or that requires focused attention. So no YouTube videos, no Sudoku, no solving for X. Try doing repetitive tasks such as washing your windows or dishes or wiping down cabinets or even drawing the same shape over and over again in a notebook. When your brain is allowed to wander a little, you may start the daydream or allow yourself just to think about anything. It's a great way to spark ideas. Look at creative stuff. Watch some of your favorite music videos. Grab a book on art. Watch a movie. Go to a play or musical. Or watch an open mic. Remember, creativity can be contagious. Writing prompts. Do little writing exercises. There are tons of writing prompts online. Take a look at ThinkRittens 365 Creative Writing Prompts or just Google Writing Prompts. Or ask a friend to come up with some or come up with some of your own. Finally, one strategy is to just start writing even if you aren't in the mood.  But after a few lines, you might start noticing that words are coming more and more easily.


So, anyway, everybody, so my name is Addis Pemont and I am a Geophysics Data Manager at the UK Polar Data Center. And I'm presenting on how the UK Polar Data Center is supporting data collection in remote environments. So I'm presenting on behalf of my colleagues, so I don't know if they say what I'm presenting, but I will try to do my best. Yeah, so the UK Polar Data Center is part of the NERC Environmental Data Service and it's based here at the British Antarctic Survey. So the UK Polar Data Center coordinates the management of Polar data from UK research and it supports researchers in compliance with national and international data legislation and policies. So reflecting on the multidisciplinary of Polar science, we are covering all scientific disciplines. So we are managing marine, biological, space weather, geophysics, ozone and meteorological data as well as physical samples such as rocks or fossils. So when we talk about data collection in remote environments, we need to overcome several challenges. So we want to collect as much data as we can, so we want to cover a lot of different disciplines. We need to work with quite limited bandwidth and connectivity and also limited resources. We need to deal as well with large range of sensors and we want to continue the long term monitoring activities that we have here as a British Antarctic Survey. So to do that, the role of the Polar Data Center is to support data collection by providing operational data management expertise and create innovative systems. So in this presentation, I will present three examples that showcase how the UK Polar Data Center is supporting data collection in remote environments. So the first example is the collection of biological data in small Antarctic stations. So as a second example, we'll be about the automation of data collection in one of our stations, which is called HALI, and the third example is about the automation of sensor data onboard the world research ship called CRW. So on small station, our activities that we are doing is collecting biological data, which are mainly collecting manually data regarding the wildlife. So it can be like to get a picture as a zoological feed assistant who is collecting, monitoring and collecting samples. So here on albatras. So the history can be the data was kept in feed books only but now we are trying to make sure that the data is also stored on hard drives and then brought back to the UK at the end of the season. But it's quite valuable. So we want to automate a bit more this process. So we are trying to work with a bus scientific teams but also the engineering team at the bus to develop new systems to to collect data. And so one of the examples is a way for it. So at the top you can see a tree grid. So it's on a broad island. And so each thing we start so we can know which thing we're installing from the bridge and we can count it. So at this point it's the only way that we bring up to go through from the seaside to the colony. And so this is a very good way to propose to know how much food they have eaten because we can wait them before they go fishing and when they come back. So also to improve standardization of the data. We are also developing databases. And so there are database on the station. And we are also created some overcome affects application forms. So that's so the assistant is in feelings reform and then the data is directly in the right format. And then it comes back. And it's a following the recommendation from the Commission for the conservation of Antarctic marine life and resources, and then we can report back to them directly to their environmental monitoring program. So here you are the brother, for example, of the animal on the cheese truck. And so a sickness station. And as you can see, we have sometimes some gaps or in 2010 and also in 2020 2014. So it was when the data system didn't arrive before the penguin. And now we to avoid this data gap, and we are trying to find new ways and also to add automation of some of the collection. So, now we are looking at having six cameras but also to look at satellite images, and also to add the counting of the, of the thing where we can look at also other platforms such as the drones. And now we move on to the data collection. So how is it where the red arrow is. So it's on the bright side and it's not really stable so we don't want to have the scientist stays there during the winter. But we still want to keep the very high level data that we have collected so far and to keep the monitoring for the long term. So, to do that, we have totally automated the station. So we have set up a micro-traveling for supply use, but on the system, and there is a data link to a set of agenomist scientific instruments and instrumentation. So this project preserves core science data streams from AI, so it includes meteorology and ozone monitoring, chocospheric chemistry and science, space weather and super atmospheric observation, as well as glass erosion of subordinate high chef. So to do that, we have quite a complex infrastructure. So we are working with six virtual machine. We have a data server on site and a processing server to automatically process some of the data. So visualization and monitoring server. So on the top, you can see a black and white dashboard. So this is to follow our way in the data link history, so what is the speed of the data coming in, but also to look at how well the shooting system is doing as well. And so there is a rough dashboard. So this is an in-house interface that is also showing some of the ideas fly, that is kind of saying whether or not some of the system would like the status of the system on site. So now we can run through the next kind of platform that we are working on. And this is a wide research ship, so that is at Enver or SDA for short. So it's one of the most advanced for our research vessel in the world. So it's a big red ship with lots of sensors on it. So we have lots of sensors, for example, on the front mass, but also on the main mass, and also under the ship. So currently we are getting more than 500 data sensors per second from more than 60 Android sensors. So as data we are collecting in its position, attitude, depth, maximum field, gravity, width, engine, and lab monitoring data. So the sensor data are large data rigour for our data set we are developing with NUC. And then the data inserted into a database and then we can visualize the data. So you are here a dashboard, so it's a graph and a dashboard that give a number of you of everything going on in the ship. So we are over the dive for but also some more specific dashboard for that we use to look at a specific instrument, or also for professional purposes, such as when we are deploying an instrument, we can look at for example which operations, and depth, for example, which are quite useful for real time information. So when the leak, the data range is not sufficient to transfer all the data automatically. So but new technology brings new opportunities in supporting data collection in remote environments. And so we are looking into using the styling collection that could hide improve the data transfer either from the station, but also from the ship. So in conclusion, so you get for another passenger is a focus point for Arctic and Arctic environment for data management in the UK. We are supporting science in remote environments by providing operational data management expertise, and technology and automation gives an opportunity to improve data collection in remote environments. And we have seen that new technology, including satellites and for the new systems, such as drone are increasingly used to running to also think when you're in for production. So that's why I'm encouraging you to look at my poster and if you're using currency, please fill in the survey as a code for the database here. Thank you very much. It's very interesting to hear about. I should say on the slide, he needs to switch now to the spotlight talks one thing. I was going to ask you mentioned at the end about the styling. So is that kind of effort to sort of standardize the way that you do your comments from all of those different senses and things or is it just not so standardize everything. And because we are just filing at the moment, the styling. So now we have one on one of our main stations so that is vertebrae and one on the ship. And so it has to, like at the moment it's more useful personal purposes, because we can't rely on the link because it can drop out whenever and you can't really plan for a rest but we can't rely on the visa connection but having the people like the people on the ship using the styling connection will move all that. Yeah, all of this from the visa that we can use only for scientific purposes so then it's really to test our way of the styling is doing and at the moment it's still a test but that could bring much more data to be collected and then transport kind of in real time. Sounds good. And I was also thinking, like in lots of, well, sort of field work that people at CH do, they can use like tablets and those sorts of things, I guess in those, in the different, the different approaches you have to use in Antarctic conditions to really have your gloves on or you need to have equipment or they can froze with the code so you need to have specific computers for this. So yes, sometimes it's not exactly the same thing. So sometimes you think twice before going outside.


the senses. Senses is a very important factor because to count the population and to count the population for the purpose to specifically regarding the geographical understanding, regarding the understanding that how and why the state can settle down the people and what type of facilities the government has to provide to the people in specific areas. Senses is an important factor for any country. The concept of Mardam Shomari is that until the data is collected, no country will be able to find out who and how many people are in the area. Until that number is not found with its total details, no country can properly develop it. Neither can the people be taken into account according to their percentage. Specially those countries that are currently going through that space where there is a quota system in the political context, some particular area, some particular area or some particular community, there is more sense of importance there. Because our senses provides more reliable and accurate data if properly numbered, it is one of the many sources for collecting demographic data and conducting of senses has a long history. But modern senses were first held in the 17th century. Even at the beginning, if we look at it in a very historical context, Aristotle, Plato, Aristotle, the concept of city-states has fixed the number. How much number of population will be beneficial or useful for a city-state. But then after that, the population increased and in the 17th century, we see that the concept of senses was that until we count people, until we complete the count of the population, how can we divide them, how can we plan for them. So this concept, if we look at human development, is an extremely important step. Because some countries like Ethiopia, they have held their first senses in the recent years. Now, on the one hand, the concept of the 17th century, we see that some people are far away from it and it can also be an example of Ethiopia. But the important thing for us is that if there were no senses in Ethiopia, then we are also seeing the effects of it. We can also observe the implications that those countries that do not believe in senses, there are many problems in the distribution of resources. There are two techniques of conducting senses, the gyro and effecto. The gyro is the technique of counting of people according to the permanent place of location or residence. This is a very popular pattern where the location of the people is counted according to the location of the people. The main advantages of this are that it gives a permanent picture of a community and it provides more realistic and useful statistics. But there are some disadvantages too and the disadvantages are that some persons may be omitted from the count. A household member who is temporarily away from home may be missed from being counted unless. And so we can say that another important thing is that some people may be counted twice. Another method, another technique is the defecto one and defecto is the technique of conducting senses refers to counting persons where they are present at the time of the senses period. Now wherever a person is present, if he is counted in the same place, this is a defecto method. There are some benefits of this as well. One thing is that there is less chance for the omission of persons from the count. Now wherever a person is counted, there will be less chance for the omission of persons from the count. But the disadvantage of this is that it is too much. Because the information gathering will be being cut about the people. If a person who is in a place, if he moves somewhere in another country, the information will not come about the same person again. Then there are many people, those are travelling and those have left their permanent residences and they can be settled at some places. And if they are not at their destination, then at the day of the senses, then how will they be counted? So this is incomplete information about the population. But we can say that in the modern time periods, when there are lot of modern technologies and modern data regarding e-data specifically, so in the presence of e-data, I think the senses can be linked with the information provided by the people for their legal, like the ID card base, the information about the ID cards, their families are also available. So if the senses are linked with traditional methods and modern technology, then in our countries too, there are many such issues that are created based on the senses. They can also be settled down. Yes, the source where e-data, digital data is located is behind it. Over there, obviously, the de facto or de jure or whatever method is more applicable, where people are more satisfied with this method, through the senses, people can get information so that future policy, economic, social planning, those governments can properly manage it.


Hey everybody, it's Eric Johnson from Airtight Throws Nation. Today we're gonna go through another episode of Love the Grind where we sat down with Joe and Ashley Kovacs a few months back. It was an absolutely fantastic interview. I could have sat there and spoken to him for easily two more hours, but in this episode we're gonna talk is, Joe talks a little about the equation for speed. They talk about training plans. They talk about a whole bunch of different dynamics and you kind of go through some of Joe's history and kind of his transition from high school to, you know, world champion and training with his various coaches. Lots of good stuff. Tons of cool little pearls that will help you understand your throw and train better. So hopefully you dig it, check it out. Joe, your mom was obviously your first coach and she was a thrower and apparently quite a good thrower, right? Like clearly she just dominated everybody for like three years. Did your mom offer to coach her or did you have to like convince her to coach you? So it all really started. So I started tracked as a way to stay in shape for football. I really went out to work with the sprinters and the jumpers. I went to a small Catholic school. So literally the sprinters, the jumpers and throwers are all just one because there's not that many kids. And then during one of our workouts, the kind of one of the guys I looked up to on the offensive line, because that's what I was playing at the time, he went over to start throwing the shot put. I was just like, well, I mean, like at that point he was like, one of my heroes, I wanted to be that guy. So I went over to start throwing it. The school I went to, we didn't have a shot put ring or a track. So we just threw off of the parking lot and my mom came to pick me up from school and she like saw me throwing it like a baseball pretty much. I mean, everything that you don't wanna do, of course that's what I was doing. So like she got out of the car and she like came over to both of us because he didn't know what he was doing either. And like just gave us like the quick tutorial, like put it in your neck, put the thumb down and like she almost pretty much started coaching us just because she was like at least had knowledge of what was going on at that point. And that's really how it started.  Which I think she like really didn't at first want to do it but I think she was kind of excited that, you know, be a part of something and help me out. And like at that point, like all my friends were just excited that like my mom knew something and all of a sudden like within that day, we were all throwing at farther than we were. Which I'm sure it wasn't very far. And like, you know, it's very like we didn't have a circle. You know, we didn't have a ring. Eventually I used chalk and made a circle and then I spray painted a ring which they weren't too happy about after I did that. But I mean, that's where I practiced all throughout high school. So she was my coach the whole time through which was awesome. I really doesn't get set enough but I did work with Glenn Thompson who was out of Harrisburg area who worked with Ryan Whiting. Almost every Sunday and this goes back to my mom. My mom would drive me because I couldn't didn't have my license at that time. We'd drive to Central Dolphin High School which was where actually Ryan Whiting went to school. He was already at Arizona State at that time and where you'd work with Glenn and like Glenn knew the rotation. Like my mom knew the basics of throwing the glide but the spin was so at that time you didn't really, there wasn't the internet. You didn't have these resources that you kind of do now. So we were just going to find it and Glenn taught me the spin and like my mom would take all this knowledge and then during the week she not only helped me but then helped the rest of our team. And then the next week it was like, okay, we learned part B, part C and kind of kept growing more and more. And ultimately that's where I really started enjoying growing because all those little details of putting that puzzle together that's where I really started loving it. And you basically have basically two engineering degrees? So I was, it's called energy business and finance was a business degree and I was studying petroleum and natural gas engineering. And one of the things people don't realize so you have this big history of winning and you won four straight science fairs as a kid. I did, yeah. So that, so before you ever won a shot put title you were a science fair champion. How old were you when you did that? My freshman year I won like that it was because like the Pennsylvania I won every state championship in Pennsylvania for the science fair. The big one was my junior year was a national engineering fair. But yeah, I mean that was actually my, I'm kind of a nerd and more so than I like projects more than even the numbers behind it. So yeah, I love that. So that was my go to. So not a lot of people know that, but that's for sure. Science fair slides and putting projects together and flying remote control airplanes with parachutes that was my first job. That's awesome. So do you think like because of your passion for science and how much you enjoyed it do you think that really kind of helped you and made you have a fast passion for throwing? Because it's so scientific? Yeah, I think it helped me because that's the only way I understand things. This is where I think it's, I mean, I think the kids at our house they're lucky because I mean the way Ashley coaches them but the way I talk to them are kind of different which I think is good to hear from perspective because like I won't do anything unless I know where it came from. So like for me the throw it comes down to a very simple projectile equation that you learn in high school physics. You can use the algebra one, you can use the calculus one if you can do the math but really comes down to angle release velocity and the height of the release. And if those factors and like there's actually a point if Art listens to this he'll be mad. Everybody at the training center knew there is a point where we're watching we had the track man unit out there. And Art was talking about well this one was faster, this was this and then I was just like well there's a equation for that.  I sent Art an email that night. And then I sent him an email that was like I wrote it how you would write it. I said it can be set. So that's already I started it with like the worst possible sentence. But pretty much if you're talking about the shop put which is about like a 19 to 21 meter throw like for every height of release that you throw it higher one centimeter higher you only get about 1.1 centimeters of distance. Now obviously that changes but like in the range of a shop put that's about all you get. Which I mean is huge if you're Ryan who's releasing it you know probably 12 centimeters more than me he's getting 1.1 times that in distance. But that's not the end of the world for me. An angle of release that one has a lot of variance but you get about 22 degrees or 22 centimeters for every positive degree over 35 and it diminishing returns after you go over 42 and a half. So like really quickly when I see the track man or I'm throwing like yeah that's important but that's that's more style. But when you get 0.1 meters per second that's about 45 to 55 centimeters for every 0.1 meters per second. So very quickly you realize it's all about speed. It's all about velocity. It's all about you need the power to have that speed. Like I tell her kids all the time like you can go find it to Catholic. You can go find anybody and put them in the perfect positions. But they don't have the power to develop the speed. Well then it's a pretty throw they're nice right but the power is all that. So for me it comes back to kind of like a science equation for everything we do. Sometimes like I pull out a whiteboard at practice and Ashley will just shake her head and I'll like the force of like a 16-butt ball this way it's zero this way. What plane do you want to push the ball at? I think it's awesome but then I also remember the NCAA rules for how much practice we could have in a day and I'm just like oh my gosh I know this is gonna take. Yeah I mean I don't know how long this is gonna take. Well her athletes that are like engineering athletes and I think they appreciate it but everybody's like all right just drawing again so. But yeah now truly for me that I think that helps a lot because like I won't do something to like my fullest capacity until I know where it's coming from and why I'm doing it. That's pretty cool. Which again I think anybody who's watching this if we got some throwers and coaches you need to know a thing or two it probably helps you out. I think you probably just blew a few people's minds right there but that's really cool. And at the end of the day with our program and stuff that's kind of what our whole system's been about is simplification of complex stuff and the more you understand it obviously the more efficiently you can train the better and the faster you're gonna get. So that being said we have a lot of our online members and parents and they're in high schools and they don't have throws coaches and they don't have a ring and you pointed out that you spray painted a ring just somewhere because you guys didn't have a ring. So it can be obviously sometimes situations it can be frustrating but one of the things we always talk about is you basically need shot shoes and a surface. At the end of the day if you have that you can really get it done and you develop the knowledge base. So when you guys are coming up with training plans and stuff how much does that obviously the knowledge is what's allowing you to come up with a plan and how did your plans change from like high school to college to art to now? For me in high school it was a lot of discovery and then of course once we started working with Glenn Thompson it was like I would go to him for like an hour and a half like they're shot and discus back to back and it was like absorb as much as you can and then I luckily I think I had that car ride home that I was able to kind of like take everything I heard and try to re-figure it back out. When I went to college I think I definitely wasn't as focused as I should have been on throwing first.  And that's what I did I was showing up to practice I was trying to get strong but I didn't have and like the stuff I'm telling you I need to know where the reason why and I didn't have the reasons why then and I didn't have like my little checklist of like why I wanted to do something and I'm kind of an extreme person so if I knew dropping your knee was good well then I tried to make sure it was scraping on the ground every time. I was always trying to go to the extreme because I knew I was a shorter guy I looked up to a guy like Adam Nelson who was obviously a unique technique an extreme one so like that's what I was always kind of going after was the maximal range I could get in college. When I went to art I went to him from college like I threw pretty well in college but really not great until the end and I tell people this all the time like when I was at Penn Relays my outdoor PR was 1989 which is solid but and it was good for that time. Now it's not but it was solid but literally by Olympic trials which is like a month in change away I threw 21 meters at the Olympic trial so that's a heck of a jump. And I had many fouls and people will talk about my warm-ups at Big 10s or over 22 meters at Don Babbitt saw me throw over 22 meters pie a bunch of times at regionals but I was just my fifth year TJ Crater left to go to Washington so I didn't have a coach my fifth year and I was just going like crazy I was really lucky because I was training with Ryan Whiting and my buddy Blake who ended up being a 65 player too but it was a great training environment but when I came to a meet especially going there there was nobody watching me just you know say hey you should kind of cut it I remember going to the regionals and Don Babbitt was there and I just knew his name as you know on this pedestal coach he coached Reece and Adam and so when he was there it was the day before the regional meet I just kept throwing because he was watching you know I cared more about just seeing him be happy and I was just trying to bomb these throws I cared more about that than the actual meet which I think kind of bit me in the ass a little bit going into the NCAAs I was just like kind of tired from putting on this show for all these coaches I was just excited to hopefully impress but then when I went like after that year not having a coach I made like people don't know this like how I ended up with art I made a list of who I thought like the top 10 coaches the NCAA were and I reached out to all of them and like it was actually weird that a lot of them went to UCLA and I didn't really understand that they all came from the same coach and I actually talked to Don Babbitt on the phone and he was just like hey Joe I have a lot going on right here I don't know if Adam's gonna keep on training at that time was 2012 you should give my coach a call and that's the first time I was like your coach like I had no idea I had no idea about the UCLA Throws history I was really naive to everything but I gave this guy a call on the phone and if anybody knows art and his personality within like three minutes he convinced me to you know point the line and I bought a plane ticket out of the state college and somehow ended up in Chula Vista and was able to meet with him and that's how I ended up going out to California to train at the center was just a phone call with art and him telling me that yeah he'll help me training center is a good place to be obviously coming out of college I wasn't on scholarship the people don't always know I really wasn't on that big of a scholarship I was on one third of tuition for the first four years and then obviously I was covered up my fifth year but I left Penn State with a lot of debt so going to the training center I think I had $92,000 of student loans which was crazy for an in-state tuition but Penn State's pretty expensive so I was able to kind of chip those away and get done with those fairly quickly while I was out there so it was awesome for me because I was able to justify not going to a real job because I had those lined up especially because I didn't throw 21 meters early in the season in college I threw at the Olympic trials so going out to Chula Vista was kind of like this last minute thing like I'm gonna go train and I was kind of against it because I had some pretty good jobs lined up so the second I got out there and I got in that environment I think I knew it was the right place for me That's awesome Now Ashley as a collegiate coach you know how do you approach and how far in advance do you like start constructing your training program and I know as a coach and you've been coaching several years now you have a I'm sure a general template you know what you're gonna do but you start tweaking it and how critical are those tweaks in that plan for your overall success So I'll quote Judd Logan I think this is like one of the best things I've heard about training and I didn't really get it until I got later along in my career but he said 90% of what I do is set in stone but I spend 90% of my time trying to figure out the last 10% and I thought that that was really awesome because I do think that as you go along there are some staples to the things that you believe and how you think they need to be done especially in the college system and I think that's one of the things that like Joe seeing the way that we do things with the collegiants like you know there are restrictions with the collegiants like there are time restrictions with the collegiants there are certain time you can be in the weight room there's you know other teams that are training in the weight room just things like that logistical things that you kind of have to work around as a collegiate coach I try to plan my workouts like I would say I'd write the entire fall like before we start in the summer at least and then but the thing is I always say this is the skeleton of what we're gonna do so basically like in the first four weeks I try to do like a mini needs analysis of the group because you know depending on who you have in the group like some of the things that I've had planned we have an older group there's no way I could do it with the younger group and so I think that it's one of those things like I think that if you stay really rigid in what you think you're gonna do that doesn't allow you any room for innovation or to really give the group what they need so I think that like part of being a good coach is being able to kind of audible see where the group is, see where they're at and I mean that's something where I can go down to practice and think okay this is what we're gonna do today and you know within the first six throws be like okay we're taking this a different direction if I see something that's like hey everybody in this group really needs to work on this it's being able to notice those things and take a call in that moment like hey we gotta do this drill that's gonna be the focus of the day so I definitely think that you know as I've gotten farther along I feel really good about the skeleton that I have but every year the group is different than the year before so I think that you just have to have some room for flexibility and be able to audible. Right, yeah that's one of the things I always talk about because it's funny obviously if you guys I'm probably have seen our stuff right we have our throwing chain reaction six pillars and everybody thinks it's like this factory apply like we're trying to do one size fits on that's actually the complete opposite it's actually here's the structure of the throw learn that and then the pillar is obviously every kid is basically gonna have their own prescription based on what they need, their size, their strength their weaknesses, everything from structural to just technical understanding or bad habits that gotta be changed and that kind of stuff so again tweaking I think that's a good thing for people like you said I've often call it when I coach when I have assistant coaches I teach them we have a plan but sometimes you have to look do we have to vacate the plan because you look at what's going on and that's not gonna work we gotta go this direction and this was one of things you mentioned like Joe you're 5'11", right? Or are you six foot? To be honest I'm like 5'10", 3 quarter okay because I've obviously met you a few times and I'm like yeah but you have very long arms you do not have a 5'11 wing span not a pretty good wing span I don't know exactly how long it is but it's pretty good yeah height wise 5'11 is a little bit of a lie I'm married out so I don't have to sound impressive I'll tell you the story let's say 5'11 but if we were at a combine yeah I don't even know if it'd be that that's fine okay so here's the thing actually you're a power 5 conference coach you have had some like big horses that you have coached I was I had one of my girls that I wanted I was talking to you about she's a six foot tall girl I'm thinking this is power 5 kind of thing Joe being 5'10", what did you weigh in high school Joe? I was like 2'35", 2'45", okay so would you, actually seeing Joe six you know 5'10", 2'45", would you have recruited Joe to a high state? We talk about this sometimes it's funny I mean here's the thing Not a chance to know Okay, here's the thing I'll say so it goes back to what Joe said earlier about the power you know I mean here's the thing I know it can be done being smaller like I'm 5'7", in high school I weighed I don't know I don't know 180 something 190 I was bigger in high school than I was pretty big but I mean I wasn't 200 pounds you know and so I know it can be done but I know it's harder to do it when you're smaller you know so you have to sell out for something so it's like I tell my kids all the time it's like okay I use this analogy with Shade all the time Shade physically to me is a 10 meaning like there's nothing that she doesn't have that I think you need to be super elite now Shade's technique in high school I'd say was like a 5 out of 10 if that so okay bodies a 10, techniques a 5, Shade's a 15 so say my body was like a 7 okay say my technique was a 9 well I beat Shade and I beat Shade you know I threw farther in the shot than Shade did now what happens when Shade goes to college and when I go to college is she can max out her controllables that I've already maxed out so it's like with somebody like Joe it's like okay wow you see a guy like that and you're like okay he's super explosive but if I have a scholarship and my job's on the line for that scholarship and I had to pick between 5-11 Joe that maybe hopefully could and a boy that maybe could go be playing Mac football at Kent State or come to Ohio State and he can stand through a 62 feet like I have to go with the power because I'm gambling you know what I'm saying now what I wanted to Joe if Joe came here if I could have given Joe some money and got him here like I definitely would have liked to coach him but like that's the thing as a college coach you have to be able to make some sense to your staff that you're making a calculated decision and they want to see you bring people in that look like people that they see at a regular basis at NCW. So it's like I'm not like a big person but like if I can get bigger people to come here and I feel like that's more of a sure bet and I'm not gonna have to put my job on the line for taking a chance on an undersized person that's gonna take more time to develop you know I mean that's just kind of what you have to do doesn't mean I don't believe in smaller people I mean I'd be like you know I'm a smaller people I guess for this but you would have passed on the future two-time world champion. No I promise to be honest. You would have passed but I'll tell you this coming from the smaller side of the scale like and this is anybody out there who's on the under six foot and below pretty much under six to and below I'll talk to you is like you're different than Ryan you know like if I threw like Ryan I would be a 1850 shop putter and if Ryan threw like me he would never stay in the ring. I mean there's definitely a huge difference. I think he probably respects what I do but there's a big difference for what we do but being with like the size I am I have to beat him and most other people in the weight room when it comes down to the power and the speed and if you're gonna be my height I'm gonna you know when it comes down to the release height and angle and speed and velocity I have to make up for that factor somehow and that's not just saying you more weight that's saying like what I always tell her kids is like if you're short be smaller like get lower get in the hole farther like you need to make your range more maximal so it's not just more weight it's more depth it's more movement it's more mobility. For me the more mobile I am the more I can turn myself into a rag doll the more I can keep doing this as a crew. Right. The second I lose that it's a hobby and I'm done.


Another tool that really comes in handy as you start working with code is called Git, G-I-T. It's a version control program. What that means is it takes snapshots of groups of files as you're working on them, and you can take as many snapshots as you want, and then if you ever decide that you made a mistake and you need to step back a few steps, you can work your way back through that stack of snapshots and go to an earlier one. Very useful for keeping track of your own work. It's even more useful when you're working with two or five or a hundred other people on the same set of code, and you're all making changes and trying to merge it back together and not cancel each other's changes out. Git has excellent tools for handling all of that. It's also a really good way to share your code. If you want to do something less formal than sharing it on the pypy.org, the Python Package Index, you can create a Git repository and share that either directly or through websites like github.com or gitlab.com. To download Git for Windows, you can... The easiest way is just to internet search Git download. Git-scm.com slash downloads. We'll get you there. And this is a very nice, nicely put together download. You click on the Windows, it starts downloading. You save this .exe to your machine. When it's done, you double click it and run it. It's probably stored in your downloads folder. And then you can step through the installation dialog. There are a few options here that we need to pick, so we'll go through the screens one at a time. Except the new general public license. The default folder is fine. I had to create the folder if it doesn't exist. If it does exist, in my case it does, don't worry about it. The default component selection. Make sure that git bash, git GUI, and Windows Explorer integration are checked. Also, I like to associate git configuration files with a default text editor and associate .sh files to be run with bash. You can create a start menu folder if you want. Here you get an option to choose the default editor used by Git. There are a number of options here. I really like lightweight, small programs with no more features than you need. To get a very simple text editor, I'm going to go down and select other editor as Git's default editor. And then I'm going to navigate down from the C drive to the program files directory to the Windows NT directory to the accessories directory where there's a text editor called wordpad.exe. Now, anytime git needs to do something text editing, it'll pull that up. You can change the name of the initial branch in a new repository. I really like to start with mine named main. I like the name main. It's very short. It's easy to type and very neutral. Here's an option about what happens at the command line. You can actually change where your system looks for certain commands. So the middle option says, hey, from your command line, you'll be able to do all the git commands. This is good. It's a great default thing to do. If you want the final option, use git and optional Unix tools from the command prompt. If you happen to already be familiar with bash style command line, like typing ls instead of dir to get your files listed, then you'll probably want to select this. And this will let you work from the command line as if most of the things as if you were working from bash. This is a matter of personal preference. For here, for now, we'll leave the middle option selected so we won't be able to ls at the command line. We won't be able to use our bash commands. We'll still be using the windows style dir and other windows commands there. The default open SSL library option is great. The default first of these three options is great. It says in anything I have a strong opinion on. We've been spending a lot of time with the console window, so let's use the console window. The default behavior of git pull here is just fine. Git credential manager works great. Enable file system caching, that's great. We don't need to do any configuring experimental options here.  And then we're done. Now to test this, we can go back to our command prompt and type git. Unfortunately, it's not recognized. So that's when we remember we have to close the command prompt, open a fresh command prompt window and type git. Now we see a list of a whole bunch of commands that can be used with git. And this should give you a sense of all of the things that it can do. It is a very powerful tool. It's in fact so powerful that it's easy to get yourself in trouble with. But we'll step through a couple of the most commonly used commands here, the things that you might find helpful. If we want to start tracking a group of files and taking snapshots of them, this group is called a repository. We need to create a directory to hold that repository. So to do that, we type git init. And then the name of the repository we want to create, a git repository. And we can check and see, yes, that directory to hold the repository was created. We can change directories and go down into it, see what's there, and it's empty. This is good. Now this directory, a git repository, and all of its subdirectories will be naturally included as part of this repository. The set of files that get snapshotted in git. To see how this works, we'll go and copy our file, hello.py, and add it to our repository. We copied and pasted hello.py here. We can see it when we type dir. Our next step is to add it to the collection of files that get snapshotted. To do that, we type git add and the name of the file. So now it's being tracked. It's included in the repository snapshots. To take a new snapshot called a commit, we type git commit-am and then in quotes a message that explains what this change is. So here we'll just explain file added. But this can be anything you want it to be, and it can be as descriptive as you want. The more descriptive, the better. Commit means take a snapshot of all the files that we've queued up for tracking. Dash A means include all of the changes that are waiting to be included. Adding the M means include this message, which is the message that we have in quotes. Now unfortunately, the very first time we do this, we get an error.  This is because git keeps track of who makes these snapshots. So I have to run these two lines, git config-global, user.email, and then I add my email address. And then git config-global, user.name, and then I add my name. This is the information then that will be included with this commit, with this snapshot. Now I can go back and try that git commit again. git commit-am quote file added quote.  The file was added, one file changed. This is lovely. If we want to see a history of what we've done, git log is a helpful way to summarize that. Because we only have one snapshot, one commit, there's only one entry in this list, but it shows the commit and then a very nonsensical string of numbers and letters. That's the name of the commit. Because it's so long, we're almost guaranteed that there will never, ever be another commit that has that name in this repository. So it's unique. That's really helpful. This snapshot is one of a kind, and this will help us always call it by its right name and get the one that we're after. And then the information that I just provided, my name and email is included there as author, and then also information about when this happened. Also the little explanatory note that we added, file added, is included there as well. You can imagine if you had a long list of these with nice informative messages with each one, it would read like a history of this repository that you're creating, this collection of files. It's a wonderful way to share with someone else the history of what you've done as well so they can look through the code and track the changes over time and see how the code has evolved. As we've mentioned before, this is a fantastic way to share a chunk of code that you've written as well or to get code from other people. If you have this snapshot, a Git repository, you can just pass that entire repository to them and they have the whole snapshot at once. And there are a couple of websites, github.com and gitlab.com, that are dedicated to doing exactly this in a nice, intuitive way. And these are things that are going to come up a lot in projects that you work on in the future.