So, in the last class, we had talked about several acoustic elements. We had developed relationships which were analogous for resistors, inductors and capacitors. Something similar to these electrical elements, we had developed acoustic elements, acoustic mass, acoustic inductor or compliance and then an acoustic resistance. Where we left in the last class was that we still have not developed some elements which bridge the gap between electrical and mechanical. So, in mechanical we have elements which behave very similar to electrical elements and then an acoustic beam we have elements which behave very similar to mechanical elements, but how do you convert from electrical, jump from electrical side to mechanical side and mechanical side to acoustic side. That piece is missing. Those specific elements we call coupling elements. So, we will talk about those today, coupling elements and these could exist between electrical and mechanical reams, electrical to mechanical or they can exist from mechanical to acoustic. Similarly, they can exist between mechanical and piezo and so on and so forth. So, in today's lecture, we will cover basically these two coupling elements and these are essentially transformers. So, they transform one form of energy into another form of energy or transducers. So, we will start with electrical to mechanical coupling. So, let us consider a magnet and this is its north pole and then I have the south pole. This is my south pole and there is a gap between the two poles and what you have is a conductor passing through it. And let us assume that the current it is having which is flowing through this is I and there is a potential difference across the conductor. And because there is a north pole and a south pole you have a magnet, there is this magnetic field which we label as B and this is my axis system x, y, z. So, this B has several names. So, some people call it B field, others specially electrical engineers they call it magnetic field density, electrical engineers call it. I think a B field is typically used by physics people. There are still others who call it magnetic induction, magnetic induction and then there is one more name in prevalence it is called magnetic field. So, notice its magnetic field density, but some people also call it magnetic and the units for this are Tesla in SI system and Gauss CGS system which is some nomenclature. So, we know from laws of electrical engineering that force. So, when you have a conductor through which current is flowing and that current is cutting across a B field then this conductor experiences a force from laws of electromagnetics we know that. And that force which is called Lorentz force equals B times L where L is the length of the conductor times current and the potential difference across this conductor would be voltage equals B times L times velocity. So, this is all standard electromagnetic and your V is your back emf and U is velocity, B is magnetic field density L is the length of the conductor. So, from these two relations if I have an electrical circuit and if it is coupled to a mechanical circuit through this what you can call it a motor which converts electrical energy into motion then I can make a transformer something like this. So, I have voltage being applied across this thing there is a current going through this and this voltage gets converted into velocity and my current is getting converted into force. And the turn ratio voltage equals B L times U to my turn ratio is B L. So, I can on this side put all sorts of inductors and capacitors and resistors and I can have as complex as an electrical circuit I can have. And here I can have in this on this side whatever number of mechanical elements which are there in real system and if I have to compute force if I introduce this element this particular coupling element then I am able to convert voltage into force and I into well I am sorry voltage into velocity and current into force for mobility analogs. If I have impedance analogy then I have the same equivalence, but my turn ratio will become 1 is to B L you can do the math also in that situation my voltage will be the through variable and my current will be the across variable and similarly on the mechanical side force will be the across variable and velocity will be the through variable. So, this establishes an equivalence between electrical and mechanical rings this is like a coupling element. So, current goes in you also excited with the voltage it gets converted into motion through this transformation and then that motion later gets converted into sound. So, now we will develop a coupling element which joins acoustic and mechanical networks. So, again I have a transformer and in more if I am using the mobility system of equivalence then my across variable is velocity or actually yeah and my through variable is force on the mechanical side and on the acoustic side my across variable is volume velocity and my through variable is pressure. So, from here you can see that v v we know that v v volume velocity is essentially velocity times area of what whatever membrane or you know surface which is pulsating is the area of that surface and it is actually normal to the direction of motion because volume velocity is a dot product of area and velocity also we know that pressure equals force over area. So, again you have this. So, my turn ratio will be related to area and so your turn ratio is 1 is to be in this case. So, this is my coupling element for acoustic and mechanical circuits and this particular ratio is valid for mobility equivalence. If my equivalence is of impedance type then again these relations are still holding, but my this ratio will become a is to 1 rather than 1 is to a. So, this is the last piece in the whole puzzle. So, now we know how to construct an electrical circuit. So, I can have an electrical impedance and then I can have a transformer is that current is getting yes. The turn ratio will be the same just we are changing the through variable and cross variable in the changing. Yes. Turn ratio will be then also come out to be. The turn ratio becomes inverted. So, when you do at the actual map you will see that it becomes 1 instead of 1 is to a.  If you so explain in electrical transformers v times i. So, the ratio of a cross variable is turn ratio and ratio of through variable is 3. Yes, because v times is preserved voltage times i on one side of the transformer is same as voltage times i on the other side of the transformer. So, if you switch those then your turn ratio becomes. Like here if you switch f and u. Sir f will come as a cross variable. F will become the cross variable. Yes. You will come will become the through variable. Yes. And the same side also. Yes. We will become the through variable and we will become the cross variable. Yes. So, when you have a step up transformer where voltage is going up your n 1 and n 2 have n 2 has to be more than n 1 and then a vice versa. So, if you use. So, we will explain it a little later may be after the class we can go over it in little bit more detail, but the believe me this ratio gets inverted and we will show it very clearly mathematically. I have wanted to cover couple of other things, but we will capture explain it in more detail. So, what we have talked about is the coupling elements and that essentially in a very general sense complete the picture. So, you now have equivalences between electrical, mechanical and acoustic parts of the entire circuit. You can use similar philosophy if you have a piezoelectric transducer and develop similar equivalences. And so you can develop similar coupling elements between piezo and mechanical or piezo and electrical rings. So, the idea of showing all this exercise at this detail level is one to help you understand how these interdisciplinary circuits are constructed. And B if you run into some other transduction processes then you have at least a third process which you can use to develop similar equivalent variables in other beam of engineering. So, now we will talk about something called the Helmholtz resonator. So, in mechanical circuit you have a spring and there is a mass, there is a spring and if it moves on a friction layer surface and if I perturb it by small distance x then it oscillates at a natural frequency omega equals k over m or the frequency will be 1 over 2 pi times k over m. You can have similar acoustic mass, acoustic compliance systems in one degree of freedom in area of acoustics that is called a Helmholtz resonator that particular device. Physically what it looks like is in a very general sense you will have a volume and you will have a short tube and in mobility analogy we saw not mobility this volume we know it acts as a spring physically. And we know that the air in this tube it acts as a rigid mass or an acoustic mass we talked about it at length. So, again you have a mass and you have a spring here and this has a tendency to resonate by itself. So, if you have you know one of the soft drink bottles and they have a little bit like this and you blow over on top of it you will hear some sound coming out that is essentially the natural resonance frequency of this bottle may be in one of the exercise we will ask you to calculate what is that and essentially what is happening is. So, again very similar to a mass and spring system if I push the mass spring gets compressed and let us say that is my steady state condition then I release the force on it. So, then the mass moves out but then it because of inertia it goes above and beyond the neutral position. So, then the string goes into tension and at a point when mass stops moving the strings pulls it back then the mass comes back and it again it exceeds the neutral position it compresses the string and it goes back and forth. Similarly, if you press a bottle or a device something like this if you press the air in it and after time you release that pressure all of a sudden. The air the mass in this acoustic mass in this part will move back and forth and in theory it will move back and forth for infinite amount of time at a natural frequency which we will calculate because you have a string here and you have mass here. So, come some other shapes another shape of a Helmholtz resonator could be like this. So, this is again you have an acoustic mass element and here you have a string. So, if I want to understand this and solve for its natural frequency I can if I use mobility analogy then this is my inductance which acts like a string and the value of this is rho naught c square and this is my capacitance which is behave similar to a mass and the value of this as we developed in the last class is rho naught l over a where a is the cross section of this tube cross sectional area of this tube this is my L and cross section is rho a. So, total impedance between these two points is j omega times v naught over rho naught c square plus 1 over j omega rho naught l over a. Now, for resonance z equals 0 in this case for resonance conditions. So, j omega v naught over rho c square equals 1 over I can bring my a up j omega rho naught l minus and then I can eliminate the negative sign by bringing j up in the numerator and now if I solve for omega essentially what I get is omega equals c times cross sectional area of the tube divided by length of the tube times v naught. I can use this Helmholtz resonator in a lot of ways it has its applications we will talk couple of applications about it the first application where it is used a lot is in sound systems. So, we will draw two boxes. So, I can have a box a excuse me and it has speaker mounted here and it is a seal box a lot of traditional boxes you have a speaker and just seal you may have seen it in your homes and you try to measure the pressure at this location over a frequency range and then another system you can have is again a seal box with the Helmholtz resonator and we will see what it does. So, I still have exactly the same transducer, but here I have a port also or a tube when I plot the frequency response for system a and this is my system b typically when you do the actual measurement and in later parts of this course you will actually develop relations which will show. So, if I am plotting pressure at this location s p l and I am plotting it against let us say frequency it will be something like this and just to put some numbers let us say this is 85 and this is all decibels and this could be 100 hertz and note that this is a decibel scale. So, a drop of 6 dB is a big change 6 dB means like twice the energy content is 2 times less in the whole system. So, if this drop is 6 dB essentially what it says is that at 100 hertz at may be a higher frequency it is producing 85 dB, but at 100 hertz it is producing 6 dB or even less than 6 dB from that 85 dB threshold which is not a good thing which means that low frequency base frequency which people like to hear more about more of they are not being produced at an equal level. So, to solve this problem what people do is they introduce a Helmholtz resonator and it is a very inexpensive solution they just introduce a tube. So, you have a volume here and you have a tube a port. So, you have a spring mass system and what it does is that because of the and they tune the length of the port and volume in such a way that the resonance is below some number. Let us say if I want to improve performance at 100 hertz or 80 hertz then I tune this in such a way that my resonance frequency is at around 80 hertz if I want to improve the performance at 80 hertz. So, when I do that my this transducer is producing SPL something similar to that, but my resonator is producing a heightened output at 80 hertz wherever I am tuning it to be. So, for on 80 hertz wherever whatever is the tuning frequency and in the neighborhood of that I get a little bit of extra push. So, I get improve my base performance. So, once you have so this is a and once I put a Helmholtz resonator this was something like this once I have a resonator it could be something like this. So, I have increased my frequency content the magnitude frequency in this range and on the negative side you have a steeper slope the on the low frequency end. So, you start killing lower frequencies the center then certain threshold much more steeply, but you are able to get some extra base in this area. So, lot of sound product companies they use these pipes. So, you have a sealed volume they put the pipe sometime they put two pipes to solve to add extra content for specific frequency bands. So, this is first application. Second application is in musical instrument. So, we will show see two pictures this is one of the original Helmholtz resonators constructed by Mr. Helmholtz in around 1850s. So, you have volume and you have a little bit of a tube here. Now, look at so this was 1850s this is the picture of Wiena. So, you have two pictures of Wiena and these round big spheres are essentially some hollow either pumpkins or locky you know that gold. So, in traditionally they would hollow it out and they will have a small tube going up and this they have been using it over at least last 2000 years, because people in ancient drawings also people have found pictures. So, people have been using Helmholtz resonators prior to birth of Mr. Helmholtz this is a very long time. Other thing is this is another Wiena called Kinnari Wiena and it has three resonators. So, again these resonators increase the performance at specific frequencies. So, in this Kinnari Wiena it just happens that this is a picture of a Wiena which is sitting in a museum in France. It is an instrument which was made something like in 18, 19 century and some French sound engineers and scientists what they found was that they found the tuning frequency of this little pumpkin and also the larger pumpkin and they found that the ratio is 2. So, they are off by 1 octave. So, even in earlier times people had a very clear understanding of octave. This is a proof it is sitting there in the museum you can go and measure it. People had a clear understanding of octave and also had figured out how to tune. So, that the natural resonance of one resonator is twice or half of the other resonator. So, this is. So, again in a lot of musical instruments in guitar there is a hollow box below the string. Now, you will not see an explicit tube in a guitar, but we will talk about it later that hollow box also kind of acts as a resonator. So, that is another application of the same resonator. Third application is in air boxes. So, in engines earlier air used to go to a carburetor and then there it used to get mixed with petrol fuel and then it used to get. Nowadays people are using less of carburetors and more of air boxes and there also the aim is that if they can figure out somehow as a way to smartly suck air more efficiently into the system then it requires less energy.  Another example is and we will do some math about it is architectural acoustics. So, you have a big hall and someone is playing music or speaking and if the walls in the hall are parallel then you can have standing waves because they are parallel and the wave length of those standing waves will depend on the distance between the two walls. So, we saw earlier if you have two fixed structures they could be a standing wave. So, people try to eliminate those standing waves because those standing waves are not pleasing to hear a by using resonators. So, in the first three examples in case of a loudspeaker in musical instruments and air suction we used resonator to enhance the frequency performance for certain pitches for certain frequency. In case of architectural acoustics they use the same tool to kill specific frequency and we will do a little bit of math on around it and see how it that they accomplish it. So, let us see that we have a long tube and the cross section area here is a 1 here it is a 2 and here the cross sectional area is a 3.  So, this combination of volume and this small tube on top of this circle is your resonator. So, the question is fine v v o over v v. So, we draw an acoustic circuit for this. So, in this case because v v happens to be through variable we will use impedance analogy. So, my pressure is analogous to voltage and v v is analogous to current this is impedance approach impedance analogy. So, now I construct a circuit. So, essentially I have two tubes short tubes here another short tube here a volume here my volume in impedance analogy will be modeled as a capacitor and my tubes will be modeled as inductors.  So, my l 1 equals rho naught times length of the first element over a 1 l 2 is rho naught l 2 over a 2 l 3 is rho naught l 3 over a 3 and capacitance is volume over rho naught c square. So, through variable as we talk this v v and here I am measuring v v naught. So, the question is what is v v naught over v v magnitude of this. So, at a very subjective level when the frequencies are very low how will v v get split along these two paths v v will split at this junction some of it will go through l 2 some of it will go through l 3, but when frequencies are very low what do you think will be the magnitude of current going through this circuit the l 3 c it will be virtually 0 because impedance offered by c will be very high. So, for very low omega v v naught is approximately equal to v v. So, my ratio is 1 for high values of omega there will be some. So, at very high there will be virtually 0 current, but what we are interested is what will be the ratio of v v naught over v v. So, whatever little current is going how will it get split in the two directions that is the question c will be acting as a short circuit. So, it will split based on the ratio of l 2 and n 3. So, c kind of acts as short. So, whatever v v is going in it will split like this the influence of capacitance will be virtually negligible I am just ignoring that and if l 2 is fairly large l 2 is very large compared to l 3. Remember l 2 and l 3 are inductances which are these numbers they are not they are not lengths by lengths.  So, what happens to v v naught. So, at resonance v v naught equals 0. So, v v naught over v v is 0 and the value of this resonance frequency will be 1 over 2 pi times 1 over l c that is 1 over 2 pi square root of l 3 times c. So, I at a very coarse level I plot this transfer functions magnitude I am having here frequency and here I am having let us plot it omega.  So, my transfer function will look something like this. So, in all other examples of the resonator I was using the resonator to boost the performance at specific frequency here I am using the same device to kill specific frequencies in this case something in this band I am able to attenuate the magnitude of that. So, resonance can do all sorts of things. Sir. So, in the in the actual hall the it is the walls are designed that the architectural this thing is designed to kill this frequency. So. So, this is used to be used especially in earlier times because people did not have a very clear understanding of how standing waves are interacting what is the damping coefficient of different materials at different frequencies. Nowadays there is a more higher emphasis on the shape of the room also the damping materials being used how the speakers are placed in the auditorium where should people who are generating music or sound they should sit all that. The reliance is not that much on resonators, but the point what I am trying to make is you can use the same resonator in totally opposing you know with totally opposing or different purposes you can boost frequency response or you can kill frequency. Sir, I am just trying to say that the system in the hall sir. It should also be tuned to produce this frequency. So, that it it can be killed with this. No, the tuning of the room will depend as I said suppose there are two parallel walls and they are separated by some meter length. So, it is tuned to have a standing wave which is related to that dimension. So, it is in that sense it is tuned to a specific frequency. So, what you want is that those standing waves they should not be heard loudly by the people sitting in the auditorium or in that listening space. So, that is a consequence of the geometry of the room the natural mode. So, we will do one very quick one more example. This is not a Helmholtz resonator just for practice purposes. So, I have connected to a volume pardon my very poor drawing and this is connected to another sag and here you have an acoustic resistance. In mobility the resistance will be 1 over r a this is all this is right now impedance model.  So, we will very quickly construct an acoustic circuit using impedance analogy. So, my across variable is pressure through variable is volume velocity it goes through the first tube which acts like an inductor such that l 1 equals rho naught l 1 over a 1 and then I have an acoustic capacitor here or a spring element which is v 1 over rho naught c square. Then I have another acoustic inductance of value l 2 such that that being equal to rho naught l 2 over a 2 and then I have finally one more. So, I should have put a resistance here and if I do a mobility model. So, this is my impedance model. So, in my mobility model I have volume velocity inductors get replaced by capacitors and vice versa the values do not change and the resistor is the same, but its value becomes inverted. So, this is rho naught l 1 over a 1 and this is rho naught l 2 over a 2 this is mobility model. So, in a lot of these circuits just wanted to recap couple of very simple, but important points you will see combinations of inductors and capacitors. So, you can have a capacitor of value l I am sorry an inductor of value l and a capacitor of value c and when you see you should start thinking how is this thing going to behave. So, again for low values of omega it will behave purely as a open circuit and the capacitive part will dominate for low frequency. The capacitive part will dominate for extremely low values it will become an open circuit it will go towards an open circuit, but capacitive part will dominate and for high values of omega inductive part dominates. So, if I plot the impedance and this is my omega the capacitive component will be infinite at 0 and it will fall like this. So, here z equals 1 over j omega c and the inductive component will grow with frequency and here z equals j omega l I am just plotting this magnitude. So, again I am just plotting the magnitude of c. So, this is the cross over point and the value at which these two become equal is 1 over square root of l c and the last point I would like to make here is all this approach where we are having lumped parameters does not matter whether it is electrical beam, mechanical beam or acoustic beam. They work to the extent that your frequencies are less than compared to lambda over 2 pi the lengths of the elements are less than lambda over 2 pi the length of the element is less than lambda over 2 pi. So, if in an electrical beam you are starting to violate some of this condition you will not be able to accurately model the electrical circuit using lumped elements because then they become continuous system. As we saw earlier in several lectures back in transmission line as we were developing the transmission line theory capacitors stop behaving as lumped capacitors when at very when the wavelengths violate this fundamental condition. The same thing is true for mechanical and same thing is true for acoustic beam also. So, as we are solving some of these equations and constructing these complex circuits we have to be cautious that in every single ream are we sticking to some of those guidelines or not. So, that is what I wanted to talk today in context of Helmholtz resonator and a little bit about overall electrical circuit. Now, I wanted to introduce this notion of acoustic radiation impedance radiation impedance. What is it? An electrical circuit let us say an amplifier and it is receiving electrical energy. You know how to convert that electrical energy and model that conversion process to mechanical energy we saw this whole transformation process. Then this mechanical energy gets converted into sound which is generated by a loud speed and we know how that conversion is happening and we have developed elements, lumped elements for short tubes, closed tube short volumes and acoustic resistors. Once the sound leaves that box or sound system whatever and it reaches my ear there is some impedance in that travel process also that is called radiation. So, far we have not captured that if I have to accurately model the entire circuit from source to the listening point or the observation point that is one last piece of puzzle which is left and that is radiation and the radiation impedance will change depending on if you have a sphere which is pulsating back and forth it will have one type of radiation impedance. If I have a sound source mounted on an infinite wall the radiation impedance will be different. If it is a sound source just moving back and forth may be for some frequencies low frequencies the person at the other end may not hear anything because as a piston is moving forward it is creating positive pressure on the front surface and on the back surface it is creating suction. So, those two waves add up and they reach your ear you will hear very little sound. So, all that is about radiation impedance and that depends on the distance between the listener and the source. How the sound source is mounted? What is the boundary condition at the source point? The geometry of the source and several other variables. What we will start today is radiation impedance of a pulsating sphere because we have developed some relations in past how sound propagates as it emanates from a simple spherical small source. We have developed some relations and then in subsequent lectures we will do some more examples of different types of radiation. So, we will start from the definition of instantaneous power.    In one of the earlier lectures we had said that z which is the impedance could be a magnitude times exponent j psi where psi was related to this power factor notion. Also pressure will have a magnitude which is a real positive number times exponent of j theta. So, if I put these two relations in my above equation I get instantaneous power equal magnitude of pressure whole square times and real of 1 over z star would be times 1 over z times cosine psi plus times 1 over magnitude of z times cosine 2 omega t plus 2 theta minus psi e square over 2. Also so now this is what we had defined as average power and this is the fluctuating portion and there is a psi component to it also I mean this influence of psi also. So, when I plot this and this is to a certain extent a recap of some of the earlier work for psi not being equal to 0 this is my time axis and that is my power the total power will be something like this where my average power is going to be positive nonzero entity and this is my total power and this area below the axis is essentially the energy which is getting dumped back into the system. Also we had in the last class or one of the earlier lectures talked about that because this is not symmetric along the horizontal axis the time axis what it means is that it will eat more than the norm quote unquote the normal current which would have been needed if cos psi was equal to 1 because there is lack of symmetry along the horizontal axis it will consume more power the case where cos psi would have been identically 1 that is if psi was equal to 0 this was a recap of some of the stuff which we have done. So, now remembering this we look at a spherical radiating. So, I have a small sphere we had developed its radiating impedance to be e r 0 s over u r 0 s what this means is that this is the radiating impedance of small spherical source of radiating of radius r naught on the surface of itself. So, this is what the body will see as its impedance on its surface if you move away from the surface this r naught will grow will become whatever r value is. So, my z r a which is acoustic impedance is essentially z r over area.  So, whenever you have a pulsating sphere it will by nature of its presence introduce a nonzero psi in the entire circuit which means that at the amplifier level it will draw more than optimal value of current and it will require more than optimal value of voltage. So, you are introducing just because by virtue of that it is a spherical surface radiating in free space you are introducing a nonzero value of psi and may be to fix that at the electrical level you can put some capacitors or you know to rectify that this is z naught if I inverted where z naught is rho naught times c times s r naught over c plus s r naught and if I replace s by j omega I get z naught times j omega r naught over c plus j omega r naught. What we do here is we try to rationalize this term.  So, I will now plot this and I will plot its real component and also its imaginary but before I do that I will rewrite it z r equals z naught omega square r square over c square did I I think j omega r naught over c. We are assuming that omega is we are assuming that is only then these relations will apply. Why because if we do the exact match there is a omega square r naught square term in the denominator. So, this is z naught and this is omega square r square r naught square over omega square r naught square plus c square plus j times omega r naught c over omega square r square plus c square yeah that was a simplification I had done it. If omega is low then this is my relation and if omega is large then I get z r equals z naught 1 plus j c over omega r naught. Regardless whether omega is small or omega is large you have complex imaginary components in the entire term except for very low frequencies what you see is except for very low frequencies it becomes purely resistive in nature and at extremely high frequencies again it becomes purely resistive in nature but in the intermediate range it has a reactive component and what that means is that most of the at most of the operating frequencies what these two approximations show is that psi will remain non-zero. So, power factor will be non-zero will be not equal to exactly equal to 1 for most of the frequencies we are talking about. So, I will just plot. So, I have here what I will plot is this is my real component of z r and my imaginary component will be something like it will be asymptotic. So, what this shows is again this is a plot of different components for z r real and imaginary this is my omega axis and what we have shown here is that regardless except in very extreme conditions extremely high frequencies or extremely low frequencies in most of the range my spherical sources are fairly reactive in nature which means that if I have to produce significant amount of d b s p l from these sources spherical sources it is a difficult thing to do because they eat a lot of power at the amplifier level that is the implication. So, if you are designing complex system and if you are thinking of using a spherical source then you have to think a little bit more carefully how you develop. So, that is all we want we will be covering today in the next lecture what we will talk about is. So, this is my z r I still have not approximated this into a set of resistors inductors and capacitors in the acoustic world. So, you have if I have electrical mechanical and acoustic I have all that conversion, but I still have till so far not converted this into some lumped systems which I can construct in the acoustic range. So, that is what we will do for a spherical source in the next class and then we will also consider couple of other.


In the Cash Money situation, they had the artist with the talent and they had the ownership that was willing to do what it took to make it work, because they saw a big picture for themselves. Yeah, we on Boss Talk 101, 101, yeah, we gon' talk. Well, Birdman, I talked to him on the phone, and the one thing that he credit you for is his work ethic in studio. Yeah. That's something I didn't even see coming. I believe me, we done interviewed at Chironies and all kinds of stuff at Peaches. She mentioned you in the interview, everybody we talked to, we get in our UGK moment, okay?  You know, when he said that, I knew y'all had ties, but just those type of ties early on, how would you, how would, how does that make you feel when you hear him say something like that? Well, I mean, look, I've been able to build a lot of relationships with a lot of people. Okay. And one thing that you hear universally is that everybody met the same dude, right? Yeah. 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They had the money, they had the time to work on the talent and build the talent up to the level that they needed him to be at. And so instead of just consistently just tryin' to put music out, music out, music out initially, they put a little somethin' out, then they was like, okay, let's work on that a little bit. You know, because there was the BGs, right? And then as they brought in Juvenile, okay, brought in Turk, okay, hold up, maybe we can make this work. Now we got the High Boys, okay? I think some of these dudes, like Juvenile was always gonna be a solo artist, because he had a career before the High Boys. But now I was like, okay, Juven really on fire. Let's get that solo album goin' for Juvenile right now. At the same time, we need to start workin' on Wayne. Wow. You can start workin' on Wayne. You know what I'm sayin'? While they workin' on Wayne, they realizing BG, BG's ready too. You know what I'm sayin'? Let's be prepared for that. Now they understand the system and the industry.  We know how to get talent. We know how to work with talent. We know how to make the right music and sell the music. Shit, let's start doin' some R&B. You know what I'm sayin'?   Once a hustler understands the hustle and master it, the world is in his palms. And that's really what happened. But it was always about workin' with the talent and allowing the talent to build itself up to the right place. Not just takin' somebody raw and just throwin' them out to the wolves. Wow. When you talk about branching off to different, especially genres and stuff like that, I think about when we were, we play UGK all the time. And recently I was, I heard a song with Sean Kingston. Hot slap, post it on the block, gotta get it tied up, and I'm never gon' stop, now that gangsta. Yeah. Gangsta. And I'm like, I love that beat. I love that. I even said, I said, Pimp wasn't on it, Pimp was in prison at that time when this happened? Yeah, that was my solo album. That was his solo album. That was my solo album. So yeah, the Pimp was locked up. So if you listen to the song, you hear me sayin' Free Pimp. The song. Right, right. So what I, what I wanted to know is that if he was out, do you think he would have jumped on that? He would have done something like that? Because when I think about Pimp and the type of songs that I've heard, it's always, always so Texas, so South, so everything. So when we, so I was in a group called PA Militia, and Pimp was in a group with Mitchell Queen and they were the original version of UGK. We combined those two groups and created a group called 4BM, with four black ministers. And the whole thing about it was makin' reggae music over, I mean makin' gangsta music over reggae music over root reggae. So the original version to tell me of Cocaine in the Back of the Ride is about Marley Song. But Rita wouldn't clear it, because we were talkin' about Cocaine, and she said, Bob, I don't like Cocaine. She said, you want to do weed, and you're like, you want to do weed in the car, do weed in the car, but Bob, I don't like Cocaine, so you can't use Bob's music to represent Cocaine. I get it. I didn't even know that. I didn't either.  Steele Pulse was actually a, you know, reggae, and especially dancehall, had a very strong movement in Houston from like, I would say 90 to about 94. Right, it was very, very dominant in the city of Houston, the hottest club in the city at the time. We were makin' music, it was called Jamaica, Jamaica, right, and that was the best club in the city. And you would go there and they'd play reggae music all night, and then they would do a rap set for like 45 minutes to an hour, and then get right back to the reggae. But we liked it. It was a cool vibe. It was chill. They had pool tables in there, you know, and women dance different to reggae music, Jamaican women's specific. That's right, that's right. So we had no problem with that. Oh man. But it was a cool place for everybody to congregate, you know. And so now, Jamaican music and Jamaican culture has always been prevalent in Houston. And it still is now to me because even, I think, they have a reggae concert that they do every year. Ever since I've been here, and I've been in the States 21 years, and I've always heard everybody from Dallas, who I know Jamaican-wise, Caribbean-wise, go to Houston and pack this place out for this concert, and it comes once a year, and it's always like the biggest thing. Right. There's a lot of Jamaican influence in the city of Houston, too. Yeah, for sure. It's always been represented in the city of Houston, and Houstonians know, right? Yeah. Especially people from my generation. They know. Like, you saw real Jamaicans in the club, not like people that grew dread. Jamaican. No, no, not just people that grew dread. They grew dread. Like real rosters. You know what I'm saying? Yeah, I want to ask you, I want to go back to the, I want to go back to the Cash Money days and talk about Manny Fresh because I seen he had said one time when I was watching him away a while back, it was like, I think it was a policeman or your friends. He called you to get your approval, to use a sample of that for, I think it was back that thing up, wasn't it? I'm not sure. It was something from that area. It was something from that area. I can't remember. I like to comment about that. I thought that was respect, man. I'm like, man, he brought really so respect and early on in the music. Well, Manny and I had a very good relationship, right? You know, I met Manny initially. We all met together. We had a big show at USL that was too short. It was Ron C. Yeah, Ron C. This was back when Manny was with Gregory D. Yeah, Gregory D. It was on the show. And I think Baby and Slim had UNLV at the time, right? And so we all met at that show. That's when they actually approached Manny about doing some music with them. So when I first started to go to New Orleans to meet with Baby and Slim, it would be me, Slim, Baby, Manny and BG as a kid, right? That's who would pull up the peaches. We'd all be in Manny and Paula back there. You know what I'm saying? That's hard, man.


Not quite sure, but we were blinded by a lot of smoke out the back. We thought we'd drop to a valve guide seal and did motors not running properly and now we're stuck in third gear, so we're stranded here. It was real difficult, it was difficult the one before too, the car's not running properly, so we had a few issues with that. I guess we'll see when we get it fixed and rejoin the rally, but at this stage any chance we had is pretty much gone, so it's just about having fun now.


Welcome to the Adam Dills Movies podcast. We're gonna be talking about the writer's strike, the actor's strike, and how it's finally come to a close. After nearly six months and hundreds, if not thousands, well, it's over thousands. Tens of thousands, hundreds of thousands of people took to the picket lines and they made their voice loud and clear. We want some money. We don't want to be replaced by AI. And maybe Netflix and other streaming services could share some of the massive wealth, some of the massive gains they've been making. I can speak for myself, but my subscription has gone up like 100% over the last few years. So that money's going somewhere. Money's going somewhere and apparently it's not to the actors. Some of them have come forward prolific actors like Aaron Paul and probably the girl from Blossom have come forward at some point and said, hey, you know what? I'm not receiving any money for this show.  I think that Hollywood maybe could throw a little bit our way. And the problem really does stem for that and that's where we can start, which is that for the longest time actors relied on getting these residual checks. Getting their monthly stipend or six months or whatever it is for working on a show in the past that has since been in syndication. So they get their initial fee, which could be really impressive or it could be very small depending on the role they have on the show. And then from there, they kind of wait and see how it does. And if it's popular, you're going to get paid for it, son. You might have a negotiation upfront that says, hey, every time this show is played, you get a dollar or you get 2% or you get whatever. It's completely randomized, I believe, depending on the deal that's made.  So you can take my word for it. But people have come out and said, listen, since streaming has taken over and television is on its last legs, that check's not coming in the mail anymore. Or if it is, it's like $5. It's embarrassing. This was the same for writers who worked on shows. They might have had a decent first paycheck, but after that it's just, it's gone. And a lot of people, you know, a lot of regular Joe Schmoes will say, hey, I don't get paid for a job I did six months ago. That job's done. I made my money and I move on. I'm not expecting to keep getting paid for it. Well, it depends on the industry you're in. My brother, for instance, and a few of my uncles actually are insurance salesmen.   Well, you probably have an agent who gets a couple of those dollars while the rest of it goes to all state or progressive or whatever. There's plenty of industries that work just like that. And you make good money doing them too. And so that's kind of what the actors relied on. And unlike an insurance salesman or whoever, you know, whatever other field there is that works this way. I mean, hell, it kind of works that way for me on YouTube as a YouTube creator. I put out a video and I still make revenue off that video as long as it's getting played and circulated around. Granted, it's incredibly unimpressive numbers. But for a big creator, like a Mr. Beast or whatever, he's popping videos out that are getting millions of views. And those keep garnering him money week to week, month to month, year to year even. It all depends on the popularity. Well, that's no longer the case for these actors. And I can guarantee you Mr. Beast would be on the picket line too if one day, well, he doesn't need the money. But he might do it for the little man, which is what a lot of these actors are doing. If YouTube one day said, hey, we're not a thing anymore or we're going to be pivoting or people aren't watching us anymore. So we're going to start selling off of our shows and you're going to have to go watch it over on this new thing. And that new thing doesn't have to pay you because it's technically not their content. It's YouTube's content. Well, then you get screwed. You are still providing the material. You are still providing the service and the show and the talent. But now someone completely separate is making that money off of you. And you could argue and say, well, it was YouTube's, you know, you signed up with YouTube and then it moved. And so that's really, you know, it's just up in the air. Well, actors are trying to prevent that from happening. They want, they still want a good deal. They still want to be in the industry and make good money. The average pay for a worker in Hollywood, an actor or whatever is $60,000 a year for an actor. That can go from low as $23,000 a year up to, of course, millions if you're a Chris Pratt or whatever, whoever's the big ticket item right now. I think I lost my train of thought before I apologized. I kind of flew off the handle in the southern tangent, but that's okay. We're kind of getting back to it. Anyway, my point of the matter is this, these actors don't have typical insurance jobs. They're actors. They might be on the set for a couple hours a day, or they might be on the set all day or they're on call. So it's also very hard to have a nine to five job. Some of them do, especially in that lower bracket of pay, but it's a lot more Wild West out there. So there has to be some sort of umbrella, something to like hold a parachute of sorts. And when they have to pay for Cobra health insurance, you know, because they're not part of a company to be, you know, for sure, then that's even more dicey. Now that's where SAG After comes in. That's the Screen Actors Guild, hyphen, whatever after is it's like associate film and television, radio, something or another. I don't, I don't know the acronym. But they do provide some of that. They're a union and you can sign up to be part of that union, which then you get some health insurance, you get some dental, but you're paying out of pocket for that. It's not good. I actually looked into it out of curiosity. It's not a good, it's not a good situation. Just to kind of put a pin in the problems they had going to the negotiating table, I got some quotes here from some of the actors. This is from Mara Wilson. She's an adult actor who came back after being a very popular child actor. When I said adult actor, that makes it sound like she's a porn actor. That's not what I meant. She's a grown person. Here's what she says. Wilson began acting as a child. Well, she doesn't say this. The article does from insider. Wilson began acting as a child and started in hit movies, including Matilda, Miracle on 34th Street, and Mrs. Doubtfire. Now you know who I'm talking about. In 2000, she took a break from acting but returned years later to guest-starring shows such as Bojack Horseman and Big Hero 6, the series. So those are animated, so she did voice acting, it sounds like. In July, Wilson tweeted that she had not made enough to qualify for SAG after healthcare despite acting in these shows. Numerous actors have said that the minimum an actor must earn to qualify is $26,000. She says, I haven't acted much as an adult, but I was a recurring character on one of the most critically acclaimed animated shows of all time, as well as playing an actual Disney villain. But thanks to streaming, I have never once made enough to qualify for healthcare. Kamiko Glenn reshared a TikTok video from 2020 showing her meager residuals from Orange is the New Black. Let's see what she had to say. The article referred to a TikTok video Glenn posted. In the video, Glenn showed a letter notifying her of the residuals she received from appearing in 44 episodes of the show. The total was $27.37. That's a solid meal at Chipotle and she could treat herself with a Starbucks afterwards. And that's really as much as you're gonna ever get. And even that, that's pushing it. The article also reported that Emma Miles, another actor on the show, was paid less than $900 for each day of filming. However, in an Instagram post, Glenn said that half of that paid and actually go to the actors. We don't make 900 a day, 900 per day of shooting. That happened about twice every two weeks. So takeaway taxes, commissions, that nets you about $450 for that one day of shooting. And assuming you work four days a month, we're talking 1800 for a month work and you live in New York City that doesn't make rent. That's the other problem is obviously these shows take place in some of the most expensive places to live.  So there's really no win there. You got to get yourself on a super popular, steady job. And I don't envy that at all for struggling actors trying to make it. What a tough situation. Yikes. Let's go to a couple others. I'm moving down to find my boy Aaron Paul here. Oh, let's go to Sean Gunn. Sean Gunn slammed Netflix for the lack of residuals he received on Gilmore Girls. Honestly, Sean Gunn should be a millionaire off Gilmore Girls based on how many times my wife has watched that show alone. And my daughter Olivia loves it too. They have gone through that thing. My wife has probably gone through all of Gilmore Girls 40 times over the course of her life. And Olivia is on her fourth or fifth already as well. I've watched it once all the way through. It's a great show. Gunn slammed Netflix in July for the lack of residuals he has received for his role in the show. But the series continues to be a success on the streamer. Gunn told the Hollywood Reporter on the first day of the SEGA after strike. I was on a television show called Gilmore Girls for a long time that has brought in massive profits for Netflix. It has been one of their most popular shows for a very long time, over a decade. It gets streamed over and over and over and I see almost none of the revenue. While Warner Brothers, which produced the show and licensed it to Netflix, is responsible for residual payments to those who qualify, Gunn clarified on Twitter that he thought the cast should get a share of the millions of dollars in profits the streamer has made from the show. And we'll do one more and that's from Aaron Paul.  I don't get a place from... And what does he say?  He didn't add that. I threw that in. If we're being totally honest. And that's insane to me, Paul told Entertainment Tonight in Canada. Shows live forever on these streamers and it goes through waves. I just saw the other day that Breaking Bad was trending on Netflix. Breaking Bad is one of the greatest shows of all time. It is pretty pathetic if Aaron Paul isn't getting a little bit of revenue from that show playing because the dude is one of the main stars. Wow. Okay. And again, these are the prominent actors. These are big actors on big shows. But think of the small actors on decent sized shows or even on small shows.  And there's been plenty of photo proof of that where celebrities show their paycheck from Disney or whoever and it'll be for like 10 cents. The 10 cent rev share from Disney. The YouTubers. I'm making more than that off of some of my videos. I guess that's something I could put my... I could put that feather in my cap. Hey, I'm making more than Aaron Paul is on Breaking Bad in 2023.  But there is good news. There is a Silver Linings playbook. And that is on the ninth, I believe. Maybe don't quote me, but somewhere just recently. November 9th, 2023. The actor strike has come to a close. The writer strike ended in September. The actors made an agreement and they're cool with it. And it is not really public knowledge as to what is all inside of that agreement. But we can get some clarification from this article from what site is this? This is APR news. I don't know what APR news is, but let's just pretend they're credible. Los Angeles on Thursday. For the first time in more than six months, neither Hollywood's actors nor its writers will be on strike. The long-awaited clearing in the industry. Stormy a season in decades comes to a deal late Wednesday. After nearly four months, the longest... Wait, whoa, whoa, hold on, hold on. Was at nearly four months. Oh, okay. Both strikes combined were six months. And the writers were longer than the actors. So the actors were on strike for four. The three-year contract must be approved by the board of the Screen Actors Guild, American Federation of Television and Radio Artists. What a beautiful sentence. And it's members in the coming days. But Union leadership declared that the strike will end at 12.01 a.m. on Thursday. It's a real Cinderella story, isn't it, folks? Duncan Crabtree, Ireland. This is a person's name. Duncan Crabtree hyphen Ireland. SAG, after his executive director and chief negotiator, said the gains made in the deal justified the struggle. Duncan Crabtree Ireland is one of the greatest names ever. It sounds like something AI built. I love it. It's an agreement that our members can be proud of. I'm certainly very proud of it. Crabtree Ireland told the Associated Press. Oh, that's what AP is. Oh, my God. Does it say AP? Oh, it's AP news. I don't know where I got the R from.  AP news. APR, my God. I need glasses. I need to enhance my vision. We said we would only accept a fair, equitable, and respectful deal. And that's precisely what this deal is. So I think our members, as we are able to release more of the details of it, will look at them and say, now this is something that was worth being on strike for. What did we get? More than 60,000 SAG after members went on strike on July 14th. Okay. Uh-huh. Uh-huh. Let's keep going. The union valued the deal at over a billion dollars. This is like a Dr. Evil deal. Crabtree Ireland said the deal includes boost to minimum payments to actors, a greater share of streaming revenue going forward, and bolstering benefit plans and protections against the unfettered use of AI, the evil artificial intelligence in recreating performances. Details of the terms will not be released until after a meeting Friday when board members review the contract. The AI protections were a sticking point in the negotiations that had been moved, I can never say that word methodically, with both long breaks for both sides to huddle since they restarted in October 24th. It is something that has evolved. Even while we've been in the negotiation process, Crabtree Ireland said, God, that name is sick.  Basically, since it was so new and there was no, you know, rails for this at all, Hollywood, it was like carte blanche, they could do whatever they wanted with it, which meant, oh, if we have an actor signed up, we can just use his or her likeness going forward on this program, we don't have to pay them to dick. We can just use their face, we can mimic their voice with the computer, bada bing bada bang bada boom, we have a picture. That's no longer the case. Actors now have to sign on approval to use their likeness in some sort of a weird Frankenstein's monster AI version.  You ever seen those Tom Cruise things on Instagram or TikTok or whatever? It's wild. How real it looks. It's almost one-to-one. It's scary stuff. Which is weird because whenever I see an actual movie like Indiana Jones 5, the deep fake, the AI-built version of Harrison Ford doesn't look near as impressive as that Tom Cruise stuff does. Done by, I would assume, more amateur creators. Not someone working for Disney. Let's see what else we got on here. The Writers Guild of America applauded Wednesday's deal. We're thrilled to see SAG Aftermembers win a contract that creates new protections for performers. And I don't know, I said it like that. Performas and gives them a greater share of the immense value they create. The union said in a statement, when workers are united, they win. Although the Writers Strike had immediate visible effects for viewers, it also had immediate effects for me because I remember when the Writers Strike ended, it wasn't two days later Netflix jacked up the price. So when the creators win, we lose. It's kind of what I'm getting out of it because do you think the executives, do you think the top brass at Paramount or Netflix or Disney or anywhere is going to take a hit on this? Now, they have their golden parachutes firmly intact. They're not losing a dime. So they say, oh, the actors want a little bit more rev share on this. Well, then we just up our pay. We just up our, I guess, our fee to the end user by two more bucks. We'll just say two more bucks. What do we have 50 million people on this platform? Yeah, we'll be okay. We'll do just fine. We're not going to lose anyone. And if we do, what do we do next? Oh, I know, we'll just force people to get their own accounts. Remember when you used to be able to share devices, you used to have the family plan. You could sneak it to your coworker down the street. Hey, Peggy, you want to jump on this with us? We're already paying 25 bucks a month. Why don't you kick us a little bit every month and you can share a plan? Or you know what? Out of the goodness of my heart. Just come on over. Come aboard. Not anymore Peggy. Get your own account. Netflix did it. Disney did it. They'll all do it eventually. And that's another way that these companies will find more revenue to bring in. What do we got here at the end? Okay. Although the writer's strike had immediate visible effects for the viewer, including the months long suspension of late night talk shows and Saturday Night Live, the impact of the actor's absence was not as immediately apparent, but it's ripple effects. Delayed release dates and waits for new show seasons could be felt for months or even years. Actors should quickly return to movie sets where productions were paused, including Deadpool 3, Gladiator 2, that's right, Gladiator 2, and Wicked. Other movies and shows will restart shooting once returning writers finish scripts. What else do we have here? The only major awards show directly affected by the strike was the Emmys, which moved from September to January. Oh good, goody. I know we're all really craving some more awards shows where actors can celebrate being themselves, being great. But any feeling of industry normalcy could prove temporary. The circumstances that brought on the strikes, the shifts from traditional theatrical and broadcast media to streaming, and emerging tech like AI have not been slowed. And the gains made by the strikes may embolden other Hollywood unions or these same guilds and negotiations that will come up again in three years. Okay, well, doom and gloom scenario, I guess. Well, yeah, we have three years though where the actors seem to be okay. They seem to have struck a deal. The writers are back working again, writing again. I'm always going to be for the workers. It is funny how certain... It's interesting to me when you hear debates and certain people kind of move the conversation to a place where they're convincing those that are listening that, you know what, you could be in this very same boat as Jeff Bezos or this other billionaire guy. This could be you. They convince normal, common, regular Joe's that, hey, we shouldn't be taxing these guys or Netflix shouldn't be paying this much or look how much they're bringing back to everyone else. And then the person listens like, yeah, you know what, that's true. And the back of their mind thinking, yeah, what if I someday am a multi-billionaire? I don't want to be taxed like crazy or I don't want to have to pay back in or I don't want my company to suffer when in reality they don't have any idea how much money that even is, a billion dollars?  That's insane. That's crazy box. That's insane. So yes, Netflix will on paper say things like, oh, we're making tons of money. Their investors are happy. Their stocks are up.  You know, we have to invest in all these other things. When in reality is they're making tons of money. It's just they're using that money to buy back stocks. They're using that money for future projects. They're acquiring other companies. They're buying up other actors to use for their movies. And it's just they're using these funds for all these different practices, some of them more nefarious than others. Meanwhile, the writers, the actors, the people that actually care about the products that they're making are suffering for it. So yeah, I'm always in favor of the worker.   Yeah, he deserves more. He deserves to make that money because he has just a vision. Right? No, there's no vision. These guys all just copy each other and they make tons of money off of it and the washrooms repeat. This is almost kind of the music industry scenario. But I think that Hollywood because of the union is covering their bases better. They have someone fighting on their behalf. Fran Drescher has got it covered. The nanny's on it, baby. Let Fran do her thing. Whereas in the music industry, Napster came along, Lime Wire, all these different things that you could download the music illegally. I loved it. I had tons of blank albums, tons of burnt CDs with all my favorite hits on them. But the artists struggled. They weren't making the money they were before on CD sales. They were basically dead in the water, so they relied on concerts. If something like this had come along and there was a union for them or someone that really had their back at the time, they might have been able to avoid that disaster, but we are where we are now. Spotify has come along, Apple Music.  Especially the lower guys, the dude that we're just trying to start out and get in the industry. There was basically no money to be made putting out an album, and that's tough. When it comes to the movie stuff, it is cool that they're able to rally together to see all these workers go out and protest and fight for what they believe in and to get the money that they think they earned because at the end of the day, just like movies themselves, it's subjective what you think that something's worth. And you should fight for what you think it is. All right, those are my thoughts. I'm happy that this is over. I'm happy that we can see some new stuff come out again. Hopefully, we see an uptick in quality because obviously there's stressors on these people when they're writing and not making the money that they think they deserve. I know that when I'm at a thankless job or a job that I don't think is appreciating what I bring to the table, my work suffers for it. The output that I provide is not my best foot forward because why would I? Why would I put it out there when I'm not getting it in return? And so I'm hoping because of these new deals, we are going to see better writing. We're going to see better stories and we're going to see better products. All right, that's the show. That's the podcast. Let me know your thoughts on this. Are you happy it's over? Do you think it's all bull crap? They shouldn't be doing this. It's ruining other industries and all that stuff. That's fine. You do you. Leave it in the comments. Let me know. Please like the video. If you liked it, subscribe if you're new here and you like what I'm doing. Podcast is up on Spotify. It's on Apple Podcast. It's on other podcast services and it's on YouTube. There's video versions everywhere, I think. Well, everywhere that it's available, I know Spotify offers it. Love to have you stick around. Thanks for watching and hopefully, I'll catch you next time.


Hey math learners, it's Mr. Marks here, friendly neighborhood math teacher, and I'm back again with another episode of Mr. Marks Math Adventures. If you missed episode number four, I highly recommend you give it a watch to set the scene before diving into today's problem. But for today, we're going to take a fresh approach to this plant problem, all thanks to one of our insightful viewers. Hey shout out to William for this fantastic perspective. With William's help, we're about to demonstrate one of the essential mathematical habits of mine, mathematical representations. In today's video, we're connecting various representations from the table in episode number four to a visual graph today. By the end, we'll not only understand the problem from multiple angles, but we'll also appreciate the power of diverse mathematical representation. Hey, let's get started graphing this out with William's plan. Here, the x-axis represents our day number, and the y-axis showcases the height of the plants. For each plant, William says that all we need are two days worth of values. So we'll just use day zero and day one for both. First, plot the points zero one and one one point five to represent the one inch height of plant A on day zero, as well as the one point five inch height of plant A on day one. Use a straight edge to draw a line connecting the two points. Second, plot the points zero three and one three point two five to represent the three inch height of plant B on day zero, as well as the three point two five inch height of plant B on day one. Use a straight edge again to draw a line connecting the two points. And by connecting these points and extending these lines, there it is the intersection day eight. This spot reveals that each plant reaches the same height of five inches on day eight. And all we needed were two rows from our table to make this graph. How cool. That's the beauty of mathematical representations. Thanks again to William for his comment. Now ponder me this, are there any other methods or representations you could use to tackle this problem? And how can we tell the detailed story of these plants by observing this graph? Hey, stay tuned. You never know. We may just visit this problem one more time. Hey, props to you for taking some time out of your day to do some math with me. I hope you followed along. And if you made mistakes, that's all good. Remember that every mistake is a step towards learning something new. This is Mr. Marx signing off. I'll catch you next time for another math problem. What did you think? Did you approach this problem differently? Let me know in the comments. And if you enjoyed this problem, show your support by liking and sharing this video. And don't forget to follow my page to stay up to date on more math related content. Until next time.


I get asked all the time what gear I use on my death wizards, so I thought today I would go over what gear I use. This gear set is designed to be a more balanced sort of set with reasonable damage, reasonable resist also having enough accuracy and power pip so I don't fizzle all the time or get noob pips. So I have won 10,238 health which is quite a lot with 157 damage, 91 flat resist, 47 resist and 24 accuracy, 589 death grit, 336 lock, 29, not quite finished but 29 at the moment, 2 outgoing and 647 pip conversion which equates to 43%, 123 shadow pip rating and 104% power pips. Now how I did this is basically through running the uber hat which is the caramel hat that gives the epic card as well which is quite nice 2 of them. The merciless death robe which is called the dragoon's deadly boots which are obviously the dragoon gear from the catacombs. Honestly would recommend these just for the 2 item cards which is sharpen blade and potentrape honestly just beneficial all around. Using the crafted version of the merciless wand which is good, these are the item cards which I probably will not use many of them at all, we're using the crafted version of the f.a.m. as well with 145 health jewel and 2 ps jewels and a 15% accuracy jewel and we're using the delightful sentimental rope which is the crafted version I believe of the caramel amulet, using it mainly for the blade even though when I first looked at it I didn't realise that it was one perp so probably won't be using that too much but overall not too bad, 30 flat resist jewel and 145 health. The ring is the crafted version of the merciless ring, it's not quite finished because I need one more pair of jewels but I haven't managed to get that yet but we've got 145 max health and 31 flat resist jewel which 31 is I believe the best flat resist jewel that you can get. Pett is the same as always Lady Luna who has so many good things, pain giver, spell purifier, spell defying, death giver and then hand bringer and feeling faint as a jewel and then my deck is the supreme deadly deck which has socketed a powerpip jewel so yeah that is my gear and I honestly think that it is quite a very well rounded set and I'm very happy with it so yeah that's just a suggestion for you if you wanted any like suggestion on what death gear to get you can do that. Anyway that is all for today thank you for watching I hope you enjoyed smash like subscribe and as always remember to craft outside the box.


Do you want to learn how to capitalize on prospects who act like they're too busy to talk to you? Watch this video. What's up, guys? Rinky Krooth here, Remakes of Orange Beach, Alabama, and ZeroToDiamond.com. Today, I'm going to be talking about how to handle prospects who say they're too busy or act like they're too busy to talk to you. They answered the phone, and as soon as you told them who you were, they said, okay, yeah, I'm too busy right now, or I'm in the middle of something, or maybe they just act like their tone or something tells you that they're just too busy, or maybe they're just irritated, and they just don't want to talk to you or whatever the case may be. I'm going to tell you how to absolutely handle that situation, and not only handle it, but create that lifelong relationship that you want with that prospect. So at the end of this video, I'm actually going to play a live call that I had off one of my live call sessions where the prospect told me that they were too busy, and I handled it exactly the way I'm fixing to tell you guys to handle it, and I ended up getting the email for that future business that's going to come to me in the form of repeat business, referrals, and referrals or referrals, because they are now going to be getting my weekly email every single Wednesday for the rest of their life. Before I get started, if you're getting any value out of my videos and you have not clicked subscribe, please do so now. I also have a free online course for real estate agents in the link below, and also I have training sessions live right here on this YouTube channel every other Friday. So if you are in my zero to diamond real estate coaching program, you know my phone script. You know my phone script is low pressure. We're not going for the kill. We're trying to read who we're talking to on the phone. We're trying to figure out what we can do to help them. We're going to respect their time. We're going to give them a little bit of market information, and we're going to ask them what in the world we can do for them. We're going to find out if they have an agent that they're going to deal with in the area. And then we're going to tell them that we would love the opportunity to work with them in the future and get their email address. So what if when you're making these calls and they say they're too busy or they just feel like they're too busy, what do you do? The first part of my script is, hey Mr. Johnson, you pause, you let them answer. They say, yes, this is Mr. Johnson. You say, hey, Mr. Johnson, this is Ricky Krooth now to Remax of Orange Beach. How are you doing today? Then you're going to pause again. They're going to say we're doing good, Ricky. How about you? I'm going to say, yeah, I'm doing great too. I'm just enjoying the day. Isn't it gorgeous outside? They're going to say something about the weather. You may talk about the weather for a second. And by the way, the weather part of the call doesn't have to be about the weather. It could be anything. It could be how was your new year or getting ready for Christmas. How about those saints? Whatever the case may be, you want to say another question after how are you doing this, not real estate related, to throw them off a little bit and loosen them up, right? And this is a very crucial part of the call because if you don't do this, they could just stay kind of nervous or tight and you want to loosen them up. And this is how you do it. A lot of people don't want to say this part of the call. They don't want to talk about the weather. They don't want to say something that's not real estate related because they just feel awkward about it. But the thing is, is you want to create that awkward moment of, hey, I just enjoy the days and it's gorgeous. And then they're like, yeah, bye, bye. And then it's like an awkward moment. That's when you get ready for the transition, which is, I got you. Well, look, I don't want to take up too much of your time today, but a house down the road sold. And I didn't know if there's anything in the world I could do for you today. That's how you handle that situation. When you have awkward moments, I have transitions built into my phone scripts that you need to be ready to go into. But this call that we're talking about is when they are too busy, okay? And so what happens is this, hey, Mr. Johnson. Yeah, this is Mr. Johnson. Hey, Mr. Johnson, this is Ricky Krooth then at Remakes of Orange Beach. How are you doing today? I'm doing good, Ricky. I'm a little busy. What can I do for you, okay? When they say that, this is part of my training in terms of reading people. The two questions at the beginning, how are you doing?  Those two questions are designed to get some feedback, get some tone, get some information from them to read them on the phone and see exactly how you need to handle this situation. So when they say they're too busy or they act like they're too busy or they act like they're annoyed, you need to read that and you need to do exactly what I'm fixing to tell you to do. If they say, I'm doing good, Ricky. I'm just a little busy right now. What can I do for you? You're gonna skip that second question, right?  You're gonna talk faster than you normally talk because they're busy. You know, they don't wanna get into all this. They've got something they're in the middle of, right? So when they say I'm too busy, what can I do for you? Gonna say, I got you. Well, look, I don't wanna take it too much of your time today, but a house down the road just stole and didn't know if there's anything I can do to help you today. And they're gonna say, no. You're gonna say, okay, cool. Well, look, is there an agent in the area that you would work with? They're gonna say, no, okay, cool. Well, look, I'm sure at some point down the road, you're gonna want to buy or sell something. I would love the opportunity to work with you. And that day comes, would it be okay if I stayed in touch with you? Yeah, sure, okay, cool. What's your email address? And so what happens is, is if you read that they're busy, if you read that they're annoyed, if you read that there's something going on there, you're gonna read that.  You're gonna go right into respecting their time. I got you, well, look, I don't wanna take it too much of your time today. Give them the market info. Ask if there's anything in the world you can do for them. If not, do they have an agent? If not, you love the opportunity to work with them in the future. Is it okay if you stay in touch? What's the email address? That's how you handle it. You go through the entire phone script. You don't stop the phone script. You don't do anything different. You read them and then you flow the conversation accordingly. It's just like if you call, they're talking slow. They sound happy. They sound like they're happy to hear from a real estate agent, whatever the case may be. And you get into this really nice, friendly conversation. It's going really good. You're not talking too fast. It's the same thing. You're reading people and then you're adjusting your conversation accordingly. So that's what you have to do. You just, that's why I have the two transitions are this. When there's an awkward moment and it could be right then after you say, how are you doing? Or it could be after the weather part of the call. There's gonna be an awkward moment where most people don't know what to do. That's when you say, I got you a look. I don't wanna take you too much of your time today. But yada, yada, yada. That's the first transition. The second transition is when they say that they're not interested in doing anything right now or that there's not anything you can do to help them right now. That's normally the next awkward part of the call because most people don't know what to do there. That's the second transition that you really gotta get these two transitions down and be ready for these awkward points in the call. And you say, I got you a look. Is there an agent in the area that you would work with if you were to buy or sell something, okay? That's how you handle those two awkward parts of the call and transition into something that's gonna bring him the prospect value, shows them that you're different than all the other agents and it does so much for you. Think about this phone script. It asks them how they're doing. It does small talk. It gives you a chance to read them on the phone. It respects their time. It gives them marketing info. It doesn't high pressure them. It doesn't ask them if they want to sell, if they thought about selling, if they wanna buy. You just ask them if there's anything you can do to help them.  If not, you found out if they have a relationship already or is the door open for you to become their agent for life, right? Then we're gonna ask them if it's okay to stay in touch and get them to commit to that before we ask for the email address. We're doing all of this in one conversation, okay? So I'm about to play the clip of the live call that I did where I demonstrated this. If you guys are looking for a completely free real estate coaching program, go to zero2diamond.com. You can get everything that I know about selling real estate right there. You can reach out with questions. We have live training sessions, all the phone scripts, 90 day action plans, 60 day jump start, video tutorials and how I do everything is right there for you. All I wanna do is make a difference in the industry. My life's work is gonna be to reduce the failure rate in the real estate industry. So here's that clip. You guys enjoy. Let me know if there's anything I can do for you and we'll talk to you guys soon. See, here we go here. Weatherbee, Weatherbee. Hey, Ms. Weatherbee. Yes. Hey, Ms. Weatherbee, this is Ricky Krooth and a Remax of Orange Beach. How you doing? Busy right now with my daughter. What can I do for you today? I gotcha. Well, look, I don't wanna take up too much of your time. I just, there was a house right down from the road from you on Terry Cove Drive that just sold and I didn't know if there's anything in the world I could do for you at the moment. Aw, well that's sweet, but I'm just not ready at the time. I gotcha. I gotcha. Well, look, is there an agent in the area that you would work with if you were to do something? Even much so. I gotcha. Breaking. Well, look, I'm sure in the future, maybe five or 10 years down the road, you might be interested in doing something, I'm sure, at some point. I love the opportunity to work with you. Would it be hard if I stayed in touch with you? Well, sure. What's your email address? All right, cool. All right, well, thank you, Mrs. Weatherbee. You have a good day.


The FTX collapse has hit the crypto ecosystem hard, prices are depressed, confidence shaken and we still haven't reached the end of this crisis. But besides price action, how bad is the current state of crypto? Have we reached a capitulation point? And is there any silver lining? To fill the pulse of the crypto market, we looked at data on the blockchain with on-chain analyst Will Clemente. I'm Giovanni. On this show, we challenge the ideas that shape the world of crypto. In each episode, we assess a crypto narrative, a macroeconomic outlook or a potentially disruptive technology. Only the most solid ideas will make it to the other side. But before we get started, as always, don't forget to like the video and subscribe to our channel. Let's get into it. But the situation in the market looks very green, probably one of the darkest points that we have ever reached. From your point of view as an on-chain analyst, have we reached the capitulation moment or there is still room to go? Sure. It's a great question. It's kind of a trillion dollar question. I think one of the metrics you can look at is something called net realized profit and loss. The way this is measured is essentially by looking at when's the last time a coin moved? A coin last time, let's say last move at 60k, now moves at 16k. Well, that coin has obviously moved at a much lower price than where it previously did, so therefore it realized a large loss. When you look at the aggregated sum of all the profit and loss, we can get what's called the net realized profit and loss. We can look at that raw value, which is measured against historical measures right along every other historical capitulation for Bitcoin. We can also take it a step further and adjust it for Bitcoin's market cap to basically adjust for the size of Bitcoin's growing market cap over time to basically get a gauge of how large is this capitulatory behavior on a relative basis. That's also showing very similar signs of being on par with historical measures of deep capitulation. The kind of high level of everything I'm saying is there's immense losses being realized and you can see that on chain. There's also a large amount of market participants that are now under water, which you can also see on chain. Yeah, actually I read that right now over 50% of Bitcoin addresses are in DRed. Can you confirm that? Yeah, that's correct and we can also look at long-term holders supply and profit or say conversation supply and loss. The percentage of supply of long-term holders supply and loss has reached an all-time high over the last few weeks, so that's another measure where when you look at kind of that reading in 2014-2018 we've just reached an all-time high but similar levels during those time periods. Let's look at the silver linings. Let's start with Bitcoin. You put out a few interesting charts in the last couple of days where you make the point that the Bitcoin hodlers are doubling down on their position. Tell us more about that. Yeah, sure. You have long-term holders profitability at an all-time low. You have their holding is reaching an all-time high, which shows that they're doubling down. We can also look at measures such as the amount of supply that hasn't moved in at least a year, has reached all-time highs, things like that. They are doubling down. How significant is this piece of data for the average viewer that maybe got into Bitcoin six months ago? Why should he care about it? Yeah, sure. Great question. I think a lot of people like to talk about whales, and this is something we hear a lot. What are the whales doing? At least from an on-chain perspective, when we look at whale behavior, what you see is that they tend to be very momentum-driven, so whales don't necessarily set the bottoms. They tend to come in after the bottom, it's got confirmation, and then they exit towards the top. Who really sets the floor in terms of these broader cyclical dynamics, these multi-year cycles? Who's setting the floor of these cycles? It's the long-term holders. What we see is that long-term holders buy heavily into the bear market. They set the floor, come to the buyers of last resort, and then those long-term holders distribute their holdings to new market participants in the bull market. What I think is more important than necessarily looking at whales is where the long-term experienced market participants, what are the OGs of the market doing? By looking at that cohort of market participants, what we see is that they're doubling down aggressively on the holdings at the moment. Some people are criticizing the argument that there are this cohort of long-term holders that still hodl on their Bitcoin. They say that this doesn't necessarily mean that there is confidence in crypto or in Bitcoin, but just that these people don't want to sell right now because they would sell at a loss. So they're just forced to hodl further. Sure. I guess that's just the conjecture. I'm not really sure exactly what the reasoning why people are selling. I think you could have some of that, but also I would argue that more people are likely to be driven by fear than say, I'm down 70%, I'm not going to sell. I think more likelihood, higher likelihood is if you have a lot of money invested in something and you don't have conviction in it and it goes down 70%, you're going to panic and sell it. But even regardless, I don't really think that that's like a conversation that really matters because regardless, they're not selling. And so bear market bottoms are set when sellers run out of supply to continue to sell onto the market rather than necessarily a new amount of buyers coming in. It tends to be more so when do the sellers just run out of coins. And so regardless of the reasoning, which I would push back on that frame of thinking because I just don't know how data-driven that is. But I would say that regardless the amount of supply that's being held by long-term holders is at all-time highs and the amount of supply that hasn't moved in at least a year is at all-time highs as well. So the collapse of FTX has been interpreted as a warning sign that people should move their assets off from exchanges into subcustody. So is this trend really happening? Looking at on-chain data, is this lesson being learned according to you? Yeah, sure. When we look at exchange balances according to Glassnode, which is the data provider that I use for most of my on-chain data, it does appear that coins have been getting absolutely drained from exchanges. When we look at something like the 30-day change, so looking at what were exchange balances this time 30 days ago versus now, we see that that's in the strongest decline in Bitcoin's history. So coins are coming off exchanges at a very high rate. I think a large reason behind that is obviously that the FTX situation and people are realizing that you don't have self-custody of your Bitcoin. It's not really your Bitcoin. A lot of platforms are rehypopcating your Bitcoin, lending it out to other entities in the space. So it's great to see coins coming off exchanges. One thing that I was looking at this morning was the amount of supply held by on-chain entities between the size of 0.1 BTC, so a tenth of the Bitcoin and one Bitcoin. And what we see is that this is in the most aggressive increase in Bitcoin's history paired with coins coming off exchanges aggressively. And so by combining those two metrics, you get this picture that you can paint of coins coming off exchanges into these custodial wallets for the average everyday retail person. And so I think that's very positive. I guess that one way to go would be having your crypto in a private wallet and then using the exchanges only at the moment where you want to sell it or send it somewhere or exchanging it, but not using it for custody. Completely agree. Talking about Bitcoin, so a lot of maxes, a lot of Bitcoin maximalists are saying that this crisis should also point to the fact that Bitcoin is probably the only asset that is kind of worth investing because the rest is just shitcoins, it's just camps and so on. So can we look at the on-chain data and see whether this narrative is taking ground? Sure. Yeah, it's a good question. From an on-chain perspective, what I like to look at is something called realized cap dominance. And so realized cap looks at what's the last time a coin moved. So for example, if a coin is last moved at $1 of Bitcoin and you bought $1,000 of Bitcoin then and never moved them again, in terms of realized cap, that's only attributing $1,000 to realized cap as opposed to in market cap terms, it's obviously much larger. So it's basically looking at what's the value stored in the network or another way to frame it. If that doesn't click with you would be kind of what's the cost basis of the market. And so when we look at Bitcoin's realized cap dominance relative to I think coin metrics looked at like the other top 10 coins or something like that. I forget exactly how many coins they included in this, but what you can see clearly in this chart that they put out of realized cap dominance is that Bitcoin is the 800 pound gorilla in the room and it's realized cap dominance continues to trend upwards over time. All over the last year and a half was you had a lot of these what are called low float high FDV tokens. So the VCs that would put out a lot of these tokens, for example some of the tokens that were involved with FTX, they would put out 5% of the circulating supply and then the fully diluted valuation, meaning instead of multiplying price times the circulating supply, you're multiplying it by the total amount of supply that will ever exist for the asset. And so the FDVs on some of these tokens would be in the 10, 20, 30 billion dollar range when in reality there was nothing of that level of accordivity that was supporting the asset whatsoever. I think regulations are probably on the horizon. I think the age of listing illiquid low float high FDV tokens is probably behind us. Now final question. I wanted to ask you, is there any other piece of data on chain that our viewers should look at in order to fill some hope in this dark time? Sure. It's a good question. I think one piece of data is very, very basic, but just looking at active addresses. We looked at active addresses over the last 10 to 12 years. Those are up only and making higher lows throughout the last 10 to 12 years. Of course, you see that active addresses really spike up in a bull market because you have new market disciplines that come in and are looking to get involved with big ones. But what you see, and this is the signal in the noise, is that every bear market, the number of active addresses makes a higher low. What's more important is not necessarily the amount of people, the tourists that come into crypto, but it's the amount of people that stick around in the bear market. That's definitely important to see that in each bear market confidence in crypto grows still. With each bear market, people see that crypto is coming back stronger. Yeah, Will, thanks a lot for bringing some hope in these dark times. Hopefully next time we talk, it will be already a bull market. Yeah, I hope so. Thank you so much, Giovanni, for having me on. I enjoyed it.


My name is Cutler Dawson. I'm the president and CEO of Navy Federal Credit Union, and I'm a proud Navy veteran. My parents were both in the Navy during World War II. They were both officers. My dad was a pilot, and my mom was a wave, and they thought it would be a tremendous idea for my brother and I to go to the Naval Academy, and we did. My career in the Navy was pretty simple. I graduated from the Naval Academy in 1970. I was a surface warfare officer. I spent a lot of time underway on ships, and then when I wasn't underway, when I was on shore duty, I was assigned in Washington, D.C. It was a pretty simple equation for me, and I loved every moment of it. My service in the Navy taught me lessons that I've carried with me, and that I will carry with me forever. Running a credit union is about risk management. Operating in the Navy is about risk management. It's something that all of us do every day while we're in the service, evaluating what the mission is and what the risks are to get us to that goal of successful completion. It is no different in business. Just different risks and different rewards. I would tell any serviceman, any sailor in the Navy, whether they're on their first enlistment or they're retiring, that when you get out of the Navy, the leadership lessons that you've learned will stand you in great stead. The time that you've had in the service are like dog years. For everyone that you've had, it's like 10 years, and don't ever forget that.