Hello everybody, my name is Saskia Hultman, I work at the U.S. Medical Center in New Zealand and in other ones. Hi, I'm Polaterasha, I work with Saskia Hultman at the U.S. Medical Center in New Zealand and other ones. And I also work at the Bones River School in Breda. Today we'll give you an update about recent developments in the Galaxy Training Network, or GTN. So, Galaxy Training Network updates from remote year. We work on the GTN a lot, Elaine and I, together with the dynamics budget from Friberg University. So, last time we had this talk was in 2019 at GCC, and the laws happened since then. Obviously the pandemic has changed all of our lives a lot, and in this situation for more than a year now. And obviously, we can't have any more in-person events for a long time, most of us. And it's also very different to work, time has gone a little timey-ymy, this has been long this month of March in history. But it's not been all bad. We have vaccines now, hopefully that's light at the end of the tunnel. Personally, I've been enjoying all the cast in the meetings. But on the GTN side, we've also had a lot of cool updates, which we'll talk to you about today. And also, we switched to remote trainings for Galaxy rather than in-person events. So, for those of you who might be new or have not used the GTN before, the GTN offers a collection of training materials around Galaxy. And these are all made by the community, for the community. And you can find all of this on training.galaxyproject.org. These tutorials are made to be suitable for self-study. So everything you need is available on this page. They're often centered around scientific stories, often reproducing scientific analysis that has been published. And here you see the top of every tutorial looks something like this. It has some overview information so that you can find out if this is the tutorial for you. So it shows you what questions are addressed in this tutorial and their learning objectives. So an requirement, like what do you need to know for starting this. An estimate of the time it will take you, the difficulty, and supportive materials such as slides, data sets needed, workflows, and on which galaxies you can run. And at the end of each tutorial, you may also recommend some follow-up tutorials. That was some quick GTN stats for all of you. We have 213 tutorials. These are not just aimed at researchers, but also educators, developers, Galaxy administrators, absolutely everyone. And this is really reflected by the 21 topics that the GTN covers. This isn't just biology anymore. We now include tutorials on things like machine learning and climate and ecology analysis and geographic information systems. The GTN is really expanding into a lot of new directions. All of these tutorials, these 213 and counting tutorials have been made by 187 contributors who are crossing the entire planet. We're so proud of that. We have really a great community and it's growing fast. These numbers will probably all be outdated by the time this video actually airs. In the past year alone, there have been 75 Galaxy training events using the GTN. Those are just the ones we know of. So if you are using the GTN, we would love to know about it. So we can share it with everyone else and let people know about your awesome event. And all our tutorials are fantastic thanks to our community. We're so proud of you. And the statistics most importantly for people are now collected on a single handy stats page. So training.galaxyproject.org. You can find all the information about recently updated tutorials, what topics are covered, how the community is growing, who's recently joined our community. It's really easy to get all these statistics you need for overview slides. What are some new things in the GTN this past year? So the first thing is the GTN now has a news feed. You no longer have to wait for these talks at GCC to find out what has all been added to the GTN. You can now keep up to date with this news feed. So in the home page, you just scroll down a little bit. You will see this table with the latest news and then you can read the full story on the news page of such news. We also have two new community videos that are also available from the GTN home page. First one, I will introduce you to the GTN and what it's all about. And the second one will help you to find out how you can become part of the Galaxy community in various ways. Also, it is themes. So under the extras menu, you'll now find a set of different themes to help make your training experience a little bit more you, including an Australia theme for our trainers down under the GTN. We have lots of new tutorials in this past year. Here are just a few of them. Obviously, we have lots of tutorials covering SARS-CoV-2 analysis. We also have a lot of new machine learning and deep learning tutorials. I've definitely forgotten several here. And we even recently have our first Spanish tutorial. And to find your way among all these tutorials, you have implemented tutorial search at the top of the website. There's a search bar and here you can enter the topic you're interested in or the tool you want to learn about or the type of data. And it'll find you the tutorial for you across all topics. The fantastic news features that came out of the Co-Fest actually last year's GCC was the GTN and Galaxy webhook. So this is a new feature where inside Galaxy, you have direct access to the GTN training materials. It will let you easily see all the contents on a single page. So if you have a small monitor, if you're teaching people to only have a single monitor, this makes life a lot easier. It keeps your place in the tutorial. And best of all, as you can see on screen, you get to jump directly to the tool from the training materials. So especially for servers with large numbers of tools, having the ability to go directly to the correct tool and not only the correct tool, but the correct version as well is really absolutely invaluable. Also, we've added video slides. This is another fantastic feature. So a lot of our slides throughout the GTN have really good speaker notes. And what we've done with that is we've taken those speaker notes. And we've used AWS Poly to speak them. And then we combine them into a video of the slides being spoken with all speaker notes. And this has been really incredibly useful for speeding up the video production process in its remote training time. Now instead, okay, you've decided you need to switch around a slide or two or change an image on a slide. Instead of having to re-record the entire talk, you can just update your tutorial and it'll automatically be rendered for you. So the only thing you need to do to get this working is add speaker notes to your slides. The rest is magic by Helena. If you are not just interested in learning the Galaxy, but if you're a teacher who wants to teach with Galaxy and the GTN materials, we also have features designed for you. We have training infrastructures and services, for example. So this is a service that provides dedicated resources for your workshop or training events, as well as a dashboard to monitor your student progress. You can apply on any of the big three servers. We all offer TOS now.  You give this link after your students and they're automatically put in this training queue. It's very easy to set up and configure with your students. There's very little for you to have to do. And your students will get private resources or a dedicated job queue, it depends on the server. And this will let your training run a lot more smoothly. But best of all is the TOS dashboard. This has been absolutely invaluable for training in remote training times. You can see where students are in the tutorial. You can guess a little bit, okay, they're finishing up these tools or someone has an issue with this tool. You can figure out if you're losing anyone. So when you're really getting these remote trainings where you no longer can see your students face to face and see their screens. This has been really incredible to let us know. Okay, we can go on now because everyone's run past QC or things like this. So something else that can help you out as a teacher or the speaker notes. So like we said, most of the slides will have speaker notes. So these are used to generate the videos, but also you can use them when you are preparing to get the presentation yourself. You can have these speaker notes on screen when you present. And these are notes created by all the different contributors. The second thing we have and it's a fairly new feature in our FAQs. So each tutorial now can come with a set of common questions and answers that different teachers have received. So if you are preparing to teach this, you can look through these to see what kind of questions you might expect and how to answer them. Now this is very new, so most of these still need to be filled in. So if you would like to join this effort, we have a co-fest of the energy CC to fill in these FAQs. And the idea is that students and instructors can access these FAQs at the overview box at the top. So the most relatively new feature is the GTN Archive. So we found that a lot of times we get requests for, oh, can I go back to the old version of the tutorial because someone updated it and I'm teaching it tomorrow. So now we have the GTN Archive. You can find this in the extras menu as well with page statistics. And this will give you access to all the old versions of the GTN. So lastly, if you are teaching with Galaxy, but you want to also incorporate your own tutorials into the GTN, we can also help you do that. We welcome any contributions. We have dedicated set of tutorials showing you how we can do this. And we have every three months then online collaboration fest where you can come to learn how to do those and we can support you if you are adding your own tutorial. And we have a Gitter channel where you can come for support to ask your questions about how to do this. Yeah, I'm trying to help you add your tutorial. Okay, now you'll also get more credit for your tutorials. So when we move the contributing authors up to the top of the tutorials, your names are front and center. These are the people, the awesome contributors who helped make this tutorial possible. These profiles also are linked to your GTN profile where we showcase all the different things you've done across the GTN. Whether it's administration or genome annotation or transcriptomics, you'll be able to see all of your contributions to the GTN in one place. Thanks to link to your bosses and things like that. Look at all the things I've done. Also, the bottom tutorials now, they're easier than ever to cite. We have the tutorial citation in plain text format and also bib tech format that makes it easy to copy. So whenever you either learn from a tutorial and want to give credit to the authors, that's totally can easily cite them. Or whenever you've written the tutorial, it's easier than ever for people to cite you as their inspiration for their work. We've also got feedback. So at the bottom of every tutorial is a feedback form, and this is collected publicly on GitHub, which has been really useful for our authors. All of the feedback is available. So whenever someone submits feedback saying, Oh, I struggled with this portion or I had questions about this, the tutorial offers can see that address that and update the training which is accordingly. And they just thought your tutorial is awesome. Yes, there's a lot of good feedback. So to see the feedback here is the link to it. If you are curious to see how often people are using a tutorial that you wrote, and we now have page metrics available also from the extras menu. And here you can see the number of views over time, some other stats for your tutorial. And one other thing we wanted to discuss today is remote trainings obviously with the pandemic, we can do our normal in person events anymore. But we have switched to remote training. And this was fairly easy because all the galaxy tutorials are already meant for self study. So we tested this approach in a huge event, the GTN smorgasbord earlier this year. So the idea was that it would be completely asynchronous. So prerecorded all videos and offered 24 seven support on Slack. This meant that participants could manage your own time completely they could start whenever they wanted to they could stop they could take breaks whenever they needed to. And this was a huge success that we had over 1200 registrations from 78 different countries. It was a five day event and we had 60 awesome GTN instructors available to help across all time zones. And because this was such a success we want to make this now an annual event. And all the videos created here remain available after the event so you can still view them now you can still use them in your own workshops if you want to teach with Galaxy and don't want to do all the sessions yourself. This is all publicly available. I know some of my co teachers have started using these videos in place of their just because they're so good. So we repeated this, this concept, the GCC training week last week here. And we just added more content so we now also have an entire developer track. And we added lots more science sessions. And this format doesn't work just for for science, but it also worked for Galaxy administration training. And it worked perfectly there as well. Everyone was very happy with being able to manage their time. So I think this is going to be a great format going forward perhaps even here setting. Yes. So in the future in person events will be possible again, but from our side we think that we will keep doing these remote versions as well, because they are a lot more accessible to more people you don't need to travel. It's better for the environment. So we plan to keep doing these as we see here as well. Quick sneak preview to maybe the year ahead. So as a result of these remote trainings, we now have a big library of Galaxy training videos. What we'd like to implement is some sort of shopping cart style course builder where you can pick and choose from these available videos to build your own event. And then after you make your, you create your own program, you will get everything from the website to the registration forums, Slack space for support, everything for your event. One of the very few downsides of all of this remote video training cover has been the need to update tutorials. And we're looking into a couple of different options for how we can maybe automate the entirety of the video recording process. So give them a tutorial, record the video and give me back the video file at the end. And this will make tutorials a lot easier to update and maintain all of these videos that we produce and we'll be basing these perhaps on all the content that everyone's produced for us so far, which is absolutely incredible. So whenever you need to update tutorial, change number, change the tool version, all of this could just be automatic. And this will be fantastic for translated tutorials. This is really more witchcraft. I didn't write that. So there is indeed the Spanish translation project led by Wendy Bacon. It's very exciting. She's going to look at translating these tutorials into Spanish and seeing whether manually translated tutorials are significantly better for students than the automatically translated ones. And I, for one, can't wait to see our results. And in addition to that, the rest of the community will also keep on making lots of new tutorials, hosting events, and we will try to make new features for the GTN. So if you have good ideas like are the things you're missing, please let us know and we can try to improve in the GTN. And of course, all of this can be possible without our awesome contributors. We have 187 contributors right now. They're all collected here in the Hall of Fame and really big shout out to all of you for making this possible. Yeah, without you wouldn't be here. So thank you.


Hello everyone, this is Seiyang Huang from University of Haifa. Our topic today is Reconstructing an Xbox from its Difference Distribution Table. This is a joint work with professor or document. First of all, let me introduce the background and motivation of our research. A Difference Distribution Table of an Xbox is an essential component in differential crypt analysis. We show the definition of Difference Distribution Table of an Xbox in the following way. For here, the Xbox is from unbeat input to unbeat output. It can be seen from the definition that deriving DDT from Xbox is very easy, but the opposite way is a very difficult problem. But the problem is interesting and important because the ability to recover the Xbox from the DDT of a secret Xbox can be used in a lot of attacks. Bora at all proposed a straightforward guess and determine algorithm to solve this problem. In our talk today, we will show a new approach by applying the we will establish the relation between the DDT and the LAT. Similarly, the LAT of an Xbox is an essential component in linear attacks. And the LAT of an Xbox is defined in the following way. Wash-hard mud transform is used a lot in our research, so we show the definition here. We can build the links between an Xbox, a DDT and LAT with the help of wash-hard mud transform. In lemma 1, you can see that when we apply wash-hard mud transform to the LAT, we can obtain the characteristic function of S. It means we recover the Xbox. And from Serium 2, we apply the wash-hard mud transform to the DDT and we get squared LAT here. To summarize the properties, we can go from the given DDT to the squared LAT with Serium 2, and we can go from the real LAT to the Xbox with lemma 1. The problem is how can we go from the squared LAT to the real LAT? If we solve this part, we can go from the given DDT to the Xbox. It means that we recover the secret Xbox. In our approach, we firstly define the sign determination problem to recover some columns in the squared LAT. If we can recover m columns in the LAT, we can recover the real LAT and we can derive the Xbox. If we don't have m columns recovered, we can still apply our improved GD algorithm to reconstruct the Xbox. And usually for this routine, it's quite trivial and less efficient. So we will stay on this research line and focus on improved GD algorithm. We define the sign determination problem in the following. And before we define the problem, we need to show the cross notation as the following. V cross here is a vector of absolute values of the entries in the original vector. And the sign determination problem of the B column in the LAT is a problem of recovering lambda B from lambda cross. It is to determine the signs of a column in the LAT. So next, we will propose a new algorithm to solve the sign determination problem. We firstly introduce the linear relation between lambda B and S B. For any B column of the linear approximation, the following formula always holds. For the formula here, HN refers to the hard-mod matrix. And the hard-mod matrix can be represented as a following way. Because of the special form of the hard-mod matrix, we could solve the system of linear equations interactively. And we just apply the elementary transformation to the independent subproblems by n times. And finally, we get H0 as the diagonal of the matrix. So as H0 is exactly one, so we solve the problem. And then we introduce our basic algorithm. We apply the idea of solving the system to reduce the problem into two independent problems. We firstly guess all the possibilities and combine the possibilities related values and compute the possible ice constraint of subproblems. We recall the ice constraint as a vector, and all the possible constraints are contained in a full site here. The problem of our basic algorithm is that the size of the full site grows so fast. And we try to solve this problem by proposing an improved algorithm. In the new algorithm, we observed the symmetric structure in the full site. It means that other vectors in an equivalence class can be obtained by simply operating transforms and permutations on the representative vector. So we don't need to record all the vectors. We just record the representatives of the equivalence classes in the compact set. The compact representation reduces both time and memory complexity. Every time we derive the component site in the next layer, we construct a middle site to guarantee that the derived site is indeed the compact site. Here is our improved algorithm. We compute the middle set and we compute the new vector and check the consistency of the vector. If it satisfies the consistency, we include the new vector in the new compact set. Still, for some cases, the size of a compact set grows very fast. To solve this, we set a heuristic threshold according to the accessible memory of the tyker. And we define good columns and bad columns according to the threshold. We call a column in the absolute LAT good if it can be recovered under the threshold applying algorithm 2. Otherwise, we call the column bad column. According to our experiments, the solutions for the good columns usually contains at most two equivalence classes. We analyze the complexity of algorithm 2 here and we give the upper bound of memory complexity and time complexity. Before we introduce the improved GD algorithm, we need to describe the matching face for K independent good columns. Suppose that we have solved the site determination problem for K independent good columns. It means that we have already had some candidates for the K columns of the LAT. So, we need to find the right combination which matches the real LAT. And we define the independent columns here when we have K columns. And the binary representation of the indices are linearly independent over the field. We use this formula to find the matching Boolean function. And we try all the possibilities and compute the vector and check the consistency. Next, we will show the improved GD algorithm. For here, we have already known some components of S-box. For example, C0SX to CK-1SX. With this knowledge, we can check the consistency every time we get the new assignments. We analyze the complexity of GD face here and the time complexity is shown as following. We show the complexity curve for 8-bit input S-box with different sizes of outputs. It can be seen that when the size of output of S-box increases, the reconstruction process becomes much easier. It means that it is insecure to keep such an S-box as a secret S-box. In this figure, we show the complexity curve for random N-bit S-box with different key. The K here is for the number of good columns. The original GD algorithm, when K takes zero, quickly becomes impractical with the size of S-box growing. To optimize the original GD algorithm, the attacker has to find at least two independent good columns. When the number of good columns grows, the effect of reducing the search space becomes less efficient. We tested our results with experiments. We implemented our algorithms on the following three types of Boolean functions. All of our experiments are done on a single curve of less Intel CPU. It is amazing results because we could recover a random 14-bit S-box in no more than one year. For the GD algorithm, the processor is very time consuming and takes more than 15,000 years. From the standard derivation, we can see that our approach is much more stable than the GD algorithm. From the arrow bar here, we can see that the advantage of our approach over the GD algorithm sharply increases with the size of the S-box growing. When the input size of S-boxes is larger than 11, our approach is better in all cases. We also tested our algorithm on several specific S-boxes. Our approach outperforms in several S-boxes. Well, it is difficult to find good columns in the absolute LAT of some S-boxes. For example, the four differential uniformity S-boxes and APN functions. Finally, we will conclude our talk and show some open problems. We presented a new algorithm for reconstructing S-boxes from SDDT. The new algorithm is more efficient than the guess and determine algorithm in many cases. For example, the random S-boxes starting at the size of 10 bits, it outperforms the previous GD algorithm by several orders of magnitude. The new algorithm should be very useful to explore problems related to the DDTs. Some other related open problems are the problems of reconstructing an S-box from its BCT and its DLCT. This is our report and thank you very much for your attention.


Mia is an edX learner. And I would love to have her share with you her own journey. Thank you. I completed the supply chain management micro masters from MIT. I learned something in the evening that I could immediately connect to what I was working on the next day. I got my dream job. I got an increase in responsibility. I got nearly a double increase in pay, which was very significant. And taking the micro masters program really transformed my career in a significant way. And it provided me with opportunities that I really wouldn't have imagined before.


it is time for another video. So I am experiencing something with my hair that I'm not used to. So we're gonna talk about it. We're gonna try to treat my hair. So my hair is in a blown-out state. This is about two weeks, almost two week old hair. And for the past week or so my scalp has been super itchy, itchy, excuse me. So I know some of y'all are thinking, girl, then wash it. Hear me out. I'm typically a person that doesn't have issues with an itchy scalp. Matter of fact, I can go as long as months. Typically, when I have a protective style in, it will last me three months. I never go over three months. Three months, I don't experience an itchy scalp even at three months. So for this to be like 12 days old hair and my scalp is already itchy, I'm gonna take my bobby pins out. Something's going on and I mean itchy to wear. It's like I really go in there and scratch it. So I'm gonna turn around to the back and show you guys exactly where is itchy yet, which is kind of weird to me. So the crown right here, all the way right here to down here. So just look, I know y'all are separated. Just this right here and yeah, that part is itchy. So I'm thinking to myself, okay, what can I do? Because I don't want to wash my hair. I don't want to wash it right now. What I would typically do to remedy this is do an apple cider vinegar, clarify my hair and you know, do an apple cider vinegar rinse. And that is what typically helps with an itchy scalp, at least from my experience. I'm not looking to wash my hair right now. I want to give it another two or three days before I have to do that. And so I was also trying to think like why is my hair, why is my scalp itchy? Of course the first thing you would think about is that it needs to be clenched, right? You have a dirty scalp. I try to think about, okay, am I using any new products? No, I'm still using the same raggedy product. I have not switched up my hair Richmond. I have not switched up any products. I'm not, I haven't used any new hair products at all. So at the end of the day, the only thing I can think is that the weather is changing here in Phoenix. So the cooler weather must have triggered some itchiness with my scalp, which I'm gonna have to get used to because this is my first winter in a very long time, 16 years. What am I going to do to alleviate this itchiness temporarily until I can actually have time to wash my hair and like two or three more days? So I don't have tea tree oil. I have peppermint oil, but I don't want to use peppermint oil. I said I have oil of oregano. So all of oregano you guys is something that I have been using often on for a couple of years. I typically add it. There's a full great version by the way, because I like to ingest it meaning that I add it to my mouthwash and I rinse it through with my mouthwash. But there are so many benefits with all of oregano. You can even use it for eczema. You can use it for rashes and I'm pretty sure there's tons of other benefits that I'm missing. Another benefit though is with an itchy scalp. Now all of oregano is one of those existential oils, which you got to be very, very careful. You got to be very careful with the amount that you use. So I have an oil mixture here in an applicator jar. I have my typical oils that I use. Everything from a swing almond oil to olive oil, jojoba oil, Jamaican black seed oil. I stopped using coconut oil. Maybe that's what I should be going back to. Girl, we're not doing that. So point being, I only added five drops of the existential oil to this because this is not full. And so what I'm going to do, I'm going to remedy it. I'm going to focus on that section, but then go around other sections of my hair. So we're going to turn around to the back. Just there. Oh, it already feels good. And then I'm going to also go down into the sides here because every now and then it is a little itchy on the side. Another thing is that I am a back sleeper. I sleep on my back. I don't know if that's part of it. I don't know y'all. So now I'm going to go ahead and massage. Girl, if I can get to the scalp. I'm just going to gently massage that oil.  That's another Barbie pan. Gently massage it in. Okay. Okay. So I'm going to be transparent with you guys. I used a little bit of this all mixture, like a couple of hours ago. And I can already feel it working. Like my hair, my scalp is not as itchy. So hey, you guys. So I want to come back a few days later as you can see. It has been a few days and I have not washed my hair. I have managed to delay washing my hair for another four days. And when I tell you, baby, my scalp got so itchy. It was driving me crazy. So I ended up purchasing in addition to using the oil mixture with their regular oil. I purchased this product called Scalp Icing. Scalp Icing. It has 1% hydrochloricon and it also has olivera gel. So I use this perhaps like the first, like a day or two, maybe a day and a half. But then I use the hair oil mixture, which I'll show you here again. And I've been using it now. I've been using it right where it just in that itchiness has completely subsided. So I say try it out. All of oregano. Just be very careful and dilute it as necessary. But I always like to try and come back and give you guys a follow up of what I've been doing. And if it actually worked and with this particular, it did work. But I want to also say disclaimer, I did add this for like a day or two. I used it for four times, about four to five times throughout the week. But this I've been using almost every day. And this is just finnigreek oil, finnigreek seed. Sorry. So that is it, you guys. What the change of the weather as we have been experiencing all over the U.S. My scalp was like, uh-uh. No, man, we're not used to this because it's so dry when I was in Phoenix and we didn't dip down to 40 degrees like this. So that is it. I just wanted to add this bit of information. I hope you guys have a good one. Take care. Bye.


This knowledge clip explains how to set up the results section of your paper. Following the methods section, you then result the results section. The results section is where you report the findings of your study based on your data analysis. You present your results in text and you can use tables and figures to support your text. Be aware that the results section can often be rather short, just a couple of paragraphs. In this section, please stick to the results and do not start interpreting them. The interpretation of your results comes in the next section of your paper, which is the discussion and conclusion section. The way you present your results depends entirely on the statistical tests you used. To illustrate what a results section may look like, we will now present two examples. Example one shows how to present the results of a t-test. Example two shows how to present the results of a regression analysis. Example one includes a study that compares employees with a higher workload and employees with a lower workload regarding their job stress. The hypothesis we want to test is, employees who experience a higher workload experience more job stress than employees with a lower workload. In our sample study, ten employees have filled in a questionnaire on workload and job stress. A t-test was used to analyse the data. This is how you present the results of the t-test. As you can see, this information is presented in a very concise way. Our result of interest is the t-score, which is 0.27. Additionally, we provide details on how we use the t-score to evaluate our hypothesis. In our sample, we compared our t-score to the critical t-value for a one-tailed test with a significance of 0.05 and 8 degrees of freedom. As you can see in the table, this critical t-value is 1.86. Since our t-score is lower than the critical t-value, our hypothesis cannot be confirmed. Please note that in our results, the non-Greek letters are in italic. Two decimal places are used and that there is a space before and after the equal sign. The degrees of freedom, shown as dF in the table, is calculated by the number of participants, which in our case is 10, minus two participants. Example 2 includes a study on the relationship between self-efficacy and task performance. A regression analysis was used to test this relationship. This is how you report the results. Our result of interest here is the b coefficient, which is 0.09, as well as our p-value, which is 0.04. b is the unstandardized regression coefficient, p refers to the level of significance of our findings. Please note that you have to report the exact p-value up to three decimals, for example, p equals 0.006 or p equals 0.03, unless p is smaller than 0.001. In that case, you write p is less than 0.001. Now your result section is ready and you can move on to the discussion and conclusion section of your paper.


Hi everyone. My name is Ahlam Yasin. I'm a high school history teacher, debate coach from Paramus, New Jersey. Why am I interested in global learning? Because why not, right? I love bringing the world to my students, expanding the walls of my classroom, and just exposing them to different people, places, and ideas. And we can do that through images, videos, and discussion. And it takes them to faraway places. So that's part of why I love global learning. What is it due to myself as an educator? I lead by example, right? I tell my students, you can achieve anything you want. Go out into the world and be amazing. And I like to think that I'm amazing. But I like to take action like I tell my students to do. So definitely leading by examples. Another component of how I've grown personally and professionally as an educator in the global education realm.


This week has the potential for severe weather on campus. Here are some important tips and information to keep you informed and safe in the event of severe weather. It's important to know the difference between a weather watch and a weather warning, especially when there is a risk of tornadoes. A tornado watch is when the ingredients for a tornado are present, but there is no active tornado in your area. This is a great time to prepare for severe weather. Tornado warning is when the ingredients have come together and there is an active tornado in your area. Immediately seek shelter if a tornado warning is issued. UA Alerts will let you know when there is an immediate threat to the campus area. Additionally, there are several storm shelters across campus that are opened when a tornado watch is issued. You can find a full list of campus storm shelter locations at ready.ua.edu or on the UA Safety App. If you can't make it to a storm shelter in time, every campus building has a best available refuge area also listed online. Stay informed by signing up for UA Alerts, listening to 92.5 FM UA Info Radio, downloading the UA Safety App and following at UA Underscore Safety on Twitter. Don't wait. Make your weather preparedness plan early.


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Second Auden Lecture. I was reading last time from poems from the thirties, those love poems, Layers Sleeping Head, My Love, and This Lunar Beauty. The ballad that I read for you as I walked out one also a poem about love also comes from the later thirties. It is collected though in this book called Another Time, a book Auden published in 1940. I'm afraid I've got my order all mixed up here. I wanted to show you just the table of contents of this book because it has a number of masterpieces in it that you are reading. It's also significant that it's organized in the way that it is. The first section is called Humbly, I guess, People and Places, and it includes in it, the poem I'll be discussing shortly, Muse de Beaux-Arts. There's another couple of sections, a section called Lighter Poems. It includes all kinds of song forms, refugee blues, different kinds of blues, and some kind of gothic satirical ballads, Miss G., James Honeyman poems that are antecedents for a song like Maxwell's Silver Hammer. This is the kind of thing Auden was writing. Then there's also something else called occasional poems, and in this box Auden has put Spain 1937, that great political poem from the Civil War. And these poems that I'll be discussing today, in memory of W.B. Yates and in memory of Sigmund Freud. I wanted to call attention to this book first of all because it shows us these poems embedded in the actual context in which they first appeared, but also to point out the way Auden has organized his book. That is to say he has thought of his poems as belonging to specific categories and placed them accordingly. And they have different genres, different forms, suitable to different purposes and occasions. And this is very much the way in which Auden imagines himself as a poet, I think. Auden is someone writing with a kind of technical mastery, with access to a whole repertoire of traditional forms, which are suitable to different purposes and different occasions. This general perspective on his work is related to the topic that I introduced in discussing as I walked out one evening. And that is the whole question of perspective in Auden. You remember I talked about how that poem seems to include, well, at least three different perspectives. That is the quoted song of the lover, who tells his beloved that he will love her until the end of time. Then there's the voice of the clocks, who speak from the point of view of time and correct his claims. And then finally there's a kind of narrative voice that seems to frame the whole thing with that image of the river running on. As in that poem Auden seems to be able to incorporate in his poetry multiple perspectives, each of which comment on or are framed or conditioned by the others, but each of which has its independent truth, you could say. This is a topic that we'll explore more today looking at other poems. I'll show you some photographs. In the 1930s, during the Japanese-Chinese war, prelude to the Second World War, Auden went with his friend Christopher Isherwood to China and created a book together called Journey to a War, which includes Isherwood's poetry. It's quite a remarkable book. It also includes photographs which are presented in an interesting way. We have here two different photographs of boys, boys who are classified here as soldiers and civilians, and then grimly are identified as with legs and without. There's a kind of interest in these photographs and in their presentation of how in the ways in which, in war, who we are is a matter of perspective and point of view. The war gave Auden and Isherwood an opportunity to experience what it is like to be on the ground when planes are overhead bombing you. Here's one photograph of that condition. Here is another illustration of this general point I wanted to make. There are unidentified corpses under blankets there. There are then scattered human remains and debris, and the one photograph is identified as the innocent and the other as the guilty. Well, another poem on this general theme in Auden's work is Musée de Beaux-Arts. It is a poem that Auden wrote after returning from China in December, I believe, 1938, contemplating a return to the United States where he had visited a short time before, contemplating, in fact, expatriation. Also contemplating an imminent war, a world war that would extend the horror that he had witnessed in China. To all of Europe and beyond. Suffering, in other words, was on his mind, and it's the subject, or rather, art's relation to suffering, is the subject of this poem. The poem has as its occasion a visit to the Musée de Beaux-Arts in Brussels, where Auden saw, among other works, this painting, The Fall of Icarus, that is painted by Peter Bruegel. This and other Bruegels are referred to in the course of the poem, which proceeds almost as a kind of imaginary gallery tour or walk, in which Auden, a companion, takes us to different works and contemplates their commentary on the general issue that he is raising here. What is art's relation to suffering? About suffering, they were never wrong, the old masters. How well they understood its human position. You learn with how you position suffering in human life, and he's taking Bruegel as a model. How it takes place while someone else is eating or opening a window or just walking dully along as this line of poetry itself seems to. How, when the aged are reverently, passionately waiting for the birth, now he's contemplating a nativity scene, there must always be children who did not specially want it to happen, skating on a pond at the edge of the wood. They never forgot, the old masters, that even the dreadful martyrdom, and now he's looking at Bruegel's painting The Massacre of the Innocence, that even the dreadful martyrdom must run its course in a corner, some untidy spot where the dogs go on with their doggie life, and the torturer's horse, no more innocent or guilty than those boys, I suppose, scratches its innocent behind on a tree. The old masters know the human position of suffering, its position in human life. Position is important, it's an important word for Auden here. He's concerned with how experience is placed. Sometimes he calls this geography. It is a topos, motif, an idea in his poetry that Elizabeth Bishop will take over quite directly from him and develop and make central to her poetry. The idea is that things have meaning in relation to, in their connection with, but also their separation from each other. Suffering is part, but only a part, not the center of human life, a repertoire of actions and conditions and states of being. That is much larger. In Bruegel, in his Massacre of the Innocence, I won't try to find it now among my slides for you, Auden focuses on the torturer's horse, the animal that is part of the scene, and that motivated by an itch scratches its behind while the dreadful martyrdom runs its course. In this poem, as in other Auden poems, note the prose rhythms. The poem does seem to, at times, walk dully along. Auden, like Moore, is writing in an expository manner, an essayistic manner. This is part of the tone of the poem. Auden is getting into his poetry a kind of neoclassical, eighteenth-century aesthetic, an ability to talk about ideas in poetry in, again, a discursive, expository manner that includes humor. And that, as a matter of fact, is observant. Pain, like the tears that I talked about last time that had dried on Auden's pages. Pain is part of the picture, but it is just a part. It's, in a sense, been put aside. All of this is a function of calling Auden's perspectivism any scene borders on other scenes where other people are positioned looking at the same thing differently or not looking at it at all. And this is one of the themes of the second section of the poem where Auden specifically describes this painting. He says, in Breugel's Icarus, for instance, and this is a poetry in which the poet says, for instance, just as Moore might have said, however, how everything turns away quite leisurely from the disaster. And he's talking about the shepherd who's looking up to the sky. About the plowman who has his back turned to the fall. And where is it? It's hard probably for you to see, but it's hard to find in any case because this dramatic event that is the center of Breugel's pictures, in fact, these bare legs disappearing into the sea as the overreaching sun of Daedalus plunges into the water, not at all in the center of the picture. How everything turns away Auden observes quite leisurely from the disaster. The plowman may have heard the splash, the forsaken cry, but for him it was not an important failure. He's not concerned with flying to or beyond the sun. For him the sun merely shines. It helps him cultivate the land, the sun shone of necessity as it had to, on the white legs disappearing into the green water, the white legs disappearing into the green water. In the expensive, delicate ship that must have seen something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on. Well, here Auden wasn't thinking about Hart Crane, but he might have been. It's almost as if this figure has leaped off the back of the boat as Crane did. He is, however, thinking, I suppose, about romanticism in general and its ambitions. Here the sun shines as it had to. What it illuminates are white legs. There's a kind of objectivity in that. There's a kind of naturalism. It shines on green water. It's as if, from a certain perspective, from the perspective of aesthetic form, these elements of the picture are merely elements of a picture, colors, which have meaning as they are placed in a system of relationships and a system of perspectives. Well, there's a great deal more to be said about this painting. I think one idea that is worth emphasizing is the way in which the plowman in Auden's account, as in Bruegel's painting, has prominence, has a greater prominence than the heroic romantic figure plunging into the sea. The plowman is going about his ordinary daily work, and as he turns these furrows, we are reminded, as Auden surely was reminded, of the ancient classical connection between verse, meaning the turning in Latin, from one line to another, and the shaping action of the plow that creates these furrows in the earth, committing the poet, as he identifies with the plowman, to a kind of poetry of craft and of the earth that involves, in a sense, turning away from disaster. Well, this poem was written in Europe. It is a poem that Auden, let me find this picture here, with which Auden, in a sense, turns his back on Europe, and for the moment at least, the imminent World War, he comes to the United States. He emigrates to the United States in January 1939. This personal turning point in a poetic career comes at a moment when the world is about to be split in war. It also comes at a significant moment in literary history when Yates dies, and Auden recognizes this occasion as a moment to celebrate the poet, contemplate the achievement in modern poetry that he represents, Yates, in a sense, provide a kind of epitaph for a poetry now in the past, behind us, that positions Auden in the present. Let's look at the view of Yates and of Yates's poetry that emerges here. The poem extends the questions of Musée de Beaux-Arts by asking not so much what is art's relation to suffering as what is the place of art in society generally, or poetry in particular. Auden begins, he disappeared in the dead of winter. The Brooks were frozen, the airports almost deserted, and Snow disfigured the Catholic statues. The mercury sank in the mouth of the dying day. Oh, all the instruments agree, the day of his death was a dark, cold day. There's a sense, as Auden elaborates these ideas, that natural science is here mocking the pathetic fallacy, that all nature should mourn when the poet dies and reflect the grief of this event. He's saying Auden is – it was a cold day, and we had instruments to measure it, and that's what it was, in a kind of factual way. He continues, Auden does, Now he, Yates, is scattered among a hundred cities and wholly given over to unfamiliar affections. The words of a dead man are modified in the guts of the living. Yates is passed on to us. And yet, to whom is he passed on? What difference does he make? Auden doesn't want us to make the mistake of thinking that Yates is too central a figure, that he matters too much. But in the importance and noise of tomorrow, he continues, when the brokers are roaring like beasts on the floor of the bourse, and the poor have the sufferings to which they are fairly aware. And each in the cell of himself is almost convinced of his freedom. A few thousand will think of this day, as one thinks of a day when one did something slightly unusual. This is an attempt to, in some sense, place poetry realistically in culture. It doesn't matter to the brokers roaring like beasts on the floor of the bourse. It doesn't matter to the poor who have their suffering, to which they are fairly accustomed. It matters, well, perhaps to a few thousand people, not a negligible number, but not a large one either. There's a kind of modesty in Auden's claims for Yates, for poetry. You could contrast Pound at the same time as this poem is broadcasting his ideas on Fascist Radio, or you could think about Stevens at the same time dreaming up a poem he will call Notes Towards a Supreme Fiction. This is a rather different claim for what poetry might do. It returns to a theme of the wasteland. Somehow the world that Auden is describing is one in which we are each imprisoned in the cell of ourselves, recalling the locked chambers of Eliot's poem. In the second section, Auden moves to address Yates directly. Now Yates is, in a sense, claimed for us his difference, the vatic powers of language, the visionary ambition, the occult learning. All of that would distinguish and separate him from us is put aside.  Silly. Your gift survived it all. It had to survive a lot. It had to survive the parish of rich women who doted on him his own physical decay himself. Auden says, mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still. You did not affect it. You did not affect it because you are a man and only a man. In fact, poetry makes nothing happen. This is one of the most quoted sentences in modern poetry. Poetry makes nothing happen. It is almost always quoted, however, out of context. It is part of a long sentence. It comes first as a qualification on what Yates and the difference Yates has made in the world. Auden's saying in a sense, no, you haven't made a difference. For poetry makes nothing happen. But the poem continues then, the sentence continues. Auden says, colon it survives. Poetry makes nothing happen. It survives where it survives in the valley of its saying, where executives would never want to tamper. It flows south from ranches of isolation and the busy griefs, raw towns that we believe and it survives a way of happening, a mouth. Poetry doesn't make things happen. It has a different kind of action. It survives. It lasts. How does it last? Where does it last? It lasts in the valley of its saying, a kind of imaginary landscape or kind of world that is created through speech here. The valley of its saying, perhaps a rich place to live, but also a space that evokes a kind of absence or hollow or kind of opening, perhaps, or a gap. As Auden develops this idea, the poetry becomes what he calls a way of happening, a mouth, and then that valley is re-figured as a mouth, an open mouth I'm sure, a mouth open where words are coming out, where more words will follow and flow like a kind of river. Poetry, in that sense, doesn't make anything happen. It is rather a way of happening. That is a kind of method or model, a path or discipline, a way, not a deed, but something more like the symbol of a deed, or the figure of a kind of potential action, a nothing that is somehow something too. Again, I think an image implying an open mouth, that is the mouth of a river, the mouth of a poet, through which language flows. Then the poem moves into, I think, a kind of illustration of the kind of action that poetry engages in. That comes with the movement into these ceremonial in Iambic tetrameter, essentially. Is that what it is? Well, it's definitely a tetrameter. The Rai mentors, the prose rhythms of the poem up to now give way to a kind of ceremonial lyric language. Here poetry is identified with praise and with prayer. The poem gives us a kind of performative language of human ceremony that honors Yates, that lays him to rest, yet also absorbs and affirms the power of poetry that was in him. First, receive an honored guest. William Yates is laid to rest. Let the Irish vessel lie empty of its poetry. Auden goes on to describe the way that time will honor poetry and will honor Yates, that time will even, he says, forgive Yates for the right-wing politics that Yates's later career is marked by, and that Auden separates himself from and needs to come to terms with in this poem. He says, time with this strange excuse, pardon Kipling in his views, and will pardon Paul Claudel, Kipling for his imperial jingoism, Claudel for his proto-fascist ideas, pardons Yates also for writing well. Auden, looking back on this poem, would ask himself, how could I possibly presume to judge Yates and forgive him morally for his politics and struck these condescending lines from his poem, so you won't find them in the collected poems, but you will find the powerful lines that proceed from them. In the nightmare of the dark all the dogs of Europe bark and the living nations wait, each sequestered in its hate, intellectual disgrace stares from every human face, and the seas of pity lie locked frozen in each eye. What does the poet do in this condition? Follow, poet, follow right to the bottom of the night. The poet descends and descends into a night that is a nightmare in which Europe barks, ready to attack itself. With your unconstraining voice still persuade us to rejoice with the farming of a verse, and remember the plowman now as a figure for the poet, make a vineyard of the curse, sing of human unsuccess in a rapture of distress, in the deserts of the heart, let the healing fountains start, in the prison of his days teach the free man how to praise. This is what poetry can offer. It can offer a lesson in how to praise. This is not making something happen politically in the world, perhaps, but it's making something happen in the heart, and perhaps within the eye of each of us who look locked and staring with our pity frozen there. Poetry would be a kind of farming in the desert of the heart that would break open that which is locked there and free feeling. It's a powerful and very traditional claim for what poems can do. In talking about the wasteland, I stressed the ways in which Eliot sought language of public ritual that might join people separated in the cells of themselves. Here, Auden is working through the same ideas and providing a kind of model for how that might work. Let me turn ahead with you to another great poem from this period in memory of Sigmund Freud. Freud is a kind of plowman. He is another model for the poet for Auden, and this poem proposes still other ways to understand poetry's relation to suffering, represented here by Freud's humanistic therapeutic technique. What sort of hero is Freud? Auden calls him an important Jew who died in exile. It's significant that he is called that by Auden at this moment. If you look for the figure in Garanti and Eliot's early poem, you'll see that the figure is not dignified with the capital J. Antisemitism is a crisis in Europe and it's certainly a pervasive current in modern poetry, whether it is actually a theme or motif as it appears in Eliot or Pound or simply a kind of valuable prejudice, as you would find it in Williams's letters. Antisemitism is powerful and here Auden is identifying himself with Freud as a Jew and as a Jew in exile. It seems as though Freud in this way represents a figure for people who are in some sense extracted from the nation and who are international in their perspective, and Auden himself is writing in America from a similar point of view. As in the Yates' elegy Auden is reluctant to single Freud out when, as he says, death is so common and suffering is so common. But Freud's point of view for Auden is powerful and valuable precisely because it emphasizes the common placeness of human suffering. It's ubiquity. He's praised, Freud is, as the poem unfolds, specifically for the ways in which he responds to suffering. How does he do it? Well, around line 28 or so on page 804, Auden says all that he did was to remember, like the old, and be honest, like children. He wasn't clever at all. He was silly like us. He merely told the unhappy present to recite the past like a poetry lesson. Till sooner or later it faltered at the line where long ago the accusations had begun and suddenly knew by then judged how rich life had been and how silly, there's that word again, and was life forgiven and more humble. No wonder the ancient cultures of conceit in his technique of unsettlement. That's what Auden calls Freud's therapeutic technique, the talking cure. It's a technique of unsettlement. The ancient cultures of conceit see in it the fall of the collapse of their lucrative patterns of frustration. If he had succeeded Freud, why the generalized life would become impossible, the monoliths of state be broken and prevented the cooperation of Avengers. Of course they called on God, his Freud's detractors, but he went his way like the poet who follows right to the bottom of the night, down among the lost people like Dante, down to the stinking fos where the injured lead the ugly life of the rejected, and showed us what evil is, not as we thought deeds that must be punished, but our lack of faith, our dishonest mood of denial, the concupiscence of the oppressor. Auden emphasizes Freud's literary dimensions.  It puts faith in speech and the powers of true speech to correct and reshape and heal human life. It is a technique of unsettlement that is a threat to princes, all worldly authority, because it questions authority and empowers the individual speaker to take life into his hands. Like Dante or like Pound's Ulysses in Canto I, like the poet in the end of the Eighth's Elegy, in Auden's poem, goes down among the lost people, goes into the stinking fos, which is a powerful word. It's a word that appears in Canto I, where Ulysses, Pound's Ulysses goes to seek Tiresias. Fos, it's an Anglo-Saxon word. It reaches back in that sense in cultural history to understand that our present mystery is one with continuous with that of the past. Yet history is something here that can be intervened in in an individual way through the kind of true speech that Auden celebrates in Freud and that he aspires to in poetry. As the Elegy builds towards its conclusion on page 806, again the night appears, Freud would have us remember most of all to be enthusiastic over the night and its lost people, ourselves, not only for the sense of wonder that it alone has to offer, night, the unconscious, but also because it needs our love, for with sad eyes its delectable creatures look up and beg us dumbly to ask them to follow. That is all the properties here of the unconscious that are at the same time with all those who are lost in society and need to be represented and claimed. They are, like Freud, exiles who long for the future that lies in our power, again a power of speech. They too would rejoice if allowed to serve enlightenment like even to bear our cry of Judas as he did, and all must bear who serve it. Freud here is in exile and he brings insight, but he also brings love. Auden is imagining a kind of general state of homelessness which Freud's technique of unsettlement isn't meant to redress but rather to recognize and accept and help us adjust to and live in. Auden's own technique here is, well, his verse form is a simple syllable count, eleven syllables, eleven syllables, nine syllables, ten. The normative ten syllable line comes last and forth and gives a kind of resolution to each quatrain. This simple pattern again accommodates and promotes a kind of prose speech, a kind of ordinariness that identifies Freud's work and the poet's work with a kind of resolution that accommodates rationality and a rational voice as Auden will describe Freud's as being, and yet also accommodates feeling at the same time, accommodates love.  He's silent. And over a grave, his grave, the household of impulse mourns one dearly loved because he understood how to love our impulses. Sad is Eros, builder of cities, and weeping anarchic aphrodite. It's eventually a powerful moving conclusion. Eros and aphrodite have lost their champion. I'm going to conclude by commenting very quickly, since we're almost out of time, on one last poem, arguably Auden's Greatest, in Praise of Limestone, a poem written from the perspective of the post-war in the United States, but about a kind of imaginary landscape that combines elements of his childhood landscape in northern England and the Italian landscape where he returned in the post-war period and became increasingly attached to. It is a kind of allegorical space, and it represents a kind of home, I suppose, for the homeless, for we, in constant ones, as he describes us. It is this limestone landscape something to be praised, and it is a poem of praise. It is an image of the world without another transcendental world beyond or behind it. To be in the world, as described in this poem, to be in an entirely earthly realm. Again, you might think of the plowmen turning away from the over-reacher who tried to fly to the sky and turns rather to the earth. It is a landscape like that of Stevens in Sunday Morning. It is a landscape that Auden can only describe as a kind of imaginary place, through counterfactual statements. It is, well, porous. It's rich. It's fertile. It's moderate. It is not a place of extremes. And hermits and caesars, they don't belong here. They are still elsewhere. It's rather a place in which ordinary life and ordinary people might live. The very end of the poem is extremely powerful because it looks towards a kind of redeemed human life, sees it in this landscape, and yet represents it in the landscape. Auden says, insofar as we have to look forward to death as a fact, something he will never let us forget, no doubt we are right. But if sins can be forgiven, if bodies rise from the dead, and you note the conditional in both phrases, these modifications of matter into innocent athletes, the people that he peoples this landscape with, and gesticulating fountains, made solely for pleasure, make a further point. The blessed will not care what angle they are regarded from, having nothing to hide. Dear, and now he speaks to a beloved, I know nothing of either what that is, what it would mean to be blessed or to have nothing to hide. I know nothing of either of those things, but when I try to imagine a faultless love or the life to come, what I hear is the murmur of underground streams. What I see is a limestone landscape, a landscape that is like Auden's version of an earthly paradise, our only image of these ultimate promises. Auden manages somehow here to make us see and feel what the life to come might be like, what it might be like to be blessed, while still acknowledging that we can only live in and speak in the world before us, which is the one that Auden remains throughout his poetry dedicated to. Well, we'll go on to a poet closely identified with Auden, Elizabeth Bishop, on Wednesday.


Oh, that's right. Yes. It's with great pleasure that I today announce my intention to nominate Judge William Steel Sessions to be director of the Federal Bureau of Investigation. Judge Sessions is well-recognized as a man of great personal integrity and honor, dedicated to the vigorous enforcement of the criminal laws of our country and to the even-handed administration of justice. I'm happy to be able to draw up on the talents of a person with such extensive experience, both on the bench and as a prosecutor, to lead the FBI in our fight against crime. Judge Sessions has established himself as a fair-minded, tough prosecutor and one of the finest federal judges on the bench today. He's committed to protecting the rights of all Americans under the Constitution. He understands and has demonstrated unwavering dedication to constitutional principles in securing protection of the lives, the property, and the homes of our citizens, not only with respect to those who violate our laws, but with respect to those who are charged with the responsibility of enforcing our laws. Under Judge Sessions' leadership, I'm confident that the FBI will continue its impressive tradition as one of the finest law enforcement agencies in the world, unmatched in integrity, commitment, and skill. Sessions. Thank you. Thank you, sir. Mr. President, I thank you for reposing the confidence I made to become the director of the Federal Bureau of Investigation. I look forward to trying to maintain the highest standards that Judge Webster has provided for leadership in the bureau to working with Attorney General Meese as director of the Federal Bureau of Investigation. And I'm grateful to you, sir. Thank you. Mr. President, why did the office mission fail? What happened in the gut? The policy failed with the mind today.


Hi everyone, Joe for jazzy's casebreaks.com, coming at you with a Niners, Jets, Dolphins, Packers, Random Number Block Randomizer to help fill up, pick your team number 14. If you're watching live, I'm going to do just one more of these random number block fillers and then we're in breaks fill. That's how it works. If you're not familiar with it, it's in the description. Check it out. Big thanks to this group. I think this group knows, this group knows how that works. There's the numbers right here and let's roll it, randomize it, five and a three for names and numbers. Five and a three, eight times for names and numbers, one, two, three, four, five, six, seven, and eighth and final time. Ross down to Gale and five and a three, eight times for the numbers, one, two, three, four, five, six, seven, and eighth and final time. After eight, we've got eight on top down to one. All right, Ross with eight, Stephen with six, Gale with two, Tyler with seven, Gale with zero, Nick with nine, Mark with four, Ross with three, Mark with five, and Gale with one. Let's order these numerically. Look at that. Gale with zero, one, two. All right, so there you go. Again, we've got to do one more of these random number block randomizers for a different set of teams. That's on jaskyscasebreaks.com. Once we do that, we're in Brakesville, so let's get it going, and I'll see you next time for that break. Bye-bye.