have a screen on the front. It's just a LCD or just a display to show me how many minutes I've been recording. This one actually I can see myself. That's very interesting. Anyways, enough about that. So we just got here to work. We're not too sure what we got on the agenda yet, but we're gonna figure it out soon. Tomorrow is a day off. It's remember and stay here in Canada. So this is a little bit in the past for you guys. Hope you guys enjoyed it. And then Friday we're back to work and then we have the weekend up. It'd be kind of nice if it would have been centered in the shot and I don't have like the camera too low or get rid of footage with my other camera because I had it pointed at there. I can talk to somebody. I mean, it's myself, but I can see myself there. So now I'm talking to me. It's like I'm actually talking to a real person because I'm a real person. If I'm on the screen there, I'm also here. It's way too early for this. Put the seatbelt on to roll across the yard because you don't want to fall out. Tell yourself right now. Say it for you. Your day is going to be a good day there. See? Someone's got to say it. We tried filming in 4k 120 frames per second on this camera today. I'll be using this other one too a little bit. I believe that was 4k 60 frames per second. The reason I haven't done 4k in the past and why I might be going back to 2.7 K is because the laptop I'm using at home by ASUS computer can't always handle the 4k footage and it's very hard to edit because it gets all choppy. I'll see how my computer handles this continually. Higher definition. I don't want just any computer. I want to make sure I picked the one few thousand dollars. I want a desktop. I want to skimp on that because I use it every day. I use it so much. I want the best of the best. Just like this GoPro I'm using now is the best of the best. It was a gift and I'm very thankful for it. On the laptop I'm going to get myself. Might be a little choppy while I'm editing it, but it'll turn out good in the end. We'll see what happens. It's starting to rain. Today there's supposed to be a big snowstorm rolling in. It's going to start as rain throughout the day and hopefully by the time I'm done work, hopefully it'll wait till then, it's supposed to start snowing tonight. The first real snowfall of the year. This is supposed to bring in about a foot of snow or 25 centimeters or so up to a foot of snow. Maybe not that one, but up to. So it's bound to happen sooner or later.  This is what I was born for. This is what we do. This is what Manitobans do. We're ready for it.  Give me your best shot, Mother Nature. See what you got. Try to impress me, alright? It takes quite a bit to impress a Manitoban when it comes to snow in winter. So if you can impress a Manitoban with your amount of snow and your cold weather, you know you did a good job. So we'll see what Mother Nature comes up with. Off we go. We have a step deck in tow. 53 foot step tri axle behind me. I've got a riser on the kick up there just in case. Apparently where this trailer is going, it's going to need one. I'm picking up freight in the St. James area of Winnipeg on Aaron Street, which is the opposite of Wall Street. Yes, we have a Wall Street in Winnipeg. It's not quite as glamorous as New York Wall Street, but it's our own little Wall Street and it has nothing to do with finances. It's just a road. It's a one way road going through a commercial district. We're going to go pick up some freight there. We have two loads to pick up there today and that's my job to go and get them. That's probably about a half hour 45 minute ride to where we got to pick them up. Just going to wait for that pickup to come past me and then I'll get into the right lane there. Come on, buddy. Oh, you got a Chevy step on it. Come on. I want my lane back. There you go. This is Aaron Street. It runs south. It's a one way Wall Street runs the other way there. Looks exactly like this. So, if you look at the map of Canada here, this is where we're at, right in the city of Winnipeg. Let's look at it from the top view. There we go. See the perimeter going around Winnipeg there is what I'm always talking about and we are close to the airport on Aaron Street right there and then, you know, Wall Street runs that way. Now, let's go get our freight. It's right over here somewhere. Got to figure out where they want me. I don't want to pull in there. It's a very tight neighborhood here in high traffic. I don't want to mess this up. I'm going to go figure out where they want me first. All right. So, this happens every now and then. We got the wrong address. Whoops. And it's not like it's just down the street, you know? Like, oh, shoot. I'm sorry. I got the wrong building. Let me just walk next door. No, the place we're supposed to pick up at is on the other side of the city. Nobody's fault really because the business has their location and phone number listed as being here. There's no record of them on the internet anywhere being anywhere but here. And apparently, from what these guys said, it's the same owner that owns this and that. So, I guess Google just must have mixed things up for them. They'll probably have to call into Google to get that fixed if they feel like it. At least for next time, I know that Google's wrong. So, Google, you lied to me. Strike one. Okay? Because Google never lies. Never. It always tells the truth every time, right? Strike one, Google. Three strikes and you're out the window. Karen, you're already on strike two. Don't even start with me. Now, my lunch is falling over over here. Okay. This trucker's coffee went right through him. Anyone want to let a trucker use their bathroom? Where am I going to go? I'm like way in the middle of the city. There's gonna be no bathrooms here. Trucker life, right? All right. I just spent like 10 minutes talking to nobody. The camera wasn't even recording up there. So, what I was saying is, it's a 15 minute drive to where we actually have to be. Google cannot be trusted. That is strike one for Google. Karen, don't even start with me. You're on strike two. Once you hit strike three, they're out the window. So, apparently, the shipper or the company, the owner owns both companies and I guess Google just put both of their addresses at this address here on Erin Street and the location where I'm picking up from is actually on the other side of the city and no one had that address on them until we realized that that's not the correct address over here. So, that happens. We try to avoid that but what can you do? Stuff like that happens. You get the wrong address. Uh, you fix it and we try our best to next time not let that happen, right? Now, I'll remember where the shipper is if I ever pick up there again. I need to get out of this lane. This lane ends. All right, buddy. Give her. I think this is a cop coming up here. Unmarked vehicle or used to be anyways. It's a police interceptor. There we go. I had to be in this lane. So, we're headed up road ninety right now. We went all the way around. I was talking to you guys the whole time. It would have been a great shot. We were going around a port of jabbing you there. So, I've gotta find a place to go to the bathroom. This truck underneath the bathroom. This the trucker coffee that I had this morning is gonna make another appearance and I need a facility. Now, we gotta find a place that lets truckers in.  It's a truck stop. You have to let truckers into the truck stop. Otherwise, what's the point of having a truck stop? Then you're just a stop. You're not even a stop. You're just a building. No one wants to go there and then I'll just go around and it's on the northeast side of the city. We're on the northwest side right now. That's not too far away. It's not like we're away like across Chicago. This is Winnipeg. It's a bit of a smaller city. When stuff like this happens, it's a little easier and quicker to fix it. That is an honest mistake. The road up here is so much smoother now that they've actually fixed it. This used to be so bumpy. This is like trucker central in Winnipeg. You got Volvo. You got Mac. You got Western Star coming up there. You got Andy, the Kenworth guy sitting at Inland Kenworth just up on our right. You got the Freightliner dealership off just to the left over there. The big dealership just off this road. You got Peterbilt down the road. Anything to do with trucking is on Brookside Boulevard here on Route 90 in Winnipeg. North side of the city. A lot of trucking companies based up here as well because there's also a lot of mechanic shops and all the dealers are here. So it makes sense I guess because it's a short it's a short tow for them if they need to bring their trucks in for any repairs you know. There's another one over there, a bunch of red trucks. I'm not too sure what company that is but trucks trucks trucks. I remember visiting this area of the city many many times when I was a kid with my dad. It was Oak Point Highway sorry not Brookside. Oak Point Highway. It changes names quite a bit. Here's Andy the Kenworth guy Inland Kenworth. You guys want to buy it? Kenworth go talk to Andy. He's a good guy. I like him. Looks like he's at work today. There's his vehicle and here's the petrol pass. Okay we need to use the bathroom. This is borderline emergency.  Of course how am I supposed to get in there with that car there? See if they'll uh figure it out. No they're not gonna figure it out. Excuse me there you go. Thank you. Appreciate it. Not his fault they built this a little bit tight. Thanks bud. Beesh. What's this guy doing? I have to fuel up anyways. Come to think of it. I am sitting at just above a quarter tank. Let's get it done while we're here. Killed two birds with one stone. Look at that Peter built over there. You see that? Nice truck. Very nice. Air ride front suspension. He's got that bumper pretty much sitting on the ground. That's beautiful. All right sweet relief. Okay let's go. I want to get both of these loads picked up hopefully before it starts snowing. It's a nice little day cab here too. Nice and clean. The snow is going to be here soon. My dad is west of us where the weather is coming from near Saskatoon and it's already getting bad there he said and that's all coming this way. It's supposed to hit us around three o'clock unless that's changed already and then get really bad tomorrow. Green light here right away. Green light. What's going on? I like to make a right turn on red so make it around there. There we go. Beautiful. A little bit this morning already when I showed you. It sort of stopped for the day but you can sort of sense it in there. You can feel it and you can also tell by the clouds. You can tell by the way that they are that they're uh bringing snow. I'm actually excited for it. You know what? Bring it on. On winter. You know we had a good summer. Bring on winter. I see trucks all the time with two guys in their driving team. That's one thing I was never interested in doing. I find it very hard to fall asleep in the sleeper when the truck is moving. Plus a truck is a very small space already. I like that space to all be mine. That guy went through a solid red light. That gravel truck over there. You see that? Yeah I like everything in the truck to be mine. Not only the shared. Here's Peterbilt. That's what I was telling you about before. But they got no trucks on their lot. This is usually packed full of trucks. That freaks me out. We're talking about this the other day. How car dealerships, truck dealerships, there's shortages of parts and microchips and stuff. It's so scary to see everyone's lots empty. It's going to really start increasing the value of used trucks. Old trucks like this because new trucks are going to be harder to come by if they don't catch up. It's got to turn right onto Washington Avenue here. All my American viewers will be happy with that. Washington Avenue and then your destination will be on the right. They're gonna have to button hook this a little bit. There is a Washington Avenue in Winnipeg, Manitoba. What do you know? Wunderbar. Hey so this is my spot. I'm gonna load up here and we'll see you guys after. I'm gonna quickly rush back, drop it off and come grab my second one. It's starting to rain a little bit. I don't want to start snowing. Not till I'm done. We'll see what happens. And now the snow has started to fall. Just finished loading up the first load. I've got to bring this back to the yard and then come get the second load yet. Hopefully the snow is mostly going to hold off till 3 p.m. like they said. It's noon right now. Three o'clock would be all right. I should be done strapping down my second one around then hopefully. All right let's buckle ourselves in before we get on the road. This thing always falls in there. There we go. All right. I'll try to get around this tight corner. My air hasn't filled all the way up yet. Come on.  I had to get out of their way there in the yard. There we go. Okay. One second here. Let's get this air filled. You know I'm gonna go ahead there between the fire hydrants. Beeping is getting annoying. What's going on? Why isn't it filling up? I don't want to block those fire hydrants. All right come on air. So what happens is when I load freight very often what I'll do is I'll drop the truck and trailer airbags so that the truck and trailer doesn't shake around while they're loading it and then when I start the truck up I've got to put air back into the system. It's got to lift the whole truck up but this time it takes a lot more air pressure because I'm loaded even though this isn't that heavy a freight. It's taking a little longer than I thought it would and I had to get out of their yard. There's two trucks crowding in there already that didn't want to wait their turn and they wanted me out of their yard whatever. Just gonna wait here for the air to fully fill up. For some reason or another it's just taking a little longer than I thought it would. I'm just waiting for the sound of the blow off valve. We're almost there. There it is. You hear it? Just make sure it's holding. My air gauges are right here. Okay so we're good. Didn't have much of a choice but to stop here. Oh that's why he gave me the little honk. I thought I had my four ways on. I just had my left turn signal on. He was probably just honking to let me know he's coming around my left side with that was my bad. I thought it was my four ways. Okay you guys ready? Winter trucking today. Well not quite. It's still melting once it hits the road so it's not quite winter trucking but it's on the way. Going to Raleigh Street here as quick as we can so I'll talk to you guys after. Well I got a little excited with this new camera that I'm filming on right now and I filmed way too much for one vlog so we're gonna make it into two vlogs. I didn't film the next day anyways because the next day was Remembrance Day and as you know around the world at least in the western world that is a day whether it be called Remembrance Day or Veterans Day down in the U.S. when we honor the the troops who fell we remember when the guns fell silent in the great war we remember World War II and we remember all the wars since then it seems that they just keep coming you know wherever evil lifts its head in the world we'll be there to confront it. That's a difficult thing to think about too because in my lifetime my parents' lifetime and even my grandparents' lifetime we've lived through a reasonably peaceful period of world history and we hope to continue that on for our children and grandchildren there have been wars here and there but when in comparison to the great wars before they are a little smaller though they are still significant and many people have fought and died there as well so we remember them too anyways if you're serving thank you very much for your service I'm going to continue this vlog tomorrow and make it into a two-part video I'll see you then


Hi, I'm Liz Wade, and I wanted to tell you about my seven favorite programs playlist. Spotlight has made over a thousand programs, and I have worked with Spotlight for almost 17 years, so choosing a few favorite programs is really difficult. I like these programs because they seem simple, but I think they make you think about something new in the world, or a new perspective, and I really think about them all the time, even now. So, I hope that you enjoy my seven favorite programs, and I hope they help you to think about something new and different in the world.


Wel, gan y toffi TV, we are continuing our season review and we're up to the attack we've already done, the defence in the field, so check them out, they are here on the channel, so make sure you check them out, we're on to the attack today. It's an interest on this, because obviously lots of talk there, two of the three on that pitch here could well be off this summer, obviously we didn't have Dominic Alveduin for more than half a season and it showed and we needed Lysialison to come up big at the end of the season, but that being said, we still didn't score enough goals with the players we have. We have, we've taken Anthony Gordon, Damarig, Ray Rondon and these two lads and that was a key point in what I had in the struggle really. Yeah, their individual stats were appalling, so it'd be fair. In terms of goals, three and fours, it's not good enough. Again, we spoke in the last video, we feel video about the numbers, the numbers were appalling. These aren't much better in terms of especially the positions they're playing, so it's something that has to be massively improved on, it's obviously, it's a team problem, we spoke about this for a while, it's not sharing enough goals around the team and that leaves obviously a big expectation on Lysialison and Dominic Alveduin and obviously I think the year before with Dominic Alveduin getting 20 goals, and that's when he got all the goals and with Charleston getting double figures, that really helped the team and maybe covered a lot of cracks early on. Especially at first half of the season, the position was excellent, the amount of points we got was excellent, them scoring goals probably covered a lot of cracks. I think obviously going into the season, Rafa Benitez bought in a couple of wide men and I think he'd set the team up for Dominic Alveduin getting injury, well he started the season with an injury, but getting an injury in the third game which essentially destroyed his season. It really did, he came back around Christmas, obviously we didn't play the second of January, but we never got anywhere near enough out of him, a couple of games, the Leeds game and obviously towards the end of the last couple of games he obviously scored and he scored a huge goal against Crystal Palace, but just nowhere near the player we used through the season before, the player that was getting hyped up, so it is something that Frank Lampard going forward is going to have to massively rectify the issue with goals. Definitely and obviously playing into that was losing obviously Hammers, Rodríguez, Guilffy Sigurddson and Lluca Deane as well, three chief creators all unavailable really for Frank Lampard, none of them were there, Rafa Benitez. Well terms of goals as well, two of those players. Got it, there was 14 goals after two. Yeah plus the assist, so you're probably talking over 20 goals just from two players and then Lluca Deane adds more so. Yeah definitely, definitely. Let's begin with someone who I thought, I think we both thought may actually go on long last season, which was Anthony Gordon, he'd had a long spell, a Preston and it was so so wasn't it, he was going some games and didn't play. But he said he learned a lot and I thought he'd potentially be sent on home by Rafa Benitez, but Rafa Benitez kept him around maybe due to the fact that he didn't have a lot of money to spend obviously if Lewis Diaz would have come in and swapped it with Hammers, then maybe go mother gone, but he didn't. So Anthony Gordon stayed around and I think Benitez did improve him, I have to say that, you know we can give Rafa Benitez a lot of sticking and rightly so, but I think credit where credit's due, we improved Anthony Gordon certainly defensively and structurally within the system. Yeah tactically he learned a lot I think on the Rafa Benitez, I think when you looked at him on the car on the lot he was trying to do a lot going forward but wasn't really doing anything to get back and in the modern game now the way to play you've got to be able to do a little bit of everything. I think he missed a Huddersfield game didn't he, he was out to the squad and that was a few days before the window was shut and so I think a lot of people thought that he was going to go out on loan but obviously with Rafa Benitez's other plans certainly with for Hammers or Daegus anyway, he froze him out and he was desperate to get rid of him so he wasn't ahead of him. We just started to see a little bit of him 15 minutes here, I think the performance at Old Trafford was very very disciplined for the side and then more and more started to come out of him and I think he's a team player, I think there's still a hell of a lot for him to do actually as an attacking player. He's got to be more goals, more assists, more just general pieces of creativity to open up the opposition but I think as a team player in the situation we were he was hugely influential because he never stopped working and obviously that was another thing we saw during the season. Rafa Benitez said earlier on he couldn't really play more than an hour and I think as the season went on he did start to struggle around the hour mark but then he'd get a little bit of a second window and keep going and Frank Lampard obviously in the second half of the season had a lot of faith in him and he played his part in obviously keeping everything up. Yeah, absolutely. Let's have a look at his numbers, his raw numbers. 35 games played in the Premier League, 25 starts he had in that. Four goals, two assists, he averages 1.3 shots per game, created four big chances this season, his key passes per game. One, he's passing accuracy around 74%. Missed two big chances this season did Anthony. Just looking at his other numbers he's fouled 1.8 times again, 48% dribbling accuracy, he's in the top 1% for blocks. Crossings only 19% and I think that's something as we move forward and now when you're playing in a front three it isn't the key thing but if you've got someone like Dominic Calvert-Lewin who thrives on crosses you still have to be putting balls into the right areas sometimes. I think the crossing thing is quite interesting because I think a lot of the time it's crossing actually isn't just whiffing balls into the box. I think he gets himself into good areas where he can pull it back or pull it into spaces and a lot of the time he over hits them or sometimes he actually does it into spaces where he should just be hitting it into the penalty spot with someone standing. I think two things that have come, I think he's playing in England 21s quite regularly now and I think we've seen a level of performance with that and that's quite a good indicator for where he's going as a player. The other side of it is obviously getting quite a reputation as well for diving and all this kind of thing and I think that's not the worst thing in the world. I know people go I should be doing this. I think it's a 50-50 on that. I think you understand the game of what you have to do and sometimes you have to, if there is contact, if you step in front of people and they push you over you have to go down and see the top plays doing all the time. I think he understands that. I think what he has to start learning is way to do it. Don't do it on the halfway line. No point. You do it in the penalty box. You will get them. I think he's got that little bit of an understandable of the game. He's not naive. He's not one of... I know it sounds stupid, but a lot of people, the kids come in and they're almost too honest at times. I think he's got that little bit of anouce and I think he just has to put it all together, but I think, you know, seeing how many games he's played, I think it's a really good start and he puts everything. You can see how much it means to him. You can see how much it means to him. He gives everything. He's just got to add that little bit of extra quality because it's there. It's just that he doesn't put it together and he's young and it really is his face. He's finished four goals and two assists. It's not bad, but this season I want to be seeing eight or nine goals because I think he's got that quality in them assists. I want to five and six. I know the assists are not always the key indicator. The Charleston will get an assist for one of Anthony Gordon's goals against Leeds, even though he had the shot. It's putting it in the right areas, so to speak. That's the key thing. But I think he's had a really good, I think he's had a really good first season and he became some of Frank Llanparg's real idol when we were in the real trouble show. He's had a really good season. A player he's raffered beneath us did bring in last summer for around £1.6 million and I think he's been really good. I think. And now he's tailed off towards the end of the season. He's done very great. But I think, you know, after Richard Charleston, one of Evan's top scorers for £1.5 million, you know, I think he's been good. Let's have a look at his numbers before we get into talking about Dymari Gray. 34 games played, five goals and four assists. This isn't the Premier League, of course. Shot per game, 1.9. Created six big chances this season and the average is 1.2 key passes per game. He's also average in 1.9 shots per game. Didn't miss any big chances himself. Past inaccuracies around 82%, which is high for a former player. Tackles 1.27, 52% of his dribbles completed. Wins 46% of his duels. But one thing that was really interesting was his pressures, his ball pressures. He's does 13 per game. He's in like the 18% trial. When you look at like a Wobie, he's in like the 90% trial for ball pressures. Shows how hard a Wobie works. Dymari Gray doesn't really do that even though I'm going to call the loom when you look at the forward line. The Charleston has lots of ball pressures. Those two don't do as much. But we did see Dymari Gray. In fact, it was the Chelsea game and he made an unbelievable block. I think it was the Chelsea game and we were under the course of it. So he has got his hands dirty as the season went on because he had to. But for one and a half million and you're getting five goals and four assists, we'd like a little bit more. But in a team that wasn't playing very well and was disjointed and didn't have a real structure for it. How do you think he did in his first season? I think first half of the season, I think he done really well. You know, goals and assists and was for the first half probably the player of the season. He did massively tail off in the second half of the season and I think we said that a few times you can understand why he's dropped out of people's teams and being replaced when they've had better players and it did happen for us. I think we got out of him what we paid for him. I think we got him up. I think we need better players than Dymari Gray. I really do. I think where we finished is a byproduct of having too many players like that. Where they are the starters rather than the squad players. Because I just think when again, like we spoke about on the midfield, when you haven't got players to replace them and they stay in the team and they start to get worse and worse and worse, then you're looking for that little bit extra. Again, there was times when I just thought he needed to be taken out but couldn't be taken out and I suppose the form of a wobby maybe helped just take him out of the firing line. I think he's done probably, then his fee of course. His fee was nothing and the first part of the season he was excellent, don't get me wrong. I can just understand why he's drifted out of other people's teams and why we managed to get him for that kind of price. I think he's an excellent squad player. He's not someone I think we can rely on all the time or get that full season out of him. But for the price, for the price, he did excel I think for that price. But that doesn't necessarily mean he's good enough. But I think he's a good squad player. But again, he's going to have to go up again next season because we're probably likely not going to bring someone in who's better than them. He's not an international footballer, so he will have a clear summer. And again, it's about just getting the best out of him and just knowing when to take him out and bring him back in. I said first half of the season I thought he was excellent but not so good the second half. Yeah, I think he got an injury didn't he, a new castle and he just was never as sharp. I don't think when he came back. But then saying that he did produce some big moments in the last couple of games corner at Leicester for Hallgate to go, the good little dribble that led to the equaliser against Palace and then obviously it was this cross for Dominic Alvely. He said that won't stop Palace games so he did have big moments. But you're right, the consistency, the times. I'm not having someone who you could go right, he comes out and he comes in for now. And to freshen him up and to give him a little bit of maybe a little kick up the backside as well. Also if you don't play, if you haven't played too many full seasons, it can be tough. It can be tough, you know, you're being relied upon to have a good performance every single game. And of course it's not going to happen. And when you set the bar for yourself quite high, like I think he did, then you know, it can be difficult. But actually the winner against Arsenal was if it's waiting gold. And as I said, he's obviously got a lot of talent. It's about knitting it all together and finding a consistent level. Absolutely, absolutely. Onto that, let's move on to... ..a player who may well be leaving everything. If you believe everything that's in the press. It's just Richard Charleson who, again, double figures again for Richard Charleson this season. Come up big when he needed it at the end of the season. He said with a few weeks ago we had to keep us up and he was good to his word. And he really did carry the team. And I think he will be massively missed if he leaves everything. Because of... And now he is up and down. He sometimes winds me up the way he is. But he's still evidence tall as man. Out of everybody, he's really, you know, we want to do well for the club works hard. And it's got that bit of quality. But let's have a look at Richard Charleson's numbers. Play 30 games, 10 goals, 5 assists, averaging 2.4 shots per game. Created seven big chances which is more than anyone else. Missed six big chances which was more than anybody else. Could have had themselves 16 goals for the season. 28 starting out 30 games. Again, just luck on that. He scored 100% of his penalties, three penalties. Touches averaging 38.4 per game passing around 63% passing accuracy. Dribbles complete 49% of his dribbles. Precious 21 per games in the 92% half of that. Crossing 13%. Accuracy with his crossing. Which a lot of times you get in and just it does leave a lot of luck into those zones and stuff like that. So you are probably going to get that drop off. But again, if you've got Dominic Hall of the Loons in the middle so many fries off the crossing. There is it straight away just looking at it going well. That needs to be boosted by each of these players. But it's your lesson. He's a one and three striker. That's not to be sniffed at on those numbers there. I think obviously, I don't think he's a centre forward as such. But obviously there was games where he was the centre forward and done very well.  I like him playing in the number 10 or just off the striker picking up the bits and then moving with the ball. I think you can have all the stats and numbers you want. But I think when you look at how hard he works or certainly towards the end of the season and how at times you just can't. It's not quantifiable that kind of what he does. But now how he can affect the game. I think we forget as well. He played two major tournaments last summer. He had a couple of bad injuries out in a month when Tarkovsky, funny enough, took him out. That was a bad injury. Those little things, you could see that. There was a time when obviously people have caught his petrol and so whatever. But I think he grew up a lot last season. I think he grew up hell of a lot knowing that. A lot of the responsibility was on his shoulders. There was nobody else coming. I think as a fan base we all are certainly raffaibonynts, I believe this. But he was this thing of like second half the season that's going to sort itself out. Doms coming back and all that. It never happened. Now Doms caught the big goal but it never really truly happened and it came to a point where it was like this is all on you now for Richard. And it really was all on his shoulders. And I think that helped them grow up a lot as a player. And all the things of the outside forces. What Saint commentators and things said about them and said about his so-called antics. And yet we watch him every game and we know he gets kicked everywhere in every single game. Everywhere. And yet there's an outside thing of he's the biggest cheat in the Premier League or he's the biggest dive. It's just nonsense. It's just nonsense. There was one at West Hamway that fell illiterally booted the ball in his face. And it's just get up and it's just like no it should actually be ascending off. So I think for me I think he's had a big season. He's had a really big season and of course you wanted to score goals. You mentioned there was chances he missed. What happens next? We don't know. We don't know. He feels like he's probably ready now for the next stage of his career where Everton are. And we'll have to wait and see. But for me he was a major part of Everton staying in the Premier League. Absolutely, yeah. And like I said before he'll be hugely missed when he goes. It'll be difficult to replace. He's got double figures every season since he's been an Everton player. So 55 Premier League or 55 goals he's got for a show. We've got it. We have got to replace that. And it's dead easy to dismiss that. It's dead easy to go oh yeah but he only got this. Look at the other numbers. The other numbers are appalling. They're absolutely appalling. It's those goals that have won his big points or have kept us in games or whatever. You go back to like the Leicester game and think about I know there was different opinions on that. Just grabbing that point. You know in the last minutes of a game just keeping it ticking over again. Yeah, it's a game around. We've got that ticking too with this. I'll have kept going and got the important goal. The Chelsea goal. There's been some huge moments for us this season. He really has tough responsibility. If he goes he'll be a big miss I think just for the whole of the club and for the fan base. Absolutely. Point no three with just one of the highest. Dominic Alford Lewin. The player who. We started the season with such high hopes. He'd had 20 odd goals the year before. Just flying. Obviously dropped the couch on his foot. Broker's toe. And then had to compensate for it. That's ultimately probably what done. Done his injury because you run slightly different when you're hobbling or whatever. But he'd started the season really well. 3 goals in three games. Haven't had started the season with seven points out of nine. And we lost him and he said he came back on the second of January and wasn't really fit Mr Penalty. Played a full 90 but the second half he just looked like he wasn't even on the pitch. He played at Norris the week later then was injured for the next game. And it was a bit like that wasn't it. And he only really looked himself. I think later on he was excellent. But he only really looked himself probably Brentford and Crystal Palace. And then Arsland the final game. Well he was left out wasn't he again. He was left out for towards the end of the season for a lot of games. Ronddon was coming on for the late part of the game when he was sitting on the bench. And it was almost that thing of like Frank Llanparty and you're not quite there. And I'm saving you for the games I really think are important. I don't know what it is. I said he came out towards the end of the season. Just after the season ended. And basically said he's mental health and stuff. And I don't know whether he may be at times didn't trust his own body. Didn't feel like you know that injury is it's not a it broke down for me at once. And he was on his way back and then he got it reacared. And obviously I don't know whether he just didn't truly believe in his own body. And there was times when he felt you know there was all these things of like oh he felt something or there was a tingle and all this kind of thing. Mentally. Mentally that you know you've your thinking if this goes again I'm out for another three months. That can be a lot to deal with especially with the position ever more in. And his own career as well you know a lot of speculation about his own career. And that can be and then that leads to frustration in the fan base and starting to question all the other things. We know this year became a big season for him in terms of his profile. He came off the back of a good season. He was part of the England Euro squad even though he didn't get more games which he probably should have or more time. And his profile is really high you know and doing the adverts and all the rest of it. Started to elevate him and then the frustration creeps in off the fan base. Where is he? We need you on the pitch you know on the pitch but you're doing something else. All those kind of things that are not always rational but as a football fan of course you're driven by passion. You're driven by you don't know what's going on day in and day out in people's lives. So massively frustrating season for him but ultimately when we needed him we got a big goal from him. The winning goal against Crystal Palace was absolutely huge but it's effectively he's lost the season of his career effectively. And that must be that must be huge frustration and personally for him in a well cup year as well. It's not till the end of the year but that must be hugely frustrating. Although watching England you'll probably just walk back in. I'll walk back in to that. Par for Harry Kane he haven't gone any on off the. I think luckily for him it is Qatar and it is November because he'll have the opportunity to because if it had been now he probably wouldn't have gone. Tami Aebram would have gone. But he's got he's going to have next season the start of the season to start well to prove his fit. And to give Gareth Salkit a different option that he don't really have which is his aerial ability.  We suffered massively. People can talk about. It wouldn't matter if we hadn't we'd have still struggled. But in the same breath we'll then tell you that Leeds would have been Samarow Patrick Bamford. They've had Patrick Bamford so it doesn't equate. You lose your chief goal scorer. You cost your games and everything would have won marginal games or got draws in games. If they would have had Dominic Alvalun a fit Dominic Alvalun that is. So it did affect it. And he is a big player for us whether people like it or not like what he was or not he's a big player for us. Let's have a look at his numbers anyway for the season. 17 games played in the Premier League he started 15 of them. Five goals, two assists. Average is 1.9 shots per game. Jules 145%. Big chance has missed that was three. He didn't miss a penalty of course against Brighton but scored another two. Dribbles is the funny one 18% of his dribbles he completes but he's not really he's not one for dribbling. Obviously 60% passing wins 50% of his aerial Jules which is quite high. After just 6.8 aerial Jules he gave me wins which puts him on the 95% which is really good. But this one of those was dead interest in his progressive carries with the ball. He's in the lowest you can be in the Premier League. It's like the lowest 1% of that at 0.7 because that's just knowledge game that's all. And that's why when you're trying to build a team and then you go from Dominic Hall of Loon to Diti Arlesen, the whole dynamic of the team will change.  So I can understand what Rafa Benitez was thinking about get wide and get crosses in for your fellow who's going to head them in. Franck Llanparg if Dominic Hall of Loon does remain at everything for this season, Franck Llanparg really has to look at that and think how can we get better service into him? Because we don't just want long straight balls that he flicks on however they can be important at times but we want to make sure that whether it's in the air. He got a lot of his goals under Carlo from crosses coming in and he went just swinging them in, he went across the six yard box as well. You know he scores 99% of his goals for Everton have been for him inside the box. So he got to get balls across to him and I think that again we touched on cross-naguracy before. That'll be a big thing especially if Don stays. Cos he is a key player isn't he? There's nobody really like him I don't think. No I don't think you've seen that in the self, sorry in the Crystal Palace game, the quality from him holding the ball, holding the ball. The amount of headers he won and then the drop downs and it helps you play higher up the pitch if you haven't got that creativity to go through the midfield which we certainly don't. And then he can be used and he's a very big athletic strong player. I suppose now it comes down to we know we're going to sell one of them. Sadly we just know that and at the moment as we record this all the talk of the Charleston but it has been all about Don and Carmel. And I suppose that's something we've got to figure out. We've got to figure that out cos we don't want a situation where mentally both of them have checked out. Cos a lot of people felt that was what was the only check out last season and the Charleston was the one. And it's almost like that slap in the face for a lot of people think well actually we don't like you anymore, we like the Charleston now and it's like that's how they come to change with it.  That's how we are football fans. Typically, especially men, typically come to terms with when players leave. I mean there is a narrative around that at the moment and I've seen this from a couple of different things. He doesn't actually, he doesn't want to stay. Well no, they're football fans. And especially if it's Charleston goals, he might be, you know. Heaven can't afford to sell both. You know, it doesn't matter what anyone says about money coming in. Us just looking at the basic numbers here proves you can't afford to sell them both. You can't lose them goals. Even Don there in what was obviously a poor season and an injury, a rabbit season, he was just over 1.3. Sorry, a goal every three games you're 5 and 17. If you're doing, you know, with the things. So, with the start, he had 15 startings, he scored 5 goals. That's 1 and 3 in the season when he was, you know, it didn't go for him. He's injured and stuff like that. So he's still very much an important player in Heaven. And what it might do is if he does stay in Heaven or Heaven and say, we're not selling him it, you're staying for this season. We'll look at it next summer. It might affect who they get in the wide area to replace it to Charleston. It may be someone who does cross the ball a little bit more, you know, to try and get the benefits out of him. Finally, on this, you know, Rafa Benita's signing, Salomon Rondon, who came in massively not fit, came in with the idea that I am adding, which was probably what we saw in the last six weeks of the season when he probably did his best work when he'd actually got himself fit. It was just to come on with 15 minutes left and be a nuisance. The problem was, he came in and then Tom got injured and we had to use him and we had to use him when he was unfit and then he just looked up all because he couldn't move. Not necessarily his fault but he just wasn't fit enough to cope with the Premier League. It wasn't mobile, wasn't it? It wasn't mobile and unfortunately that's, you know, it's condition coming back from, you know, China and stuff. His condition was just nowhere near the level and like you're saying, he was thrust into getting more and more playing time and even to the point where he was starting games with Charleston was, you know, playing more as a number 10 and stuff like that and you know, he just couldn't get to a level because he came in. So, you know, he needed a pre-season. He just was nowhere near that level of being, he was always playing catch up and, you know, his quality, you know, you could see, you could see in some games towards the end while his qualities are, you know, holding the ball of them and being strong and just giving something, a defence something else to worry about rather than affecting the game just being a nuisance. But, you know, again, one goal, it's a failure, isn't it? It's a massive failure. Massive failure for the, again, you know, and, yeah. Well, let's have a look at his numbers, the Premier League numbers these are of course. Played 20 games, he only started eight games forever. One goal, one assist, average is 1.1 shots per game. Jules won 34 per cent, which is poor. Big chances missed two. Things like passing 62 per cent. No interceptions per games in any average, which is poor. No.3 tackles per game, which is poor. But his aerial Jules, he's good, wins, you know, wins. Had you had to think where his pressure started? To be honest, his pressure is 19.5 man a game. On the 81st percentile. So you compare that with Dominic Calvert-Lun, who's on the 36th percentile. Pressure's the ball far more than done. But he does do that, he just can't do it fair. He does it in a manner. Obviously he's scored two goals against Borumwood as well in the FA Cup. But I don't think even on a free transfer, which we've got him on, I think it's ever going to be better. One goal from a back-up striker is shocking, really. And it is when you look at these numbers. And I know we were injury-ravaged for the season. And I know things went against us, and we were terrible at other times. You can't hide from any of that stuff, poor managerial decisions and all that. But these numbers, when you're looking back for things like goals, it's not difficult to understand why Evan struggled because there's one goal for your third-year striker. One goal, it's terrible. The striker should be getting eight and nine, really. For a club like Evan, who pay good wages as well, those strikers should be getting eight or nine. Your top two should be getting 20 and 15 or maybe 15 and 15 or whatever. He shouldn't be getting one. And we've gone right through there and in them attacks, we've got Wat Damari, Gregor, Fife, Anthony Gove and four. They're fireplace, Rondon one. I think you should expect, if you've got three strikers, I think you should be expecting 30 goals at least from the three. That's on the low side. That's purely the low side. That's what I'm saying, you should be expecting 30. That's not good. We know what we need to do. It's whether we can do it or not. That's the issue now. Obviously, you have to look at why we're not, the chances and all that stuff, why we're not making more goals and whatever. It's just not good enough. The entire team is not good enough. And that's why we are so dependent on with Charleston and Dominic Arvelin.  And then the next time you go and we're reliant on them too and it's like one of them is going to get sold. We're just getting further down and further down. And that only means one thing, by the way. That only means one thing in the end. It's inevitable in the end. If you replace them with equal or better quality, there's only one place you're going. And that's the task now for the club, to make sure that's a spinner. So the goals, we start getting goals into this club, whether it's through midfield or better plays up front or wide plays. If you do not get goals in your side, then you are going to struggle at the bottom end of the table. And that's ultimately the problem. Absolutely. There you go. That's a say, isn't it? Let us know what you think in the comments section below. And if we do end up selling the sales, and who would you like to see Evan bring in? And who was your player of the season? Let us know all in the comments. Give the video a thumbs up, subscribe if you haven't, and if you want more videos, join us on Patreon. The link is in the description and the QR code is on the screen now. See you later.


Everybody mad here for late and sports cards are up in 2022-23 Panini select basketball H2 hybrid five box break number three random teams All right We will randomize eight times. Good luck one two three four five six seven eight Scott J down to Thomas V and eight times on the teams one two three four five six seven eight spurs down to Blazers We have Scott J Spurs, Josie Rockets, Alan F Kings, Paul N Bucks, Matthew B Celtics, Wing C Cavs, William D Warriors, Mark D T Wolves, Justin C Sixers, Leaming H Pistons, Matthew B Pelican, Scott J Wizards, Anthony N Magic, Paul G Raptors Nets, Frans and F He, Matt E Nuggett, Scott J Hornets, Ross N Nix, Anthony D Pacers, Edward P Mavericks, Mark D Bulls, David F Jazz, Scott J Thunder, John C Hawks, Scott J Clipper Sons, Mark D Grizzly Scott J Lakers and Thomas V Blazers All right post those results. We'll get this going Results posted to the site. Here comes your link Let's do it Jim Williams, Marjan Bochamp This is Anthony Simons Disco Quartzide and this is to 99 Blue, blue rock like a light blue. Yeah, light blue disco J Nivey Rookie, Shontae Murray and It was Mondiang that is rookie white disco Quartzide 75 Thunder Jalen Sugg silver Chaiyak Bajie hi-tie Jamerant and this light blue disco to 99 and Johnny Davis Tyrese Maxie Quartzide Red Disco 49 A.J. Gryffin rookie silver Yeah, just chronicles daytime Awesome, that's awesome Butler Christian Brown Quartzide Rookie Trey Disco Kiehl's and there he is White disco Quartzide Rookie Pello Bencaro magic. Very nice Thank you. Look at this. This is service around here Tip this guy later. 16 of 75 Responding That was the that was the joke is when he came in is like what bomb is gonna give up number five and it's like Well, yeah That was Anthony with the magic Tari Eason Blue disco rookie A.J. Griffin to 25 Marjan Bochamp Christian Brown Tyrese Maxie and light blue disco Jalen Green Rodney They definitely made this better than last year last year. They only had like a few parallels They're all lower numbered but this year at least they have the higher number one. So it's like yeah Little something there if you don't hit like a low number card I think the green discos are like some of my favorite basketball cards over like a true green Mm-hmm Barty Smith jr. Jonte Murray Like blue disco well Malachi Brandon rookie and Steph Curry white disco. This is 58 of 75 You're in Fox Jade and Ivy and red disco Marcus smart for a top-shell photo. Heck yeah, let's see one Bajie Ty Ty guys all we have left to fill up today is just Chronicles football. There's Steph blue disco That is four of 25 nice one warriors William D Ingram Bronson and Tyrese Maxie red disco courtside sexy and the Dick's matherin shade on sharp light blue disco that is to 99 nice from blazers You know chai Bajie rookie silver you want to see a top-shell photo a top-shell photo Think I pulled one of those in um revolution. W. W. V. We use can you tag that mark D? Mark D mark D. You got a top shelf a top shelf auto Kevin Mark D in the break I'm gonna bag this Anthony Edwards, Michael Porter jr. Chris Middleton Disco and Kennedy Chandler marks like wow Hey, I know That will go for approximately the value of a blank on ebay some people might prefer the blank Yeah, play Thompson white disco and Caleb you say what's this writing on this? All right, let's see an actual top shelf. I don't know No reaction from Mark. The side. Oh, there it is. I was gonna say the silence is deafening That's a bottom shelf. Yes There's jade and ivy How much for an inscription? Oh, you don't want to know. Okay, Aaron.  Can you write a poem? roses red voids blue type thing andrew nemhard so That's um, sorry Court side red disco rookie to 49 pacers I'm gonna put this in the in the lightbox take picture of green mark so you can get it listed as quick as quick as possible spawn d'ang Evan mobly light blue disco and Baldwin It's the only on-card auto on the break honestly a shape Griffin Anthony Edwards white disco and lake wesley rookie disco actually the only out of pure good actually because it's Too, I forgot to put my guarantee I'll do the recap as soon as porous is ready. Oh man. All right. Here we go light blue disco and These are to 99 evan mobly rookie shade on shark jonté murray jalen green jammer rant court side amperney simons white disco clay thompson step curry anthony edwards Court side porzingus and court side who spawn d'ang rookie How much insurance for that? You might want to get it out of flight to florida.  Thank you everybody. We have number four up next


But with training, we need to minimize a loss. So two key details to note here. All of these word vectors have the same size, and all of these word vectors are generated simultaneously. We need to take each word vector, pass it into a fully connected layered output with the same number of neurons equal to the number of tokens in the vocabulary. So that would be an output layer corresponding to 30,000 neurons in this case. And we would apply a softmax activation. This way, we would convert a word vector to a distribution. And the actual label of this distribution would be a one-hot encoded vector for the actual word. And so we compare these two distributions and then train the network using the cross-entropy loss.


What is up guys and welcome back to the Johnny Q channel. Thank you so much for watching in today's video If you came from the other video, you know that I did a 36 by 48 in all blues this time I'll be doing the same canvas size but in reds oranges yellows some pink magenta kind of like a fire and ice kind of thing so let's just get right into it and This video that I'm making is like right after I did that blue one So I'm pretty pretty pumped about it. Let's get right up on there Attempting another 36 by 48 mega canvas piece. Let's get to it. Oh We got our reds. It's gonna be insane This is our fire side we got Fire and ice on the last one. This is gonna be equally Amazing the tires were squeezing the bottle wish me luck. Here we go something else this and There you have it the 36 by 48 the fire side and honestly I'm so stoked so pumped that I was able to make this happen. It actually worked and now I'm thinking I need to go Bigger like big bigger. So I'm gonna attempt to do that sometime Hopefully soon. So anyway, thank you guys so much for watching and I'll catch you in the next one. Peace Bro, it worked it honestly, I can't believe it worked so good so good


Comics, and we are going to be up here using the terms comics and graphic novels fairly interchangeably. Comics are a storytelling form. Comics are not a genre. Your graphic novel collection is not a genre collection. That is because comics, as an art form, are a way of telling stories. They are putting a series of images in sequence that are designed to be looked at in sequence and for the reader to attain a certain meaning. That meaning can be anything. There are beautiful and brilliant works of comics biography, philosophy, science, like any topic under the sun, you can make a comic about. Similarly, any audience that you might want to write for, you can write a comic for them. You can write a comic for two-year-olds. You can write a comic for 20-year-olds. You can write a comic for 200-year-olds. All of the people who come into our libraries might be able to find a comic or a graphic novel that interests them. A graphic novel is a certain type of publication that employs comic art. Most of the things that we buy for our libraries that we call our graphic novel collection are not technically graphic novels because they are reprints of previously published material, whether that be in, you know, the sort of standard floppy comic book that we tend to think of when we think of comics or web comics or strips or anything like that. So the language around comics gets kind of messy and that's okay and we're going to use all of these terms more or less interchangeably. None of that supermatters. When we think about comics, we, you know, the first thing when I say comic book that's going to pop into your head is probably Superman and there's a reason for that which we are going to get into in just a second. But the fact that superheroes are kind of dominant in, or have been dominant in comics for a very, very long time, is more an accident of history than it is anything else. And if you look at other countries, if you look at Japan, if you look at Belgium, if you look at France, those are countries who have very rich histories of comics art and who actually celebrate comics art. The new president of Japan, of France, just nominated a graphic novel publisher to be his like minister of culture, like can you imagine that happening in the United States? Probably not. But so the way that we think about comics in this country is actually pretty unique to this country. Amanda's going to tell you why. All right. Hi everyone. So this is a topic that we could delve really deeply into, but we're going to kind of skim the surface today. And the 1930s and 40s is when comics really started blossoming in the United States. Huge readership. It was an enormous industry. It was impacted positively by World War II. Lots of GIs read comics while they were overseas and then brought them back to the U.S. It was read by families, women, men, all genres. There was romance, horror. It was just a really dominant, vibrant industry. And then in the early 1950s, a psychiatrist by the name of Frederick Wortham published a book called The Seduction of the Innocent. Have any of you heard of this book? Yeah. So it's a very well-known book and in this book he connected, he claimed to connect comic readers to juvenile delinquency, homosexuality, petty crime and all kinds of different ails of the youth. And so this got the attention of the U.S. Senate and they ran a series of hearings on the connection between comic books and juvenile delinquency. And this was a disaster for the comic book industry. And so the comic book industry banded together and decided to get ahead of it. And they decided to get ahead of it by creating their own self-censoring comics code. And so starting in the early 1950s, every book published had to adhere to the code and be published with this comic seal. And if it wasn't published with the comic seal, it couldn't be sold in stores. It ended up being the single largest self-censorship movement in U.S. history. It was incredibly, incredibly restrictive. You couldn't use horror in your title. You couldn't use terror in your title. You couldn't do anything supernatural. All, there was no sets. Everything was very chased. Forget homosexuality or any queerness. And it just, crime always had to pay. And the code actually stayed in its distance for decades. It didn't end until 2011. So the code directly impacts how the comics industry has panned out since the 1950s. Starting in the 1970s, the code loosened over time. And when we talked about underground comics like R. Crumb and Trina Robbins and others, especially in San Francisco in the Bay Area, we're talking about comics that were published without the seal. That's what made them underground. Not necessarily their content, although their content is what kept them from being published by mainstream media. But that's what created underground comics. And that's what created this publishing industry that really went through an enormous amount of change. And that is how we ended up being dominated by superhero comics. Because those were the comics that could be published and get around the restrictiveness of the code. It was superhero comics that blossomed after the code. It was chased romances like Archie. And it was licensed comics like Disney and Warner Brothers that really flourished for those decades after the code was implemented. And ultimately, when the Wortham archive was opened up, also in 2011, which just coincided with the deadline of the code, it was found that he faked most of his research. That put hundreds of thousands of people out of business. The only three publishers that survived that were published in the 1930s were Marvel, DC, and Archie. Those are the only three that were publishing pre-code that still exists today. So why do we collect comics in our libraries? Despite what some parents may tell you and some kids themselves, comics are reading. They create a visual literacy that is very important and essential to many young and aspiring readers, especially we know that for boys and English as second learners that comics are a gateway to greater reading much like picture books. And they also circulate. We know that comic books and graphic novels are your DVDs of your print collection. When I worked in Marin County as the teen librarian, I never weeded a book that was on the shelf in the teen graphic novel collection. If it wasn't on the shelf, it was because it was gone. And they all had, they've served until they fell apart. And I imagine for those of you who have comic book collections that you're actively maintaining, that's true for you as well. I wanna jump in real quick. So I wanted to say one more thing about visual literacy. What are comics? Comics are combinations of pictures and words that we look at together to form meaning. Increasingly, that is also what our information environment looks like, right? With the internet and with kids growing up navigating online spaces, what they're experiencing largely are combinations of words and pictures that they're putting together, finding the associations between, and gaining meaning from. So comics and graphic novels, instead of dissuading kids from reading more deeply or reading prose, rather they're reflecting the other kinds of information environments that they're growing up with and interacting with. It's reinforcing the skills that they're exercising in other parts of their research or their information lives. And increasingly, being able to draw connections between lots of visual information is an important skill for people to have. So when we talk about visual literacy, that's one of the main things that we're talking about. And when we talk about struggling readers or English as a second language readers, you have the text in a comic and then you have a picture that is reinforcing that text. So sometimes there are contextual clues that a reader can glean from the picture that might help them sort out the words. And so that's why when we talk about reluctant readers, in addition to them having fun content, being about characters that they recognize and being very appealing, there's also that sense of the images are building upon or reinforcing the language. Also, when you get a comic book, and I can actually say this from experience, I collected comics as a teen and then kind of dropped off through college. And then when I was in grad school, that was actually when I really started reading comics again. And the reason was because I could quickly read a comic book in less time than it would take me to consume a prose novel and get a complete story. So I was budgeting my time pretty severely. I didn't have a whole lot of time while I was in grad school, but I could set aside an hour and get a complete reading experience. And being able to sort of quickly digest a story gives readers who might be struggling that esteem boost. It lets them feel like they can finish something. And we can, as educators and as people who are concerned about literacy, we can use that feeling of accomplishment and that feeling of esteem to kind of push those kids along and expand their reading horizons. Thank you, Jack. So one thing that we talk about a lot is in shelving and organizing your comics is that we are really not pro 741.5. When your kids come into the library or even your adults, they're gonna look for your graphic novel or your comic book collection. And they're not going to want to go find 741.5. We all know that Dewey's problematic for the public anyway. But think of it the way you do Fitchin, right? Fitchin technically has a Dewey number, but we don't shelve anything in Fitchin under Dewey. We pull it out and we highlight it in other ways. And that's the approach that we wanna take and we recommend taking for comic books and graphic novels is to separate them out and put them all together.  They're not gonna wanna have to go to 94.1 to get Art Spiegelman. They're not gonna wanna go to different areas of the library. Put them in one space for them to be able to go and get everything they need. And the other strength, I think, of liberating graphic novel collections from 741.5 is then you're not, like when you have nonfiction works, you don't have to catalog them as comics. You can catalog them by their subject content. So you can put science stuff in the 500s. You can put biographies in the 920s. You can let those books live where their subject tells you they wanna live. And not confine them to a certain genre ghetto because of their form. This is an example of how we manage our spine labels and cataloging at the Berkeley Public Library. So the first line on that spine label you will see is the audience. So teen, no audience label for adults, J for juveniles. It's very, very important to have separate graphic novel collections for children's, teens, and adults, just like we have separate prose collections for children's, teens, and adults because there's some amazing stuff that is being published these days strictly for an adult audience that you would not want to prevent your adult readers from finding because the only place you buy comics is for the kid section. And sex criminals does not belong in the kid section in case anybody had any question about that. But so we put a GN prefix next to, to say that it is part of our graphic novel collection. And then below that we have either the Dewey number for its subject. So like in the example of Persepolis 920 because it's a biography. Oh yeah, introduction to climate change. GN 363.7. Isn't that more useful than having introduction to climate change, GN 741.5, I think it is. And then we put all of our series, especially our superhero series. Batman has been published for more than 75 years at this point and hundreds and hundreds and hundreds of people have written Batman. When somebody comes into your library looking for Batman, they don't necessarily want to dig through all of the, you know, every writer's last name who's ever touched a comic book in their life to find the Batman stuff, they want to just find Batman. That's what they care about. So all of the series that we collect that have had multiple writers over the course of its history, we catalog them by their title or by the series title or by the main character. Because when you're talking about Batman, you've got Batman, you've got Detective Comics, you've got all of these, what, Sirens of Gotham and all of these various things underneath it. We can just call it all Batman and put it all in one place. People that want it will find it. I have started because especially superhero series like to stop and start and stop and start over and over and over again. So, you know, we have like a hundred Batman volume ones. So we put the date underneath so that people who are reading their way through a series, you know, that's at least some kind of contextual clue to figure out where that volume three that they need is. It's not the volume three that was published in 1970 because the one I just read was published in 2012. I'm gonna go find the volume three that has 2012 and hopefully that'll get me close to it. And then for series that have only had one author, we put, we give those, we catalog those under the author's name. So that's Margaret Atwood's very, very weird Angel Catbird book, has anybody seen this? It's so bizarre. But like the Sandman series, Neil Gaiman was the only person ever write the Sandman, so Sandman spine labels say GN, Gaiman, volume whatever, 1986. Was that everything? Yeah, that's everything I wanted to say. Okay. So we have a extensive resource sheet that we're gonna send out after the program but we wanted to highlight a few things that we find particularly useful as librarians and selection. Full disclosure, no flying, no tights. I'm an editor for them, but they are one of the few librarian driven resources. Everybody who reviews for no flying, no tights as a librarian, all the reviewer editors are librarians as well. It's run by Robin Brenner of a library in the East Coast. I always think of her as Robin Brenner of no flying, no tights. Robin Brenner, yeah, that works. And Eva Vollen of Alameda City or Alameda Free Library. And so it's a really good resource in terms of your hearing from librarians about what they think about what the assigned age category is and how they feel about whether or not this fits in your library. Yalsa, of course, has the ALA Media Wars and they do a graphic novel top 10 list that's invaluable. I've definitely used it to defend comics that have been challenged. I had to defend Old Van Logan by Mark Millar when I was a teen librarian at Novato and which is a book that can be quite graphic but it was on the Yalsa top 10 list that year so I was able to justify keeping it in teen for that reason. Voya, when it's not being a dumpster fire, can also help you keep books in your collection where they belong. I used a Voya review way back when to defend having a Jodi Patol book in the teen section. M.H. Comets, which is the third largest comics publisher in the U.S. and is all creator-owned comics. They do a librarian's newsletter that could be helpful. But the thing that I use that I think Jack uses quite a bit too is Previews which is from Diamond Distributors who is the comic book distributors in the U.S. and they send out a monthly newsletter that is completely invaluable. It tells you what the top selling comics are in the U.S. It has Cat's Corner, which is a long running comic by a librarian as well and it's really an invaluable resource that has a lot of highlights for you and will let you know really quickly what's really going on in comics today. Yeah, the other thing that I noticed that is worth calling out about the Diamond Bookshelf newsletter, especially for educators, while I was putting together the resources for this presentation, I happened to go to their website because I get their newsletter every month but I don't spend a whole lot of time on their website. And their website actually has tons of stuff like core collections lists and lesson plans for a lot of different graphic novels. So I think it's an even more useful source than I originally thought it was. Also, Image Comics I think has been doing sort of the most to specifically brand their newsletters as being for librarians and educators and in addition to telling you about books that they have coming out that they want you to know about because they know that you buy books and they want you to buy their books, they're also pulling in other information about comics in libraries. So while they're, I think that they might be like at the forefront of putting together a specific publication for us, lots of other publishers have regular newsletters that are really valuable. I like the Top Shelf newsletter a lot and I like the Phantographics newsletter a lot, just for what it's worth. Find publishers that you like, go and see what newsletters they have, subscribe to them, yeah. I would also add that you can commonly find Diamond and Image at California Library Association and ALA, especially at annual that they're there and there's somebody you can stop and talk to at their booth and Diamond of course is always at Sandy or Comic Con. So I wanted to talk a little bit as we move towards the diversity part of our conversation today about what the industry looks like today and this really informs what's kind of being published. This is by, oh, I don't have it in my notes. How lovely. Thank you, Lee and Lowe. I was trying to remember what it was called. Oh, there it is, Lee and Lowe and we linked to this in our resources sheet. They did a widespread evaluation of who it works in publishing from reviewers on up and no surprise, guess what? Almost everyone who works in publishing is white, able-bodied, cis-identified, hetero-identified women. From the reviewers on up, it's almost all 90% or more that's who's working in comics. And so then when you see- Except the women part. Except for the women part, which like, hey, look, we're librarians. How many of us are white women who worked in here? So it really informs how the stories that are published. And we know like in children's books that most children's books are about white, able-bodied little boys who are identified as straight cis kids or talking trucks or animals. That is what the vast majority of children's books are today. So we just wanted to highlight this as far as how it informs publishing today. And also, if you are not somebody who identifies as what the majority of publishing is, I encourage you to become reviewers or become active because we need those voices desperately that are alternative voices to what we see dominating publishing today. And now onto our favorite slide we've ever put up. This is why we need diversity. This is a 2015 book, part of the DC Rebirth Movement. It's called Voodoo. It is the quintessential example of how the male gaze is used in comics.  And it's also worth mentioning that the woman dancing in this is actually the main character of the book. And this is the way that you meet this main character in the first issue of her headlining comic. So. Notice it is not in publication in 2017. I mean, this is, where do you start with the problems with this slide? It's a woman of color, she's being objectified, it's her own book. This guy doesn't matter at all to the sense of the story. And this is modern comics today. And this is why, this is, is this Marvel? It's DC. Oh, it's DC. Which we're gonna get into the problems and challenges of both Marvel and DC as they try to navigate a modern world in comics. But so much of comics is based in this problematic area. So we're gonna delve into some of that now. One of the reasons why we need to focus on and talk about diversity in comics in particular is because they are very visual. If you have a person who is not a white cis male in a comic, like it's obvious. You can tell who that character is. I know there's lots of studies that readers will, readers of prose, if not a lot of information is given about the identities of a certain character, readers of prose will sort of fill in the gaps with their own identity to make those characters resemble them. Comics you don't really have that option because it's clear who you're looking at, when you're looking at it. Unlike fields like film and television where the visual nature of the storytelling is really important, comics tend to be done by very small groups of people. And what that means is there's far fewer, generally far fewer gatekeepers that need to be gone through to convince somebody like, hey, you should have a woman of color in this book. So it makes them, it makes them an area and kind of a target, a place that is ripe for change and that's ready for change if the right voices are there getting in there and advocating for that change. I wanted to share, so there's a comics writer named Justin Jordan and I follow him on Facebook and he posted this Facebook post a little while ago. He ran an experiment in the scripts of his comics because he writes like six or seven monthly comics. So he's working with a wide variety of artists and he ran this little experiment where he wouldn't assign gender or race information to the characters that he was writing just to see what would happen. And here's what he said. What I found was that white and often male is the default for most artists. This is actually true regardless of whether the artist is themselves white or male, which is not hugely surprising in retrospect. It's also true that artists mostly default to what I guess you'd call stereotypical gender roles. If for instance I have a scene that calls for a doctor and two nurses, what I'd usually get is a male doctor and female nurses. Likewise, a call for a soldier almost always gets a dude. As an expansion of that, I recently had a post about a parent and child that didn't reference the gender of either. Pretty much across the board, people left to their own devices defaulted to this being father and son, which while I wrote the question as non-gender specific, actually referred to a mother and daughter. So male and white is the default for most artists working in America even if the artists aren't white, male, or American. What that signifies I think is that there needs to be intentionality from the top down about who we're writing for, about who we're representing in books. And the thing is it's actually unlike in Hollywood where that message has to get through executives and casting directors and all of these different people. Really, all you need is an editor or a writer saying, we're gonna put some diversity in this book. These are the people that we're gonna represent in these roles. And once a writer puts that on the page to be drawn, then an artist sees that and goes, okay, this is what I'm drawing. It's very, very easy for creators to kind of break their default modes if they have the will to do it. I mentioned, or we've talked a couple of times about the resource guide. And in the resource guide, I've pulled out a bunch of articles by Casey Gilley who is my girlfriend, but also is a journalist for Comic Book Resources and has done a lot of really exciting journalism about representation. And she did this one article in particular that's called out in that resource guide where she talked to five different creators in kind of a round table about representation and about where barriers to representation are in the comics publishing world. I encourage you to go and seek out that link in the resource guide when you get it because it explains this whole process really well, I think. So given that we have a need for greater diversity in graphic novels, given that we have recognized that creators are very capable of introducing diversity when and if they want to, it's now worth looking at what some publishers are actually doing. And we're gonna focus on kind of the big three publishers. Image Comics is creator owned and is the third largest publisher of comics in the United States. DC and Marvel kind of vie for, I think DC is pretty solidly the number two publisher and Marvel's the number one publisher. So we're gonna talk about them. Image Comics started in 1992 when a bunch of the big name talent at Marvel and DC decided that they were sick of not having any control of over what they got to write and no ownership of their works after they did it. So they kind of split off and formed this new company that was gonna be all creator owned. And for a really long time, it was basically these creators were just doing knockoffs of the big two superheroes that they were writing in the first place. Over the course of the last 10 years or so, Image's reputation has kind of changed into a place where especially like creators who've already established themselves have a place where they can bring their audience and tell whatever stories they want. And you can see from this set of images from their books, a lot of the stories that they're choosing to tell are stories about different kinds of people. So Monstress by Marjorie Liu features a cast of almost entirely women of color in this kind of steampunky fantasy world. Bitch Planet by Kelly Sue DeConnick is sort of a women in prison exploitation book that primarily features African-American women. And Saga by Brian Kevan, which is like one of the biggest comics out there at all right now. One of its, both of its main characters are also people of color. But by freeing up these creators who, in large, to a large extent, have already established themselves and already have an audience, but empowering them to listen to their audience and tell whatever types of stories they want, we're seeing a fair amount more diversity in the books that Image is putting out. And all of these books are very successful. All of the ones that I'm spotlighting right now, I'm not saying all Image books are super successful. But, and this is happening in an environment with little editorial oversight, little oversight period. The creators really are kind of able to do whatever they want. And it's nice to see that what they tend to do has more diversity than sort of your standard big two fare. So we're gonna switch over and talk about DC a little bit. And both DC and Marvel have some problematic approaches to comics that are rooted in their past. What DC does really well is the way that they, the varied ways that they depict sexuality amongst their core characters. Wonder Woman this year, if you know anything about Wonder Woman, it's unquestionable that she's queer. It's rooted in her origin. But Greg Recca, while writing Wonder Woman this year, made it canon that she is queer. They also have Apollo and Binditer, which is a gay crime-fighting superhero duo, which is amazing. They have John Constantine, who is bisexual. They have Batwoman and Maddie Sawyer, who that's where you kind of run into some of their, the problematic internal workings of DC is that Greg Recca and J.H. Williams III were going to have Batwoman, Kate Kane and Maddie Sawyer marry and then they cancel the book. Instead of having those couples, that couple get married, claiming that none of their superhero couples should be married in the DC universe. So, but Greg Recca did come back and write Wonder Woman and the current run is astounding. So, that's where DC really achieves what they're trying to do in terms of diversity. They also have, Jean Yang is writing a Chinese Superman. Is that Keenan Kahn? I have the name in the notes. Okay. Yeah, Keenan Kahn. Keenan Kahn. So that's been really successful. And of course, Jean Yang is a little comic book writer that we all know and adore. So that's where DC is really succeeding. Marvel is not doing so well in terms of how they depict sexuality, but they're doing a really good job in reflecting ethnicity and race. They, this is Power Man and Iron Fist by David F. Walker and... Sanford Green. Sanford Green, thank you. Which is a really great series that is for adults that they're highlighting with Luke Cage. They also have Miles Morales for Superman, or excuse me, for Spider-Man in the Ultimate Series where he's half Black, half Puerto Rican. We're gonna talk about Brian Michael Bendus a little bit who was created in Miles Morales and also Ri Ri Williams as the new Iron Man. We have Ms. Marvel, which if you're not reading Ms. Marvel by Jay, or excuse me, G. Willow Wilson, I've seemed to have lost the ability to speak for a moment, which is a recasting of Ms. Marvel, not as a blonde white woman, but instead as a Muslim immigrant teenager. And it's an amazing series. Those are things that Marvel's doing really well. They also have Ta-Nehisi Coates doing Black Panther.   So there's a lot of stuff they're doing well there. And one of the series we're most looking forward to that is in Seagull Issues Right Now is America by Gabby Rivera. They have, Gabby Rivera wrote Juliet Tates of Breath, which is a YA book. She is a known queer Latina author and she is writing America Chavez. If you don't know America Chavez, she's amazing. She's queer. She has two moms. She's Latina and she has finally been writing her own series, This Is America Here. And so that's just in its second or third Seagull issue, but when it comes out in trade, that's something you're gonna wanna check out and get for your audience because it's not a character that's represented in comics commonly at all. So we wanna talk about kind of two different points here. One of the ways that Marvel has been sort of making strides in the diversity of their casts recently is by recasting a lot of their central characters as different identities. So it kind of started when you had Miles Morales taking over as Spider-Man. And the way that that all happened is actually pretty great. When they were making a new Spider-Man movie, there was this sort of online presence or hubbub around the idea of casting Donald Glover as Spider-Man. And Donald Glover as an African-American actor. And you had these people online saying like, on the one hand these people saying, oh yeah, Donald Glover, he's a big Spider-Man fan, he'd be a great Spider-Man, this'd be really cool.  Like obviously you can't hire Donald Glover because Spider-Man's not black. And Brian Michael Dennis heard all of this and was like, well why can't Spider-Man be black? And so he actually killed Peter Parker so that he could bring in Miles Morales. And I really love this story. I think it's the whole sort of death of Peter Parker and then the reemergence of Miles Morales as a superhero I think is a perfect example of how you can do this sort of story well. Because you've got this kid who's so inspired by the legacy of this hero that's gone before him that he really wants to try to live up to that hero's example. And I think it reflects super well. A lot of the relationships that we forge with superheroes. That's the same way that fans interact with these characters. However, in the wake of the success of Miles Morales as a character, Marvel went a little rampant recasting its cast. So the next big move they made was introducing a female Thor where, yeah, which I think is still a pretty good, is a pretty good story. And the way that they built the story had this really intriguing mystery around like why is this dude not Thor anymore and why is this woman Thor? So, but then they recast Hulk as a Korean-American character and they recast most recently Iron Man is now an African-American teenage woman. And over time, these moves start feeling kind of hollow because there's not, like on the one hand, you're giving different audiences a chance to relate to these characters and to really actually see themselves in the roles of these characters. But then on the other hand, every time you do it, it starts feeling more and more and more like a marketing ploy. And if the story isn't behind the recasting of these characters, then it starts feeling kind of hollow. And then the other part of it is, Brian Michael Bendis is the guy on the right side. And so far, he's the only person that has gotten a chance to write the Miles Morales solo book. He's not Miles Morales. And that's not to say he's not doing a great job writing Miles Morales, but it's worth asking if we gave a black creator a chance to write this black character, what else might they be able to bring to the story? What aspects of Miles's identity could they connect with and could they bring out and show to readers that maybe Bendis, just because of who he is, might not be able to see? Another issue around, yeah. I actually, I didn't know that. Oh, that's really cool. Okay, I wanna go read that now. Thank you, Mamie. Repeat the question. Oh, thank you. Yes, she was just pointing out that Jason Reynolds has written a novel about Miles Morales as Spider-Man. So that's super cool, and I wanna go find that now. You know, and on the issue of Creators of Color getting a chance to work on some of these books, Marvel had very, very few Creators of Color working for them for the longest time, and then a couple of, like a year and a half ago, Ta-Nehisi Coates was announced was gonna come and bring Black Panther back. Black Panther hadn't had a solo title in a really long time, and Ta-Nehisi Coates, who'd just won the MacArthur Genius Grant, was gonna come in and reintroduce this character, and that's amazing, and the stuff that Coates has been doing with the Black Panther book and a couple of spin-off books off of that has been super, super cool. However, it's not like Ta-Nehisi Coates is the only person of color who wants to be writing comics, and the message that that sends, one of the messages that it sends is that you have to be a creator of that caliber in order to get this chance. So it's good stuff, it's bad stuff, there's challenges kind of all around, I think it's worth acknowledging the things that are going really well, calling out the things that are maybe not going as well, and hopefully we will all work towards a perfect and beautiful comics future. And actually there's a little bit of evidence that that might be happening. So the Eisner Awards, if you're not familiar, are kind of like the Oscars of the comic book world. And this is a breakdown of just gender representation in who is winning Eisner's. So in 2012, 18 men or all-male teams won Eisner's for women or mixed gender teams won Eisner's. So that's like four books that had a woman working on them at all. 2008, 26 all-male teams and one female or mixed gender team. 2012, 22 all-male teams and two mixed gender teams. Does anyone wanna guess about 2015? Hands up if you think the representation is getting better. Hands up if you think the representation is getting worse. Okay, many, many people are afraid to put up their hands right now and that's okay. But in 2012, you actually had like relative parody about who was winning Eisner Awards, who was getting recognized as making the best books that are out there. And the books that are winning are also really good and probably you're familiar with some or all of these books, if not you should be. But it's not like these are token awards. There's amazing work that is being produced. And some of those Eisner winners are gonna be up on stage in just a few minutes. So why is this changing? What are some of the reasons for the shifts that we are seeing? One of the big reasons is online communities. Rather than having just sort of isolated people going to their comic book stores where they might be the only person in the store that looks like themselves, now people are more and more able to connect in communities online. This photo is a picture of the Valkyries from Emerald City Comic-Con I think two years ago. The Valkyries are a network of female comic book store employees that have been doing incredible work bringing the concerns of sort of non-standard audiences to the forefront of the comic book industry. The Valkyries, it should be noted, have an offshoot called Valhalla. So while the Valkyries are only for people who are working in comic book stores, Valhalla are also for women who are working in libraries or bookstores or other parts of the publishing industry. I don't get to be in Valhalla, which bums me out because these are like the coolest people in comics right now. But all of the women in the audience should definitely check out this group and get involved in some of the conversations that they're having. They're having a big impact on what is being represented in comic book stores across the country and across the world. They're increasingly a place that publishers are going to when they're looking for direction about some of these issues of representation that we're talking about. And they have the ear of a lot of creators. Like a lot of creators want kind of like the Valkyries seal of approval on their books. Also add that some of these people are also comic book creators themselves, most notably Kate Leth, who is the founder of Valkyries, right? Yeah. She just recently did the Patsy Walker series and she does a whole series. She did Adventure Time. She has a lot of comates and Debbie Huey, who's local is also a comics creator and she's a librarian as well. There are a whole bunch of different Valkyries and Valhallians who are actively working in the industry outside of just working in the book shops. Another place where I think really interesting communities are coming up around different identities are the Black Nerd phenomenon. And like there's increasingly large and vocal communities of Black Nerds or Blurds, which is a word that I'm not totally sure how I feel about it, but it's not my word. But we've drawn attention to a few interesting Black Nerd blogs in the research sheet that we put out. Or we'll be putting them. Another big change in the industry is being brought about by Kickstarter. Kickstarter is creating an economic platform for creators who might not be able to get publishers' attention, but have built up an audience for themselves through web comics or just have a really good idea. And so you're seeing books like Erika Moen's Ojoa Sex Toy. Like how many people think that a major publisher is going to sight unseen publish a book of comic strips, comic strip reviews of sex toys? Like probably not very many, but it was a phenomenon on Kickstarter. And based on the success of its Kickstarter, it got picked up for distribution by Oni Press. Similarly, C. Spike Trotman, who maybe her most well-known project has been Smutpedler, which is a collection of pornographic comics, primarily by queer or non-binary people of color. That's another book that like there's not a huge, there's supposedly not a huge audience for like, lesbian porn comics for lesbians and non-binary and non-gender conforming people, but it found a big audience on Kickstarter and gave itself, was able to find a lot of success. Moonshots, another example, it was a collection of all indigenous comics. So specifically like native creators retelling native stories in modern comics form. So a lot of creators who can't find that success in sort of standard publishing are able to make their works known via Kickstarter. Webcomics have also provided a lot of and been fueling a lot of the change in the comics industry. Noel Stevenson, who did Nimona. Nimona was originally published as a webcomic and built a huge following and then got picked. I can't remember who published it, but it was one of the big publishers, one of the big book publishers, it was one of the big comics publishers. And there are lots of examples of people who are starting in webcomics and finding their voice in webcomics, building their audience there and then taking that to the mainstream. Noel Stevenson went on to co-create Lumberjanes for Boom, which is another title that represents kind of a shift in how we think of comics now.  We are looking for books that are speaking to lots of different kinds of audiences and not the standard comics reading audience and publishers know that. A couple of years ago, the love, yeah, year before last I was at San Diego Comic Con and I got pulled into, you know, half hour, 45 minute conversations with like five different publishers who wanted to pick my brain, who were like, how do I reach the librarian audience? They recognize us as a major factor in their success. They recognize the power that we have to purchase, promote books and create readers for their books and they wanna give us what we want and so we have to tell them what we want. That is it. We can probably take a little bit of time if there are any leftover questions, yeah.


Hello and welcome to this presentation of the system overview of the watchdog timers for the STM32-H7X5 and STM32-H7X7 MCU lines. STM32-H7X5 and STM32-H7X7 microcontrollers feature four embedded watchdog blocks which offer a combination of high safety, timing accuracy and flexibility. Option bytes can be used to adapt the behavior of the watchdogs to the user application. The embedded watchdog blocks feature two independent watchdogs, IWDG1 and 2, and two window watchdogs, WWDG1 and 2, each dedicated to a CPU. Each CPU can receive an interrupt if the other CPU has been reset due to a window watchdog timeout, and each CPU can receive the early interrupt of its dedicated window watchdog. Watchdog functions can be configured through option bytes. Watchdogs IWDG1 and WWDG1 are dedicated to CPU1, while watchdogs IWDG2 and WWDG2 are dedicated to CPU2. Both watchdog peripherals, independent and window, allow detecting and resolving malfunctions due to software or hardware failures. The window watchdogs or WWDG1 and 2 clocks are derived from the APB clocks and have a configurable time window that can be programmed to detect abnormally late or early application behavior. The WWDGs are best suited for monitoring software execution. Each WWDG provides a reset and an early interrupt signal. The independent watchdogs IWDG1 and 2 are clocked by the low-speed clock, or LSI, and thus stay active even if the main clock fails. They are consequently best suited for applications which require the watchdog to run totally independently of the main application. The IWDGs are ideal solutions to recover from unexpected software or hardware failures. Each core can enable the window watchdog clocks via the RCC block. Setting the WWDG1EN bit in the RCC APB3ENR register enables the WWDG1 block clock, while setting the WWDG2EN bit in the RCC APB1LENR register enables the WWDG2 block clock. The software cannot stop WWDG1 and WWDG2 downcounting by setting WWDG1EN and WWDG2EN bit to zero, respectively. Note that none of the cores can enable the window watchdog managed by the other core. The independent watchdogs do not need their clock to be enabled by the RCC block. IWDG1 is implicitly allocated to CPU1 and IWDG2 to CPU2. An option byte allows IWDG1 and IWDG2 watchdogs to be automatically enabled after a system reset. A WWDG block is frozen when the corresponding CPU enters the CSTOP mode. When the domain enters D standby state, the WWDG block located in this domain is reset. IWDG blocks always remain enabled once enabled. Two option bytes allow freezing IWDG downcounting. IWDGFZSTOP option byte allows freezing IWDG1 and 2 downcounting when the CPU1 or CPU2 is entering CSTOP mode or deeper low power mode, DSTOP, DSTANDBY or product standby mode. And IWDGFZSTANDBY option byte allows freezing IWDG1 and 2 downcounting only when the product enters standby mode. Please refer to these peripheral trainings for more information if needed. Reset and clock control or RCC. System window watchdog or WWDG or independent watchdog or IWDG.