All right, what is up everybody?  So let's go ahead and get it started All right, gonna roll the dice. You know same dice for seeing dice for names for names and teams correct cool. Let's roll the dice Two and two and four. Let's do it. So we'll do the names first Pull this down so we can see everybody. Yeah, and then I usually show all the names There you go, you go scroll up and down if you want to or you can do it like that if you want to there's everybody good luck everybody This is this is the easy part the names is the easy part Oh, and I like to remind people that this is just for the break not for the giveaway part The giveaway part is second dice roll at the very end. Yeah. Yeah. Yeah as said in the item description. Yes terms and conditions You got to read that Absolutely. All right, and fourth and final time David my name is Josh Usually I'm over on whatnot Sundays I'm over on Instagram. So there we go. That was fourth and final time on that list So let's go ahead take that over right here in column a perfect perfect So we got that and here are your teams another four times another four times. Let's run it. Good luck everybody No combos nada. No combos. No, no funny business straight up 30 teams Fourth and final time Thunder down to the Raptors Let's get it. Let's check it out And then do you sort by Yeah, and then I will I'll just kind of expand it to maybe 150 Cool, and then just kind of show everybody their teams Usually if it was a it feels like a main break I would usually read off all the teams, but it's just a filler You can just you can just kind of show them but for a bigger break I go through all names and teams just goes from top to bottom. Well, here's everybody's teams So it's a one-pack solo break. So now here's an Excel trick right there click that and Then double when the arrows are like that double click boom and expands to the column size Okay, and then just click anywhere to unhighlight and then right click column B sort a to z boom there we go boom and I would even highlight column a and b actually just from Andrew and Go all the way down to Wizards highlight all that Perfect, and then give it some nice little grids not merge cancel And then give it some grids box that up boom boom professional print this baby I'd help visually for the shipping Actually, sorry cancel that see there's a lot of steps here. We got a print again and Then perfect Doesn't it wasn't it was in landscape mode. Oh, it was yeah, it's alright though portraits Preferred landscape is fine. You can do it again. I will save paper. It's just a filler And then do we need to do labels for this too? Fill for fillers. No, okay If it was like sometimes we do a filler where we use a whole box Then I would print labels for it, but for a single pack I won't you're doing this like you've done it before believe it or not I have done this before so right and now you can do the break. All right, let's do it go to the breaking screen Boom show them the final list one more time. We got a little sideways list for you guys today landscape mode. I like that There you go. Keep that right there. That's exactly. That's what I use it for. I love it. I love it It's a football tune All right, how much do you think that cost that football paper-folder thing like five bucks cost me a $12 Where'd you get it on Amazon like two years ago Amazon's always tax. I was just like But I really wanted it so I just got it, but All right. Good luck everybody Miraculous Aaron veins Tori Craig Jamal Murray Duncan Robinson bam out of bio silver KD. Oh, that's nice Like that green Wesley Matthews color match All right, I like that Dominance Zion Williamson Focus there we go Tyrell Terry Christian Wood and Josh Green Let's check out the red white and blues. It's got a rookie of some sort Malik Monk like her legend Josh a koji Is it a koji? Yeah How do you say I I gave it the old I gave it like a French twist. I gave it a koji a And Jordan and war who's having a decent year for the box tonight.  We will catch you guys on the next one. Let's get away that spot Yeah, we gotta give away the spot. Let's do that. Let's click back to Don't forget to click back to the other screen. Oh, yeah I'll get back to there and then Gather just the names and column a put them into a new list and you dice roll All right guys, this is for that spot in the break one winner So I sad people 29 sad people one very happy person on top. Well, maybe you can be happy for your friends, too Positivity all right you dice roll good luck new dice roll Let's get it. Good luck 6511 almost to the max. All right. Good luck everybody Giving away that division spot thousand dollar value dude, man. I'd be sweating halfway there seven Eight and hold on ten for just a second here Just for scroll down a little bit just for a showman ship purposes As soon as you click again, you can click end and it'll go straight to the bottom So you don't reveal the name too quickly That is that middle button right there. All right, let's try. All right, 11th and final time Good luck Carlos there you go picking up that random division spot in the high-end mixer a thousand dollar spot Wow, congrats great win. Thank you to everybody else who entered we appreciate it and yeah We'll catch you guys on the next one. Take it easy


Hello, in this lecture we're going to record an adjusting transaction related to accounts receivable. We're going to record the journal entry over here on the left hand side and then post it to the trial balance on the right hand side, trial balance in format of assets in green, liabilities in orange, equity in the light blue, and the income statement in the darker blue, including revenue and expenses. We'll first walk through which accounts will be affected and then explain why that is the case. So we know that it is an adjusting entry and knowing that it's an adjusting entry means it's slightly different than a normal journal entry in that it does have two accounts like normal journal entries, but it also generally has one income statement account below the blue line and one balance sheet account above the blue line, the light blue line. So it's going to be one account above owner's equity, one account below owner's equity. If we know that and we have the trial balance, we can kind of look for those accounts first and then work from there. So we're going to say, okay, what account is going to be related to accounts receivable in this case? How about accounts receivable? And then on the income statement, the account below the blue line, we're going to say what account is going to be related to accounts receivable. Little bit more tricky to figure this out and it kind of depends on what the wording of the problem would be, but typically the account related to accounts receivable is revenue. That's going to be the income statement account that's related to accounts receivable. So note we can figure that out just by knowing it's an adjusting entry and knowing it's related to accounts receivable. We can even know which way the accounts are going, how well this is an income statement account down here. Income statement accounts only go one way.  Revenue has a credit balance represented by the bracket. Therefore, in order to make it go up, we're going to do the same thing to it, which in this case would be a credit. So we're going to credit revenue and if we're going to credit revenue, then we're going to have to debit the other account, which of course we said is accounts receivable. So we know all that just by knowing it's an adjusting entry related to accounts receivable without knowing really what's going on. Now let's talk about what's really going on. Why are we doing this? The thing that can be confusing about this in terms of an adjusting entry is that it looks just like and it is the same as a normal transaction when we make a sale on account. If we did work on account, we would then issue an invoice and normally when we invoice the client, that's when we record this exact journal entry. We debit accounts receivable and credit sales. Why then hasn't the accounting department done this? This seems like their job to do this type of journal entry. And what happens is there's a timing difference just like all the adjusting entry accounts and you can think about this in terms of like a legal office or a CPA office where we have to gather the time together before we enter the invoice. We got to go through all the people in the office that worked on billable hours and put them together and then multiply that times the rate in order to get the invoice together to be sent out. Therefore, it's very possible that the invoice went out, for example, in January next year, even though we're making the financial statements as of 1231 and the work was done in December. So the work may have been done in December, but we didn't bill it until January and we're not going to receive the cash until some time after that, of course, because we sent the bill out and then we're going to receive the cash. Therefore, the accounting department did it right. It's just that it took some time in order to issue the invoice and we've got to pull that back into this time period because we need to recognize revenue when it has been earned under the revenue recognition principle. So that's going to be the idea here. Now they're going to usually just give us the number here. So I'm just going to give us the number. We're going to say that it's going to be that 4,900. And what happened, of course, what we're saying here, that invoice did not yet go out. It went out next month. So that's what is happening. And we're going to have to reverse this entry next month so we don't double count it. But as of the cutoff date, we need to pull that income into the financial statements as of the cutoff date. Therefore, we're going to debit the accounts stable 4,900 and the revenue by that 4,900. If we post that out then, we have accounts receivable at 32,000 before we're debiting a debit balance account by 4,900, bringing the account up to 36,900. We have the revenue account added credit of 327,350. We're going to credit that account by the 4,900 doing the same thing to it and revenue goes up as it always does to 332,250. We can look at the account equation. This went up, of course, because accounts receivable is an asset and it increased. Nothing happened to the orange liability counts. And that means that equity too has gone up. Why? Income went up, bringing net income up. Net income is part of total equity. Therefore total equity went up as well. If we consider just net income by itself at this point, we can see that we had net income before of 86,180 revenue credit minus expenses debits, meaning credit credits are winning income of 86,180. And then we brought it up by 4,900 to 91,080 from this journal entry.


The Commandant General of the NSCDC, Ahmed Abu Bakr Audi, has affirmed his commitment to sanitizing and re-chigging the River State Command for effective service delivery and optimal performance. This is in furtherance of his commitment towards restructuring and reconstituting the anti-vandal unit of the Command. It's with a view to prioritizing protection of critical national assets and infrastructure. The report. When new commandant of the Nigerian Security and Civil Defense Corps, NSCDC in River State, Abu Tambua said the ongoing fight against vandalism of critical national assets and infrastructure will not stop. This is until the state is reared of thieves, banned on causing environmental hazards. He briefed newsmen after assumption of duty had a command headquarters in Port Tambua read the riot arcs to oil thieves and vandals, stressing that the Corps is intensifying the fight against oil boundary. This is with the deployment of Commandant General Special Intelligence Squad to investigate and monitor critical assets and infrastructure. I addressed my officers and men to belt up in relation to this fight against vandalism. We are committed, remained firm to fight vandals and any act of economic sabotage in all its ramifications. We must intensify a fight against illegal bonkering and also illegal activities by vandals and other miscreants in the state. Tambua paraded some suspects and seeks exhibits before newsmen. He said they were arrested at different parts of the state following credible intelligence by the Command's new anti-vandal team. We are parading before you this afternoon 20 number of suspects of oil thieves, 11 trucks of suspected AGO that is illegally refined elsewhere. We are also parading 10 cars along with the buses laden with suspected petroleum products. Tambua stressed that the Command is determined to deliver the mandate of the NSCC Commander General, Akhmet Aoudi, to ensure oil thieves in the state relocate or see a clear of pipelines. This is just the beginning which demonstrates to the criminals and those oil thieves. The wonders of the Nigerian security and civil defense coach can be seen. We stand on the streets and see that this job is done with utmost expedite action. The state commandant called on residents to give prompt information to the Command in order to stem out nefarious activities of criminals.


I'm very delighted to be here tonight at Government House to attend Police Honors Night. It is an opportunity for us to say thank you to the men and women who serve so selflessly across the province. Tonight we will hear stories that are inspiring about heroism, about bravery, and about determination. It's really humbling to know that my colleagues are out there even right now while it's raining outside here that they're protecting and serving the citizens of British Columbia. I think it's somewhat gratifying to be recognized by the community that we serve and it's a really nice evening to get together with our colleagues. It's important to say thank you to recognize and to celebrate. That's exactly what we will do tonight at Police Honors Night.


Rhaid i gyd i gyd, ac rywbeth gyd, rywbeth i gyd yn ymlwg, rywbeth i gyd yn ymlaen, ystod yw ystod ymlaen. Rhywodraeth yr ysgolion. Felly o'r bydd yn ymgwysig i'r ysgolion, rwy'n credu i'n meddwl ei wneud yn fwyaf llawer yn ymwysig a'r ysgolion yw'r ysgolion yn ymlaen chi yn fwyaf i'r ysgolion. Rhywbeth, rydyn ni gymryd yn fwyaf syddwn yn cymryd y coronavirus, drwy gwaith ymynnwys hwnnw mynd yn wneud yn eich bod yn tyno ar y dyfodol gach yw'r ymddir i chi eisiau ddwy ni i'n ffeithio'r gweithio'r targi. Ond eich hynny yn cael eu gwirioneddio hynny, ond mae'n pthwylo i chi eisiau hynny yn ydym yn ystod yn gefnogaeth yn y digwydd yn gwaith ar y dyfodol gweith. Uch wnaeth gŵr, mae'r gwaith yn fy mod i chelfol, ac mae'r gwahanol yn i mi, oh mae'r gwahanol nhw'n dyfodol. Ond llwysifad, resigned, felly we've been going and she was well enough to go out with a dog this morning, which, like two days ago, would have been unheard of. So, first of all, first and foremost, thank you very much for all of the happiness and health and healing and love and support that you've shown for me and my family it really means the world and I really do appreciate it. O'r haf byw, mae'n ysgwrdd 14 dyn ni'n gwneud hannu yn ynnall anodol. Mae hwn ar y baron, y blog yn tansfawr y bydd. Ond oedd wneud hwnnw bobl yn gwneud hwnnw. Gwichiwch fod yn y之fidaith yn glasid yn ystod ac mae'n gweithio bydd yn regoes gan rhan o'r sag. Felly rydyn ni'n cael ei gweithio'w mynd i'n ym strongly o'r axon. Pan ddweud ydyn nhw yw ym mwyn i ymddangos? Felly weithio fydd yn ei gweithio'r oed yn y ddweud o'r tîm 14 dyn nhw. ond yna, that's not very mindful being the moment don't worry about the future don't dissect the past. We're going to talk about listening. Did you hear me? We're going to talk about listening. And we're going to talk about how the art of listening is pretty... and we need to understand the core principles of how we listen. OK. Mae'r gwyfnod yn ei ffordd, yw'r ddweud a'r postiad. Rhaid? Yn gyfyddydd yn benodio ar hyn, mae'n ffordd mewn cyfaint o'r cyff境. Pryddoedd yn ei ddweud a'r gwfodd, mae'n ddweud yn enw'r ddweud. Mae mae'n ddweud yn enw'r oedd. Dwi'n enw'r ddweud fel y ddechau. Yn oedd yn ffordd. Odedd yn eich gref nhw. Yn oedd yn rhan o'r ddweud. A sut ydych yn dweud yn gweithio, ond yn phasol hefyd. Yna yw'r rhai, yr yw'r rhai, yr yw'r rhain, yr yr rhai, yr yw'r rhain, yr yr rhai, yr yw'r rhain, yr yw'r rhain, yr rhai, yr yw'r rhain. Llyw o'r ffordd o'u arall, yr yr yw'r rhain, yr yr rhaid, yr rhaid, yr rhaid, yr yw'r rhain. Oni'n wnaer am yrchynydd sydd i'n gweithio'r rhai o'r lluniau, oedd yna ddim yn deillogu'n fideoch flynyddol na'i bellach wynau, gallwch chi'n ganddo i'r gwneud o'r hyffordd o'r wahanol o'r hyffordd, o'r hyffordd i'r gwneud o'r wahanol, a eich hun yn y lleidwch ymddangos o'r ffordd. Zodd, rym ni'n gobeithio i'w dda i'r bod ar ôl yn dda i gyd, ein bod yn rhan fydda i'r gweithio i'r ffordd o'r hyffordd o'r hoffod o'r hoffodd, yn yr hoffodd o'r hoffod, Menw efficiently saying and. We want to look at how. TheAK green she или the complaints people have in relationship and there's a lot of those things he doesn't listen to me, she doesn't understand me. He will do that for me she won't do this with me. He wouldn't say sorry I couldn't say and all of these things really in a boat communication but they're also below listening and in the ability to be able to sit and listen andWhen ac ydych i gael gweithio'r rhaglen. A rhywbeth yno, cwm ychydig gyda'n ymhyngau, yma'r gorfu a'i gymryd. A rydw i'n gweithio'r cynnigau. Rydw i'n gweithio'r cynnigau oherwydd sy'n gallu'n mynd i gydag yma'r rhodaeth, pob gydig i'n gweithio'r rhodaeth, y rhodaeth yma, y rhodaeth cyhoedd. Ac rydw i'n gweithio'r ddwy'r gweithio a'r gweithio'r rhodaeth a'r gweithio'r rhodaeth sydd wedi gafodd a ddyfodd y ffordd o ymgyrch. Mae'n ddiddordeb yn myfnidol yn myfnidol. Ymgyrch doedd yn myfnidol yn myfnidol yw'n myfnidol yw'n gweithio'n myfnidol ac yn ymgyrch, ac mae'n ddiddordeb yn myfnidol? Felly mae'n ddiddordeb yn fawr i'r ddau. Yn ymryd hyn, mae'n ddiddordeb yn myfnidol. Mae'n hwnnw'n myfnidol. Mae'n ddiddordeb yn myfnidol. Mae'n nhw'n dwer i ni, ac yn gofio o'r ceieth o'r lle. Mul i gafodd. Mae'n gweithio gwyn ffordd. Mae cyngor wedi cymithai, mae gweithio, mae'n gweithio, mae'n gweithio gyda'r cymhwyng ac mae'n gweithio. Mae'n gweithio'r lle gan y gallu ei ddechrau. Mae'n gweithio'r cwmau. Mae'n gweithio'r gondol. Mae'n gweithio'r Marriage. Mae'n gweithio'r rentio'r cwmau. Mae'n gweithio'r cwmau a'r rechydig gydscriddion. oherwydd o'ch cyfnodd y cyfnodd. Felly, fe ddim yn ni'n rhan i'r rhan o'r gwneud o'r ffordd, o'r ffair o'r byd o'r gwneud o'r bwysig. A weonwch yn ymdweud, mae ymdweud yn gweithio, eu ddweud o'r ffaint o'r ymdweud. A rydym ni'n ddweud, cyfnodd o'r cyfnodd o'r moddolau cyfnoddol, rwy'n fawr, rwy'n fawr, ac mae'n rhan o'r gweithio'r gweithio'r bod yn cyfnodd, a mae'n gwield, yn ddweud, yn fwy oes. Felly mae'n gweithio ar y cyfnod yn y blynedd y gallwn i'r ffordd i gael ydyn ni i'rgynnu a'r byd. If you had to say that same thing to a stranger or a boss or somebody else, the space between you and the compassion and empathy and love is different, so we struggle to say the same things to different people. And what I want us to think about is a couple of things in terms of listening and communication. First of all, it's about timing, knowing when to speak and knowing when to be quiet and allowing that space between you and the space between the person you're talking to to be there and don't be uncomfortable with the silences or the space and everything else, but understand that when you've said something, stop and listen, think about the timing. It's known when to speak and when not to speak. We couldn't talk about listening and the practicalities are listening without actually talking about listening. Again, are we truly listening to me right here, right now? And as I said before, we use this time when people are talking to us to think about what we're going to say next. We need to give that person and the course or whoever's talking full attention, be with them, sit with them, stop thinking about your thoughts and start thinking about my thoughts and what I'm saying. And the impact that I'm saying is having on me, not so much the impact that it's having on you. And when we start a communication, don't go in with an agenda. Drop the agenda. Just be curious, have conversations, listen, be open. You know, I always say that I believe everything that everybody here says to me. I have an open mind, but I take everything with a pinch of salt and some things I'm told I need to take more salt. But I have this open mind. I don't say to anybody that can't be true. No, that's not because it's not where I am. Spiritually I'm very open. I listen to people. I want to understand what people are saying. I'll then make my own decisions based on my experiences and my belief system, but I drop the agenda and I'm open and I'm curious. And finally, one of the tips about this is confidence. We all know we listen to somebody who we have confidence in. You're watching this now. You're on day seven. The only way you're on day seven is a couple of reasons. One, it's making a material impact on your everyday life until you believe in me. You have the confidence in me and I thank you very much for that to be able to help you. That's why you're here. But how do I get that confidence? How do you generate that confidence? That confidence is generated. The reason I can sit here and talk confidently about this subject is because I understand who I am. I understand what I'm talking about and I understand the impact it can have and the results on people's lives. That's what brings my confidence is the understanding and the authenticity and the intimacy and depth of knowledge of the subject that I can talk confidently about. But that comes from understanding and the only way you can understand something is first of all by understanding yourself. When something happens to us, where does it sit with us?  It's us. It's our own personal experiences. How does this feel? How does this sit with me? It's important and we can build confidence through understanding ourselves, understanding our values and then having the experiences based around those values and learning based around those values and listening based around our values. Now, mindfulness communication isn't about what we say, it's about who we are. It's about understanding who we are.  I see myself as somebody who was innately spiritual. I see myself as a teacher and I see myself as a friend and a partner and I wish a lover. A partner and a number of things. But I understand who I am and what I want us to do is understand the power of listening. We don't. It's one of these things again that we just take for granted. Now we need to stop doing what you're doing now. Let's just stop for 10 seconds and stop and just breathe and just bring your awareness to your ears. And listen, go. So what could you hear then different that you couldn't hear before? My wife's got the radio on in the kitchen. I could just basically hear that. I can hear, I've got a light here somewhere which just is a pretty light that I used to light things up. But I think that's making a noise. My phone over here is making a noise and I can hear some bits and pieces. But we need to sit and listen and we need to check in and listen. And the ability to listen without preconceived ideas and let the words wash over us, roll over us, be in the moment. Be in the moment with those words and take them in and don't just respond to them. Experience them. Let those words sink in. Stay present. Be balanced. We can listen through our heads, our hearts and our bodies. And from our head we try to listen to the content, the story, the narrative gives us wisdom. Our heart we listen for the emotional side of things which brings out compassion. And from the body we listen to the present so we can cultivate the now, the here. Because our body is always here in the moment. Our mind is here or here but hopefully now here. Your body is always present. It doesn't need the past or the future. It just lives for this moment. And we can access our body and we can feel our body at any time.  It's about creating communicative and mindfulness balance. So the next time you're having a conversation with somebody, stop and listen. And don't use that time or space to think about what your response is. Let that person finish because the most important thing they were about to say to you is right at the end and you've missed it because you're waiting to come in. Timing. Know when to talk, we're not to talk. Confidence. Don't have an agenda and listen properly. I hope that makes sense today. I hope you've listened to me. We're going to play the loving kindness now and then we'll come back and have a quick chat. Thanks very much for everything you do. Day seven, I hope you've enjoyed it. Now start listening. Thank you.  I'm going to put a nice image up. And I'm going to sound a bell for us to start. And all I want you to do now is focus on your breath. Breathing in. And breathing out. Breathing in and breathing out. And just focus on where your breath is. Where do you feel it most? Is it through your nostrils? Is it on your t-shirt? Is it on your jumper? Where do you feel? Do you feel your belly moving in and out? Breathing in and breathing out. And to start this, we're going to offer loving kindness to ourselves. And I want you to focus on the intention of these words. And I want you to continually repeat these words. And if you have a thought that comes in, you welcome it, you love it, you let it go and you come back to the mantra. So as we're breathing in, I want you to say these words. Breathing in, may I be safe? Breathing out. Breathing in, may I be happy? Breathing out. Breathing in, may I be healthy? Breathing out. Breathing in, may I live with ease? Breathing out. Repeat the mantra. May I be safe? May I be happy? May I be healthy? May I live with ease? Continue that mantra as you're breathing in and you're breathing out.  May I be safe? May I be happy? May I be healthy? May I live with ease? Breathing in and breathing out. May I be safe? May I be happy? May I be healthy? May I live with ease? Welcome this beautiful love into your life. To be kind to yourself. To connect in with yourself. To love yourself. To heal yourself. May I be safe? May I be happy? May I be healthy? May I live with ease? May I be safe? May I be happy? May I be healthy? May I live with ease?   Someone you think about who you're grateful for. And I want you to picture that person in your mind. And on this occasion as you're breathing in, you say simply, May you be safe? May you be happy? May you be healthy? May you live with ease? This is loving kindness. For somebody else.  See them and set the intention of may you be safe? May you be happy? May you be healthy? May you live with ease? Breathing in and breathing out. And don't forget, if you have a thought, just let it welcome in. Hold it. Don't put any judgement on it, accept it, acknowledge it, let it go. And come back to your mantra for this person that you love. May you be safe? May you be happy? May you be healthy? May you live with ease? Breathing in and breathing out. May you be safe? May you be happy? May you be healthy? And may you live with ease? Now the focus, we're going to focus on someone you know who's having a difficult time at the moment, maybe someone who's ill. And we're going to offer them kindness. So if there's somebody you know who is in self-isolation or isn't feeling very well at the moment.  And you say again, may you be safe? May you be happy? May you be healthy? And may you live with ease? Breathing in and breathing out. This is somebody who you know who's having a difficult time at the moment, who may be ill. Set the intention of that person, put them in your mind's eye. And as you do, you say to yourself, may you be safe? May you be happy? May you be healthy? And may you live with ease? And if you find your attention or your mind wanders, don't worry. Just love it. Let it go. And return back to your phrases, your mantra. May you be safe? May you be happy? May you be healthy? And may you live with ease? These mantras are now your anchor. May you be safe? May you be happy? May you be healthy? And may you live with ease? And may you live with ease? Now what I'd like you to do is choose someone in your life that you might have difficulty with or have some tension with or have had an issue with or something hasn't sat right between the both of you for a little bit of time. This one can be difficult. But we set the attention and we put them in our mind's eye and we say to them in our mantra breathing in and breathing out. May you be safe? May you be happy? May you be healthy? And may you live with ease? And again, if something or thought comes in, I want you to allow it in, accept it, acknowledge it, put no judgment, love it and let it go. And come back to your anchor, your mantra. For the person who you may have had difficulty with or had an argument with, there's some tension between you. Set the attention, put them in your mind's eye and say, may you be safe? May you be happy? May you be healthy? And may you live with ease? And if at any point you find that difficult, then you can just direct it back to yourself. May I be safe? May I be happy? May I be healthy? May I live with ease? Now I'd like you at this moment to direct your loving kindness, your attention and your intention to all forms of life, people, animals, all beings, those people who need it most all over the world at this very difficult time. And I want you to say for them, may all beings be safe? May all beings be happy? May all beings be healthy? May all beings live with ease? Breathing in and breathing out.  May all beings be safe? May all beings be happy? May all beings be healthy? May all beings live with ease? Breathing in and breathing out. May all beings be happy? May all beings be healthy? May all beings live with ease. .. enforced these. May all beings be safe. May all beings be happy. May all beings be healthy. May all beings live with ease.  So and now on day seven we're about to go into day eight We've done emotions we've done thinking Prawr all y bobl, fel ydym, rhaid i'n meddwl, defnyddiaeth i fy wir yn rhaid i gafoddiad yn fanyl iawn. Rydym wedi rhoi hyn bywyd yn gallu ei ddechrau i fynd. A gyddon o'r rhaid i'r rhaid i fi foblog o y llwyr. A gyddon o'r holl gael i'ch gobeithio. Rhaid i mi gofyn y plau. Prygiwch yn gweithio'r bobl a fwrdd? Rhaid i mi wneud y ffawr? Felly ddim wneud yma. Yr hyn yn ddweud. Rhyw ar ei ddefnyddio. I love you. I hope you did. And I love you all too. And I really do appreciate you taking the time. Day 8 tomorrow. We'll move on. Stay safe. Keep smiling. And don't forget these videos. You can watch them back over and over again. It doesn't matter. And let's not, again, reach out to people today if you can. Let's build some oxytocin. Let's give somebody our love and help people and help ourselves to help others as well. So, as always, be love and give love. It's been a pleasure speaking to you. Look forward to Day 8. Stay safe. Take care. God bless.


Item Number SCP-092 Object Class Safe Special Containment Procedures The 3,125 instances of SCP-092 are to be held in individual cases suitable for containing non-anomalous audio compact discs or CDs and stored in standard inanimate object lockers at Site 37. Each instance is to be individually numbered with permanent marker. Testing of instances of SCP-092 is to be done in soundproof rooms. Only one instance of SCP-092 may be examined at a time. Only D-Class personnel are to listen to previously unexamined instances of SCP-092. Research proposals which involve non-D-Class personnel listening to instances of SCP-092 require written approval from Site Command. The cadaver of SCP-092-B is not currently considered anomalous except by association and is preserved in the morgue freezer at Site 19. Description SCP-092 is a set of 3,125 audio CDs each labeled the absolute absolute absolute absolute best of the fifth dimension and marked with the names of the 31 performers who have at various times been part of the American Singing Group the fifth dimension. Each instance of SCP-092 when played in a standard CD player will produce a distinct anomalous effect upon all individuals within hearing range. The anomalous phenomenon will last 74 minutes the duration of a standard audio CD during which time listeners will be unable to leave hearing range or to shut off the CD player or otherwise interrupt its function. As well, when the anomalous phenomenon approaches all surviving listeners will engage in synchronized vocalization of the phrase wow that was real cool synchronized vocalization has been observed in non-anglophones, pre-verbal infants unconscious individuals paralyzed individuals and individuals physically incapable of speech due to laryngeal lingual and or buccal damage. The anomalous properties of each instance of SCP-092 are thematically and conceptually linked to the number 5 dimensions and or the members of the fifth dimension. As of 871 instances of SCP-092 have been assessed and their anomalous properties formally described. Representative sample of documented anomalous properties of instances of SCP-092 instance SCP-092-28 anomalous property listeners experience quintuple vision for all moving objects instance SCP-092-41 anomalous property listeners bodies exude pentagonal crystals of elemental boron chemical element number 5 crystals cease materializing upon conclusion of CD but do not dematerialize instance SCP-092-42 anomalous property listeners bodies exude pentagonal ingots of elemental manganese chemical element number 25 or 5 to the power of 2 ingots cease materializing upon conclusion of CD but do not dematerialize listeners succumb to acute manganese poisoning within 24 hours instance SCP-092-43 anomalous property listeners bodies exude pentagonal nodules of elemental cesium chemical element number 55 all listeners killed by cesium burns within 8 minutes instance SCP-092-79 anomalous property listeners become physiologically 5 years old instance SCP-092-80 anomalous property listeners become physiologically 5 months old instance SCP-092-81 anomalous property listeners become physiologically 5 weeks old instance SCP-092-82 anomalous property listeners become physiologically 5 days old instance SCP-092-87 anomalous property listeners spontaneously become 5 months pregnant pregnancy spontaneously miscarry upon conclusion of CD in initial tests all male listeners succumb to massive internal hemorrhaging 10 minutes as do 3 female listeners surviving female listeners succumb to organ damage within 4 days postmortem genetic analysis shows that all fetuses were identical and are not related to the listeners instance SCP-092-126 anomalous property listeners experience unbearably painful facial spasms characterized by constant chewing and biting motions of trigeminal neuralgia caused by inflammation of the fifth cranial nerve during initial test all listeners batter themselves into unconsciousness against walls of testing chamber in attempt to escape the pain instance SCP-092-175 anomalous property listeners bodies are pentasected radially producing 5 disconnected segments which remain alive and mobile instance SCP-092-176 anomalous property listeners bodies are pentasected radially producing 5 disconnected segments which remain alive and mobile instance SCP-092-177 anomalous property listeners bodies are pentasected axially producing 5 disconnected segments which remain alive and mobile instance SCP-092-200 anomalous property listeners are teleported to a site on the surface of Himalaya the fifth most massive moon of Jupiter fifth planet from the sun listeners are returned upon conclusion of CD but succumb to the combined effects of hypothermia hypoxia and radiation poisoning within 3 hours requests have been made to use SCP-092-200 to send exploration teams equipped with environment suits to Himalaya approval is pending instance SCP-092-256 anomalous property listeners are converted into 2 dimensional forms instance SCP-092-271 anomalous property listeners spontaneously lose 5 teeth each teeth do not regrow after conclusion of CD instance SCP-092-272 anomalous property listeners spontaneously lose all but 5 teeth each teeth do not regrow after conclusion of CD instance SCP-092-273 anomalous property listeners spontaneously lose 5 fingernails each fingernails do not regrow after conclusion of CD instance SCP-092-274 anomalous property listeners spontaneously lose 5 toenails each toenails do not regrow after conclusion of CD instance SCP-092-278 anomalous property listeners spontaneously grow 3 extra eyes each for a total of 5 extra eyes do not dematerialize upon conclusion of CD eyes are functional and of the same color as listeners' original eyes D-0927714 who had lost an eye in a fight prior to entering foundation custody grew 4 extra eyes when listening to SCP-092-278 instance SCP-092-279 anomalous property listeners experience topological deformation such that their height becomes the circumference of their waist and vice versa information reverts at conclusion of CD this appears to be an exchange between listeners' dimension of height and dimension of width instance SCP-092-285 anomalous property listeners sneeze 5 times per minute for the duration of the CD instance SCP-092-286 anomalous property listeners belch 5 times per minute for the duration of the CD instance SCP-092-287 anomalous property listeners hiccup 5 times per minute for the duration of the CD instance SCP-092-288 anomalous property listeners cough 5 times per minute for the duration of the CD instance SCP-092-315 anomalous property listeners find themselves within the 2010 Lars von Trier film Dimension where they are able to interact with the setting but not affect the actions of the characters since dimension is only 27 minutes in duration the events within the film repeat 2.74 times instance SCP-092-316 listeners find themselves within the 1993 EastEnders Doctor Who crossover Dimensions in Time where they are able to interact with the setting but not affect the actions of the characters since the two parts of Dimensions in Time are only 13 minutes in total duration the events within the episodes repeat 5.69 times instance SCP-092-317 anomalous property listeners find themselves within the 1963 Italian film Amore and Quattro Dimensioni where they are able to interact with the setting but not affect the actions of the characters instance SCP-092-397 anomalous property listeners experience random moments in the life of Alan Shepard the fifth man to walk on the moon instance SCP-092-399 anomalous property listeners experience random moments in the life of James Monroe the fifth president of the United States instance SCP-092-400 anomalous property listeners experience random moments in the life of Mackenzie Bowell the fifth prime minister of Canada instance SCP-092-401 anomalous property listeners experience random moments in the life of Edward Sega the fifth prime minister of Jamaica instance SCP-092-402 anomalous property listeners experience random moments in the life of Charan Singh the fifth prime minister of India instance SCP-092-403 anomalous property listeners experience random moments in the life of Helen Hayes the fifth winner of the Academy Award for Best Actress instance SCP-092-466 anomalous property listeners are physically transformed into members of the original lineup of the fifth dimension as they were at the time of the group's establishment in 1966 instance SCP-092-467 anomalous property listeners are physically transformed into members of the original lineup of the fifth dimension as they were at the time of the original group's dissolution in 1975 instance SCP-092-468 anomalous property listeners are physically transformed into members of the original lineup of the fifth dimension as they were at the time of the original group's reunion in 1990 instance SCP-092-469 anomalous property listeners are physically transformed into members of the original lineup of the fifth dimension as they are today listeners who transform into Ron Townsend 1933-2001 resume their original forms after conclusion of CD but do not resurrect when an instance of SCP-092 is inserted into the CD drive of a personal computer its files can be accessed without triggering the anomalous effects examination of the files indicates that each CD has different content all content is audio material by or pertaining to the fifth dimension and its individual members in addition to all known commercially released songs files contain live performances practice sessions auditions media interviews and personal conversations acquisition log on May 5 an unidentified man henceforth SCP-092-B carrying two suitcases approached front gate guards at site 19 and stated that he wished to surrender himself and his anomalous creations into foundation custody the contents of his suitcases were confiscated and classed as SCP-092 SCP-092-B was transferred to site 37 for interrogation during interrogation SCP-092-B revealed the thematic connections five dimensions and the fifth dimension between all instances of SCP-092 and then committed suicide transcript of statement made by SCP-092-B upon arrival at site 19 guard sir this is private property you can't SCP-092-B this is a secret foundation site right? guard you can't come in here sir I SCP-092-B you're the SCP foundation and I'm a failure guard what was that sir? SCP-092-B you're the SCP foundation and I'm a failure but I'm not I'm a stupid boring necklaterny hack who thinks that money and cheap puns can take the place of talent and inspiration I'm tasteless I'm dull I'm incompetent I have no sense of style and the only reason I'm not an art criminal is that nothing I've ever made is even close to being art you can secure me and you can contain me but no one can protect me at this point, guard summoned to backup SCP-092-B repeated this statement verbatim until he was taken into custody excerpt from transcript of SCP-092-B interrogation session number two interviewer yes, we understand about fiveness, thank you that's been most helpful but we were also wondering what you could tell us about how you made these SCP-092-B I just wanted to be cool you know I really did I thought, well I had my inheritance and my collection and there was the estate and the abandoned museum and so much of the stuff went together and it wasn't that tough and look, my ideas were better than yours they were I know they were no, they're not nobody's impressed by this stupid facile word play it's not even good word play it's kindergarten level paranormal look, five dimensions what other things can you think of that come in fives I'm worthless I'm worthless interviewer better than my ideas SCP-092-B there's no deeper meaning to what I did it's all just superficial Potemkin village f***** pumping imitation s**t into the river of human achievement it's Steins f***** Oakland and I don't even f***** understand those f***** illusions I'm an uninspired wannabe I'm boring I'm a useless hack with no f***** imagination I've wasted and ruined miracles I've squandered so much raw material that better people could have done so much with I just I'm not cool, I never will be I'm really sorry about the mess these aren't my arms at this point SCP-092-B seized his own head with both hands and ripped it off his neck killing himself instantly item number SCP-061 object class safe special containment procedures the source code for SCP-061 is to be kept on a standard archival quality read only data compact disk or CD-ROM four copies of the CD-ROM with the source code are to be stored in separate maximum security and animate object lockers except for purposes of approved experimentation SCP-061 is not to be loaded, compiled or run research proposals for SCP-061 require written approval from site command only one copy of the CD-ROM containing the source code for SCP-061 may be used at a time the CD-ROM is to be returned to storage immediately after having been used to load the source code for SCP-061 to a device SCP-061 must never be loaded, compiled or run on any device which has a connection to the internet either directly or via another device SCP-061 must never be loaded, compiled or run on any device which is physically capable of wireless connectivity regardless of whether that connectivity is in use for purposes of approved experimentation SCP-061 may be loaded, compiled and run on a land consisting of no more than three devices plus peripherals all devices are to be disconnected from the land during experimentation following the conclusion of experimentation all devices within this land are to be immediately reformatted audio output peripherals for this land are to be contained within an observation chamber surrounded with noise canceling vacuum insulation in the event of a perimeter breach by hostile starring SCP-061 experimentation all devices within the land are to be immediately destroyed description SCP-061 is an acoustic computer program being developed by SCP researchers with the intent of producing successful countermeasures to similar programs being developed by governments and individuals around the world inspired by research on data expunged SCP command saw both the potential and harm in the ability to control the brain functions of other human beings laymen understand that music can elicit certain emotions and memories or various sounds can elicit fear and excitement by simply being heard governments around the world have been attempting to expand on that premise for decades SCP research is the first to elicit responses on higher mental activities parts of the brain affected by SCP-061 differ from those stimulated by data expunged or by subliminal messaging instead of acting on parts of the brain that are thought to be in control of the subconscious acoustic frequencies produced by SCP-061 intercept conscious thoughts as they are produced and replace them instead of a suggestion the human hearing center bisects the conscious thinking mind of the frontal lobe with a motor control cortical homunculus of the brain a baseline rhythm convinces the rest of the brain that the conscious mind is asleep and effectively stops conscious thought from continuing to the rest of the brain in return the frontal lobe experiences a pause that resembles the psychological effects of anesthesia acoustic codes developed by SCP-061 are interpreted by motor centers in the brain as conscious instructions and the subject typically acts accordingly subjects will normally have a blank facial expression while under the influence of SCP-061 they are not responsive to attempts at conversation and express no desires such as hunger or interest in sexual advances though all commands are followed without question the effects of the auditory control cease once the subject is no longer able to hear the program most test subjects report being unable to remember the actions they performed while under control but a few had experienced the effect of watching helplessly as their body acted against their will the intent of such research is to discover ways to counteract the effects of auditory mind control however only two methods of counter measures have proven successful as of yet one the subject's hearing is impaired so that the individual can no longer hear the program either by covering the ear or deafening the subject two the program itself sends a coded instruction to the hearing center of the brain permanently shutting it down though the ear continues to hear there has been no progress in finding the proper code to reboot the hearing center of the brain addendum 01 all subjects are placed under auditory control issued a coded auditory command and then monitored subject 4402F command sleep, response subject curled up into a fetal position on the floor and her brain began emitting alpha waves associated with sleep her eyes remained wide open in the typical blank empty expression associated with controlled subjects but her eyes twitched rapidly in ways associated with REM sleep subject 4427M command run on treadmill response subject mounted treadmill and then proceeded to run subject did not turn on the treadmill resulting in the subject impacting the control platform subject repeated this until the stop command was issued note more detailed commands are advised for task oriented commands subject 4427M command turn treadmill on run on treadmill response subject turned on the treadmill to maximum speed mounted and attempted to run before being ejected off the conveyor belt subject repeatedly attempted to turn on the treadmill to a random speed and run on it with various outcomes note more detailed commands are advised for task oriented commands subject 4427M command turn on treadmill to jogging speed jog on treadmill response subject successfully jogged on treadmill until stop command was issued which resulted in subject being ejected off the conveyor belt note subjects should be in a safe neutral position before stop commands are issued lesson complete to continue with your orientation training subscribe to scp orientation right now and make sure you don't miss any of our upcoming videos


A warm welcome to the last response session in this module 2 and of course also in this first course on signals and systems. So this is the last time I am addressing you live in that sense though of course there are the video sessions there for you to see and understand. But this is a response to some of the very interesting questions that have been raised on the discussion forum in the last few days and in fact I had anticipated those I had sent an email where I had anticipated those questions and I thought I should give some pointers to the answers to the questions that you could think further on the answers. Now let me first come to the discussion forum and I will point out a few questions that have been asked. Akash Kiran 95 has asked these questions I will just read out a few of them. So he has asked how one can assume kappa to be 1 by 2 pi just like that he is talking about the reconstruction of the signal from the Fourier transform and of course my teaching associate Pratik has given a very appropriate answer. Now I thought I should also elaborate upon the answer that Pratik has given and tried to give a different perspective and in fact I will also take some of the other questions that Akash Kiran has raised he has asked how one can integrate over one lobe and then conclude its area is something and you know that was not such a convenient way of finding out that inverse and he has also asked how you could make a continuum as k seems to be discrete. So you know you are moving from the discrete to the continuous here when you take t growing smaller and smaller rather t growing larger and larger and therefore 1 by t growing smaller and smaller. Now I will answer this question first you know how you can take 1 by t or rather 2 pi into k by t as a continuum when k is discrete. So that is straightforward so you see what we said was if you take a Fourier series representation then you are essentially placing frequency components at all multiples of 1 by t and when you think of them as complex exponentials then you have both positive and negative multiples. Now as t tends to infinity that is we are going towards a periodicity 1 by t tends to 0. So these points come closer and closer to one another. Now what you must appreciate here and that is the slight weak link as I call it is that when the points come infinitesimally close in the asymptotic situation then discrete goes to continuous. Intuitively this is not very difficult to understand because we are saying that the points come arbitrarily close and then you can always have this proponent-oponent argument that you can always find the t large enough that if I take two points sufficiently close to one another you can find one of those multiples of 1 by t in between that is the way to see you know in this movement from discrete to continuous you must use a proponent-oponent argument. If the opponent tells you in this tiny interval give me a multiple of 1 by t you can find a t large enough or in fact you can find many multiples of 1 by t if t is large enough. So you there are two things here in an arbitrary small interval not only can you find a multiple of 1 by t if t is large enough but you can find any number of multiples of 1 by t if you make t large enough. So that is the argument that is the way to understand movement from discrete to continuous. So that is the simpler of his questions and I have answered it here and of course these questions I am sure pertain to many people that is why I am answering the questions in this response video. Now coming back to some of the other questions that he has raised in very pertinent ones so you see he says how can you integrate and find an area there or for that matter what is the purpose of that integration I interpret the question like that what is the purpose of that integration and as I said Pratik has answered my teaching associate Pratik has answered very well I would like to elaborate and maybe give a slightly alternate view to the answer so that everybody might find this little easier to understand. So you know let us go back again to that discussion of perpendicularity of two rotating phases you see what we said is if I have two rotating phases e raised to the power j omega 1 t and e raised to the power j omega 2 t and we wanted to find their inner product let us first define them from minus t to plus t and then make t tend to infinity their inner product would be e raised to the power j omega 1 t into e raised to the power minus j omega 2 t d t integrated from minus t to plus t. What is important here is that you have taken the complex conjugate of the second as usual and this can be captured. Now you can evaluate this integral in fact you can evaluate this integral treating omega 1 minus omega 2 as a variable. So you get the inner product to be now you can simplify this. So you notice that this can be written as 2 j sine omega tilde t and I can multiply in the numerator and denominator by t. So I have this now you see what is happening here the expression that you have is t times 2 j sine omega tilde t divided by j omega tilde t and you can also multiply by 2 and divide by 2 and then cut off the 2 j all together. So that leaves you with you know so this is an interesting sketch on the omega tilde axis and think of it as a function of omega tilde let me sketch the function essentially a sine x by x kind of pattern. Now what we wish to see is the integral of this entire function over all omega tilde you see what we are trying to say is of course these points here you know for example this point here this point these are all the nulls and you can mark the nulls this null will come when omega tilde t is pi or omega tilde is pi by t and this would come at 2 pi by t and so on. So as t tends to infinity the nulls come closer and closer. Now what we want to see you see it is very clear that you could integrate the function as it is. So we can integrate this function as it is and let us write down that area let us write down that integral integral to t and here I take the integral from minus to plus infinity. Now I make a very simple transformation I say put omega tilde t equal to another variable lambda. So t d omega tilde is d lambda and therefore d omega tilde is d lambda by t. So I can rewrite this we have a t here and you have a d lambda by t there. So essentially minus to plus infinity to sine lambda by lambda d lambda this is the important point here. So this is the important point to be noted this integral which we see here is independent of t.  So as t goes to plus infinity all this area gets concentrated around omega tilde equal to 0 and that is what you mean do not when you say impulse. You see you mean you are putting a non-zero area into a 0 length. Why am I saying all that area gets concentrated around 0 because the main lobes side lobes all become infinitesimally small. So all the area you know as you go away from 0 there is nothing left those side lobes have all disappeared and the main lobes side lobes all have got concentrated into a smaller and smaller and smaller length and asymptotically we can think of all that as being around 0 itself that is why we are saying it is and it goes towards an impulse. Now how much is the area encapsulated by the impulse that is integral would tell us. So if I want a rigorous value for what a rigorous justification for the value of the integral I should try to evaluate this integral sine lambda by lambda. And in fact there is a bit of a chicker and egg problem here you can evaluate this integral by making use of the property the Fourier transform. So now I have given you a hint how you could justify the correct value to buy there and you could proceed from this slightly better argument about this inner product going towards an impulse and try to answer the question that Akash Kiran has raised. Well so much so for this question now a few other things before I conclude my response I am very happy to have seen the excellent participation by many of you in the course. It is soon going to be time for your final examination I would like to take this opportunity to wish all of you the very best for your final examination please do not be frightened of the questions take them very calmly try to answer as many of them as possible and I am sure all of you will do very well. And we all look forward to having you in the next course as well the second course with module 3 and module 4. Meanwhile put in your very best into the final examinations and if there are any other points that you would like discuss please continue to post them on the discussion forum. It has been a great delight to have all of you participate thank you.


A correctly assembled functioning cancealer is essential to having properly sealed products. Here's an assembled cancealer. In this module, we're using an Ive's Way cancealer for demonstration purposes. It's suggested that you have your cancealer handy and assemble it as we work through this module. Most cancealers are assembled in a similar manner, but you may want to refer to your cancealer instructions as you work. Before we begin assembly, it's important to examine each of the parts to make certain all are there and that they're in good working order. Now, let's identify the parts. Here is the head, the crank and screw, and the frame. Next we have the seaming roller washer and the two seaming rollers. For the next four items, only one is shown, but there are two of each. The seaming roller spring, the seaming roller screw, the three hole nut, and the thumb screw. The remaining parts here are the lever, the lever pivot, and the three inch pin. Although there is only one shown here, there are two sizes of chuck that come with the sealer. One for one pound cans, the other for half pound cans. Then there's the chuck screw, the turntable, the turntable spacers, the turntable spring, the turntable extension, and the two gauge wires. With the parts identified, we can begin assembling the cancealer. First, situate the frame by clamping it securely to a table.  Slip the three inch pin into the hole in the clamp screw and tighten until it is secure on the table. Next, slide the head on the upright pipe of the frame. Notice that there is a slot in both the head and the post of the frame. These two slots will be lined up in the next step. Align the slot in the head with the slot in the post of the frame. Insert the lever into the slot with the writing facing forward toward the body of the cancealer. The lever should slide into the slot until the holes in the lever and the head are aligned. Insert the lever pivot in the aligned holes from the back with the ridge side of the pivot out. Gently tap in the lever pivot with a hammer. The lever pivot should be flush with the head. Now, insert the gear end of the crank into the head, adjusting to allow the teeth of the cogs to mesh. Use your fingers to tighten the screw. Turn the crank handle until the zero shows in the window on the top of the head. Loosen the crank screw and reposition the crank handle so it hangs straight down. Use a quarter to tighten the crank screw. Do not use a screwdriver as a screwdriver may damage the screw. In preparation for assembling your cancealer, you'll need to determine the size of cans that are to be sealed. The can size determines the chuck size, position of the seaming rollers, number and size of spacers used with the turntable spring and turntable, and whether you'll need to use the turntable extension. A tall one pound 301 by 408 can needs a number 301 chuck, the number two hole in the three hole nut, two three sixteenths inch spacers and a turntable spring. The flat one half pound 307 by 200.25 cans need a number 307 chuck, the number two hole in the three hole nut, two three sixteenths inch spacers, one five sixteenths inch spacer, the turntable extension and a turntable spring. The size is printed on the corresponding chuck. Gather together the parts needed for the can size you've chosen. The right side will be assembled first. Insert the three hole nut into the channel labeled first on the right hand side of the head. Numbers should be visible on the top of the nut. The one on the nut should be toward the center of the head. The left side is assembled by inserting the three hole nut into the channel labeled second on the left side of the head. Again, numbers should be visible on top of the nut and the one should be toward the center of the head. Slide the three hole nuts back and forth in their tracks until they move freely. A new sealer may have casting marks that obstruct the free movement of the nuts within the tracks. File these off if necessary. There are two seaming rollers. The first seaming roller is on the right side of the sealer and is for curling the lid and can body edges together. This roller has a deeper, more rounded profile. The second seaming roller is on the left side of the sealer and is for flattening the seam once the lid and can body edges are curled together. This roller has a shallower, flatter profile. The first roller assembly is on the right side of the sealer head. Make the first roller assembly by putting the spring into the roller screw. Add the seaming roller and then the washer as shown. The largest part of the seaming roller is next to the washer. Attach the first roller assembly by loosely threading the entire assembly that we put together in the last step into the three hole nut from the bottom. Both the one pound and the half pound cans use the number two hole. Thread in the thumb screw loosely. Rotate the crank until one appears in the indicating window. Now we'll assemble the second seam roller on the left side of the head. Build the second seam roller assembly by putting the spring onto the roller screw, add the seaming roller and then the washer. Like the first seaming roller, the largest part of the seaming roller is next to the washer. Rotate the crank until a two appears in the window. Install the second seaming roller on the left side the same way we installed the first roller assembly. The assembly is threaded into the number two hole, which is the center one. After both seam rollers have been assembled, rotate the crank until the zero appears in the indicating window. Select the appropriate chuck for the can size used, number 301 for the tall cans and number 307 for the short can. The size is printed on the chuck. With the concave face of the chuck facing down, insert the chuck screw through the center of the chuck. Thread the screw into the head by hand. Do not use a screwdriver as a screwdriver may damage the chuck screw.  Tighten the chuck by inserting the three inch pin into one of the small holes in the chuck. Turn the crank clockwise until the three inch pin is pressed against the frame of the can sealer and the chuck is tight. Remove the pin. To remove the chuck, follow the same directions except turn the crank counterclockwise. In short, clockwise tightens the chuck and counterclockwise loosens the chuck. It is essential to check the seam rollers each time the can sealer is used to maintain the tightness necessary for a good seal. The first and second gauge wires are used to set the distance between the rollers and the chucks. The settings control the shape and tightness of the can seams. The tightness determines the quality of the seal. Since food must never be stored in cans that have incorrectly formed seams, an improperly adjusted seam may compromise the safety of the preserved food. There are two different gauges of wires. The thicker one is to be used in adjusting the first roller and the finer one in adjusting the second roller. If you do not have gauge wires to check the seam, obtain them from the manufacturer or from dealers that sell canned sealers. There is no other way to accurately check the seams without them. To adjust the first seam roller on the right side of the sealer head, unscrew the thumb screw and slide the first seaming roller and the three hole nut to the outside, hard against the frame. Turn the crank clockwise until the one appears in the indicating window. At this point, the crank handle should hang straight down. Finger tighten the first seaming roller screw. This removes slack yet allows the roller assembly to slide with the rotation of the thumb screw. Check the gauge of the first roller. Make sure that the one is showing in the window and insert the thicker gauge wire between the chuck and the groove in the first seaming roller. Tighten the thumb screw while lightly pulling the gauge wire until drag is felt. Leave the wire in place and tighten the thumb screw an additional quarter turn. Set the first roller by locking the seaming roller screw in place. Insert the three inch pin through the hole in the roller and tighten. Lightly pull again on the gauge wire. It must not move easily. If it moves, loosen the seaming roller screw slightly and tighten the thumb screw slightly. Repeat until the gauge wire cannot be moved easily. Remove the gauge wire by turning the crank counterclockwise. The second seam roller on the left side of the sealer head is adjusted in the same manner as the first seaming roller. Start by turning the crank clockwise until the two appears in the window. You will crank past the C before the two appears. Move the second seaming roller to the outside by sliding the three hole nut until it stops hard against the frame. Finger tighten the second seaming roller assembly just like the first seaming roller. This removes the slack and allows the roller assembly to slide with the rotation of the thumb screw. Insert the thin wire gauge between the chuck and the groove in the second seaming roller. Tighten the thumb screw while lightly pulling the gauge wire until drag is felt. Leave the wire in place and then turn the thumb screw an additional quarter turn. Set the second seaming roller by locking the screw in place. Tighten it by placing the three inch pin through the hole in the roller assembly. Again, lightly pull on the gauge wire to make sure it doesn't move easily. If it moves, loosen the seaming roller screw slightly and tighten the thumb screw slightly. Repeat these steps until the gauge wire cannot be moved easily. Remove the gauge wire by turning the crank counterclockwise. The next step is to situate the turntable. Select the required spacers and extension for your can size. For the tall can you'll need two three sixteenths inch turntable spacers and the turntable spring. For the flat can you'll need two three sixteenths inch turntable spacers, the five sixteenths inch turntable spacer, the turntable extension, and the turntable spring. Place the spacers, then the spring on the shaft of the turntable. If you're using the flat can, add the turntable extension. Situate the turntable by lifting the can sealer lever to the up position. Insert the turntable into the frame. Make a test seam before packing cans with product. Begin with the zero in the indicating window and the crank handle hanging straight down. Raise the lever to the full up locked position. Center a can on the turntable and then center a lid, gasket down, on top of the can. With the can and lid centered on the turntable, slowly lower the lever, moving the can as necessary to keep it centered. Press the lever down to the locked position. This will require some force as you compress the turntable spring. To form the seam, turn the crank clockwise through the entire cycle. You will start and end with the zero in the window. The window will display zero, one, C, two, and then back to zero as you complete the can seaming operation. The crank should turn hard toward the end of each operation as the seam is flattened against the can body. Crank slowly and steadily through the process. When the zero is displayed in the window, lift the lever and remove the sealed can. It may require a little bit of force to remove it from the chuck. This is normal. Seal at least one empty can before filling and sealing cans for processing in a pressure canner. Evaluate the sample can seam for visual seam defects, such as droop, V, sharp seam, or cut seam. For specific information on can seals, refer to the publication Visual Inspection of Can Seams available from your extension office or by download at www.uaf.edu forward slash c-e-s.


We have been talking a lot about sewing fails on this channel lately, and even how, I was able to take three garments, okay well two of them if you don't count the fail of a fail, from the depths of my closet and bring them front and center. And today's make has a similar but different backstory. So I got this fabric from Stylemaker Fabrics a few years ago. It's a really nice thick French terry with a really cool tropical print on it. So it had this sort of juxtaposition between winter and spring, which I love as a transitional piece. And she had a matching solid for the contrast so I was sold. Initially I set out to make something that would push the winter versus spring thing like even further. I was going to make a cold shoulder sweatshirt. Good idea in theory, very, very bad idea in execution. Mostly because I tried to use this pattern, which is A, designed for a woven, and B, designed for a lightweight woven. What a mess. There were a million problems making this and I had many, many, many make it work moments. But ultimately the collar was an absolute disaster, so I never finished it. There's not a single photo of it. I didn't even hold on to it to try and revive it later. And you'll know how I do that all the time. So then you know that this must have been bad for me to just chuck it. Honestly, if I could just erase it from my memory like it never existed, that would be fine too. So now with all that negativity behind us, I still did love the fabric and luckily had some scraps left from my previous attempt. So much in fact that I was able to eke out this super cute sweatshirt like I literally had threads of fabric left. The pattern I used is McCall's 6992 and it is a tried and true so much so that I will never ever buy another raglan sweatshirt pattern again. It is that good. Try to get your hands on this one if you can. I ended up having to shorten it by 1 inch to get the pattern to fit but I was okay with a little cropped sweater. The bands all came from Pacific Trim on one of my trips to New York City's Garment District. I love the athletic touch they give to this otherwise feminine top. I've worn it already a ton, both with white pants like this sort of dressy look and with jeans and sneakers. It's super cute both ways. So ultimately, even though I wasn't able to revive the former garment, I was still able to get a fabric that I love out of my stash and into my wardrobe. I've turned a negative memory associated with this fabric into a positive one. It's really all butterflies and rainbows over here. Let me know what you think of my new sweater and if you've ever had a situation like this happen to you. But that's going to do it for me today. Thank you all so much for watching and I will see you very soon. Bye.