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And everybody can almost every single person can do it. The deadlift, it's probably got less to do with anthropometry than anything else if you do a conventional deadlift, right? And, you know, certainly there are longer-legged lifters that have sort of a higher fulcrum there up at the hip, have a little better leverages for the deadlift. Longer-legged people tend to also have long arms. Supposed to lock out a little closer to the knees. But in general, deadlifts are, you know, it's a pretty even playing field with deadlifts. That's certainly not the case with squat, long-femored people versus short-femored people. It's just so much less moment for those shorter-femored people. So deadlift, man, John Paul Sigmarsson said, there's no reason to live if you can't deadlift. Right. And telling enough, the guy died deadlifting. Right. And massive cardiac event deadlifting a few years later and died. But you're not going to do that. I think the first thing to do, we can talk about all the advantages and the musculature that works and we can probably do that as we go. But let's talk about, for those of you guys who are listening, how to actually pull the deadlift first. Let's go through this five-set program. So the first thing we do is what step? Let's do step one. Step one. You take a fairly narrow stance with your shins one inch from the bar. Exactly right. So you walk forward to your shins or one inch from the bar. Your shins are totally neutral. You don't lock your knees and make your shins go backwards. But with neutral shins, you walk forward to your shins or one inch from the bar. And that puts the bar where? It's right over your midfoot. Okay. So from step one, once you've established that your one inch from the bar in the bar is directly over your midfoot, you don't get to take a step, not even a little tiny step. You don't get to move your feet at all. Or the bar. And you don't get to roll the bar at all. Yep. At all. No matter what. If you do, we got to start this thing over. And so we're really strict about that as we're teaching people the deadlift setup. So step one, walk forward to your shins or one inch from the bar. Step two. Step two without moving the bar. You hump over and grab the bar with your hands right outside your legs. That's right. So you just grip the bar just outside your legs. We're going to start with a double overhand grip. Yep. Everybody should take a double overhand grip because the deadlift is while it is a full body lift. It's certainly a back strength lift.  Is that the correct muscle group? Physiological? Mm-hmm. That's the way it's taught in A&P. The glutes. It is also a grip exercise. And so we want to work the grip as much as we can until the grip becomes a limiting factor at which point we'll talk about changing the grip. What's your double overhand PR? I think I've done 495. That's, that makes me angry. And my hands aren't very big. I'll tell you what's funny, all the strength in my hands are in my thumb, index finger and middle finger. Well, yeah, nobody's like, hey, man, I got strong pinkies. Well, I mean, except even if I do like the captains of crush grippers. Right, right. I actually dropped my pinky off. Don't even use it. Don't use it at all. It's just a, yeah. Well, I have a little dwarf pinkie. Look at all the dwarf pinkie. Yeah, it's pretty gross. It's like a seven-year-old, like my seven-year-old daughter. It's one of like vestigial organs, like the appendix or something. Yeah, like, yeah, I didn't mean that. Yeah. Yeah, if I ever like actually needed to, you know, there was a movie, a Tarantino movie where they cut a guy's pinky off. Four Rooms, I think is the name of that movie. Right. It's one of his early, early movies, like before Reservoir Dogs and stuff, I think. And camera, I think he's the one that gets his pinky cut off. They get in a bet, and the guy's got a butcher knife, and he takes the guy's pinky off. But anyway, yeah, you don't really need it. So I double overhand up to, my typical, I double overhand up to 405. That's typically what I do on a workout. And then when I get to 405, I have to switch the grip. I guess we can talk about the grip now. So the grip, you really have two options with your grip. You got three. You have three options with a grip? Sure you do. After the double overhand, or are you counting the double overhand? I'm counting the double overhand. Yeah, you got double overhand, which everybody should use. In the beginning? In the beginning.  A double overhand grip, for those of you guys watching on the camera, if this is the bar, you're just going to grab, just like you normally would. Did you jump up and grab the monkey bars? You're going to grab it exactly right. For most people, the thumb will actually be on top of the index finger a little bit, on a normal double overhand grip. So the thumb is on top of the index finger. You can make a fist around the bar. Correct. Now, we have two options when that doesn't work anymore. And the reason that doesn't work is because the bar spins, and so the bar is going to spin away from, it's going to roll away from my fingers and open up my hands, roll down into the tips of my fingers and fall out when it gets really, really heavy. Yeah, you can feel it by any means. The first time you pick up a heavy one and it starts to unroll your hands, it's panic inducing, that's awesome. And so at that point, most people go to an alternate grip, which is one hand supinated and one hand pronated. So one underhand, one overhand. It doesn't matter, which is which, right? And that works pretty well because the bar wants to roll one direction. And on the other hand, the bar wants to roll the other direction so they cancel each other out and it doesn't roll. Yep. The downside of that is what? Well, it's hard to keep that supinated hand. It's hard to keep this bar on the supinated hand side on the shins. You tend to have like a helicoptering motion and where some, you know, it's asymmetrical. At risk of some injury, some muscle evulsions. Yeah, for sure. Yep. So it's probably a little more dangerous. It's not super, it's obviously not symmetrical. But I think that for most mortals, they're not in any real danger of a bicep tear or anything. No, probably not. I don't know that I've ever heard of a bicep tear for under 500 pounds. I don't even know if I've ever heard of bicep tear under 600 pounds. I'm sure there are some. Yeah, some elderly people maybe could, but I don't think that's going to be a problem for most people. So, you know, that's probably the general purpose grip that most people will use. And the other one would be the, would be the hook grip. The hook grip. So again, for those of you guys that have this on camera, it's what I do is on the hook grip, I would grab the bar with my thumb first. It looks just like a double overhand grip from the front. You can't really tell the difference. But what you do is you grab the bar with your thumb first and then you grab your thumb with your middle and index finger. You got to get it with both. If you just get the index finger, it's not going to work. So you're going to grab the thumbnail with your middle finger. And what that will do is that it will create some friction in the hand and it just locks in place and doesn't go anywhere. Yeah. Your thumb cams over the bar and you get to hold your thumb instead of the bar. So the rotation of the bar doesn't really matter. This is a great way to hold that thumb. So you don't have to overcome the torque. You know, it's strong.  It could be a challenge for people with small hands. You know, Patrick Yomans pulled a big deadlift at the meat and got that thing up. Gosh, I mean, he was two inches from lockout and he's got, he's, he's got a Patrick's got smaller hands. He's got really small hands. I have small hands and his fingers came up to my last knuckle line. Yeah. And he said, what am I going to do?  We switched him at the meat from hook grip to alternate grip. I said, when was the last time you alternate grip? And he said, I never I said, well, what are you going to do? It's out of me. I said, it'll feel weird and just pull it. Don't stop pulling. So he did. And yeah. And he got his last deadlift, which was good. So small hands, females have a hard time with that obviously because they have small hands. Typically. Yeah. And so the ladies bar, you don't see Rogue sells this Bella bar and there's that, you know, there's a 35 pound or what are they 15 kilo bars? You see them out there. 33 pound 15 kilo. You know, and it's really more about the diameter of the bar than it is the weight on the bar. So that's really why we use a ladies bar when we do because they clean and a snatch on a clean and a snatch. You have to hook. Yep. You have to go double overhand. If you double overhand, it's heavy. It's going to open your hand up. So when a heavy clean or snatch must be hooked, gripped and if it must be hooked, gripped and you take an enormous amount of the population out of the potential of hook gripping. If you use a full, you know, 29 millimeter bar, they can't hook. But I have a hard time hooking a 29 millimeter bar. It's another reason why I like deadlifting with the 28 and a half, 28 27. So deadlift bar, those things are way easier to hook grip. Now the downside to a hood grip because the circumference of the bar is smaller is pi times diameter. That's exactly right. So, you know, pies three and change. Yeah.  The circumference goes up over three millimeters. It's a big deal. So it's a three X deal. Correct. And you know, it makes a big deal if you're close anyway. The downside for most people with hook is that it hurts really bad. Yeah.  I won't do it. I've converted because I don't want to her bicep. Right. I've covered the last couple of years. So, and I know I'm never going to pull heavy enough to really get worried. Yeah, which is fine. I don't do it. So I'm going to remind you this conversation when you're in the hospital. That's right. So yeah. So you can hook what I would suggest if you're learning the hook when you decide I'm going to make the decision to start hook gripping. I would actually do all of your warmups with the hook first. So let's say you can that lift at that point. Let's say you can do the 365 for a set of five. So wait, man. It's really not about learning it. It's about getting acclimated. How bad it hurts and it, it, it, you know, it's just like anything else. You'll build some callus there and it'll kind of dead in the nerve a little bit. You'll create nerve damage under your thumbnail. That's right. And you won't be able to see. So yeah. And then that. Yep. So what I have people do is, you know, if you're going to do the 365 for a set of five, you're going to try to hook grip it. What we're going to do is we're going to do 135 for a set of five with the hook grip, probably 225 for a set of five with the hook grip. Maybe we go to 75 with the hook grip for a couple. And then just go ahead and do your 315 alternate grip and your 365 alternate grip. And then the next time you're going to go up and do a little heavier than 275 with the hook grip. And that really about four or five sessions will tend to get you to a point where you can hook grip just about anything. It's still not going to feel very good for a while. But I tell you what, once that hook grip bites people will, you'll understand. And it actually reduces the range of motion just a little bit. Yeah. You can carry the bar a little lower in your hands than you do on an alternate. When you turn that hand and you get that supination. And when you rotate your forearm, it actually shortens your arm a little bit. It's like when you twist a rope up that thing. As more you twist it, it gets shorter. That's a good. And then also with the hook grip, we actually get to open our hand just a little bit. So I think with the hook grip is double overhand. But then you hook it and then your hand's actually a little more open than it would be with that ball back grip that you do with the double overhand. So you pick up a quarter inch there. You pick up an eighth of an inch by not supinating. Yeah, it's worth it. That's good. By the way, for those of you that deadlift or even do pull-ups or chin-ups or things like that, and you tend to tear calluses all the time. You're putting the bar too deep in your hand. The bar should sit right on the pad. Is that what that's called? Of the, of the. Yeah, I'll call it like your dog. Like a dog? The pad of your paw there. Your paw there. Right up, but yeah, by your fingers. So again, just like kind of right on top of your knuckles there, that's actually where you should set the bar. What most people do when they're trying to get a really good grip is they set it deep into their, deep into their palm. Seems right, right? Seems right. And then the very first thing it does is it rolls or shifts down and it'll grab those calluses and rip those calluses open. So if your tearing calluses just set it on the pad, then wrap your hand around it. You'll be fine. I press those yellow calluses right onto the bar and then close my hand around it. It's easy. That's exactly what I do to put your callus directly on the bar. Don't let the bar go up in the soft part of the palm of your hand and slide down to those calluses. And so what about straps, bro? Yeah. So I'm not a fan of straps until it's really heavy and or you're doing a fair amount of volume. You know, if you start doing multiple sets of five as we get into an intermediate programming, then certainly adding some straps is okay. And straps all the time. I don't think it's okay. No, I use them for rack pulls of somebody. Yeah. Rack pulls really heavy. Our deals in rack pulls or multiple sets of five. So for me, the rule is, is it going to be in your hands a lot? Right. So when you pull a set of five, you've got it off the ground. You lock it out. You set it right now, and then it's not in your hand. The weight's not in your hand. You can kind of reset your grip. Our deals, you unrack it. And it's in your hand for like 45 seconds or something like that. And it's heavy. So it's great for that. And then rack pulls often take so long to break off the darn pins that your handle unwind. Well, and once you get a rack pulls, a lot of times you're pulling a lot more than what you can actually deadlift. And yeah, you may not want to hook it. Like if you pull 500, you may rack pull 555. Yeah, that should be difficult. So, but first, so yeah, don't buy, if you're a dude, don't buy straps at all until you can pull 405. Don't even buy them. Don't have them in the building. Again, remember, you just asked me like, I have small hands and I can double overhand 405 on my worst day of the year. And I've double overhand almost 500 pounds. So you have those dainty hands. Yeah, my double overhand PR is 45, which I'm quite proud of. Yeah. I mean, that's that's a, and that's a solid double overhand, no hook, no, you know, and yeah, you definitely shouldn't touch straps if you deadlift lesson. And so when I pick up, every time I pick up a 45 pound plate, I pinch it. Me too. Because I'm working on that grip. Yeah, of course plate. I don't, I don't wrap my fingers around. You've got the big competition and road plates.  By the way, there's a really good video. I think it was Klockov made a few years ago. And I say a few years ago, it may have been 10 years ago. So that's probably six or seven years ago of him pinch flipping your pinch flip plates. So you start with a sort of like a 15 or something, right? And you take it, you pinch it and you throw it up in the air with one hand and then you catch it in a pinch grip.  If you're the 25, you know, you know, 35, it's the only thing good that 35 is right. And, uh, and then the 45 and then eventually you get to that 25 kilo plate, the 55 pound plate. And he's got a video of him taking a 55 pound plate with one hand and flipping it up in the air and catching it with one hand, flipping it up in the air and catching it with one hand. And so you take, take two 45s, you know, put the dish in. And that's rich. Pinch them. Two 45s is hard. Yeah. I mean, I certainly do. You can do two 45s. We'll talk about you on the podcast. Two 25s is a pretty good. You take two 25 iron plates, put it so that the lips face in pinch. So that's 50 pounds. Pick it up and hold it and just to hold as long as you can. Pinch it. Works pretty good. I actually think that carries over better than, uh, than like a sort of captain's crush gripper. I think that's, that's kind of a sort of lever, the lever on the, I guess these are the flexors of the fingers. Yeah. It's so long when you do the pinch, the captain crunch, you can get it up close to that joint and really bear down on it. Yep. Yeah. That's good. So that's first, first two steps. So first step is one inch, we're going to take our stance one inch in the bar. Scott, we kind of breezed through it, but with a narrow grip or narrow stance, your stance is going to be significantly more narrow than you're going to take on a squat or on a press. The fins, I'm not telling you to do this, but the finish guys who are good dead lifters, they often dead lift with their heels touching each other. Yeah. And again, I wouldn't suggest that. But for me, I did lift with my heels about five inches apart. No. Three inches apart. Three. Yeah. And there's some videos on Brett McKay on his Instagram, the dead lifted man. He's just like, It's pretty close. Try sickle stance. Like it's really close. Yeah. We're trying to, there's a moment on game. There, right? We're taking some of that moment off the sagittal side plane.  Like I'm using the air quotes, bow legging. We push our knees out. We can take some of that moment off of the side plane, put it on the frontal plane, brings the hips a little closer to the bar. And we start playing that competition game. And we've talked about that in the previous talks about squat and bench press and press. And so let's just use our adductors. Let's just use our adductors. Let's just use our adductors. AB doctors hold the femur in external rotation and the knees are abducted out. And it lets the adductors, adductors inside of your thigh contribute to hip extension. And so again, because one of our criteria is when you use the most muscle mass possible, we always want to push our knees out. So let's go to step three. So step one, our stance is one inch from the bar. Yep. With a closed stance. Stance pretty close together. Step two, we're going to grab just outside our legs, which for almost everybody is going to put your hands right where the knurl starts.  You're going to have to take a little water stance just because your belly and your midsection is going to be in the way. But essentially we want our arms hanging straight down on a deadlift, right? We don't want any, so we want our arms going to be totally vertical from our shoulders when we stand up. So that's kind of where we want to set it. Yeah. If we did a snatch grip deadlift, it was straight arms. Yeah. Snatch grip is going to artificially shorten the arms. And I want my arms to be as long as possible. And so I take that grip just outside my legs. And then the third step is without moving the bar, which is where most people screw this up. The bar's staying where it is right over the middle of the foot. I'm going to bend my knees and shove my shins forward until the shins touch the bar. And I'm going to stop. I'm going to keep shoving them forward any further. I'm going to roll the bar at all. By the way, if you're a coach trainer, if the weight plates have a logo on them, like if they say rogue, the easy thing to do is just watch the word. If the word rogue rotates, it moved. Yep. It's easier to see than the bar itself. And so you kind of watch those plates. Or if you're videoing yourself in the side, after you get done with your set, look at it. Step three, shins forward until they touch the bar. And then knees out. We're going to push our knees out hard until they touch really the crook of our elbows. Now think about this. If you're standing... Now out means apart, right? To the sides. To the sides. Like your bow legged. But again, we've talked about cues. Yep. And so bow legged is a term I use as kind of an overcorrection cue. Like, oh, I get what you're saying. I want some angle on the shin going out to the knee and then back in. And so it's... What is it? Like, not need is the opposite of that. Yeah, it's not need. And we're trying to get away from being valgus. I don't know. I don't know what the actual kinesiology sort of term is. And certainly, you know, if you're training a 45, 50-year-old person that doesn't understand anatomy to say abduct and externally rotate your femurs, that doesn't work. And so I just say, get bow legged. Right. Get your knees out. Vega's knees. Right. And so if our feet are closer together to each other, I can be more bow legged than if my feet take a wider stance. There's so much that's good about that. Sure. Getting bow legged, get your femurs out of your way. So if you've got a little belly or whatever, you can get down in the hole more comfortably. It lets us set up with a little bit lower hip. We always want to be... You know, we don't want to drop our hips more than we need to. But if we can have a more upright torso, we sure do like that. And I think it's less about even getting a lower hip and more about getting the hips closer to the barbell. Well, let's... So there's less moments. So if you think about, like, where the barbell sits, horizontally, the hips move closer. When we get bow... When we get, quote-unquote, bow legged. And so... It's just easier to get down there like that. Yeah. And then again, it uses more muscle mass. So it allows the abductors, the outside of your butt, your glute medius, glute minimus, and your external rotators. Optorators and piriformis. Oh, that's like high... That's like that high-gravity beer, right? It's like high-gravity beer. Yeah, that's right. Spatent. Optorator. Optorator. 8.4 percent. So you can go see some... Go look up some videos of K.K. You know, Konstantin Kostantinov. Yeah, Konstantin. Yeah. And he... Or Matt Reynolds. Or Matt Reynolds. Or Brett. Actually, Brett. It's easier to see in Brett's videos than almost anybody. Yeah. It's just the way he's put together. You can really see what he just... That stance and that setup is advantageous. Yep. So we got our knees out. We got our shins against the bar. Not pushing the bar. They're just... Just touching the... So that's three steps. Kiss the bar. That's right. Just barely touching the bar. And without dropping... Now, without dropping your hips. This is the hardest step. So if you're in the gym... This is the hardest step. ...with me and I'm teaching you the deadlift.  So that their back is tight and flat. Yep. We want the spine in extension and people really struggle with that. It's the hardest thing to teach in coaching. It's the hardest thing to teach in coaching in person and it's really hard online. Yeah. There are lots of things... It's hard on the podcast too. It's hard on the podcast, right? So I use almost the same terminology. Do I say squeeze the chest up rather than pull the chest up? And I will often like pat them on the back. What you can't do online in person you can, right? So... So they can feel the muscles that I need them to contract. I want to wrinkle the shirt. I want to see those wrinkles. So the shirt is taut on the back and when you squeeze your chest up, the shirt will wrinkle on your back, right? It will make this concave. Concave. Concave.   So butthole to the wall. Point your butthole at the wall behind you.  Everybody wants to drop your butt.  That's right. They bend over and then they lose extension. The problem is if you drop your butt, your knees went forward. If your knees went forward, your shins were already touching the bar.  So instead, we have to hold our butt in place. We have to hold our hips in place and then squeeze our back chest up as hard as we can and get our back as tight as we can. And essentially we're going to use a term. We're going to lock our back in extension. Yeah. You have to.  That's right. I tell people 95% of your mental and physical energy will be in holding your back and extension agreed. Almost everybody, everybody I've ever seen can leg press more than they can deadlift. Sure. Because the back extension is the weakest lean from the deadlift. That's the piece that failed. I agree. They can push more than they can pick up. Right. Right. So, you know, for example, if the guy can put his back against the wall and put a 900-pound sled in front of him, he can probably push it with his feet, but he couldn't pick it up. His back would brown. Yep. 95% of your mental and physical energy will be in holding that extension as a secondary or afterthought step five and drag the bar up your shins. Yep.  Yep. Now, we talked about cues or times when they do it wrong, and so we will flip it and flip it around, but for the most part, if you get tight, if step one, I take my stance one inch from the bar, step two, I bend over and I grab the bar and my back's going to be rounded at that point. I grab my back, don't roll the bar, don't take a step. Step three, shins forward till they touch the bar and knees out into the arm. Step four, squeeze the chest up. There's lots of little cues you can think about there, but squeeze the chest up without dropping your hips. And step five, I'm going to drag the bar up my legs, but I'm going to do that by thinking about leg pressing the earth away from my body. Right.  The first thing I'll hear is I'll hear the little kink, a ting of the bar hitting the inside of the sleeve, right where the bushing is, right where the bearings are. So the part of the bar you grab is just a piece of bar stock. It's been all straightened out in her old and nice. And then that goes inside the collar, right? Because the collar, we had to put a collar on the bar so that the plates will spin so that won't twist out of your hand. So there's a little slack. It has to be, right? So you go in there. So there's a little slack there and the cheaper the bar is the more the slack there is. So you pick it up and you can go click and you can feel that. And you hear it click. And then you pick it up a little more. Click. And now the collar moves up and touches the underside of the inside diameter of the hole in the plate. That's right.  And you can feel all five of them. Go click, click, click, click. And then you push. Yeah. And if you really are in tune with this, the inside plate come off the ground. Yeah. And the outside plate still be on the ground. And so at that point, the bar has, all of the flexes come out of the bar. Right. The inside plates are off the ground. I've got as much tightness as I can possibly get. There's no potential for energy loss at all for an energy leak. And then I just push real hard through the floor with my feet. And that initiates and I want the knee extension, the knees going from bent to straight to initiate the movement of the bar. Again, what a lot of people do because their hamstrings aren't strong enough to hold their hip in place. Is their knee will extend first, but the bar doesn't move. That's right. If your knee extends first, I'll think about it. If your knee extends first, it turns into a stiff leg deadlift. A straight leg deadlift. A straight leg deadlift. My legs are straighter. My back is more horizontal than it should be. My shoulders lurched forward. Right. And everything is in a worse position. Now here's the deal. It's actually easier in my opinion to get the bar off of the ground in a straight leg deadlift than it is in a correct deadlift. No, wait a minute. I know. I know. Well, I have a theory as to why. What do you think it is? Well, the extensors of the hip are going to be stronger than the quads. The hips are going to be higher. Right. Right. So their position vertically compared to horizontally goes up. And so they're in a little stronger position where that fulcrum height is. So it's like it's turning you into a longer leg lifter. It can deadlift more. Except. So the bar goes off the ground two inches. And now what do you do? Well, now it's just hanging out in space. Yeah. It's going to swing out away from your legs. It's probably not going to stay on your shins. And so now you're in trouble. So if you do this right, it should look like you get as tight as you can against the bar and you leg press the earth away. And it looks like you're squeezing the bar off the floor.  We squeeze our floor. And then the second I feel the plates come off the ground, I'm going to go as fast as I can. Now at 400 pounds for me, that's pretty fast. But at 650, it's all going to be slow. But I'm still going as fast as I can go. You bet. Yeah.    Correct.  It'll pull your back out of the extension. And now you're rounded and then you can't lock it out.  Correct. And you may be able to stand there all day. That's right. But you'll never get your shoulder behind the bar. Yeah. If you're somebody who struggles to lock out your deadlift at the top of a deadlift. Chances are your back, your lumbar, your low back, is not in good hard extension. Now, your thoracic back, your upper back, that's one of those things we've talked about, these kind of changes to competitive lifts that some really good competitive lifters will actually allow their upper back some flexion because it cuts down on the range of motion. F4 mentioned Constantine. Yeah, Constantine is the best that's ever done that. And that's okay to do for competitive lifter, but I want my lifters to try to get generally strong to understand and learn how to control this isometric contraction extension of not just the lumbar spine, but the thoracic of the thoracic spine. And so we hold our back as flat as we can and we pull it, we don't let the back be an energy leak at all. And we push their feet because we don't pull. And when people pull the bar, they tend to round over. Sure. It tends to make them round over. But not more often keep their back in extension. It causes them to rock back, cause them to get their shoulder back. And then the bar comes off their shins. Yep.  Sure. You wouldn't think it would, but it does. Yep. The shoulder joint is not very robust. It's a really crappy cage. Sure. The head of the humorist goes in a little cage that has three points on it pretty much. And it's, it never had a skeleton to play with. It wasn't all wired together. But I bet if it wasn't wired together, the arm would just fall out of that cage. Like it's not a tight fit. It's just a, it's a loose cage. Sure. So we can have this range of motion. So all the tendons and ligaments and muscles and stuff hold it up there. So when you deadlift and you push away from the floor, that bar is actually, it's not hanging from that joint. We think that it's hanging from your lat insertion on the, in your armpit. Yep. And the lat's pulling back at that humorist angle to the humorous. And so that's why if you watch people, you know, in, for years, I remember reading, you know, West Side and that group of guys and they would visualize getting the shoulders, your shoulders behind the bar before you pulled. Gosh, I just don't see how that would possibly even work as a cue. Well, you know what I think they did? I think, I think it was because I saw a lot of people with their shoulders lurch forward. Just like we talked about if you're, if your knees extend and your hips pop up and so, I think that's what they were visualizing, but it's just wrong, right? It's just wrong. Every single heavy deadlift ever go, you can pick any good, I mean, really no limit max attempt deadlift from the side. Every single deadlift on YouTube, they got the weight will not come off the ground. It will not break off the ground until the hips are high and the shoulders are forward of the bar. Now, can the hips go too high and the shoulders go too high? Yes. Of course they can, right? There is too far. But if you think that you can't, you're not, you're supposed to lift with your legs not with your back.  You're wrong. That's not right. We don't lift with our legs not with our back. We lift with our back, high hips, bar with the middle of our foot because physics says so because the physics you can't get around.  But if I squat way down, if I squat down to pick up the lawnmower, the lawnmower is now six inches in front of my body and that's an enormous amount. That's a moment force multiplier. Right. I have a tons more moment to overcome in order to put the lawnmower in the back of my car or the back of my truck and so we lift the lawnmower and we're enjoying this episode in the Technique Series of the Barbell Logic Podcast. You know at Barbell Logic we believe that barbell-based strength training is literally for everyone and that the only thing holding most people back from all the incredible benefits that come from it is good technique inconsistency and we can help with that too. And whether you're just getting started or you've been lifting for a while, it's difficult to know if you're performing the lifts correctly or if there's anything you can do to make your lifting online. From basic how-to videos that will get you lifting safely and efficiently right away to podcasts, articles, and videos that will help you troubleshoot common errors. All you have to do is visit barbelllogic.com slash technique to see our best technique-focused content in one place. And while you're at it you can sign up for a consultation with the Barbell Logic coach. This is a free form check and a chance to ask an expert all your training related questions. There's no reason you should be struggling to get started or to make progress. Check out barbelllogic.com slash technique for more information and sign up for the Barbell Logic experience. Again, it's 100% free. There's nothing better for your training than knowing you're lifting safely, training efficiently, and on the right track. All right, let's get back to the show. So if you go look at the Ed Cone, it's a Sumo attempt, right? No, no, it's not. It's not. It's conventional. That's right. You'll see it. So I believe it was. I think it was. I think it's 901. I think it says 901 deadlift on on YouTube. So Ed Cone, he's the greatest of all time powerlifting. The guy used to Sumo deadlift and he switched in his later career. He had some sort of hamstring injury or something or hip and he ended up switching to conventional deadlifts and conventional deadlift. If you watch this video, I believe it's Ed Cone 901, right? It's at the USPF Nationals, I think. Anyway, he sits way down deep. And he gets all the way down and basically what looks like a parallel squat. He's got short femurs, not very long. And so his shins actually aren't that far forward. He doesn't really push the bar forward of them in foot. The 901 is a Sumo. It is a Sumo. Oh, it is? Well, that's not the lift that we're talking about though. Well, no, it's not. Let's see here. And so he sits way down. You really can watch any Ed Cone conventional deadlift. He sits way down.  And when his back gets exactly where it needs to be so that it is in an optimal position to pull the weight off the ground, the weight comes off the ground. And hey, here's the deal at 900 pounds. It's not coming off the ground in any other way. Now, can Ed Cone do a 405 deadlift if the guy can deadlift 900 pounds?   He would say, well, I just squatted down and grabbed the bar and dropped my butt and I squatted the weight up. Wrong. He didn't. His butt pops up, his back gets horizontal, his shoulders move forward and he gets in the exact same position that everybody else on earth gets when the weight comes off the ground. So just watch it. Watch when the weight actually comes off the ground. Did you find the video? It's a 887. 887. 887 deadlift. Okay. Yeah. That's easy enough.  The bar has to be in the middle of the foot. By the way, this is the one where we don't have to think very much about bar path. Yep. A squat, you kind of have to think about bar path or so much that can go wrong, but a true max effort deadlift will move in a vertical straight line over the middle of your foot or it's not going to be about getting hurt. If it's too heavy, it's not going to come up. That's right. It's easy to get started with it. I don't want to say it's easy to perfect, but it's easy to get starting with it. I think you can, most people leave their first session with a better deadlift than they do a squat, right? And the weight goes up, up, up, up, so the deadlift gets ahead of the squat for the novice pretty darn early. Yeah, pretty quick. And the longer leg you are, longer limb you are, it will probably stay above the squat today. Squatted 651 and smoked it, right? Had 25 or 30 pounds left. That guy's going to be 700-pound squatter soon. And he deadlifted what? Just like right at around 6. 616. Yeah, yeah. So he actually squats more, but he's a great big guy. He weighs over 300 pounds. He's not fat, he's just a big guy. He's shaped, he reminded me of Joseph Pena when he walked in. So I've been totally different guys than Joseph is, but they're just built the same way.   The reason we conventional deadlift is because conventional makes our back strong, which by the way is an important point here.  Well, sure, you could potentially give you squat wrong and you hurt your knees, but for the most part, if you do it right and if you do it close to right and even if you do it kind of wrong, even if you do it kind of wrong, the worst thing you're going to do is tweak something and you're going to get back spasms for a week and they're going to go away and you get back under the bar. Think about all the people in the world who are like, I have a herniated disc in my back, right? Everybody's like, I've got a herniated disc and you go, oh, did you do that deadlifting?  So, you know, or they just sleep on it wrong or something weird happens and so it's rare for the deadlift and so for me, if I can teach our clients and myself and my family and the people that I love to deadlift correctly and get their back strong, a strong back is a less vulnerable back to injury, not a more vulnerable back to injury. So the deadlift is really strong. Hey, one thing we didn't mention is a lockout. The deadlift is locked out right? Well, how far do you drag the bar up your legs?   Right. And so we don't shrug, we don't do anything with our shoulders. Our shoulders never lift up. It's too heavy anyway. Correct. We never bend our elbows. So elbows are straight, shoulders hang and we basically one of the cues I'll use for the chest, there's two cues.  I saw some people squeeze their butt cheeks together and it stand up proud and then normally we'll get it.  It's not a thing we do to activate the glutes. That's right. We don't activate glutes on a deadlift. If you stood up with it, your glutes got activated. Right. If you can walk normally you can activate it. Right. So if you're if you have a real problem like you've got nerve damage, by an abifita then it's possible that your glutes aren't working correctly. So the glutes make the hips extend. That's what the glutes do. Right. Right. Your big giant gluteus maximus, the one that your grandma spanked, that's going to work and you don't have to activate that. But it is a pretty good cue to kind of crack the walnut or squeeze your butt cheeks together. So you've got to stand up tall, hold it. And by the way, I like a deadlift. I think a deadlift should be held for a second or two at the top. Oh yeah. Absolutely. And so, you know, if you're in training, hold that thing as long as you can. I mean, Especially for the last, the last round, you're going to set a five, just hold it for five or six seconds. Stand there for an eight count. I mean, who cares. You'll know if you really locked it out because right before you locked it out, like everything's hard, everything's hard and you're grinding, you're grinding, you're grinding. And the bar is just over the middle of your foot, but you're not really in balance yet because you're pulling, not just up, but you're kind of pulling back to try to get in balance and get everything locked in compression and there's no more moment. Right.  There's a little bit of a moment on the shin, there's a little bit of a moment on the femur, on the thigh, there's a little bit of a moment on the back. And the second all those come into, in the line and they come into compression, once I lock out a deadlift, the heaviest deadlifts I've ever locked out. You have 725 deadlifts and even heavier and strongman when we had partial deadlifts. Once it locks out, I stand there all day. You might even be able to talk. You can talk, right? Like if you remember Eddie Halls, have you watched Eddie Halls? Yeah. World, his first World Record deadlift when he deadlifted in whatever he did in 1,050 or something. That's the outdoor one. Yeah, outdoor. And the female reporter comes running up to him. He holds the bar and does an interview. Savagery. And answers like three questions and then puts the bar down. This is like the heaviest deadlift ever pulled at the time.  Get it locked out, get it, and then put it down. And by the way, we put it down. We should talk about putting it down. You bet. We put it down so at the top of a deadlift, our hips and knees are both an extension. The thing we break at to put it down is the hips, not the knees. Keep the knees locked. Yeah, squeeze those knees, push your rump straight back. Slide the bar down your legs. You're essentially doing a really fast beginning of an RDL.  But you don't bend your knees until it passes the knees. And then by the way, the speed on the way down on a deadlift is very fast. It ain't a controlled drop, but it's one step from a controlled drop. And we never drop it, by the way. Don't drop it. Don't drop it. You hear me, Nick Hammer?  Nick Hammer dropped a PR lift a couple weeks ago. But he loses grip? No, we just dropped it because he was just being a cross, he wants to be a crossfire. He's a 240-pound powerlifter at a deadlift of 700 pounds. Unlock the hips. Unlock the hips. Tighten you. Rump back, slide the bar down your legs. When it gets past your knee, do a little squat and sit it down. That's right. And it should all be real fast. And it'll put it right back in the middle of your foot. And as long as you kept your back in extension, you can do another rep immediately. That's exactly right. Let's mention that, by the way. We work reps on deadlifts almost always, right? So it's pretty rare that we're doing a max effort deadlift. So if we do a set lots of people can walk through this five-step process, stand up with the bar, put it down, and they almost always put it down in front of the middle of their foot, by the way. As much as I try, I often put it down in front of the middle of my foot, right? So this is not like, it's really, really common. So you put the bar down.  Now let's go back to the five steps, okay? Step one was your stance. Well, I've already in my stance. Step two is my grip. Well, I already have a grip on the bar, right? So it starts from a dead stop every single rep. We don't ever touch and go a deadlift, right? We don't dribble it. We don't dribble it, right? We set it down, we breathe out, we breathe in, we squeeze our chest up, and we pull as long as the bar is over the middle of my foot. Right.  I gotta roll it back to the middle of my foot. So what I do and you want to break, I want a pause between all five steps.  That's the right spot. My knees out, my back flat. Okay, push. That's it. So step one, I walk up, take my stance, make sure I'm one inch from the bar. Toes are pointed out, 15, 20 degrees. We mentioned that, but it's the same thing as squats. Basically, it's about the same angle. And stop. Bend over, grab the bar, don't roll the bar, stop. Shins forward to the bar, knees out, stop. Squeeze the chest up, squeeze the chest up, squeeze the chest up, set my back as hard and extension.  There's so much pressure. This is not a comfortable position to be in. If it's comfortable or strong. Step four, if it's comfortable or strong, if it's comfortable, you dropped your hips. If it's right or good, stop. Drag the bar up the legs and do that by leg pressing the earth away. Stand up to the top, lock it out, stop. Break at the hips, slide the bar down, break at the knees, put it on the ground.  Roll it back to the middle of my foot. Stop. Squeeze the chest up and go. By the way, we can talk about breathing too. So when does breathing occur? Between what steps? We breathe in the hole. Yeah. So we breathe between step three and step four primarily. So I'm going to breathe between. So I'm going to set my shins forward till my shins touch the bar and knees out.  And then I pull. Right. If I try to breathe after I've squeezed as much air in. So I want to get as much air in as I can. So I get all the inner abdominal pressure and then I squeeze my chest up, stop and then pull. Yep. And it works really well. And we don't dribble this bar. Ever. One, because we want it to be a deadlift. It has to be pulled from a deadstop. We almost all train on some sort of a rubber surface. And there's a little bounce there and that helps it off the floor. We don't want to help. Nope. We don't know how strong we are if we dribbled it. Because when that bar bounces, it tends to let you pull the bike out of extension. Yep.  By the fifth rep, they're just, they're just hunched over like a dog. Yep. I love people who have really dedicated themselves to being a form technician on deadlift. They're the funnest to watch because the funnest, the funnest to work. The most funnest. Because you can watch them hit those guys who are and females who are a form technician, put it down right in the middle of their foot. But if, but they'll check it and put it down. Oops. Maybe it's a quarter inch forward. Roll it back.  Now my shins are too far forward because the bar's on the right spot. And then you put it down a little more forward on rep number three. And then you put it on the barbell. So you've got to make sure that the barbell on subsequent reps gets rolled back over to the middle of your foot. What? Subsequent? Subsequent. Is this like hypertrophy and hypertrophy? Subsequent. I'll call it subsequent. Hmm. Hmm. Are you psychoanalyzing? I don't know. It says a lot about a man. It says the guy. It says hypertrophy. That's right. So one of these days, I'm going to go to BJ's trophy shop in Springfield, Missouri and I'm going to get me a hypertrophy. I'm going to have them build you a hypertrophy. Well, listen, things can have a hypertrophic effect. Hmm. Do they have hypertrophic effects? I don't know. Subsequential. Subsequential. I don't know either. So do you want to talk to programming real quick? Yeah. Yeah. So all the lifts, all the main lifts in linear progression we do for three sets of three. This one is different. It's so awful where it's awfully good. So we only do five of them. We do one set of five. One set of five. Correct. It's just so darn stressful. And it's the end of the session. You're petered out. Yeah. So we do one set of five. I heard that about you. You get petered out a lot. I do. I do. Yeah. Right. Right now. And we often take much, much larger jumps and weight in the beginning of an LP on the on the dead lifts. Sure. So he's probably going to take some novice. He's probably going to take some 10 pound jumps on a squat. He might take some 20 pound jumps for a short time on the on the dead lift. It's not uncommon. Yeah. For a week to five, five workouts, maybe somewhere in there. Yeah. And we deadlift in the beginning every single session. Yep. Also three times a week, one set of five, jumping some weight every single time. And then within a couple weeks, you're jumping five pounds at a time.  Yep. I've gone from 135 to 205. Right. And then I might, and then I might go 210, 215 or whatever. You know, you've probably had them. You've probably had the under 25 underweight male that's drinking the milk and eating the calories go up 120 pounds in six weeks. Oh yeah. For sure. I'm sorry. Two weeks. Yeah. Two weeks. 2020. Do it six times in a row. Yeah. Six times in a row. That's happened for sure. Now a lot of that's happened. But their form was jacked up enough that we had to make sure they could actually, you know, younger, actually younger guys tend to have a, in my experience, younger males have the hardest times in their back and extension.  And so, yeah, we might be able to jump a little faster than normal with those guys. And then what do we do after it stops working? And so the deadlift is just a very stressful lift. Yep. And I don't know if we can dictate exactly why that is. So stressful? Yeah. Well, I remember like that. Well, the absolute weight's going to be higher than anything else. It is. It's a little bit, I mean, is it, but the problem is, so think about this. So again, if you talk about tonnage, your tonnage of one set of five is far less than your tonnage on three sets of five on squats, even if the squats is 15% less than that. You've already squatted. Right. You've already squatted. That's true. You're tired. You know, the squats on your back, you're not having to hold it in your darned hands. Yeah. I mean, is the systemic stress and the deadlift, I think, is higher. Yeah. I actually think you can find some studies on PubMed.  There's somewhere in there in the early 2000s or somewhere where we did some studies and there was, there was some published reports, which again, take that all with a grain of salt. God knows, they're probably terrible. But that heavy weight in your hand was harder to recover from than really anything else. So super, super, super heavy weights. Do you think about that? I don't doubt that. I've been doing like farmer's walks of 400 pounds per hand. I run it on the street. Like, I don't know if you can do anything that's really harder on your body than that. And so we do one set of five, three days a week. If you're young. Now we're good ahead. So we did 20 pound jumps for a while. Okay. Maybe we only do them for one session or two. Maybe maybe we do them for longer.  And then we'll go very quickly, maybe to a five pound jump. So nothing can sustain those larger jumps as long as the dead lift. That's correct. And then unless they're a very elderly person, I don't, I have, I don't think I've ever taken anybody under 60 to two and a half pound jumps on the dead lift. Yeah. That's pretty rare. That's pretty rare.  Yeah. There would be compromise.  And so, I mean, as long as they can keep the back of extension, we're going to keep piling the weight on. And then we're going to get down to the five pound jumps and maybe six, eight weeks, maybe a little more into it. Three times a week is going to be too darn much for a couple of reasons. Their squat got real heavy. Sure. And then the dead lift got real heavy too. So it's just a lot of volume. And we, you know, we have an A and a B workout. They have you drop it on one of those workouts. Our demographic continues to skew a little older. And so most of our people don't power clean. If it's not a power clean. And so I tend to drop the Wednesday deadlift out and replace it with a barbell row. Those tend to work pretty well.  We love to chin. I think the chin, the chin's probably contribute some. And I put chin days depending on how young they are and their ability to chin. Sometimes I have them chin on all three days. And sometimes I have them chin on the barbell row day. Yep. Yeah. So they end up barbell rowing and chinning on Wednesday. And then I keep their deadlift actually increased their volume a little bit on their deadlift on Monday and decreased their volume on Friday. So I might drop them to a top set of three on Friday. And maybe two sets of five on Monday. Two fives. Yeah. And I reduce the weight, you know, 10% or 12% to start. To give them a little bit of a D-load there and then let them start working back up. And then we do that until it doesn't work. And then I might actually go to a third set of five. So, well, a couple things about chins. We'll go back to chins here. These charity and I have found that they benefit from the supinated lat pull down or assisted deadlifts so much because they have a really hard time keeping the bar on their chins. So they can keep their shin angle correct, keep their hip in the right spot and the bar still will come off their chins. Their lats just aren't strong enough. So we find that those older ladies in particular need to start doing lat pull downs pretty early. I do it every session with them. Every session I do it. It's like civil every session as hard as they can go. She does her lats. She does her presses. She does her deadlifts. And then as soon as she's done with deadlifts, she's going to do a supinated lat pull down every single work out. Three workouts a week. Yep. Every single time. Yeah. Before the volume, before the frequency gets them, the bar will swing out and they've got to start doing those lat pull downs. So I love that for those older folks and charity loves that. And then you say that you'll increase some volume on Monday and then decrease it on Friday. And so as part of that minimum effective session, I've actually been introduced a heavier than backoffs first. So what I've been doing is both days. On both days. Yeah. So maybe a guy Peters out at 315 for a set of five or maybe he maybe only triples it, you know, and then we're like, that's over. Then let's say he does it on Friday. So Monday, I'll have him pull a single at 320 and then I'll have it back off like maybe 5% doesn't take much and then he can get it. He can get, he can make it through his work back offset. Then that doesn't work. And then I'll have the heavy and a back offset on Monday and then only what would be the back offset on Friday. Right. And then I'll take a then I'll take a rep off of that. And so, you know, we just continue to massage that but as long as I one step at a time. Yeah. I just want to keep that weight pile on the bar. The squat teaches us a lot about ourselves, but so does the deadlift. You know, the deadlift is was the first one I blacked out on. A lot of people pass out with the press, the first time. By the way, the, you know, we've, we talk a lot about the grinding of the 5 seconds of grind that applies more on a deadlift than anything else. Yeah. And listen, it's not about a grind. No. It's not about we want people, our trainees to do, you know, max effort on every session. No. It takes it. It takes a while for the training to learn how long it takes to deadlift. You know, if it weighs double body weight, double body and patient with the whip and the bar and stay with it. So it comes off the ground. Yep. That you can do a set and leave a couple in the tank and it's still slow. So we don't want them to grind themselves. The powder, we want them to learn to stay with it, to be persistent and to be tough. Yeah. What you'll see with the antifragile. Yeah. We've said this before, you'll see people pull for two seconds. The bar doesn't break off the ground. They just stop and give up. You didn't pull long enough, right? They're just smooth. They wouldn't even have been a grind. And then we've seen people as they get a little further, the next step is it comes off the ground and then the place where a deadlift tends to, if you hold form really well, it's going to grind the most or slow down the most about your tibial bump. So, you know, three, four inches below your knee and you can't get to that point, let it slow way down and go, I'm not going to get it and set it down. You've got it. But what you'll notice is you'll grind through that little spot a little bit. And once it gets above and if you're locking it out really slow, start venting yourself from the side. I bet your low back, especially, is actually not in hardest tension. Yeah, I did drag pulls for you. A few days ago. I don't know, whatever it was, late last week. How long did it take it to come off the pins? Probably four seconds before an action. One, two, three, four. The whole time I'm purple. Yep. And then it broke off the ground and then we're fine. Yeah, right. And so, we want people to learn how to do that. It's not about push is the first place where we can learn that. It takes a lot of experience to start learning to grind and push, push, push, push, persistently on the squat. You can learn it on the deadlift first. Sure. And then you can apply those lessons to the press, the bench press and the squat. Yeah, although, although you get down there to the bottom of a squat, especially if, I mean, it's a little scarier to, not a little, it's a lot scarier to bell on a squat. So I'll tell you this for me is I, you know, as I come back in a lazy turn and I start to, and I start to really lift again. When I get to a heavy squat in the bottom, man, I don't miss very many squats because it's scary to miss squats. No, I know you do. So, you know, don't bail. No, don't bail. You never bail, but think take a knee. But I also think most people, most people, like you can teach yourself to bail. But most people, you get down there under that heavy weight. Most people end up grinding it back up. I don't want to put this down. You know, it's on me. And so they have a tendency and it's more ingrained into their instincts to grind against the squat. On a deadlift, it starts to grind and you're like, I just set it down, right? Now, I've noticed even for me as I get my deadlift back up each time and I get it up, say just over 600 pounds. So again, I'm just, just over 700 pound deadlifter of all time, 725, I get to about 600. It starts getting real heavy. I'll pull 635 and it'll start to grind and I'll put it down. So I want to, I want to be clear that this is not something that I just yell at people at. This is something I've experienced many times. I was, it was, you know, about six months ago we were in Tulsa. We were doing a thing with Brett McKay. And I think I pulled 650 for 655 and I, and it was moving just fine and it got just below my knees and I thought I was going to miss it. And I said it back down and he said, what happened?  He thought I'd injured myself. I thought you pulled hamstring. I said, no, I missed it. And he said, dude, it's still going up. And I was like, dang it, show me the video. You have to teach yourself to learn how to get through those, those places where it's really, really hard. That's why it teaches us about ourselves. I love the deadlift. Yeah, it's awesome. Good. What else do we have to say about that damn thing? I'm out. It's been a long episode. It has been. So thanks for listening to us talk about the deadlift at Nauseam. Go to iTunes. Give us a five star review. Go to, and go with subscribe. If you haven't subscribed, please do so. Encourage your friends to do that. YouTube also. Yeah. Subscribe to Logic. YouTube. Thanks for listening. We'll talk to you soon.


Good evening everyone, this is Melissa with thestockswish.com and welcome. Welcome to TFM, the fresh market. Golding got this morning here on August 29th, almost two more days of August and that's it. And I thought this was a wonderful, good video to do here today because guess what? The stock opened and swished. So the funny thing was I said this morning I thought something else was going to swish. I thought Campbell's soup was going to swish and instead it was this that swished. So you never know, but the funny thing was I did have like an instinct or a feeling this morning that something was going to open and swish and instead it was this. So here it is. It opened at 50.25, ran up to 50.50, came down here to 49. This is a dollar and a half extension in the first two minutes of the day. This is a dump into the open with huge volume. Here it is. This is a swish. So whenever something starts today with a swish, it's really not that surprising that something would end the day with a bar like this because this is exactly what happens. What is a swish? A swish is a hard, fast, quick, immediate, definitive movement of a stock down in one direction in the first five minutes of the day. Swishes can happen up or swishes can happen down. In the case of this swish, it happened down so I'm looking to short it. So this was a great trade today. If you watched it to do, it hit fast immediately and it broke late, late, late, late in the afternoon. Once again, this afternoon bleeds. It's kind of happening here in the market in the summer is very unusual. There was a nice entry here into lunch to take it down. After the morning trade, the lunch and then there was another one late. So this had one move, two moves, three moves. This had actually three moves in it today. You really could have gotten a lot of bang for your buck in this and it was a little teeny weeny spready. Even with the volume in it today, in fact, what volume did it have today? Over three, almost four million there. It had about a five, six penny spread and it was like 10 cents at one point. But the entries were clear. The entries were good and you just price your risk according to the spread and it moved. It had nice fluctuating moves in it. If you look to do this in the five minute though and didn't play it aggressively on the one, it was tough. It was tough. So again, I trade in the one minute chart in the morning, the beginning of the day. I look and trade later time frames on the five and the 15 later, but I usually really don't even trade afternoon. And today was one of these days where you really could have traded this twice, could have traded this lunch and could have traded it in the 15 minute into the afternoon period. In fact, how did the market close here? Let's have a look at this quickly. Yeah. The TfM was weak in its own, completely, completely weak in its own even in the afternoon. Market came in a little bit, but this collapsed and broke the low of the day here into the close. So let's just look at the bigger picture here. In fact, target on the day that I had for this was 48.72. So it went past the target. It actually went a dollar past the target. Actually went to the dream target. Here was a dream target. It went to the dream target. 87. Wow. Open as 48.10. Yeah. It's pretty amazing, isn't it? So when something opens with a swish on the day, it usually does go to the target or the dream target. That's how you get bars like this. And this is a big bar for this stock. This is a huge bar for this stock. It's $2 plus. Let's look at this one here. Yeah. And this is just, this doesn't even count. This is some kind of weird jerky bar that happened here this day. I don't know what that is.  This will break again into itself tomorrow. I wouldn't be surprised at all if this broke tomorrow and gap down again. It might just roll in gap down again. In fact, I'm looking at this now. It kind of looks like it's going to be like one of the, like the line one. I think this is going to gap down again tomorrow. Let's see what this is tonight. And if it doesn't, I think it's still going to roll over tomorrow. It's a couple of pennies down here. So this trade, this day, this stock, this gap started out with a swish. And the beautiful thing about swishes is it gives you confirmation of your bias on the day which this did. And it was a nice gap in a week that, you know, is right towards the holiday period. And I kind of had a feeling something was going to swish today, really just instinct and then there it did it. So when something swishes, you can do the aggressive play in the morning and you can watch it for silver set-up senator in the day. I mean, these are the days you could trade the afternoon. Again, I just typically don't trade the afternoon, but these are the days you could. You could actually watch it. I mean, if it opens in the morning with a swish to get a play in it later into the lunchtime period or the afternoon because they do tend to continue, they get sold off all day long, they get the big drop in the morning and then they get the hard sell-off and then they sell, sell, sell, sell, sell all day long and then the shorting comes in too. So I see this lower even immediately like tomorrow because this is such an aggressive bar in here and it's kind of reminding me of the way that the line has set up where it went so big and then just went even bigger and bigger and with three days it was into that thing. And even the BRCM, which was big and then gapped again and ran down hard again. So this is definitely lower tomorrow as a watch. If you're looking for a continuation gap tomorrow, here it is. The fresh market, TFM. Great swish today, golden gap today. This is Melissa with thestockswish.com. If you'd like more information on how to find gaps like this, rate gaps like this or trade gaps like this, email me at melissa at thestockswish.com. And the next golden gap class is September 14th and 15th. If you're interested and want to get registered the sooner the better. I'm taking limited people for the gap classes now so that they, all the questions can get answered for people and I need to save my voice so I want to make sure I can get to everyone's questions on the day and the classes can't put a midnight. And the last class went on for three days. So anyways, anyone wants more information, email me at melissa at thestockswish.com. Thanks everyone. Have a great weekend.


The 1960s came very late to the time of Enes Gorthy, when I was born and brought up. It almost didn't come at all, it came so late, so it seemed like the 1990s. I mean, no one really was allowed to have long hair, you couldn't have long hair. I mean, if you're a man or a boy, the Beatles never came to the town. I don't remember any mini skirts or even maxi skirts. I don't remember anything really that one associates in general with the 60s. Except for one thing, which I'm going to read about now, which was that some packages arrived in the town and they sort of changed the town fundamentally, at least from women's point of view, but from men's too because we had to look at the women. And anyway, Nora's husband was about six months dead. He was called Morris. He's got two sons who are called Donal and Connor. They're about 12 and eight. And there's a mention of a very severe brother-in-law called Jim and his sister Margaret, who disapprove of many things. On Wednesday morning, she went downtown and had her hair done. Talking to Bernie and the hairdressers about a new system of dyeing hair she'd read about. Wondering if it was time that she did something about the gray. I wouldn't like it blue, she said. I know what you mean, Bernie replied. And if it was too black, then it would look dyed. And it was never blonde. Everyone in the town knows I was never blonde. So it's a good brown so that it might not look dyed. I could try this one. Bernie showed her a package with a photograph of a woman with curly brown hair that looked natural. Maybe just start off with a small bit, she said. No, the instructions say to use the whole thing. I've used it before. It's very popular. You'll be surprised who has it. Well, try it so, Nora said. Once the dye had been applied, Bernie put a nylon net on Nora's head and left her to flick through some magazines. When she saw that she would not be home in time to cook a proper dinner, this time to have dinner in the middle of the day, a proper dinner for the boys, she regretted having come here at all and knew that she would have to go soon. She signalled to Bernie, who was now busy with two women who had come in together and appeared to need to consult each other about each clip of the scissors. I'd be right with you, Bernie said. When she came over to remove the net, Bernie told her not to worry or look too closely, as the real change would come only once the dryer and brush and comb were used. Nora was aware that the two women Bernie had been looking after were studying her closely. Nora wondered if she should not have consulted other women before getting her hair dyed for the first time, but she couldn't think of anyone she could have asked. Both of her sisters, she presumed, dyed their hair, but she'd never heard them talking about it. Slowly as she watched Bernie working with the hairdryer, she realised that she was being given the hairstyle of a much younger woman and that the women watching it all happen knew that and were taking it in with considerable satisfaction. The more Bernie worked, the more her hair seemed to look like a wig. She knew that the dye would take time to wash out, but in the mirror she could see how pleased Bernie was with her own work there. There would be no point in complaining. It's not a bit young for me, she asked. I think you look great, Bernie replied. This cut is very fashionable at the moment. I've never had a fashionable cut before, Nora said. When it was finished, she knew that anyone who saw her on the way home would think that she had lost her mind or that she was trying to look like a young woman rather than someone who was recently widowed. It'll take a few days to get used to, Bernie said, but no one has grey hair anymore. Does the dye not look very unnatural? And in a few days it will lose that look and people will think that you've had it all your life. You look very worried, but I promise you that by the weekend you'll be delighted with it. You can't wash it out, can you? No, but it will fade and I guarantee that you'll be back in a month for the same again. I've never known anyone to go back to the grey, but maybe the next time we'll think of putting some highlights in. They're all the rage now as well. Highlights? No, no, I don't think so. Outside she lifted her head high and hoped that all the women in Court Street and John Street would be busy cooking and that none of them would be standing at the door. She prayed that she would meet no one she knew in. In her mind she went through the worst possible encounters, the people who would most deplore the idea. They were their husband six months in the grave. She had dyed her hair a colour it had never been before. She thought of Jim, who's her brother-in-law, she thought of Jim and knew that she would have to face him and Margaret within a week. They would not know what to think. As she saw Mrs. Hogan from John Street walking towards her, Nora could not tell whether Mrs. Hogan simply did not recognise her or if she wanted to get by her without making any comment. Just as Mrs. Hogan approached her, she seemed almost to jump. Her face quivered and then she stopped. Well, that will take some getting used to, she said. Nora tried to smile. Was it Bernie? Mrs. Hogan asked. Nora nodded. I heard she got some new packets in all right. God, I must go to her myself. If Mrs. Hogan, in her apron and a pair of very worn looking shoes, felt that she had the right to comment on Nora's hair, then there was Nora felt no reason why she should not comment and reply. Well, you know where she is. She said dryly looking at Mrs. Hogan's hair, clearly suggesting that it could benefit from some treatment. If Mrs. Hogan took Mrs. Hogan a moment to take in the possibility that she was being insulted. When she arrived home, she boiled some potatoes and opened a tin of peas and put some lamb chops on the pan. When the boys arrived, the potatoes were not ready. She waited upstairs, calling down to them to let them know that their dinner would be a bit late. She sat in front of the mirror at the dressing table and tried to work out if it was anything she could do to make her hair look more normal. She wished she had told Bernie not to use the lacquer, which was sticky and had a sweet smell. As soon as the boys saw her, they both became quiet. Dona looked away while Connor moved towards her. He reached up and touched her hair. It's all hard, he said. Where did you get it? I had my hair done this morning. She said, do you like it? What's under there? Under what? Under what you have on your head. What I have on my head is my hair. Are you going to go out with that? He asked. Dona glanced at her and looked away. The second bit I'm going to read is there's a stretch of the Wexford coast on the east side because it's a corner county, so we have a south coast too, but on the east side. It begins in a place called Cush, C-U-S-H, or Ballyconiger Upper. There are cliffs there, and the cliffs are eroding. When we used to go there for the summer, everyone from outside who wasn't from there were referred to as the bathers, meaning that they'd come to get into the sea, which the locals told was an absurd activity and a complete waste of time and dangerous to boot. The locals never got into the sea, but the bathers got into the sea. Every year, the cliff changed its contours so that the men, except my father, who always pretended he had something more important to do like read a book, would dig steps, make steps down so that people could get the kids and the carricots. It always rained, so why people were near the sea, I don't know, because it would bring transistor radios, carricots, picnics, the whole day's goods down the cliff really slowly, as though everything depended on it, and they would make you get into the sea when it was freezing. It was really awful. Then what would happen, of course, my mother would always insist that the cloud, which was clearly going to mean really heavy rain was coming towards us from somewhere. She would say, oh, that cloud would pass over very quickly. Then, of course, it would start to rain, and they would ignore the rain for a while until we would just scream too much, and then they would have to get the carricots, the transistor radios, the picnic, and run madly up the beach and up the strand and up the cliff and just go home for the day. And then if you went further south, you went to a place called Keatings or Balli Conegar Lore, and that was interesting because it had a river that changed course every year, and that was always interesting as to what the river had decided to do, and there was a small footbridge over the river, which had to be changed every year, too, because the river changed. And then if you went further south, you approached a place called Balli Valu, which had a convent owned by, it still does, has a convent owned by the Sisters of St. John of God, which is a sort of retreat house. It was a lot of fun because if you were on that strand, like, nuns could appear. I don't think Vatican II had much effect because the nuns seemed to be wearing their full habits. So you'd be there on the beach playing or doing something, and you'd see two nuns. They'd say, Mammy, look, nuns! And it would be like something had come out from the deep, like sharp whales or octopuses or something absolutely strange. We'd all stand up to look as two. I suppose they were praying as what nuns would do on a beach.  And then if you went further south again, you went to Curley Claw, very, very long with sand dunes. And that's where they shot the Normandy sections of Saving Private Ryan. It looked so much like a Normandy beach. But anyway, this section is set on one of those beaches, which is Keating's going towards Bally Valloon. What happens is that Nora's got a job and she doesn't like it, and she's fighting with her boss. And one day, she comes quite close. It's actually stabbing her boss. You know, there's a scissors on the table and she pulls it up and threatens her. And then walks out, and she hasn't been sleeping. She's been sleeping really badly. And she finds herself on the street and then a scourge with a pair of scissors in her hand and rage in her heart. And it's still 11 o'clock in the morning. She can't do what to do.


A man sits alone in his rich apartment in New York City. He's morose, lost. His wife has left him. If you were a friend of his, you'd go and spend some time with him. Have a few drinks. Listen to some music. Try to cheer him up. Some of his friends did. It started the night of terror. Hello creeps. This is T4Y, opening the doors of the mystery playhouse. Our story tonight is from the pen of the master mystery writer, William Irish. He often needs no introduction. All of you who died in the world mystery fans are familiar with the hard-writing, fast-moving William Irish tales. Our story begins in the lobby of the New York apartment building. Two men and a woman have just entered. They'll rock us and cheerful. Obviously out for a night of fun. Hey, it's a nice apartment building, huh? We cell attorneys have a lot of care to live in a place like this, huh Jack? Oh, he has more than most, I guess. Here's the elevator, isn't he? First floor, ladies, Carmen, some addresses, Landry. I'll take Landry. Vinnie, Vinnie, when you get there, take it easy, huh?  Well, what's he like, Jack? With Joker, we're doing a good turn for him.  Right now, the big thing is his wife, Eleanor, leaving him. I haven't seen him smile since she pulled out of him. And Marty, yeah? Well, remember, don't make any cracks about his wife, Eleanor. I got you. Oh, hello, guy. Hello, Jack. Eleanor. Hi, you guys. Meet Vinnie Benson. Oh, it's dark in the hall. I thought you were my wife. Oh, that's okay. Hope we're not disturbing you, guy. No, no, come in, come in. Oh, thanks. Go ahead, Vinnie. Sure is a nice apartment, shows good taste. Sit down, I'll fix you a drink. Oh, guy, you don't have to. We only want it. No, I'd like to, honestly. What'll it be? There's some whiskey I've taken. I still have some of that good brandy that Eleanor liked so much. Well, what'll it be, Jack? Okay, whiskey I'm playing with. I've always been kind of hot for brandy. Sure, Marty. Well, I think I'll try the brandy, too, if you don't mind. It's not at all. Guy, we thought maybe you'd like to go out with us and hear some music later. Well, I don't know. I kind of figured I'd stay home tonight, Jack. Hey, you mind if I get something on the radio? Not at all. Go ahead. You're sure it's all right. I mean, we're not disturbing you. Sure, Jack. I'd tell you if it were. Well, come on, drink up. Hey, you don't want to stop, do you, Vinnie? Oh, yeah. You're wearing me out. Oh, but it's fun. I'm just getting going. Hey, one of these days, your husband's going to say the heck with all this and flank out on you. Well, that's what happens when I drink whiskey. I can't open. I get going and I can't stop. Hey, why don't you try a shot of this? I'll slow you down. Well, what is it? Oh, never mind that. Just try it. It's kind of liquor. Oh, not just a minute. Better not, Marty. He's had enough. Come on, guys. Take it. You only live once. Just slow it down. That's all. Well, okay, if that's all it says. Hey, where's Vinnie going? I want to dance. Oh, look what I found. Well, well, well, Vinnie, what is it? Well, look at the picture of guy's wife. Two guys with more than love, now and forever, Eleanor. Guy says I look like her. I don't think she's so hot myself. What are you doing? Put that down. It's all right. Don't get sore. I'll touch it again, please. Oh, look. Why don't we all make tracks downtown? Maybe we can still catch some music, huh? It's kind of late for that, ain't it? Hey, uh, I know where we can go, Jack. You mean where 62? Hmm. Well, they let us in? Sure. They know me there. Come on, let's go, huh?  Well, you won't be lonely. You're wearing a gut, Al. Well, maybe if the cap is a little more friendly, I wouldn't have to. You're the latest model, too. A 32 caliber. Then you're dead. Hey, Mr. Dan. Oh, come on. I don't like. You mean you, Guy? Okay, sure. Don't go away, Jack.  Eh? Look, don't give him any more to drink. I don't like the way you just come off it.  Son, I'll listen to you. He's in bad shape. Oh, he's in bad shape. It says Fiona. I'm hungry. Well, he kicks us out this way. Hey, Jack. Yeah? What's the drinks? Why, I fixed them each. Uh, okay. Ah! Where'd you go? I've been looking for you for hours. Oh, I've been making some sound. See, I haven't... No, no. Go ahead. No, no. Say, say. Why'd you go away and leave me so long? Hey. They're playing that song again. That's our song. It belongs to Ella and me. I told them what I'd do if they played it again. I told them I'd have to play it again. Oh, you're boys with Jack. Hey, Eleanor. Hello. What are you doing here? Ella? What do you see? Hi. Hey, look, pal. Don't remember me. Well, what are you doing in a place like this? Same thing as you are handsome. And don't call me Eleanor. You've changed. You never used to be like this, Eleanor. Do you come here often? Only when the door in gets slow. Oh, here he is, Jack. Hey, Jack. Let's make like the south of there. Eleanor, come back. Eleanor, come back. Come on. Eleanor ran away from me. Why is she running away like that? Help me catch her, Marty. Come on. Just let me finish making a sound. Marty, please. All right. Okay. I'm done. Yeah. You better take this along. I mean business. You know? Oh, what is it? Get there, kitchen knife. Surely you're not kidding. Yeah. Yeah, okay. Come on. Just stop looking. I'll be right with you. Uh-huh. Eleanor. Eleanor. Eleanor. Eleanor, where'd you go? Please come back. Excuse me. Have you seen Eleanor? Hey, watch it, buddy. You're messing up traffic. I'm looking for Eleanor. My wife, she was here just before this. She is. Eleanor. Hi, Ed. Eleanor, that place. Eleanor. Hi, Ed. Eleanor, they're playing our song. We've got to get away from here. We don't belong here, Eleanor. Oh, well, I like it. I said we're leaving. Oh, here's Jack. I want to dance with Jack. You're leaving with me. Oh, hey, Guy. Guy, give me that knife. What's chucking, kid? Marty, he's going out of his head. Oh, come off it, Jack. Good for a while. Come on, Jack. Let's dance. No, Eleanor. Not for our song. That's why I want to dance. No, you're not going. Oh, huh.  Let's dance. No. It's blood. The heart stops. Hey, Jack, help me get her to a couch. I didn't mean it. Let me out of here. Ow, stop him. Stop him now. Come on. Why do we got to get him? You get him. Oh, well, why didn't you stop him? Stop him. Hey, he snatched my gun out of my host and I'm supposed to stop him. Mr. I want to live away yet. Well, I better get after him. I better get the police after him. Do you have a telephone here? In the back. On the left. Mrs. Guy, turn it quickly, please. We have a telephone here. We have a telephone here. Do you have a telephone here? In the back. On the left. Mrs. Guy, turn it quickly, please. We have no one here by that name. I want to turn around. I'm positive she's registered now. I'm sorry. We have no one here by that name. Oh, try it under Eleanor Phillips. I'm sure she's there. Phillips Room 304. I'll ring it for you. Keep ringing. She's got to be in. Yes. Thank you, Eleanor, please. Please answer it, Eleanor. Eleanor. I've got your phone in the door. What should I do, Eleanor? Do you have anything else you have for me? If you could send it up this way. I'll never use the phone. I'll never use the phone. I'll never use the phone. I'll never use the phone. Eleanor, you don't have to ask me. If you could send it up this way. I'll never use the phone before. What should I do? She's just coming to get me. Put your hand on this pocket. If he's reaching for a gun, no! All right, take it easy. Tell me you'll like it. I am sure he was reaching for his gun. But he only wanted to call his wife. His wife is sick. He calls me right now. He was reaching for his gun. He was only guessing a nickel for the phone. I've got to get out of here. I've got to get out of here. I must call the police. Hello? I'll call the police. I'll call the police. Please depart at five-cent for the next five minutes.  Some headboarders. Now just give it to me slow and easy now. How was this guy dressed, ladies? Was he blonde with a gray shirt? Yes. Yes, yes. And he was rumpled. Did he have on a black tie? Yes. A black tie. Does that sound like the guy that was at the party with you? No. That's him, all right. No, if only we could have hit it him off. Still right now, brother. Good night, Matt. I had a wonderful time. Call me when you get home. And I'll let you know about tomorrow. Good night. Hello, God. Good night. What's the problem, God? You look so tired. Nothing. I mean, I had to talk to you. I kept calling you, but... Of course, God. Come on up for a few minutes. No, I kept him at this home, I think. He was there back in... Oh, God, God. Looks like you need some black coffee again. Down this alley over here. There's a back entrance and a service elevator. Down here, God. Is this a good one for us? How do you afraid of this time, God? I'm here. I won't be.  Of course, God. I won't be following you. Besides, the alley's empty. You know, when you get at this hour... Take my hand. God, what are you doing with the gun? God, we're safe in here. Are you sure? I'll leave you, God. Let me look in the club. Look under the bed, you'll be able to help you any. God, I've never seen you before, God. Relax for a minute. Where are you going? Don't you put my coat away. Take it off in here. Now, what is it? I don't know. Can I trust you not to be near me? God, after all these years... I'll beat your mercy after I told you I'll be wide open. Then maybe you better not come. No, I've got to. All right. Tell me then, God. You can trust me, you know that. Eleanor, I killed a girl over in a place where I was. Are you sure, God? I saw them tickle her up. They said so. I saw the blood. I had the knife in my hand. I didn't mean to. Oh, well, why don't you say something? I guess I wasn't taunting on anything like that. Pretty bad, God, but the only thing to do is to go back. You don't understand. But there was a second one. A policeman in a candy store. He came in and I... I did that one on purpose. God, what's the trouble with it? It's not 50, I don't think, but you don't see... They said it was some kind of liquor. It slows everything down. Oh, God. God, don't take the floor like that. Sit down in there. Who is that man in the cab? Okay. He'll be coming back. He'll be coming up here. No, no, he won't. Don't you want to lie down for a while, God? You've been tired. It'll help wear it off. What are you waiting for? What are you doing? I saw your hand go odd. Just wanted a cigarette, God. Here they are, right down here, Stephen. You're standing near the door and you were a moment ago. Sit all the way over here. I won't move, I promise. Don't, God. Don't look at me like that. You're afraid of me. You're afraid of me because... I don't have any choice the way you're acting. Please, God. Lie down for a few minutes. Try closing your eyes for just a minute, Mr. Give me a chance... Give me a chance to get down with the lobby. I won't move. I'll sit beside you. You can hold my hand. I'll tie my wrist to yours. Who is it? I won't know, Guy, until I am... Don't touch it. Keep your hands still. I saw it move. You're probably mad. Man, you saw it bring me home. He knows I'm here. If I don't answer it, Guy, you'll know something's wrong. It'll be worse than if I do. I won't turn it in, Guy. I'll tell him I'm in bed. I'll ask him not to bother me. Keep it going. Get rid of him. Hello? Hello? Please, hello. What are you crying for? Please, God. Please, this is you. Let's figure out something. Don't look at me like that. I'm hungry. I have some sandwiches sent up from the drugstore. They toast them. They put lots of mayonnaise on them. I'll call them. I haven't eaten for two days. I haven't eaten since Tuesday, since before I went to that place. How do I know you won't get me away? You'll hear me. You'll be right here beside me while I call. What about when he comes up for the night? I'll have him leave it at the door outside. On the floor. I won't let him in. Hungry. Don't hold it in at my cheek like that. I can't talk. Drugstore, good evening. This is Miss Phillips. Will you send up two sandwiches, please? Double-deckers, toasted with lots of mayonnaise and coffee in a container just like the other night. What's the matter, Miss Phillips? Can't you get to sleep again? You want some of that sleeping stuff again? A lot. A lot of mayonnaise. Thank you. I know who you were talking to. That you heard me. How long will it take to get up here? About five minutes. I will see you. It doesn't show up in five minutes. I know you put something over on me. You can't spend your time at nowhere. You said duty was two nights ago. It's still only two days a night. You won't be able to tell, Guy. You've been frightened. You've just fallen for sandwiches. Why are you looking so white as frightened? Let me call them back and tell them to hurry. Don't touch that phone. There's a fool who let you the first time. Look at the clock. It's twenty-five past four. What's the clock for heaven's sake, Guy? Let me have a cigarette, please. Pass me one yourself if you won't let me. Here. Lighten it yourself. I will. Your pacing doesn't help any. Taking a long time is taking more than five minutes. This coffee maker may be out of order. They have gotten off at the wrong floor. Any little thing might... You didn't fall for old service. You dial a police. They're probably on their way right here now. You heard me. I can't remember what I heard any more. I can't think straight. You know what you're trying to take advantage of me. You're just trying to get me along. I know how they close in on someone they're after. They sneak up and surround the place first. That's what's taking them so long. It's over half hour already. It isn't. It's only four minutes. Look at the clock. You set it back when I wasn't looking. It was a long time ago you called down. Our song? I have it here. Let me play it please. Hey, you're just stalling. Remember that first Christmas in New Hampshire? The tree we put up? Those long hikes we took in the snow? Remember how we left this record on for hours? It's only six minutes, Guy. Guy put the gun away. Don't look like that guy. It's our song. Why did you have to give me away? I only wanted to hide out here until he forgot about me. Why'd you have to phone and tell him where they could find me? I didn't phone the police guy. I only want to be left in peace. I only want to be married and left in peace. Let me marry Matt, please. No, I'm sure you told him. Six and a half minutes. He's not there. Come on then, Donald. I didn't mean it. Don't die, please. I was mixed up. I thought... Eleanor. Eleanor. That's a quick service. Oh, mayonnaise and all. Oh, get in here. Get in all the way. Sure. Hey, I know a gun when I see one. Hey, I'm in. Where to? I don't know. That closet over there. Okay, okay. I'm going. It's for shaking lights. I just set that gun off by my stake. Who is it? You always open the door. No. Stop. This is the police. Please, arrest me. Stop. Yo, back in. Not here. There isn't the window. Sure, it's only 14 stories, but three. You're lying. So I'm lying. Get out of the way.  Mr. Ledger. Sure, you got a good six inches. Maybe six and a half. Don't come near me. You're crazy. Tony will be killed if you block that. I'm going. He ain't kidding.  No way, he is. He'll never keep us balanced. Turner. Look, I have no gun. Come back in and we'll talk it over. We'll make a deal. Leave me alone. After you. What are you trying to be? A sucker or a hero? Come on, Turner. It's your life. Don't get back in. Don't come any closer. Now, look. He's sensible, will you? 14 stories down. Now, let's get in off this ledge before we both fall. Right here. Give me a hand. I'm telling you, don't touch me. Let go.  Don't fight me. You'll knock us both off. Let go. Turner, stop it. Turner, look out. This is Vinnie. He's out in the party with Jack and Marty. Yeah. And then Marty and I pull a swell joke and a guy. Laugh, I thought I'd die. Well, this guy, Turner, was high as a kite, see? And Marty gave him a knife and this Turner makes a grab at me. So I make like I'm stabbed and squeeze ketchup between my fingers. Oh, he was so scared, he just ran right out. Sure, sure. The next time I see him, I'm going to tell him about the ketchup.  That was one of the new William Irish stories heard on your mystery playhouse. One of the best mysteries T4 wise heard in many a moon. Now we have some news for you. First, we've gotten a wire from Peter Laurie, my host. He broke the lease on the cage he was living in and expects to be back within the next two weeks. Secondly, we've lined up a few friends for you. Tyler Vance is going to drop in and Ellery Queen is coming back. The rest of the creeps will remain the same. Now it's getting early again. It's T4-Y closing the doors of the mystery playhouse and saying good night. Sleep tight. This is the armed forces radio service.