Okay, I thought I wouldn't have enough time, but I think I'll have as much as I want. And so I made a few slides just to wrap up very fast and go, yeah, go a bit faster. I just want to give you more specifics of what I had in mind since the other lectures were a bit mathematical in general. So what I have in mind is to do some super covered computation, but in five dimensions, okay? That's what I have in mind. And in five dimensions, n equals two is for gravity. You have the following Lagrangian where you have the Einstein's, which is scalar, and then you have the sigma R, the scalars and vector multiplets, they have a triplet, a cubic function here. And then you have the kinetic terms for other scalars. You have U1 gauge fields, F square, but most importantly, you have a Tern-Siemann's coupling of this form. And then you also have higher derivative terms that complicate as they couple to R square. So for example, you have a coupling to the scalar, Riemann tensor, and then you have also, most importantly, you have this Tern-Siemann's coupling, A wedge trace R wedge R, and then you have like tons of Susie terms to complete the theory. So what is crucial in this theory, in 5D, that's usually obtained as dimensional reduction of M-tier on a Calabiow? So what most importantly is that the theory is defined by essentially two type of couplings. One is this three index symmetric tensor, which is this intersection matrix. Omegas are two cycles, are two forms on the Calabiow. And the other one is the second channel class of tangent bundle, so you have some integral like this. Trace R wedge R plus some stuff. So these two numbers are crucial. So if you look, so it's also an off-shell formulation of this theory. And if you look the off-shell BPS equations, you'll find that the metric can be of this type. So I've told you in the beginning that there's like a family of solutions, but I'll be looking at one extremum where you have a locally ADS-3 factor, so ADS-2 times S1, and that is two sphere there. When you write this in the coordinates that we've seen in all the lectures, so this is the Clidian metric, you have ADS-2 factor here, this is the Clidian time. And then you have the circle fibered over the ADS-2. So this leaves, this component leaves on the ADS-2. And there's one parameter, phi naught here in this metric. So if you take different coordinates, just call it y prime because y over phi naught. So basically you can put this inside, this cuts appears, it becomes dy prime. So the metric loses dependence on phi naught, disappears. That means that this metric is a quotient, roughly speaking, so some ADS-3 quotient. And by some group gamma, which you can say that this group has an order of the group, is infinite dimensional, but you can roughly say that order of the group is this phi naught, some basics. So one over the U1 gauge fields are, so they have this component on the sphere, so the Dirac gauge field, okay? It's not well defined, but the flux is well defined. P a is the magnetic charge, and the component that lives on ADS-2 times S1 is flat, just dy. And this is a constant. So you have another scalar phi a, and I wrote as a ratio because, as you'll see in a moment, and then you have the scalars, the vector of multiplets that obey this condition that L, the size of ADS times the sigma, so sigma has dimensions of mass. So P is the dimensional S, is an integer, as magnetic charge, so it's constant. And so all the remaining fields are equivalently constant, okay? You have many more, so I'm not gonna describe, but these are the most important. So what we obtain under dimensional reduction to 4Ds is the usual closed-client reduction. You get ADS times S2 metric with equal sizes, and a KK gauge field, which has this form. Then the other U1 gauge fields, what do you do?  So this should be phi a, sorry. So this thing's cut, get phi a, and then minus phi a. So it's the same gauge field as above, and this is the direct gauge field. So this part here is the four-dimensional gauge field, okay? And this thing will become a new scalar field in 4D, which will join the sigma a. So there'll be one more scalar field. Oh, what is that?  It's a complex scalar field, and it belongs to the vector multiple. Casual reduction. So another thing is that, so when you're just to four dimensions, because of supersymmetry, the couplings are still determined by a pre-potential, as we have learned from Stefan's Samir's talk, and so on. And in this case, the pre-potential is just this cubic pre-potential, cabc, xa, xv, xc, in the two derivative case, okay, just to simplify. So what are essentially the degrees of freedom? In 5D, you have this phi a, phi not, and p a's that will parametrize the solution. These are constants. You give me these constants, that's a solution. In 4D, on the other hand, as we have learned, you have electric charge and magnetic charges. And all the scalar fields become functions of those charges, right? All the scalar fields become functions of the charges. So either you work with the phi's and p's, or you work with the q's and p's, it's the same. You obtain the same solutions in 5D and 4D. Okay, so this was the basics of just the background in 5D. But I'm interested in a 3D point of view. I just wanna look to the ADS2 times that's one part. I'm gonna focus on that.  In that truncation, you have the usual Ritchie scalar with a negative cosmological constant.  And DAB, you can call it the matrix of the levels of the couplings of the churned simons. And then if I further gauge the isometers of the sphere, as you well know, there's some SU2 type of isometries, then you get these churned simons, SU2 churned simons with some level K. Okay, so I didn't care about these coefficients here. I'll care later, but that's the picture. And so you could have asked, what are the scalars, sigma A? I just kept the metric and the gauge fields. What are the scalars? The scalars are the magnetic charges, roughly speaking. The magnetic charges appear in these matrices. So this P, C is basically the sigma A. So you give me that scalar field and it reminds me all the couplings of these churned simons in this way. So this will be linear in P, this will be cubic in P, the substitute churned simons. So it is to check that the 5D solution is the solution of this 3D action, okay? Everything is flat, flat connections, constants. AD is to sum this one as negative curvature. Just to check that. And some comment about ADS-352. So basically this truncation is keeping just the metric field. The U1 gauge fields is some SC2 connection. So that keeping those fields, very good response look into the sector of the theory where you have the stress tensor, the U1 currents, SC2 currents, affine currents. And you know that all these tensors, they have a certain anomaly coefficients. So the stress tensor is some simple charge and the U1 currents are some level K and the same thing for the SC2. And so all these parameters K here and C correspond precisely to the levels of the churned simons that I mentioned before. So churned simons, yeah? So conceptually just because I understand I have to put you, but you're discussing in parallel to what Samir discussed. Yeah. However, in this case it was just ADS-2 and there was underlying CFT-1. Yeah. But you have a CFT-2 here. Yeah, I think this picture will be more like the Zaffroni picture. You have an UV point of view and you did the computation like in UV and took out the ADS-2. But yeah, that's roughly the idea. So these levels, churned simons couple is mapped to levels of the affine current algebras. And basically the levels of these current algebras are the indices that appear, the Jacobi forms that I described. Okay, that's the coefficients. What I always have in mind is the MSW CFT. Oh, is Moldocin, a strommiger, a witten? Okay, that's the more general. So this is like an M5 brain wrapping with some divisor P. So it's a complicated theory, but you can also consider the D1, D5 system. There's like more, there's more proximity core, comma, four. But here since I'm talking about five dimensions, like M theory, we should be looking to the MSW in particular, just the M theory. Yeah. Yeah, I'm just going to show that. This is the slow part. So the thing is that you can write the three gravitational parts of this theory in terms of Trim Simons couplings. But this results, it's only valid at level of the question of motion on shell. So I'm not sure if people have been able to prove that this also holds quantum mechanically, but okay, I'm going to skip that detail. But this thing is equal to that on shell. And basically you can go from the magic formulation to the connections formulation. And the Trim Simons level of this, the Trim Simons level is related to the central charge in the following way, L over G. G is the Newton's constant and L is the size of ADS, okay, usual thing. And if you pick ADS two times S1 with Lorentz and signature, sorry, if you pick ADS three with Lorentz and signature, then you have connections valid in SL2R, so they're real. And other components valid in SL2R, right. So that's the SL2, two. In the Euclidean case, they are actually a complex conjugate to each other. So AL is in SL2C, because now you got SL1, three. So everything I'll do is Euclidean. So there are SL2C connections. And that was the fast introduction that I want to do. Oh, sorry.  So a similar dimension a bit briefly. So remember that for N equals eight, I have in one of my slides yesterday, I have this Jacobi form. So it's this index equals one. And that means that many things simplify. I get just one polar term and I get this answer, which is exact. And I'll just leave it here. Okay, to clarify. Oh, this five minus two one. So it's one of the generators of the ring. So it's something like, sorry. Yeah. Yes. This is litigianus. Oh, this is a signal model. Oh, no. Yeah, it's not zero weights. Yeah? One more really silly question. This computation, the CFT computation, it's not a supergravity localization computation. For the moment, it's not yet. So what is the main idea is that I'll be trying to compute some partition function. Well, we have been all trying this cool computing some Z gravity. And I will describe partially this computation for this background 82 times this one. And I will claim that, so besides the ADC solutions that Sameer referred, I will try to explain that there are additional obfaults of this type in the path integral. So let's see. And the computation I will perform, I'll just compute this action at the on-shell level. At the on-shell level. And I'll show this corresponds to the transimmons action of a flat connection. And I will comment that there's also, it can compute some determinant here from this transimmons, one little determinant. And basically you'll get a dependence on these levels. So there are many levels. There are SO2 levels, there are the U1 levels, and there are SO2 levels. And you basically get some dependence like this. And if you remember my lecture yesterday, I mentioned some homology like this thing. So there's some dimension of some homology. And this you can also relate to some homology on ADS2, roughly speaking. This, this, no, I'm just saying, I'll try to compute the Z gravity for this background, and I'll get what I get. No, no, I'll just compute the on-shell level first. And then if you wanted to get to compute localization. The localization will give me the other corrections. So this will be proportional to level K. And the localization should give me the other corrections in K, exact corrections. But I'll just do this with whiteboard. Yeah, in a sense, yeah. Yeah, yes. My goal is really to make the connection to the transimmons a point of view, okay? That's my main focus. And you'll see what I get, okay? Okay, so I should erase this, sorry. So yesterday I talked about the solid torres and the filling of the torres inside solid torres. So as you know, as you know, there is a class ADS3 solutions in 3D, right? So there's no propagating degrees of freedom. So all the solutions are of the type ADS3, and then a quotient on that space. So one usually starts with global ADS3 that you will know. Now, in global ADS3, this has this, including time is like a circle, but for the purpose of taking quotients, you have to take this time direction to extend it to infinity, and then usually theta, okay, eta from zero to infinity, and so on. And as you can easily see, this is a line, so basically you have the topology of a line times a disc. So this disc here is basically an ADS2 part. So then the idea is that you can defy points on this line, and then you get the solid torres. So all these ADS3, I'll just explain better. Model gamma have the topology of solid torres, S1 times D. So how does this thing works? So if you pick this space, you have a cylinder at infinity. So this is Cleveland time, this is theta, right? So what you do, you can, for example, you defy this point with this point here, then what you get is the usual torres, right? Some tau, still two, but you can also defy this point here with this point here, this point, this point here, and so on. And now there's some aperture here, it's called tau one. So basically generate the torres with complex structure, what you already know. So basically we identify tau E, Cleveland time plus two pi, two pi tau one. That's this red one. And then you still have a circle, right? Identification. So you still have this identification. So what do we have then with this identification? What you get is some prime ADS3, but whose boundary is this T2 with a complex structure of tau that is called a thermal ADS3. So instead of writing the cylinder like this, this identification, so you have a torres, the boundary, so I can just write, describe the torres in terms of a lattice like this. And this is like the theta direction roughly and this is tau and identify all points this way, right? And then this with this point and you get a torres with this complex structure. So we have, now we have this Z, right? C, so identification with Z, Z plus two pi tau, right? This point, this point, this point. And you also have the identification on this direction. There's some two pi's here, so sorry. So this cycle here, so this Z gets this theta plus IT Euclidean. So once you do this identification here, this cycle here will be the non-contractable cycle and this is the contractable. Well it's easy to see because so this Z is basically this theta to two pi, so this was on the disk, so we had the metric. We had something like a sin square eta. So theta was parameterized in the disk angle, so it's contractable. And then because this Z, this tau has a component along the Euclidean time, goes along the Euclidean time, then is in the non-contractable cycle. But this is the lattice, nobody tells to choose this particular basis, so there's some bases that I've chosen here. I could have picked these bases too, or whatever you want, you could pick some other bases here, and so on. So there are many bases you could pick. And you still generate the same torus, the same lattice, the same torus. So there's a cell to Z matrix, a cell to Z value of choices you can make. So this is like some bases for this identifications. And this matrix has to be integer, and with determinant one, such that every two bases is primitive. There's only one point inside the cell. In this new basis, if you try to compute this periodicities, these identifications, what you get is just A, B, C, D. One periodicity was tau, right? Tau. And the other is one. So what you get is A tau plus B, C tau plus D. So this is the new periodicities of this lattice, but because the ADS-3 metric infinity is this conformal factor, factor that I want to get rid of, I can always do a conformal transformation of Z, Z, C tau plus D. Such that this becomes tau plus D. Sorry for being a bit fast, but this is like a standard story, the family of ADS-3 solutions. So when you choose different bases, what you obtain is a new ADS-3 prime so there are some with the boundary a torus, T2, but now the complex structure is this one, tau prime, tau plus B, C tau plus D. So you started with ADS-3, we had a torus with complex structure tau, and then you did a change of bases, A, B, C, D, and then you did the conformal transformation, Z, C tau plus D to bring this to one, like fixing some volume, and then you get a new torus with this complex structure, A tau plus B, C tau plus D. So why I'm doing all this, because with this solution, ADS-3, I'll be able to generate solutions for ADS-2 times S1. Another way of seeing this construction and it'll be important this lecture, is that you can see the hyperbolic space. So there's a question for the hyperbolic space, right? And you can write it in terms of, so basically hyperbolic space, space, so Euclidean is basically the set of points for which the determinant of this matrix, for which the determinant of this matrix equals one, and these are the points on the hyperbolic space. That's the definition. So if you call this matrix X, so you want the determinant of equals one, then this thing is our mission, right? You can see. So it's easy to see what type of visometer this space has. So any configuration, any new matrix like this with G cell to C, if you just multiply by G dagger, this X prime still has the determinant one. That's how we did remind the azomitries of this space. And so like when you study, for example, some of the quotients of a three-sphere, what you do is write the three-sphere in that form. You have some SU2 times SU2 worth of isometries, and then you have to include this quotient, it one in this group, and identify points according to this quotient here. So for ADS-3 is the same thing, same construction. ADS-3 very similar. So I have some X, and identify X's with this matrix. Okay, identify points like this, and then you generate the solutions to the terminal ADS-3. So this will be like terminal ADS-3. Then if you do, if instead of putting tau, you put this thing here, tau plus d, and the same thing here, tau plus d, c tau bar plus d. If you do this identification, then you get the solution here. Okay, that's the space that you get. And then you can read the coordinates, build a metric, and then what you'll find is that when c bigger or equal to n1, so you did this identification, it put on the metric. When c bigger than one, all the solutions, p, t, z, black holes, so they have some horizon. This is the usual family of black holes solutions. Another important thing is that if c1 was your non-contractable cycle, and c2 was the contractable cycle, so remind you is this cycle here, by tau, z, z plus two pi. When it shows a different basis, then the new contractable and non-contractable cycles are just a relabbling of that. So the non-contractable cycle becomes now a c1 plus b c2, and the contractable cycle becomes c c1 plus d c2. So this is nothing more than what I explained yesterday. And the solutors, you can feel the solutors with different homology by defining which cycle becomes contractable or not in the full geometry. Exactly, yeah. Because for this ADS-3 is always a solutors topology. Okay, so one thing that I will not be able to explain in full detail, but I recommend reading Samir's paper and Barthes' Puglian. So you can, out of these solutions, you can generate extreme old B2L solutions. And when you do that, you will generate the following solutions, which are of the type ADS-2 times as one. There's a particular limit of the solutions. It's like an extreme limit. And you obtain ADS-2 times as one solutions. That's all right. So we have the usual size. The same story. This one, ADS-2 part, R squared plus theta. And then the most important factor is that what you obtain is that actually this theta will have a periodist T, which is a fraction of two pi. So that's C that appears in this matrix. And then there'll be a component here, which depends on the D. Not to confuse with the theta, this D and C are the same from this matrix.  So identify points on the disk by two pi C and to keep the solution smooth because there's a fixed point at the origin. You shift the Y coordinate by some integer D such that D and C are co-prime. So everything that I described so far is just for you to generate these type of solutions. And I'll call this M of C and D. So the analogy in compact space, you have S1 times S2 sphere. And then you can take quotients of this ZC and what you obtain in the land space, C and D. The analog. Okay, I have two. Okay, any questions so far? So there are two things here, which are important. One is a metric that you obtain, but the metric on ADS-3 is completely determined by the contractable cycle. And so you only see C and D appearing in the metric, okay? All depends explicitly on C and D. But there's also the homology change, which cycle becomes contractable or not. So there's two aspects which are important. Another thing is that, so in that slide, I've shown you a gravitational picture where you have Einstein's action and then there is some Schrodinger-Simons formulation like this. So basically here you have a metric and here you have connections or better. You have these allonomies of these connections. And so here the metric is roughly, is ADS-3, right? And these connections, they live on the solid torus. So yeah, it's complex. Yeah, it's only real in the Lorentzian signature. It's because of Chern-Simons actually. So here one has a metric formulation. Here one has a solid torus and has connections. So all the information about the geometry itself, the complex structure of the torus, so there's some boundary ADS-3, T2, some complex tau. All this information becomes encoded in these allonomies. So it's a different thing. So the allonomies will know about this complex structure and they live on solid torus. Okay, let's get practical of this metric. So one exercise I want to do was to compute the on-shell action of this theory on this metric. Yeah? Sorry, sorry? Yeah, the metric is imaginary. So that I took onto the two computations. I'm not sure if I'll have time. One was to compute the on-shell action, action of this with a metric. Yeah, there's some orientation thing that because of Chern-Simons. Yeah, so what I want to do is that when you have this 3D action, you can try to read this on the circle and you get some years' exercise in the functional lecture because everything ADS-2. And you can try to compute a la-sen, the renormalized action. That's one exercise. So basically you reduce this 3D. So 3D to 2D, right? And then you have some R2, some F-square that comes from the Cousa-Cline-Gage field. And what you obtain from here is that? So how much time do I have left? I don't have a lot, but 15 minutes. So I'll just, I will sketch this computation because it's very useful to learn. So you have, when you go from 3D to 2D, so you have this action, 16 pi G over L-square. And then you reduce the, the Ritch's scalar becomes Ritch's scalar in two dimensions. And then you get, so here I'll write this in a different way just to keep the conventions of my slides. I'll do that, okay? And then just have it to the Einstein plus Maxwell. And I'll even do this as an exercise to compute the renormalized action of this theory and compare with the Sameer's computation. But this F, so the gauge field, the Cousa-Cline-Gage field is this thing here. Now you understand the, Michela, now you understand the I, this is the Euclidean, okay? When you go to two dimensions. And as Sameer has explained, this is non-normalizable and you have to fix if it's electric field. So we need to add to this theory into dimensions. You need to add the Wusseline part with some coefficient here, which is determined by phi naught. You have the Wusseline, you can put the renormalized action. So on-shell 3D plus boundary term equals this thing. You keep all these terms and you'll obtain central charge, I'll just explain the central charge divided by six pi over C, C, C, bigger. Okay, sorry, I'll put white, central charge. So it's not to be confused with the C. The C here is the C of this quotient, right? There's some quotient here. So the C minus, oh, sorry, yeah. Hit this, square over the C. And this thing, what I call central charge, equals, is the central charge of Brownian oil, okay? Three or two L over G, or two thirds. Okay, get this central charge here. And you get, well, you get one part, which is real, the action. And this part here is a phase, is imaginary. And everything is divided by C because of the quotient. Okay, you're completing some integral on that quotient, you get one over C. And this is a phase. And if you use the attractor mechanism, and on these two, you can write this in terms of charges, of Q and P charges.  But what I really wanted to do, I'll try to explain now. So instead of using the metric formulation, I wanna use the Chern-Symos formulation. So the Chern-Symos formulation, the action contains the following factors. This, yeah, I'll just show you. Well, this exercise was just to show you that you can use the techniques that Samir explained for the quantum entropy. The same rules apply here for ADS-2. You have to do this with a line, and you get the entropy, okay? And then the Chern-Symos formulation is slightly different because you have to compute this on a solid torus, like the way I explained yesterday. And those things should be the same. There is a lot of problem also, right? That there are some configurations that are singular as metrics, but not as... What do you mean? This is SC2. But everything is on shell. I'm not talking about connections which vanish, so there's no metric. No, it's not the case. It's like the micro-canonical point of view. If I was in a canonical, yeah, that would be like you have to sum over different connections, and you should include those which doesn't have a metric formulation. But here's just the mapping, okay? I map the gravitational metric to the Chern-Symos. So the full quantum entropy, this won't be enough because you'll have to introduce matter in the theory. You know that 5D supergravity is not Chern-Symos. It's like the topological sector of the theory. And then you have massive fields, like closed-clined modes and so on. So if you do that, then you will be reproducing the full answer. So I just want to put into practice the things that I explained yesterday to compute this Chern-Symos action. And so yesterday, at the end, I've showed you that this integral for a flat connection on a solid torus was two pi square alpha beta, where beta was the whistle line along the non-contractable cycle. And this was the whistle line of A on the contractable cycle. It's very simple. So basically all these Chern-Symos here will be of the same form, alpha times beta, for each SL2, SL2R, and SC2. Because I don't have so much time, I'll tell you what are the whistle lines for all these gauge fields. So for example, for this A left on the non-contractable cycle, you have this following function. Then you have A left on the contractable cycle. So contractable. And then for the SL2R, now this one is much simpler, it's just A over C. So why this A is PCV? Because I'm computing this on the, so I'm computing these integrals on the solid torus, which is obtained by then filling, okay? That explained yesterday, PCV filling. So when you compute these allonomies, you have to compute over the non-contractable cycle, which is something like AC1 plus BC2 and the contractable cycles, CC1 plus DC2. And you get these values. And you could have asked, how do I get these connections? Well, you have to write the metric in terms of connections and then they do the integrals, okay? That's very complicated. But as I described before, when you look at ADS-3 as a quotient, basically the element of the notification becomes the allonomy of the connections. And you can read these components. It's very easy. As I give you this quotient, it's easy to extract these integrals here. And I forgot here one thing. So there's a similar, there's also for the SC2 connection that I forgot to write, sorry. And on the contractable cycle, tiller or two. These are the width lines. And then besides these, these are bulk terms. And besides the bulk terms, you have to add boundary terms on the T2, which are the form A1 times A2. So these A1 and A2 are flat connections on the T2 on a particular basis. So basically A1, just the integral of A around C1 and A2 is the integral of A around C2, where so AC1 plus BC2 is this non-contractable cycle. Just remind you and then CC1 plus DC2 is the contractable cycle. That's some basis. And you have to add this because you are in terms of Simon's theory. You can either fix one component or the other. So you have to choice. And to do that choice, you have to have a particular boundary term. In this case, I'm keeping this fixed and this is not fixed. If you're just to do that mentions, you get precisely Ashok's argument that electric fuels are fixed and the chemical potential must fluctuate. That's precisely what this boundary term does. And then you have to add this for, so there's a trace here. And you have to add this for any element of the gauge, any factor of the gauge group. So five minutes. Sorry? Yeah, I'll just wrap up. I said to 12, right? Some speakers had like 70 or five minutes. So when you compute the part of the Schoen-Simon's, I'll put just Schoen-Simon's bulk, you get minus two pi i k over four tau plus d. Then the part of the Schoen-Simon's action, this boundary term, you get two pi i k square. And then you also get, oh yeah, when you put everything together, you get to the total, the total this plus this, up to some algebra. And then when you write it in terms of, not in terms of c tau plus d, but in terms of, so this becomes i over phi naught in the other variables of the metric, then you obtain, you get that result. And what is that result? So the final action, it's, so there are two phases, minus two pi i k over four k over c, plus two pi i k over four. The real part you can check is s black hole.  And when you plug back, in terms of values of the charges, that you can use the entropy function to determine this phi naught, it's four minus l square. So when you do that, so everything is well explained here. So, sorry for going a bit fast. So when you do that, you get my final formula, you get this. And then for the n equals a theory, k is the level of the Schrodinger's Simons, n is one. So you plug it in this formula, then you check this. So you look at the Hallermacher expansion, including the Clussmann sums. So if you take the, set the point approximation of this formula here, including the Clussmann sum, so the Clussmann sum as these phases, and it has this multiplier matrix. So you take that value on shell, so the Bessel function becomes this exponential here. And then basically you have a sum over c goes from once infinity with these conditions, with that exponential times the multiplier matrix. So that's precisely this action I computed very fast, up to this multiplier matrix. And for that, you need to have more structure, like more turn assignments, couplings, to compute it in detail. It's in our paper, but I didn't have time to go into that. So that's I finish. Okay, thank you.


What's good Josh Boros back again with another video. So I'm going to check out Jim Coronet on Jack Perry appearing for the first time since Wembley had a New Japan show. Now, I've been waiting to see what Jim Coronet has to say about Jack Perry showing up in New Japan. I did see the clip and I was very interested to see what he had to say because when you really think about it, we actually have to think Jack Perry for this whole situation with CM Punk because if Jack Perry doesn't do what he do at at the Wembley Wembley Show, CM Punk would stop probably still be in AEW. But because Jack Perry got into it with CM Punk, that's how we ended up with CM Punk back in WWE. So we really got to thank him. He is really the facilitator for all of this. So I definitely went to see what he had to say about that. Appreciate all the love and support you guys have shown on channel.  This is going to be funny, bro. Let's get into it.  I got to talk about this before we get into the television shows that should have been banned this week. As Mama Coronet used to say like a bad penny, he turned up the person who has not been seen since instigating the fiasco that when history is written will have led to the direct downfall of Tony Khan and his collection of action figures. Jungle Jack has turned up again, has shown his face out in public such as it is and basically debuted in a surprise attack. So shocking. A guy in a mask and dressed in black comes over the rail. Never seen that before. Yeah. For New Japan pro wrestling.  Aren't you? What do we know about the reemergence of Jungle Jack off? There was so much going on that night. That's called called him Jungle Jack off. When I saw the clip, I was like, oh, okay, that's cool. He had the AEW contract and he ripped it up. I was like, all right, all right, man. Do your thing, bro. It too. There were there was a TNA pay-per-view. There was collision. There was battle of the belts. And then there's this then there's other things. Then there's this New Japan show, which was in the United States and Jack Perry shows up, you know, which I don't think was. I mean, I certainly did not see this coming. I don't know if maybe it was just because I was down with the flu. I didn't have my finger on the pulse as I normally do. You were down with the sickness. Yes, exactly. It's something like that. But I think that when he, I mean, the minute that he showed up and tore up the AEW contract in the ring with the giant AEW logo on it, I just remember seeing everybody on right. Every Megan, do you think that Megan and all the staff that would have been in charge when he signed his contract? Do you think they had all their contracts drawn up with a four inch tall AEW logo on the top of the front page? I think that's standard business, isn't it? Yeah, that's standard for the industry. Clearly. But other people were saying, well, if it was that easy to do, I mean, you gotta think about all the other people that would just tear the contract up and just, and just that's it. Okay, I can go back now, you know, but I think, I mean, part of me was thinking, I mean, clearly it's a work, obviously, because you've got New Japan working with all the elite wrestling and all that stuff, but part of me was thinking, well, you know, if it had been a real situation, it wouldn't have been that he got out of his contract because he physically tore up the paper in the ring. It could have been that maybe the company had released him for, you know, whatever. God knows they had reasons and then he was doing this performative act as a way of kind of like showing the world that he was done with the company. I don't know. That's what I was thinking. I was like, maybe they ended up releasing him after everything that went down and they released him and that's just his way of like kind of like showing his defiance to the company. Like, yeah, I don't really need AEW anyway. That's that's what I was thinking. I'm not sure if he's still under contract with AEW, but we haven't seen him since that incident. So I don't know. He's a rebel too, right? He's a rebel and he'll never be in a good. He's a rebel and he'll never do what he should because he wears leather and has long, stringy hair and a famous dad. But nevertheless, it that's the tearing up of the contract. Of course, symbolic to the to the demented minds that are following this and New Japan's half empty American building, wherever it may have been or whatever. I'll say you didn't mention.  Yeah, clearly. He's clearly designed to play the victim in this melodrama. Yeah. And I did see that and otherwise he's grown his beard out. Is he trying to look like an adult now?  Oh my God. He was he was so excited.  But the he's grown his scraggly beard out and he's wearing. I don't know was he dressed like Fidel Castro is his new gimmick homeless Jack and he because of his. I knew this was gonna be funny. I knew this was gonna be funny. Sticky. Homeless Jack is cold bloody bow being suspended since the 1st of September. He's been living in a cardboard box under an overpass. Is that or did he go back to the jungle and now he's communing with the apes? I've heard that a human being if done right can commune with an ape. I think Jane Goodall commune for years. Didn't she? Oh, I mean nevertheless. Yeah, so what is his gimmick?   No, I don't think Tony is released him because Tony never releases anybody.  And so he sent him home, but he's still been paying him. Right. That's the crazy thing. The thing about Tony because he will send you home and pay you just to be at home just to not go to the competition. That's how deep his pockets run. Pay me to sit at home. I would love it. I mean technically I am doing that, but I'm working over here. I'm not just sitting around laying down getting free checks. You know, I'm actually working on your y'all, but he said anything about you're suspended without pay because then Oh my God, jungle jackoff would have been suing.  But Tony never does that.  So he has to confront it. So now after four full months, it may be Tony say, you know what? I'm still mad at you.  All these all this embarrassment. So Tony's probably when you go wrestle for New Japan and he's still paying him. I'm sure somebody proved me wrong and I'll admit it right here on the air in front of that's a possibility jacket everybody.  That's my assessment of Jack Perry's debut for New Japan.  I'm sorry, Brian last the Mets. Wait a minute. It's Brian Solomon. Now listen, the people sent that to Brian last who you know is going to listen to this. Oh, yes, true. I was going to say people are confused enough as it is. You got to make sure you keep the name straight.  And by the way, I grew up a Mets fan too. So that's why I thought maybe you might have been. I mean, it could have worked both ways. My grandfather converted me into a Yankees fan, but you know, I grew up a Mets fan. Well, it's still baseball. That's something that that's something that Jungle Jack better remember is still goddamn baseball. Yeah. And I think, you know, for a split second when I saw him pop up and I saw people talking about it for a split second, I didn't think he'd been released. Cause like you said, I don't think anybody gets fired over there, but for a second, I thought arrested. Well, I thought maybe it's possible. I was thinking that maybe he had walked out voluntarily. Maybe he had said, you know what? Maybe he had felt the pressure of all of this, all of this that he had wrought and he, you know, felt felt bad about it or felt kind of responsible and just said and just took his ball and went home. Kind of a thing. I thought for a moment, but then when he took out two things, when he took out the giant contract and then also knowing that it was New Japan, that you know that the two companies work together, if it had been some completely random, although I mean, I shouldn't say that because they have AEW wrestlers popping up in completely random indies all the time. But you know, very quickly became a parent. Completely random indies popping up all the time on AEW television works both ways. There you go. But never let, you know, as some point is also, I guess now he's he's roughened up around the edges. He's got the beard. He's got the hair. He's got the frumpy clothes and the grubby attire and that's going to show that he's tough. He's a jungle man.  I'm sure that that is hardened him mentally and put him through all kinds of stress and agony. And you can tell, but he hasn't had a good night's sleep. Brian hadn't had a good night's sleep in probably weeks and weeks and weeks. I think they're going to segue the worry and the frustration over where his next check was coming from. Wait a minute. He knew he knew he was going to come every week in his mailbox. I guarantee he hadn't been sleeping good. And you know, here's why? Because he doesn't listen to our program. That's obvious or he would have learned something. He doesn't know to go to the people at Helix mattress. No, it's funny.  He knew he was getting that check. That's the crazy thing about Tony Khan. He will pay you to sit at home. If he don't want you on the show, he's not going to fire you. He's going to pay you to sit at home to do nothing. That's a gracious boss. If I've ever seen one comment down below, let me know how y'all felt about Jack Perry showing up at the the New Japan show and ripping up the AEW contract. How do y'all felt about his return back to wrestling? Did y'all care about it? Did you not care about it? Let me know how y'all felt down below, but I appreciate all the love and support you guys shown on the channel. Road to 150K and I'm still young speedy YouTube rest of the world. Appreciate y'all kicking in with me. See y'all next one.


What's up everyone? Take down here. Welcome back to another video. I just wanted to take a moment like I do every year to say Merry Christmas and Happy Holidays. I know this holiday season is going to be very different than previous years and that is because the ongoing pandemic COVID-19, which is fully understandable. So instead of the huge Christmas gatherings that some of us are used to this year, it's not going to be that big. Even my family, we're doing it something very small with only our inner circles that we have been with since COVID-19. We have basically my family. There's a small circle and my girlfriend's family. There's a small circle. So we're going to be celebrating with both of them, but nothing large like we usually do. But again, I'm going to be announcing like I do every year that I'm going to be taking the next two weeks off from working on my YouTube videos. So I'm not going to be editing videos, working on videos, really coming up with ideas. I might hear there whenever it's time that I'm bored or maybe there's nothing really to do. I might work on videos or at least prep videos, but I'm not going to be working in depth on my channel. I'm still going to be commenting and replying to comments on my videos that are already uploaded. And my videos are still going to be uploading regularly because I record them in advance and I schedule them in advance. Usually I do one month at a time, other than sometimes there's bonus videos or special videos that I'll record, edit and upload for that day or whatever. So I'm definitely taking this two weeks off. Normally I take the two weeks off to spend as much time with family as I can. Some of the family that I don't normally see throughout the year this year because of COVID-19 it's not going to be a large gathering. I'm not going to be able to see all of my extended family because of that reason, but I still want to take the two weeks off just to relax, refresh and then come the new year. I'm going to be getting back into the swing of things, but videos are still going to be uploaded. I'm still going to be replying to comments when I can, except for my two most popular videos where they're over 350,000 views. Those ones, sometimes I don't comment on every single comment. I don't reply to everything just because there's so many comments to go through, but I definitely wanted to take a minute like I do every year to say Merry Christmas and Happy Holidays and just let you guys know I'm not going to be not here for the next two weeks, not working on new contents, but I'm still going to be uploading content I already had recorded and engaging with you guys as much as I can. Now I am going to still probably talk to my family on the phone, but I'm not going to be seeing them in person. We're not doing the huge gatherings like we normally do. Hopefully in 2021, hopefully early 2021, COVID-19 is a little bit more under wraps, so I can at least spend time, a little bit of time with my family that I didn't get to at the holidays. So we will see, but again, thank you guys for all of your love and support on the channel. Merry Christmas and Happy Holidays!


Well, hello my wonderful friends in Monet cafe I'm so excited because I got to paint this morning and it was just such a beautiful time I decided to do a long format as you can see here And I always like these either very long vertical or horizontal formats But join me today because I'm gonna show you how you can create this painting with using water color and Soft pastel. This is a beautiful little watercolor set that a precious friend sent me her names Marisa She is on our Facebook group and Mogan and a cafe art group. She's so precious to send me I love this set so get started with me and let's do it Oh, and I had to have my cup of coffee in my Monet cafe coffee cup You can get yours if you would like it you can find it on my website Susan Jenkins fine art comm or I'll also provide a link in this video now I'm just doing a sketch here on a piece of you art paper. That's the letter you a RT paper It's a sanded paper. It feels like sandpaper and that's the type of paper you need for pastel painting I mean you can use pastels on regular paper, but it's just not going to have the same effect You're not going to get the results. So you are papers when I love this is a 400 grit paper now This is a set of watercolors that I love I mentioned that a dear friend got me and I'm going to show you how you can use Watercolor combined with pastel on this you are paper. It works great now I've slowed this down to real-time. I had it just a little bit faster before just to get through that initial phase But this is real-time because I want to share with you how I'm doing this technique I've sketched in the flowers that I know you can't see very good and what I had to do is obviously the photo that's from Pmp-art.com. It's a great website where you can find copyright-free photos to work from and I really like their their site for you know when I don't have a field of poppies to go and take pictures of so I was basically having to take a more of a regular type of portrait composition as in the photo there and rearrange it for this long vertical format and I decided to kind of cascade the poppies and Really emphasize the long stems that they had so what I've done here is I've put water You saw me brushing water around the poppies. Okay, so now I'm just getting a little bit of a background color And I'm decided against having the field go way back like you see in the photo I decided to have it a sky behind it. That's the neat thing about being an artist You you have your artistic license and once you've done enough painting you start to get a little more confidence of I'd rather that be a sky then you know Fading out into the dark like the photo does and the photo is beautiful, too You could have painted it just like that, but all I'm doing now You'll see the water that I already put down you can kind of see it dripping it acts like a channel the Watercolor paint that you put on now is going to follow that water that you already laid down So I often use this technique. It's called wet on wet in watercolor But I like the using the Advantage of gravity because that's how things grow if you notice flowers and trees everything reaches up to the heavens And so when you have your paint dripping down vertically like that, it's going to beautifully emulate That fact of nature So I like to do that now as you can see I've I put in the purple up top to you know kind of represent the sky Because I didn't want to put blue down. I wanted the color to have some pizzazz So when I add the blue with pastels, it's going to create some interest in color not just blue everywhere So now I'm continuing to work and I'm noticing in the photo There's some areas that are darker, but if you see kind of that in the photo the main poppy I would say is kind of to the upper right Behind it looks a little lighter green. It's more like where the sun is shining so I decided to use more of a yellowy green here and Make that be a little bit brighter in that section. And so as you can see I'm just gradually working around the poppies here To create the background one of the things I like to point out what I love about this technique And what I love about watercolor in general is it has this beautiful way of being so luminous and so the color is just light and Beautiful and it's not it's a Translucent rather than opaque and when you add pastels no matter how much you try to make it look translucent. They are opaque I mean you can create the illusion of Luminessence but watercolor has that as its natural ability so often when I use watercolor and pastels I try to remember that there's something rather than just creating an underpainting There's something I want to preserve about that beautiful luminosity now. I'm adding these cooler greens They're more of a bluish green down in the bottom because that's where like the roots are it's getting down deeper If you look in the photo, you can see where there's the dark areas down where the stems are going down to the ground So I know that's gonna be cooler. I know it's gonna be more in shadow later I'm gonna add with pastel and make this darker But for now, you know, that's a nice way to get that color temperature correct with the water color All right now notice that water is dirty. I talked about preserving preserving the luminosity Oh, I've sped this up again I'm what I cleaned off my little palette tray and now I'm gonna use these colors for the poppies So I needed the clean water to do that. I didn't want to put that muddy water down there So I'm speeding it up now, but again, you see that drip just drip down It's really not a big deal. I don't need to wipe it off. You kind of want your your flowers to Break outside of their edges sometimes. Otherwise your painting looks very tight and stiff and fussy So now I'm getting my lightest light because I want to get that that beautiful Orangey yellow color that's in the poppies And I want to keep that in mind while I'm painting. I don't want to lose that right there because that flower is gonna be the star of the show and But I'm getting in some of the others now because it was wet because I already put the water down Notice how it's running and dripping and it actually see how that just made it look so much more artistic than if I had just laborious laboriously painted watercolor on the dry paper and Try to get it so detailed. It wouldn't have that that looseness and that freshness It just looks so much more painterly and artistic when you put the water down first So I love that. I love that of just kind of letting the water Do the painting, you know, it's pretty cool. So anyway, again putting more of the yellow down. I want to keep that freshness there and adding a little bit more of the oranges and the reds and I am Making I like to call these like color notes I'm putting down colors where I know how the shapes of the flowers are how they're Positioned and so that's gonna help me later another interesting thing. Oh, yeah, those drips It's it's no big deal really when you get to painting and again, I kind of like it another thing to remember with watercolor is that they Dry lighter than they go on so you can already notice that poppy at the top. It's already lighter The colors aren't as bold as they were when I originally put them down So you can be a little bold when you put them down at first and know that they're gonna tone down But you can always go back over watercolor and enhance the color if you were just doing a watercolor painting You see how those nice drips again, like I mentioned how nature just seems to Have the everything reaching up. So the the gravity is helping those poppies kind of do that But anyway, you can always go back over if you were just doing a watercolor painting Intensify the color and everything but this is just an under painting It's giving me just a little guide to how I'm gonna lay my pastels down and also Again, trying to just keep a little bit of that beauty of watercolor. Alright, so Enjoy this rest of this watercolor process and I will pop back in when we add the pastel so I'm about to wrap up the watercolor portion and I want to just Stress that this is not to get fussy with the watercolors.  Now, here are the pastels I chose look how out of order they are That's because I guess you could say I cheated or I just did what was easy these were just the pastels I had used on some previous paintings and Again, I did this painting that this particular morning and I just wanted to paint I didn't want to put them away or anything so a little random and sporadic But now the watercolor paper is dry and it still has that nice sanded surface That's another neat thing about using watercolor on this paper It doesn't take up any of the tooth of the pastel and if you've been using pastels for a while You know, that's something we want to preserve now I just added the other piece of paper next to it Some of you have commented in previous videos you'd like to see me do mark making with these pastels to kind of see what color it is and Also, sometimes I'm cleaning my pastel off and checking color and sometimes getting a smooth surface some of these pastels Particularly that one right there like the Jack Richardson's They have little bumps on them sometimes on the edges. I break my pastels. That's why they look smaller And I have to kind of smooth them out So here I'm using a combination of blues warm and cool blues And I'm choosing these of a similar value Meaning the lightness or the darkness notice how I'm doing it real light touch here I kind of want to preserve that little bit of lavender behind it But when by using this combination of blues, that's like the the cooler blue. I'm sorry That's the warmer blue. That's got more green in it. It's teal I'm pulling it down into the grasses a little bit But that play on color when you have similar values, but different colors It's going to create a much more energetic Appearance and so I love that. So that's why I chose those three colors there to Work for the sky. It just see how the color is just kind of more dynamic Now these are the colors that I've chosen for the poppies. I Basically have the darkest dark. I might I actually end up getting one a little bit dark See how that it I'm actually let me show you I'm going to do a trick right here That one needed to be broken. It was a little too wide for my application. So that's a cigar cutter No, I don't smoke cigars, but someone told me this is an excellent way Ta-da to break pastels. It gives a clean cut. So what I did is now It's a little bit smaller for me to kind of lay that down And I had to kind of smooth off that little edge that was on there They've got little ridges on them and I'm again even right here It's not really smooth for me to work with but anyway, I'm putting down my darkest shadowy era areas If you look in the photo, you see that on the back sides more on our side of the flowers is where you see that Darker area these I guess you would say are kind of backlit the sunshine is on the opposite side So again same as with the sky you want to play on colors here So I put down these are different values though unlike the sky So I put down the darkest dark for the shadowy area and then I'm putting down more of a orangey red a little bit more orangey red to Go on top of that darker color And then I just continue to work. But one of the things I wanted to mention is I'm trying to preserve that Really bright area. I talked about that the watercolor is so beautiful at doing keeping that lightness And I want to keep that lightness there. I do end up adding a pastel that is More gold and yellow, but that is reminding me that that's what I want to preserve That's what I want to Really show up is that beautiful light that's shining through that poppy pedal So I'm just continuing to work and now I am a little more focused on getting Shapes of the poppies. I don't want to get too fussy, especially with the ones I don't want the main focus to be on like the ones that are going to be buried in the grasses They're just going to have like I mean they can almost just be a A little rectangular shape sometimes they don't even have to be a Distinct flower because you have control as the artist as to where your viewer's eye goes and you want it to Comfortably just follow the path that you want it to go and you control that by where you put the detail So obviously this flower here is going to be the most detailed now. I'm making some pedals that are kind of reaching out And shaping it like I said and I realize later you'll notice later I've got that one. I think it's because I got the watercolor too close the the one right underneath that main one is It's too close later. I separate it more with some sky Because it was a little too jumbled up there and it was taking the interest away from that main flower All right, so I'm going to continue to work on these. I'm going to zoom in a little bit so you can see what I'm doing and enjoy the music Enforcing or actually enforcing because there weren't many darks down there to begin with but Making it darker down by the roots on the ground. The ground is typically Darker, especially down at the roots of the flowers like that. So I'm just kind of getting in a variety of Dark values with different colors. I've got one that was a little bit more Burgundy brownish I've got one that's a little more blue and it's going to look kind of dark right now But it'll eventually lighten up when I add more greens and layers on top of it Um, and now I'm getting in some of those cooler colors That are kind of in the shadows a little bit And then I'll add the warmer greens on top of those colors I do end up blending Some of these roots a little bit on the darkest part there You'll see in a minute where I do that. I decided later that little one there I was going to have a few little flowers popping up, but I thought you if you saw the beginning Painting, um, I decided later to make it a bee I thought that would be a lot more interesting and I realized the top area of the sky needed a little something up there So I added another bee up on top of that one poppy Here is where I'm using a piece of pipe foam insulation that you can buy at any hardware store or most hardware stores And I wanted to kind of get away from that really, um high texture Darker values down towards the roots of the flowers So I'm kind of blending around the flowers and even kind of blending Into the lower flowers. I want those flowers to be a little more hidden In appearance and appearance. So not every flower is appearing as floating on the surface By the way, I've heard you can also use a pool noodle as a blending tool. There's various things you can use to blend I, uh, encourage you to limit your blending Use it purposefully In certain areas now this is a technique I learned from artist Karen Margolis. She uses this Low odor workable fixative. This is by Blair Blair low odor fixative And I love how she uses it and it it darkens where you want it to darken And it adds another little layer like a sheen over your painting so that you can glaze Grasses on top of it. So it will bury those flowers. So that's a great thing about using fixative In that way I get asked this question all the time. How do you fix your paintings? Or how do you get your final paintings to where, you know, um, They can be sold or you can frame them and I advise you to do nothing to them Don't spray them when you're done with any fixative I use clear bags to store my paintings in. I have a method that I use Uh, before I get them in a bag, um, I just put them in between sheets of glass scene In a big, uh sketchbook If I if you have a big sketchbook, you can put your paintings and just put a piece of glass scene It looks like wax paper But glass scene is a good way to protect your paper until you get it into a clear bag. Um Now i'm adding purple here Because that's just going to be so much more interesting than just all those greens. Let me zoom in a little bit Can you see how that purple just added? I don't know. It just looks magical So sometimes if you add a color that is Not what you would commonly think of in a bunch of grasses Like a purple or a teal Um, you just kind of make it pop a little bit, you know, that's my my go-to word make your colors pop But um, again, I just added a little bit of a teal there. So it generates a lot more interest And um and beauty in your painting. I'm now I am reinforcing the darks. I'm adding just a little bit more Um, where some of those roots would be sometimes I do this more at the beginning But occasionally I will um add it in carefully, you know towards the end when I've already established much of the painting Here is where I mentioned about putting in the bee replacing that little flower pod With a bee I basically just use a stiff bristle brush And I just brush off the majority of the pastel that's kind of on the surface of the sanded paper I put a little bit of the blue over it So that I can later add the bee I kind of have that little fractionated color there So I add a little bit of of the other colors as well Now I wanted to show you this often we can repurpose things This is a case that I had a screen protector for my phone in my husband happened to actually say that would make a nice little Pastel storage case and I knew it wouldn't work for most pastels, but it works great for these new pastels in you pastels They're harder pastels that are great for doing stems for doing grasses and uh sometimes little detail work So I just keep a little selection of pastels in this case right now And it works great for me now this poppy i'm doing a kind of a a broken Line a little fragmented line. Uh, you don't want anything being so straight and um stiff looking So I'm doing it darker And um, then I'll add a little highlight on one side of it Because those stems if you notice in the photo they have a little glow around them again They're kind of backlit So um you get and my edges to my pastels are always a little odd So I have to be a little careful about making sure I get it right now Again, I think that main poppy that's up at the highest point is in the front and I decide in a minute I'll go ahead and hop to that right now to um, yep. There I am right there To separate it a little bit and make that one petal smaller On the big flower. I just feel like they're too bunched up there. I wanted a little room between it So I'm doing kind of the same technique. I did before where I use a stiff brush brush it out I still have plenty of layering capability here So I'm just very easily able to layer some of that blue over it and kind of give a little separation for those flowers And now I'm using some more of the new pastels the harder pastels to add a few more grasses I've kind of successfully gotten the flowers a little more buried by adding some of those More warm greens on top after I had applied that uh, Workable fixative.  Sometimes you want to add a little variety like here I'm adding like some little uh Flower pods the little uh blossoms before they open And then I'll just add a little highlight, you know, wherever the sun may be hitting them Here I am using a new pastel to kind of reinforce some of the texture of the flower and Make it a little bit more believable as to where some of the little ripples or ridges are In the flower and the new pastel works great for that because it's small enough to kind of see what you're doing for one And they're a bit more Have a more ability to make more of a fine mark Detailed mark than your chunkier soft pastels do. Okay. Here's where I'm going to add the little bees and Really with bees the less detail the better for one when we're watching bees. They're so fast They don't have a lot of detail to our eyes. They're moving around you want to capture that movement Also, they're so small you can't see their detail a lot And uh, you want your eye to focus on the flowers and the bees are like the accent. Sorry for my head there I can't see what I'm doing sometimes. I'm going to zoom in so you can see a little bit more detail I'm sorry. I thought my camera was going when it didn't I basically just make three little black marks One's the head one's the thorax is that what it's called and then one's the back part of the bee I add a little combination of a darker Orange and then a lighter orange on top of that then I just use a blue or almost a white To make a couple little wings and again, you just want them Very impressionistic and no big deal now. I get a new pastel to make a little I don't always do this but a little indication of maybe their feet and out feet their legs, I don't think bees have feet and perhaps their little antenna and Again, you don't want to overdo this because you're not trying to draw too much attention for the to the bee They're just nice little accents So this was fun bees and poppies and just a beautiful Celebration of God's world. Thank you so much for watching. Please subscribe if you want more videos And lessons in the convenience of your own home. So thanks guys as always happy painting


Do you know the legend of the Lost Dutchman's Mine, or the Lost Dutchman's Gold? The legend of the Lost Dutchman's Gold is the inspiration for the latest addition to the potentially exclusive Robert Auster's collection. But more importantly, it's a tale of mystery and intrigue that has fascinated people for over a century. Here's the way the story goes. There was a man, a German immigrant named Jeremy Waltz. Hereafter known and throughout history known as the Dutchman. According to legend, he discovered a rich vein of gold in the superstition mountains in the 1800s, and he only told a few close friends about its existence. He later died without ever revealing the location of his gold mine. And people have been looking for it ever since. Have I panned for gold? Yes. Have I been in the superstition mountains looking for the Lost Dutchman's Mine? Well yes, yes I have. Have I found it? I couldn't tell. That's not something you share on social media.


What's good y'all Chris from jashescasebrakes.com doing the second half of this case from earlier today This is 2022 Prism World Cup Soccer hobby six box half case break PYT number 14 So no randomizers PYT style got our six boxes and the X's indicate from an earlier case 14 Joshua once again grabbing the last few spots Thanks again for getting this break filled up Joshua and everyone else Shawn, Bill, Steven, David, Rob and And Andrew. Thanks again. Y'all appreciate it. Let's get started 10s 11s 13s. Yeah. Oh, yeah, I think the 10s a little slept on just because it's it's right before the 11s 12s and 13s just that's just a great looking shoe and I've recently like the last couple years out to fives I think the 4 and 5 is so great and it's kind of comfortable actually. Oh That sneaker culture has has become so ingrained in sports nowadays Like the grail card for me to hit for someone It's that NC World Cup Soccer It's it's, you know It's the Jordan stuff. It's it's it's the messy and because I think it's couple of the French players are rocking with the Jordan PSG. So it'd be messy and bop a That is the grail for me to hit for someone Last box one. Let's do it. Y'all box one of six. We got go Yummy anymore silver When 13s are my guts. Oh my god. Yeah, that when I think of the 13 like that's the call way. I think purple Antoine Griezmann For France 21 out of 199 Joshua. Nice. I I think the mids get super slept on mids are great Silver Mathis Kuna Declan rice in the pink not numbered for England Going to Stephen first auto nice Wayne Rooney, it's coming home to Stephen in England. Nice Wayne Rooney auto first of the half case Orange Casamira for Brazil going to Joshua Nice low number there 14 out of 25 Nice box so far. I start to the half case see if we can keep it rolling A pair of flints when they first came out of Nike town in Chicago That's like it's a bucket list sneaker thing is like go to a Nike or Jordan store in Chicago Just feels a little more special, you know Okay, we're in a boss red 360 out of 399 Costa Rica in the 11 team combo. That's gonna Joshua and the prism Jose Maria Jimenez for West silver Paul Pogba silver Wish he was healthy too Now France team was already pretty stacked would be so much better Michael and God do for Cameroon crack dice a little team combo for Joshua One more red nice Lucas Suchich rookie for Croatia Croatia go into Joshua one of those last spot mojo spots 231 out of 399 of the Suchich Nice first box to start First half of this case we had a manga and a natural pride We can get a landmarks or Manga usually around three is what we've seen of those case hit types Here's box to bomb by Jane or Senegal at a 399 11 team combo for Joshua 60 out of 399 Pick six maybe what is going on with this game? Silver Vinnie jr. Nice for the Americans Brendan Aronson purple 146 out of 199 Joshua with the u.s. Silver Michael strada Scores club and a Ricardo Pepe Rookie Otto what a box for the u.s. And Joshua Winner go home game on Tuesday versus Iran Ricardo Pepe u.s. for Joshua and a Lucas Pacueta blue mojo Brazil Joshua once again 73 out of 75 Silver Alfonso Davies scored today as well two goals this world cup action for Davies Robin Goessens for Germany silver a red for Iran Medi Toremi 11 team combo in Joshua 89 out of 399 Declan Rice in the hyper Anthony Contreras silver for Costa Rica another And got to paint this time for Cameron. It's more color silver Bernardo Silva Portugal cracked ice on how de Maria Argentina Joshua box three Rogers for the deep pass finds him on the run Donald Jones The old man still got it. Are we looking at an error at a Early to say as I should say but are looking at a potential game of the year candidate here It's why It's wide No, I wish now love Donald driver Donald driver Randall Cobb. I Love those like early team Like 2010 2011. I love those Pagas teams and shut up my guy Amon Green from like earlier in the century All right box three on all those scores club, you know Mendez rookie for Portugal Pink Joshua Kimmich for Germany for Joshua Joshua for Joshua So nice we get him twice One more Wayne Rooney Otto for England and Stephen Wow I'm sure Stephen is not complaining an all-timer Wayne Rooney blue Sebastian Zimanski for Poland for Joshua 293 out of 299 crazy Two way Ernie I was in the same half case not even the full case man If we get one more, I'm I'm gonna this is like a weird Case made in England, I guess What you got co-work you for the Netherlands cream out of yummy It's two are always kind of always behind until it's urging your desk over for us Nice yoga Yota and the purple mojo for Portugal 22 out of 49 Portugal picked up by Joshua nice lower there crazy crazy crazy Let's keep it going We're for non God who? Carl Pepe rookie Jaka for Switzerland silver cracked ice tower Adams for the US one more for Joshua purple Fahad Al Muald for Saudi Arabia 11 team combo six out of 199 Silver Tanaka for Japan Yuri Tealman's ready for Belgium and Joshua 78 out of 399 new era Gaby silver rookie Give them a sleep All these silvers and hypers and such will be sleep up obviously fire a shipping team And if I sometime with a knife, I might do it myself All right moving to the second half of this half case This is box for good luck Silver Tanaka again blue Martin Angla for Cameroon 11 team combo and Joshua 170 out of 299 Wow Thought so Allison and Ederson for Brazil one of one black gold on the connections Wow Brazil Joshua Very nice, man One of one Allison Ederson Congrats again, man. We love a one-on-one from prison Cena silver rookie Western McKinney for the US Joshua pink nine numbered. So we got a excuse me. So about that look like we have a redemption We do so we'll say that one for last other goalie Was ich Was she x from Poland red corner Joshua 98 out of 399 Gapco and out of yummy rookie the soccer is a nice product, man. It's I I think the World Cup prism has been Granite Haka from Switzerland purple Joshua 64 out of 199 So our connections show Felix and Rafael the owl John Stones hyper Silver Jew Bellingham for Stephen and England Cracked ice Benzema nice one for France and Joshua purple Moja Yacob Kaminsky for Poland Joshua 24 out of 49, right and the redemption. Good luck everyone Can't be a laying ready right can't be signatures card 90 Darwin Nunez Darwin Nunez for Uruguay Uruguay and Joshua every time I spell Uruguay. It just doesn't seem right. It's just too many use Like this can't be the way this ain't it Darwin Nunez signatures for Uruguay going to Joshua. See if we can get one more nice case hit type here National pride Maybe a color wheel Here's box five box five Let's do it pink Vinny jr. For Brazil and Joshua my cello brosevich or Croatia hyper do some of all of it Serbia silver for guitar How can I miss on a thief? Purple 11 team combat when Joshua 75 out of 199 One sec my turn this off turn this back on don't mind me The video's still going you can see me here. Give me one second y'all Sorry about this y'all the camera didn't like it. I don't know why No, it's like Okay, there we go There we go. We're good Hit him with the classic have you tried turning it off and turning it back on alright. We're good. This is the stack We're working on sorry about the technical difficulties y'all. Let's just get back to it. It's terrifying I don't want that to happen ever again. I'll do the yellow and the blue for Senegal 28 at a 75 for March Silver Scores Club and will newer Hyper of old Meyer silver for Croatia Martin Boyle crack is for Australia. I haven't caught much of Australia today and that one's going to Joshua Ozzy Ozzy Ozzy oi oi oi auto Not a Wayne Rooney, but Paul Scholes our old-school England England England man Englishman All schools For Steven nice one behind it to Purple Mojo, Yosco, Garth y'all 17 out of 49 Croatia and Joshua very nice Yo What is wrong with this thing man? I'm actually quite worried about this camera.  I'm trying to unplug plug back in be stressful and very annoying Don't do my job. I think it's an OBS thing because the camera was working again I just don't want to mess with anything obviously. I go here Give me one second again. Sorry again for the technicality. This is very annoying My hand putting a card down and I don't know how to fix it. Yeah Okay Which uh, which which which cord? Okay Yeah Okay, yeah, it says video capture a Video capture device. Yeah, got it. Yeah. Yeah, I'm I'm plugging the cable back in right? Okay before you one sec. I Just drop my phone You're on speaker Joe. I Everyone's everyone say hello Thank you plug back in So video a thing just popped up. It says video capture device. So yeah properties cam link and then Okay, let's see a memory card can play All right got it the trigger button and then it should uh, I'm gonna resend The resize is gonna be a little funky, but I've got it Right now you can just click the click that window. Yeah, right and then pull it all the way to the corner to the corner Right, so it fills the whole screen. Yeah And so it'll look like some cover your face, but yeah, how to fix that Yes, yeah, so now click the video capture device and drag that to the bottom It's like Photoshop. Yes, that's like it's the way it's like layers. We're good. You bring the camera video capture camera down Okay, and then everything else should pop the layer up on top. Everything is good Joe. Thanks again. We're good I'm gonna vomit after this break when you add the camera back. It'll it'll try to I think it'll try to like use the microphone from that. Yeah Camera so make sure only one mic is active. Got it So I'm muted the video camera device Correct. So now there should the audio should just be from just the main line just from our Yeti. Got it. All right, Joe Thank you.  No worries, man. All right. Thanks. Go go raiders Do you have a good one? Yeah, good. I'm say bye I'm thank you everyone.  We're good. I'm I'm Just forget it for I'm just no touching of anything Sleeve. Otherwise, let's rock and roll Silver Brazil Jonathan David rookie will give that a sleep silver Cody Gapgoe rookie for the Netherlands Going to Rob Jonathan David Cole will reach rookie Bono not, you know, not you too Bono, but Bono from Morocco rookie 325 out of 399 Yeah, for real Give Joe a double thumbs up 10 out of 10 5 out of 5, whatever he takes You know, what's the the kicker about those? You you should leave a comment Because you can just like kind of breeze through and everything but review teams love looking at the actual comments that customer leave like he was so personable personal and And uh, it's so helpful. He helped me understand everything You get all right last box We made it folks We made it Don't touch any cable. Let's start losing some extra Extra surface area. We'll we'll stand over here. I'm getting there actually I'm getting You know one one thing it's always one thing at a time with me Rex Maybe say not the end of the world just an inconvenience.  I kind of have a big name But I think the not just the rookies but those guys who are uh kind of those bets those middle Like they're not superstars, but they're great players type I think I have a hard time Just because soccer is so big or so many players too All right last box. Let's Let's do it Mark Anthony Kate a little color match there for canada red mojo Canada and shon Matic 80 out of 99 Albert zombie locongo. I prefer belgium rookie francesco caolo Goop miners silver Yummy pink Edits in cavani for worldwide Oh, I kind of like the park in the bus. I know it seems kind of cheap But no, it has to work like you have to be able like any strategy has to be executed. Well, could he gap go? nice international Inc. Vinny jr Vinny jr auto going to brazil and joshua nice out of the end on for sure. Vinny jr One of the rising stars of this game that I know Joe allen purple for wales the welshman going to joshua eight out of 199 silver star Colonel peppy david rookie Oh on a nice one to end on to national landmarks bruno for nance orchigal Going to joshua very nice whoo I love the national landmarks man. They are awesome and a nice one right here bruno for nance an excellent player luka sucic red from coacia nice rookie for joshua again 339 out of 399 For sure. It's just like great. It was like great half case to nicole velody hyper two-way runes of vinny jr bruno for nance national landmarks rafael varant for france Get this last stack. Thanks again y'all. This is the last half case Calvary karen key or not us for costa rica I don't know if we have any more cases in the back 323 out of 399 But if there's a little bit on the side we have empty world cup soccer and merlin chrome Champions league on the side still as well both of those 20% off all spots discounted in the cart The last few cards got a gavi rookie. We swore it and an anima sina for Real guai. All right So all the autos and big parallels will take a little recap of again Thanks for sticking with me all long videos and technical difficulties But thank you again bruno for nance with the portugal with the national landmarks 20 jr auto all skulls auto a one-of-one Allison and ederson connections One of one big assist for joe Coming in getting the job done. It's looking both wane rune autos Very funny. It's a very funny break Diego, yo Diego yota out of 49 Ricardo peppy rookie auto for the u.s. And the costum nero at a 25. All right Whew, thanks again, y'all more soccer on the site right now. Jasper's case breaks.com. Bye


To ensure our online engagement and the safety, first day we ourselves should be more aware and more prepared for the cybersecurity issues, such as having the knowledge of distinguishing malware and paying attention to our important personal information on posting on social media platforms. Besides, digital enterprises should prioritize the protection of customers' privacy in their business plans, and governments should update the policies for the regulation of the rapidly changing digital world. As girls and women are more prone to encounter trouble in server space, such as cyberbullying and harassment, youth as active users on different online platforms can actually do several simple things, such as posting at retweeting relevant posts, using our potential influence to call for society's attention to the gender issue in the digital world. How can youths be more engaged with different stakeholders to build trust and safer online experiences for girls and women?


Hi! My friends call me Lyme and I want to help you perform even better in your videos and so let's talk about genuineness once again. In the last episode we talked about genuineness, the audience feeling that you really mean what you're saying, which is important because the less your audience feels that you mean what you're saying, the less impact that you're going to have and we went through different tricks on how to achieve this without the script and this time we will take on how to appear genuinen while reading lines, which can be quite difficult. From time to time I hear youtubers perform like this, appearing to be reading from a script and it has consequences for whether people believe what you say or not. So I bought this shirt yesterday, it's blue and green and I, well I like it. What do you think? What do you think about the shirt?  Let me give you one example, I'm not in front of the camera right now because right now I'm at my mom's house on Christmas Eve writing the script for this episode, which means that what you're seeing in front of the camera is basically just a puppet saying the words that I'm writing right now, so just for the fun of it I'll even script in this this pause. What I'm saying at whatever time that I'm recording this is scripted, but I mean don't I seem like a real boy? So your challenge is to once again to appear genuine in front of the camera or microphone but this time while reading lines and reading lines with bad acting is like singing falsely you want to get as far away from that as possible, so let's take a look at some tips. The first thing that you need to do is to know your lines well the need to think about what words come next will distract you from your delivery but the more you know your lines the more you'll be able to just have fun with them and that's when you really shine. The second tip is to have a goal. What do you want to achieve through your text? Why are you saying what you're saying? If you have problems with specific lines then you can use this tip. So let's use the sentence I love you as an example. Now think about what is it that you really want to convey through that sentence? What are you really saying? If what you really want to say is I mean this with all my heart then you can take that sentence and take the delivery from that sentence but just replace the words with I love you so I mean this with all my heart becomes I love you. Now maybe you instead want to convey the message that I'm so tired of you and that then becomes I love you or maybe that you want to convey that you're surprised by this fact I'm so surprised because I love you. So take the delivery from that more basic sentence and apply it to what you want to say. Another thing that you can do is to just test your way forward. You can just read your lines over and over again and then save the deliveries that you like and then after a while you'll build up enough experience to not have to do that all the time. So those are three tips. Hopefully you'll find them useful. Tell me in the comments below if you did. I'll see you in the next episode. Thanks for watching. Bye.


Three new judges of the Ogun State High Court and Customary Court of Appeal have been sworn in by the Governor Dacoa Biodun towards threatening the judicial sector and quick dispensation of justice. At a ceremony held at the cinema hall of the Herbert Ogun Day in Abhiokuta, the state capital, Governor Dacoa Biodun charged them to always uphold the fundamental principle of rule of law and shun temptations. He also charged them to maintain a high degree of integrity in discharging their duties as the last hope of the masses for equity, fairness and justice. Let me therefore state that the judges being sworn in today should see themselves as custodians of a proud and hero pedigree from whom our people have the right to expect so much. Let me remind you that to be able to effectively dispense justice, you must not only rise above temptations and trials, but also be calculative, honest, objective and dispassionate in all ramifications. I am therefore confident that with today's swearing in of these new judges in the High Court and the Customary Court of Appeal, the tradition of integrity, diligence, industry and excellence that have been the hallmark of our state judiciary will not only be continued, but it will also be enhanced. To the distinguished appointees, your appointment represents a cornerstone of a justice system. Your wisdom, fairness and a wavering commitment to upholding the rule of law will undoubtedly contribute to the continued strength and impartiality of our judiciary. Permit me to know that law and order exist for the purpose of dispensing justice and when they fail in this purpose, they become a dangerous structure that blocks the flow of social progress and economic development.