The What's Neat show is sponsored by Lombard Hobbies. Your value hobby shop for over 40 years of modelers helping modelers. Big inventory, value pricing, fast shipping, and great service. And by Bachman Trains. Now that's the way to run a railroad. Check out their website at bachmentrains.com. And thank you for helping us support the best hobby in the world. This is What's Neat for November 2022. I'm your host Ken Patterson, the host of this wonderful show called What's Neat that we produce every month for the model railroad hobby. And this month is a great show in that I share with you how to build trestles. We build light near trestle on the Rio Grande Southern in about an hour and six minutes from start to finish, I take you through the entire process of how to build this beautiful structure, which I will say is one of the most accurate models in HO scale of this bridge that has ever been built. I relied on photographs and drawings and everything that was at my disposal in order to nail this one. So I think you'll enjoy this month's how to video on building light near trestle this month on What's Neat. Also this month, Doug Blaine stops by and shared with us a lot of wonderful Christmas gift ideas. Bachman Industries produces and manufactures, train sets in the Christmas theme and standalone products as well. In HO scale, O and 30, three rail O scale, G scale, all of it is to be seen because after all, it's almost Christmas and what a better gift than a train set for your favorite model railroader out there. I wanna say thank you very much to Lombard Hobbies for helping us promote this hobby. They are the hobby shop that caters to the expert and the beginner with great prices. They don't have sales because they've got the best prices all year long. So check them out at Lombard Hobbies.com or you can visit them in Lombard, Illinois. It's an absolutely beautiful store and they would look forward to you walking in and saying you've heard about them on What's Neat. Be sure to check out the What's Neat this week's video show podcast that we shoot every Saturday night except for the last week of each month where we bring you updated news with special guests, our regular podcast crew and a lot of new products as they're introduced throughout each and every month. It's an amazing show to watch What's Neat on YouTube. And so with that, let's continue on with the rest of this November 2022, What's Neat? Hi, I'm Ken Patterson and in this videotape, we're gonna discuss the entire process of building a trestle for your model railroad from the ground up. For this example, I'm building Lightner Trestle. It was a trestle on the Rio Grande Southern Railroad at Milepost 160. It was actually Bridge 160, Milepost 150. Sometimes the trestle was referred to as Franklin Trestle because it was right at the Franklin Junction where the Rio Grande Southern had a split to go up to the Boston or the Calium at mine. But this is a really cool structure worth building simply because in 1952, the highway department came through and put a highway right through the middle of the trestle. So it adds all the interest of having a road, having the trestle, having the creek, having the deciduous pine trees and the scenery that goes around it. This is all set up to make for a very interesting scene. So I'm designing the base of this layout out of eight layered sections of foam. I very carefully studied the topography of the location where Lightner Trestle is in order to carve the topography. And I carved all of this about nine months ago because this project was simply an assignment. This started out as a job where one of my accounts, Blackstone Models, requested that I do the famous shot that Mr. Richardson shot of the final Rio Grande Southern train going across Lightner Trestle and Plowing Snow. This is a very famous photograph. It's hanging up in the Denver Union Station. And Blackstone Models thought it would be really nice to represent their product, pushing the snow across the top of Lightner Trestle. So I thought I could just throw it together very quickly, build a photo prop and get their shot in less than a few days. What turned into a few days now is nine months into the project. It's been sitting in the garage for six months of that time. And I brought it out to create this video on building trestles. Because there's a lot of important information that you're going to attain from this that you can use to build any trestle in any scale on your model railroad. Dimensionally, every trestle on the Rio Grande south-southern, all 143 bridges that they had, were all just a little bit different. And so on this project, I refer to the prototype photos to get my dimensions. On your bridges, you could refer to drawings that are in magazines. There's plenty in narrow gauge gazette and prototype photos of the old logging industry where the authors of the magazines had the foresight to actually put in drawings for us for the benefit of us modelers. So dimensionally, you can get your drawings from that or you can just follow along in this video and I'm gonna tell you exactly the size of these dimensions and you can literally just build this bridge on your layout after watching this video. Now to do this project, as I explained, I used a lot of foam. I've carved out, pre-carved out all the topography already so that it would match the bridge when it was put in place. Because it's very easy to get these measurements off of the prototype photos that are in the books by counting the stories and figuring out how tall they are. That really was the math to figure out the topography. After the trussledents are built, you'll find that you'll probably have to come through and just do a minimal amount of fitting. Maybe take out an eighth or 16th of an inch and then make everything blend in. That's your final carving. Each section of foam is 15 feet thick. They're two inches in actual measurement but a scale HO15 feet. So that allows us to figure out the topography a lot easier. There's eight sections of foam stacked up here. This entire diorama is now carved. It's gonna be painted with latex paint to seal everything. And I'm anticipating putting oak sides on the side of it to add firmness to the diorama so I don't get any flexing. So at this point for this video I wanted you to see the foam in its pink state before it gets sealed. And we're gonna go on now and learn how to build a jig to start building our trussledents next. Now in order to build the bridge deck at the top of the bridge I'm relying on every single prototype photograph that I've got of lightener trussle so that I can get this bridge to be perfect. I want the top deck. It's the most important part. It's the part the train runs on. So after I took the long ruler and I drew a 350 foot radius curve because I know that's the curve of the bridge. And then I drew a second line that represented the second, the outer edge of the track. So I drew a 350 foot radius and about a 358 foot radius in order to be able to lay out the bridge deck. And the bridge deck is simply the wood that we used spliced together to make the top rail of the bridge. And then we're gonna lay our bridge deck ties right on top of this for the whole way all the way through the span because I've got it drawn out here on the wood. I've got where all the trusses are gonna be drawn on here, 16 foot on centers. And if you do the math, this bridge is 350 feet across at a radius of 350 foot. So there's a lot of dimensions here that are actually easy to remember on this. Now for the center span where the concrete are where the girders are gonna go, I've been using this micro-engineering 50 foot girder to help me represent my measurements. I've got the highway drawn on the plywood where it should be. And I've also drawn on here where the steel structures are gonna be that are going to hold up the bridge deck. Now this bridge deck itself, I've experimented with different sized lumbers. So that when the bridge ties are on and I've got some micro-engineering switch ties that I'm gonna lay on the inside here, everything's gonna be flush. All the dimensions came out, just messing around with wood. And again, copying the prototype photographs to get this side rail to look just like the rail that you see here in this picture on the prototype shot. So everything's laid out. The math should work. This should just set right into place on the diorama because we know that the diorama is very close topography-wise, as close as I can get it by measuring the height of each truss from the photographs. So that's where we're at right now. Now I'm just gonna lay deck ties all the way across the top of this glue them all down and we should have a really nice bridge top ready to go. I'm using my HONNMRA narrow gauge, HON3 gauge. I'm using the flange way section which has got a center point on it. I'm using that center point to find the center point on the bridge. Taking our small fine rail and I'm taping the rail down. You see all this blue tape holding it down at the center line so that what I'll have to do now is lay the next rail right next to it. Use my gauge, make sure the spacing's the same distance apart. And then we're going to take a drill and we're gonna drill the holes to make it easier to spike so we don't damage the head. And then after the holes are drilled I'm gonna go through and punch in spikes all the way around until I get both rails in place. And then I need to put the guard rails on the outside. Those are the wooden rails that hold everything from sliding on the top sides. Those rails will follow the entire 350 foot bridge on both sides. And then I also need to put in a guard rail on the outside of the actual narrow gauge track. The Rio Grande Southern put their guard rails on the outside unlike today's prototype that puts them on the inside. So therefore in case the train would derail it wouldn't completely, the theory was roll off the bridge. It would get caught up in those rails and keep guided into the centerline of the bridge rather than going to the side and falling down as many as many did. So at that point, once all those tasks are done we'll be able to test fit this onto our bridge and make sure all the math which I'm sure it will match. We'll match up to our topography. Okay, I haven't finished the bridge top yet but I took out the bridge off the piece of plywood just to do a test fitting on the diorama to make sure everything fit just right. To make sure that the highway overpass matched where the overpass and the road are. And I built my 1% grade into the trestle. It's gonna be four feet higher on this side than it is on the other side. I'm using a grade percentage of grade level here to double check my work and that is reading 1%. So now all I've gotta do is build all the trestle vents and the cement foundations to fit appropriately across and match the photographs exactly. And this thing should just simply fall together pretty much like a puzzle. So let's just see how this turns out. Now we're gonna talk about building the jig and that's the component that you use for putting the pieces of wood together in order to form your trestle and ensure that every one of your vents are exactly the same size. Again, I'm gonna rely heavily now on this video on the Rio Grande Story. And on this volume, this is volume three of the Rio Grande Southern Story. And inside these books, you're gonna find great dimensional materials on what to use, size of boards and what have you to build your trestle. And there's great plans in this book. Another great book that I found mallets on the Mendocino Coast and that's the Casper Lumber Company book. And inside of there, they've also included really nice drawings of trestles and the vents. And the reason that's important is, and I'm gonna get to that here in just a second, is that I used in fact this narrow-gauge gazette. And this is the issue from January and February of 1987. And it's got a Rio Grande Southern jig are bent drawn in it and the stories are correct for lightener trestle with the 16 foot and 20 foot for the second story. So what I wanted to do was build a jig using that photograph.  About 12 years ago, I built this large jig. And what this essentially was, was where I built one bent first and then I lined small pieces of wood on either side of that bent to ensure that I could build the same bent over and over. And then I used a staple gun and one inch staples and I went through the process of building the trestle in the backyard, which in large scale came out to be about five feet high and 20 feet long on a 10 foot radius curve. And I went along and I stapled it and put it together and fastened it over a period of, I want to say five days, it cost a hundred bucks to build it, 25 dollars in staples and fence pickets, just 75 dollars in fence pickets and we had a bridge for under a hundred bucks. So with that, which came out really nice, with that we're gonna use the same principle for in the HR scale, trestle. So here's the drawing out of the narrow gauge consent. And essentially what I did was I took that drawing and I laid on top of it a piece of plexiglass, okay. And the reason for that was, well, what I was gonna do is see through the plexiglass and with the paper attached to the backside of the plexiglass, I could lay out all my pieces of wood to build the very first bent, make sure everything matched exactly, no magic here. And then what I did was once I had the first trestle bent built, I took small pieces of plexiglass that I cut up in the table saw at the links and what I would do is I would glue the pieces of plexiglass on either side of each one of the 12 by 12 posts. And what that would do is form a jig after repetitively doing it to the entire thing that came out and looked like this where I could repetitively build vents over and over. Now I'm gonna take this wood out and show you kind of what it, how it went together and the way it looks. I drilled holes on the backside of it so I could push out the vents. Here's a small one that I'm building right now for a small trestle. Now midway through this project, and I didn't know it, I found out that Black Bear Construction Company in fact makes jigs that are ready to go for us on the market.  And this is a great way to get your sizes and dimensions so that you can get started on your trestle jig right away. And they make trestle jigs in a multitude of scales and various Rio Grande Southern trestles and regular Rio Grande Western GRDNW trestles. So it's a thought now that I may not have built a jig, I might have just went with the pre-built ones for this project. But at this point, that's how I went about building the jigs for the trestle.  And all you simply do is once you get the jig built, you're gonna lay our 12 by 12 sticks in the jig and build our first story, our first section right here. And the way this is designed is I can cut all my 45 degree, all my various angle cuts that match the pattern of the trestle by simply laying a ruler across the top and taking my saw and starting to cut right here along the cut lines that we've got predetermined by our pieces of plexiglass, the design, the jig. Now I'm gonna cut this section right here, perfectly square and these outside vents are getting cut at their appropriate angle. Very simple process. She's cut all the way through, blow out my parts and I can put in my top. And just like that, everything mats up tight. The angles are cut and now we've got our top section. Now I lay this bent across where the next cut or this ruler across where the next cut's gonna be. Keep my vents tight to the top. And I'll be able to cut right here where the bottom foundation's vent is gonna go. Now I'm cutting all four sticks of wood at the same time. The outside sticks are getting the angle cut on them. Two center sticks are being cut square completely by the jig and the saw. I cut all the way through here and we can lay our other piece in here where it's gonna go. I'll spin the jig around a little bit. And we can cut this bent to the size that we need. We've built our first story. That's this section right here. And then the build a second story, which take down to right here. If it were a half story, I've got the jig designed with the cross cut lines to do a half of a story. But in this case, I'm gonna do another full story down. This would be a full section. And I need to add two more stringers, two more right here, right here. Because the second story of our Rio Grande Southern Trestle has got the additional angled stringers here. So I've got a total of six, 12 by 12 posts.  So again, the jig is helping me to cut these pieces right here with the appropriate angles. Let me double check my work right here, make sure I'm doing that right. They are piece in here, already pre-cut. Everything's perfect so far. The jig is doing its job. Look how fast this is going. Just a few minutes to build an entire Trestle bent as opposed to the very first bent that I built that took almost an hour because we were hand laying those pieces of wood over the top of the drawing. Now I'm cutting six pieces of wood here. Four of them are getting their angles cut on them. The two center straight pieces are getting cut completely square. Just as easy as can be. Got our next piece of wood to cross right here. It lays right in the jig and I'm able to cut the sides off perfectly, lining it up and just cutting it. This jig saves time. Now these jigs you can buy commercially. You can buy them on the internet. Various sizes, various types of Trestles. Of the 167 miles of main line that the Rio Grande Southern had, they had 143 bridges and not one bridge was built exactly the same. Every bridge, every Trestle had different variants in it. I'm gonna cut this one right here and this will finish out the bottom of our Trestle bent. All six pieces of wood I'm gonna cut right here. And this is how the jig helps us. We could have never done this individually by hand this quickly. Getting this perfect here. Laying our bottom post. Essentially built to complete bent. In this case, it's exactly the height that I need to fit onto the diorama where it should fit. Just use the jig and lay your cross braces on like this, where they belong. And once everything's dry, just simply lift the whole Trestle section out of the jig and you're complete. The job is done. I'm using Elmer's exterior wood glue to glue this together. It's the strongest glue that I found of the interiors, exteriors, all the different brands. I tried the Gorilla glue on this and the best glue that I found that accepts the stain very readily is this Elmer's exterior glue. And you just simply take the parts and we're gonna use the jig to glue it together. I dip the parts in glue. Take out each part, dip them in glue. I'm also gonna use a dental tool to apply the glue. Just dipping it in a little bit of glue on top of this Woodlun Scenic Cement glue container. The lid works really well for that. Now for these ends, I'm gonna dip my dental tool in and just put a little bit of glue on each end of the stories. I want this to be as strong as I can. So I'm putting the glue on liberally and I can clean out the excess with a razor blade. The jig is holding everything in place while I glue it. So as it dries, we know that everything will be tight. I drop in this piece right here. The first story is now glued in the position. I start the same process again on the upper boards. I start just dipping them in glue and attaching them just like that. Everything's going in tight. Glue dries pretty nice. So it's not gonna be obtuse. You're not gonna see it. We can scrape off any excess with a razor blade. See, this is just going together like a kit. Things pre-cut, everything fits tight because of the way we design this. Again, I'm gonna use my dental tool and I'm gonna come back and apply some more glue to the end of the next second story bottom here. And it's just ditto. You can sit here and watch TV. One eye on the model, the other eye on the TV. This is kind of mindless labor after you get used to the repetition. It goes very quick and you don't need to pay total attention to it. You can do other things while you're doing this which kind of makes it enjoyable. Now that's glued in tight and we just simply glue the bottom ones now. Same one, dip them in the glue and everything goes together real nice. It's all six. I've got glue put in the bottom piece. Trussell gets glue top and bottom. We want this to be as strong as we can if this Trussell takes one hit the way it's designed with the sectional. It's gonna come apart as opposed to if this thing were just solid stringers like this all the way top to bottom with no breaks, it would be a much stronger design. The glue would be, I would trust it. So here we're gonna let this set now for about 20 minutes and then I've got holes on the back side of this so that after it sets up I take a needle or a pin or something or a nail and I can stick it through the holes and help have this whole thing come out nice and clean just a little bit at a time. I'm really happy with this. We'll just let this set up for about 20 minutes and every bent that I'm designing, I'm designing off the pictures in the book to make sure they're exactly the same height as in the photographs. And so far it's matching up with the topography with very little carving, additional carving to make sure everything fits. It's working out really well right now. Blacks, dark walnut, looks really good. When you go over it with a little bit of gray after it dries, it makes for just a perfect weathered wood tone trust effect look. Then after each piece of wood is stained, I wipe them dry, wipe them down to get off the excess. Each piece just like this. Gives a real nice, just like that. Now with the cross braces on the truss, it's easier, it adds strength. So now what I'm gonna do is I'm gonna take a needle and I'm gonna stick the needle underneath the main beams instead of using the push outs on the back and just simply lift this piece out of here so that I can lay it on a flat table surface and then attach the bottom. And what I'll do is I'll take dabs of glue and a dental pick and simply apply the glue to the bottom of each component. Dye braces, position them, wait 10 minutes and this will be dry and I'll put a cement foundation underneath this at the excess glue with my tool. Now I'm cutting the bent that's going to sit center right over the creek center. And so this bent will sit on top of stringers, joists that run across over the top of the creek. So this one's gotta be cut to an absolute specific length to fit underneath the track and on top of the joists and that's the cut that I'm making right now. After I've completed each bent, I have to represent the concrete foundation that the bent sit on top of and for that I'm using one eighth and in this case I'm using two one eighth pieces square put together. But usually what I've been doing is taking one eighth by one quarter inch stock and cutting that up. Some of the larger trestle bends at the very bottom of the creek bed have got almost two foot high sections of cement. So in that case I'm using a quarter inch by three eighths inch stock and that sets really nice for the cement foundations when it's all finished off. Paint it gray and then work it into the diorama into the scene. Okay, after spending about 48 hours building nothing but trestle bends, I have built all the trestle bends now that are necessary to do the lightener trestle project and I have test fit. I've placed every one of the bends in its location and all they're doing is simply setting there. They're not taped in, they're not glued in. The bridge top is simply sitting on top of the bends and holding them into place. And what I did was I used a hot foam cutter and I cut the final carving of each bend's placement. And then what I'll do is I'll remove the trestle and even flow out all the topography so that it matches. The only last thing that we've got to do is to build the center in this bridge. There's a center girder section where they put the highway right underneath the bridge back in the early 50s. And so what we're gonna do is build the girder section out of micro-engineering 30-foot girders, cut them up, make them fit to the bridge bottoms and everything should line up just right with the girders that go from the ground up to the supporting under section of the bridge. So using the prototype photographs, again heavily to model this part, I didn't bend, I'm sorry, I did not make one trestle bent and place it without referring to these photographs. Every single bent is just a little different even up to the cross bracing where they place them so that I can make sure that this model is completely as accurate as we can make it up to this point. Now the next thing that I've got to do and this is something very important and this is a decision that I've made midstream on the project and that is this. This diorama is made out of multiple sections, about eight pieces of foam, one, two, three, four, five, six, seven, eight pieces of foam up and down. It's pretty thick but at the center where the creek comes in, the foam is only four inches thick and I'm seriously concerned that when this diorama gets transported in its condition now, if I build the bridge now, what'll happen is as the diorama gets lifted up, you get movement, you get a half an inch of movement and that's not good, that'll flex, that'll torque the bridge. So the remedy, the cure for this is to wrap this diorama which will eventually be a modular section for a layout in oak. So I'm gonna take the sides and I'm gonna take a router and we're gonna router out grooves in the sides of the entire diorama. I'm gonna have to shave it down, make sure the foam has got a perfect radius curve to it and then I will put in the router groove that we make on the diorama, one by twos. I'll trim them down so that they're absolutely flush with the exterior smooth surface. Then I'll wrap oak plywood around by wetting the plywood first in water and then fitting the curved sections, the preformed wet and curved sections of plywood onto this diorama. Now I've got an 11 foot curve around this edge on the outside. So I'm gonna require one and a half sheets of plywood, probably 16 to 18 inches high and eight foot and a four foot section to be able to make that 11 foot wrap around curve. I'll stain the plywood black. I'll finish it with high gloss polyurethane, which will just allow the wood grains relief to be seen. You won't see any actual wood grain because the black, there will be no brown tones at all, we completely black with wood grain as if it's a piece of stereo equipment. So at that point, then we're gonna have, look at that the trussle pieces fell down there but we'll have a perfect surface to build our trussle on with no risk of flexing and destroying the bridge when we move the diorama. And that actually upon that finishing the road and finishing the top scenery, this thing will be finished. So let me work on the base, we'll get through that section and then we'll glue the trussle in place. Before I can put the plywood sides on, I had to make sure that the sides of the diorama were completely square. And what that means is that I ran the square all the way around and I cut off in some areas almost a half an inch. And then I took my Stanley planer and I smoothed it all out smooth and I did this all the way around the whole diorama so that when the wood goes on there, the wood's going up and down smooth and it's got a lot of surface for attachment. Okay, so everything's been routered out. You can see the router lines where I cut all the grooves for the small blocks of wood to fit into. And now I'm painting and I'm sealing everything so that I don't get any, so I can slow down the rate of foam shrinkage. By sealing everything, the glue won't interfere with the foam on the exterior when we wrap the wood around. So that's what I'm gonna do. I'm gonna finish painting this whole diorama all the way around with latex paint and let it dry for about two hours. Now I've got blocks of wood and they're all wet in a bowl and that's the magic of using this gorilla glue, this polyurethane glue. As it expands around the block in the groove, when I place the block into the diorama, it expands and dries and holds it solid. So here I'm spraying the routered out crevice. These are an inch and an eighth into the diorama. They fit right in there just like that. I put the glue on three sides you can also put a little bit on the end so that when they expand, the foam will ooze through in between and literally make it like one piece of wood which will then attach the plywood to its staples, pop, pop, pop, pop. And this will give us a great surface to hold everything tight rather than just gluing it to the foam and then hoping someday the wood doesn't, the curve doesn't come out and expand and come apart. This way it is just insured that it will stay tight on the diorama. What I'm doing now is I'm cleaning up the dry polyurethane glue and this is what it looks like when it oozes out which means that it's very strong inside there. It's filled all the cavities. This wood's not gonna move and it's gonna hold the plywood in a position real nice. Plywood's been wet. It's easy to curve now and I'm gonna spray it with water bottle and make it really wet. Apply some glue all over the inside after it's trimmed to the shape of the diorama. Just use the same gorilla glue to glue it into place. Now let's make this all wet and just put the piece of plywood, wrap it right around and staple it in place and put all of our staples, make sure they end up right where they belong and it's in the stiff wood that we put in the diorama.  Take a bead trimmer and trim off the excess after we're finished. It's really important to leave an extra amount right where the water is gonna go because we're gonna fill this creek with envirotex and I wanna have a lip on the plywood to hold that like a dam. So that's all we're gonna do is draw this line all the way around, all the way around here. I make everything wet and now I'm going to put a lot of gorilla glue on this and then use a staple gun to staple staples right into the wood. So this will be attached with glue and with staples. So it's not gonna move. I'm pretty positive this is not gonna move. Just like this. I'm using Minwax Ebony Stain and I took two bottles of HO scale floquel black paint and I used a lacquer based paint. I didn't use water based paint and I mixed it in so that the Ebony would have more of a black blackish tone to it so that the wood grain would completely just be blackened. Now I have to put a second coat on this when it dries. And this is how nice it looks once you get the black stain, two coats of black stain put on the diorama. It gives a very professional finish and now we'll put some coats, about three coats of polyurethane on this and I'm gonna sand between the second and third coat to make it glass smooth and that'll finish off the outside frame of the diorama. There's gonna be no more flexing on this model. So when we build the bridge, everything's gonna be tight and nothing's gonna get broken when the diorama gets moved. So now we've got a great base to build a beautiful scene on top of. I built Highway 160 that takes you on to Hesperus, Colorado and I built this highway using premixed concrete patch mix and what I did was I put down wooden pieces of wood on each side to create forms and then I took out the patching mix and I worked it in real carefully into the forms between the two, just working and blotting and tapping in the cement and then using a water bottle, a spray bottle and water, I take a trowel and I can smooth over the top of the cement giving you that road. Sometimes it's necessary to do two coats because the first coat shrinks just a little bit and you need a little more top coat on that in order to make it perfect. Then what I did in order to give the road color, I came through with some India ink and I liberally brushed on two coats of India ink on top of the cement that's soaked into the cement that gave me just that right color of black top that I wanted for the road. Now the first step with the scenery, now that the sides are done, is to spread the dirt and I use a screen to diffuse the dirt so I can even spread on the scene. And then we'll go over this with rocks. I've got Creek Rock that I've sifted and it's flint and it's got that granite color to it. And we had the vegetation, we had the rock. This'll have the characteristics of the Western Colorado type scenery. It's just like painting, painting with dirt. It's just like we're painting a scene with dirt. Now I'm referring heavily again on the photographs and I'm creating the rock bank on each side of the road, the shoulder on the road. Right now I'm using a lot of limestone, a little flint. It's got a lot of rust in it, a lot of iron in the stone so it gives you that granite looking effect but it's still gonna have that light that the sun plays off of it when it goes outside. So this is gonna look very accurate. I'm taking this piece of foam and I'm just running it along the edge and giving me a nice shoulder so when we spray this with glue we'll have a nice level shoulder on the side of the road. Just like that. Not very much green, this is pretty sparse. They still got a lot of rain there but I'm using Woodland Scenic Scenic Cement to glue everything in place. This is permanent, whatever you get it on it doesn't come off of so I'm prepared with wet rags to wipe the sides down. We've got 16 ounces of material here, two bottles on this. It's not a very big diorama. Now that all the scenery has been glued everything is drying right now I didn't do the final scenery where the trestle's gonna go. I'm gonna put the bents in place where they belong. They should fit just right without any carving right now. I'll put the bents in place and when all the bents are glued in place then I'll go back and I'll finish the gravel work on the shoulder work, the various areas where the trestle comes in where I just didn't wanna put down a lot of dirt yet because I didn't wanna mess up the fit that I've already got pre-carved out. So I'll take all these bents now and I'll start putting them all the way across on the trestle. A lot of today's work's gonna be putting on the cross braces between the bents. It's gonna take hours to do that. After that the last thing to do would be to finish the highway girders and come through and finalize the scenery like I said, come down more dirt, just a little more, just to finalize individual weeds. So that's what I'm gonna do now. I'm gonna install this trestle. It's time to do that. Perfectly in a position here. Every one of them is dropping right in a position and I haven't had to shaving to topography at all, just a little liquid nail underneath and wood glue on top. As you can see, this bridge is just dropping together. Everything's on center, everything's lining up really nice. That's just about gonna ramp this up, just a couple more bents, three more bents and I've got this thing all the way across, set up now in a position where it's starting to look like a bridge. I'm cutting and measuring each individual board that goes in place on the trestle and then I'm notching out the bottom corners, the bottom into squares so that the boards fit, notched, they'll settle down halfway into the 12 by 12. So by cutting off this notch, on the end of the piece of wood here, you can see how it works really well. Now this goes slow, one piece at a time. There's nothing fast about this, but I've worked my way all the way across so far. I've got all of these boards in and they're looking identical to the photographs in the books. I'm not doing anything again without following the photographs exactly the way these cross braces go across. And so far it's looking pretty okay. For the center spans here, I simply took larger pieces of wood, dimensional lumber, I'll put it in the text what size this is and I'm cutting them exactly to size so they fit in between the bents just like that and it looks really good. And then after that gets done, then this piece will fit right inside here perfectly and set right in place once it's glued. And that'll be just perfect for that section right there in the middle, right over where the creek goes underneath the bridge. So there's nothing fast about this, it's tedious one board at a time, there's no magic to it, you just gotta get through it and work your way all the way across your trestle, just like I'm doing on this one here right now. So I'll have this thing wrapped up probably in about six more hours, best guess right now. About six more hours and should be done. Okay, it's taken a little bit more than six hours, I'm actually a couple of days later here, but I've managed to work all the cross braces now, these running boards all the way across three and three and I'm continuing to cut and notch out new boards to put in over here. I've got the sections for the girders cut and the right length to be placed underneath. And I've gotta tell you, the road could be just a little off-center on this. And if it is, I'm gonna rip up this road, which is no big deal, re-pour the concrete, spend an extra two days getting it perfect. Not sure how that's gonna work out, I'm checking the measurements, actually I've got a good idea that it could be off by about a quarter of an inch. Not really that important to most folks, but on this model, I want it to look right.  What's really cool right now is I wired up the track and I've got our first passenger revenue run about the run across the bridge, just because I couldn't stand not being able to watch a train run across this after all the time we've spent working on it. So it works, it's not finished yet. Working on the girder section and finishing off a few more cross braces on the bridge. Additionally, you're gonna start putting bolts across the top and you also drill four holes every 16 foot on center and put bolts on the side. That's something I'm really not in a hurry to do, but I will complete that task at some point on this process also. Here's another important process that I haven't explained and this is rather unorthodox. This is not something that you can read into an article. I had to put all the nut and bolt castings onto the side of the deck. And rather than drill holes on the existing bridge, I was able to do this at the work bench. Now let me walk you through the process of what I essentially did. All right, what I did was I took our existing deck and I laminated it with two additional pieces of wood of the same size. By doing that, I was able to cut each individual board one at a time and then sand them, make sure they fit precisely and centered over each truss. So in the event that your math didn't work and things didn't match up, this is a great way to cover up your mistakes. But after everything's been sanded and perfectly fit, I was able to take these pieces to the work bench, drill holes in them, and then take a little bit of white glue, dip it on the ends of the grant line, castings, the bolts and nut washers and then apply them to the boards. And then once every one of them's been cut, then I'm to the process of where I am now, where I'm gonna start gluing these on all the way across. And it gives me the perfect width of my deck where the overhang of the ties is exactly the way we want it to be. It looks prototypically accurate and matches the photographs. So rather than again drilling all the holes into the bridge on the side part, which would have been very difficult to do without breaking drill bits, take it to the work bench, laminate the sides just like I did on this project. And so far it's coming out just right. Now in order to build the center steel section, I'm relying real heavily on the photographs and the Rio Grande Southern stories, books nine and books 10. And this is simply a project of following the photographs and making everything match. So I'm simply taking evergreen styrene, 14 inch square I-beams, which is the best I can measure. That's what these are in the book. And I am building the, actually these might be 13 and a half, but I'm building the structure piece by piece. That's all you gotta do is simply build it piece by piece. If you're building a prototype model like I'm doing, you just follow the photographs religiously and put the pieces in place. And in order to make these, I took micro-engineering girder sections. I painted them. I actually squared them off at an angle so that they were all adjacent to each other at just a bit of an angle. And then I painted them silver. I trimmed them. I made sure everything fit just right. And then I started painting the uprights and then putting those into place. So a lot of different parts are getting painted silver right now and putting into place. And I'm using a combination of super glue and goo to glue these pieces in place. The goo is actually great because on super glue, the kicker usually affects silver paint and doesn't make it look so nice. So the goo holds up really well if you're very, don't use a lot of it. It works great and it sets up fast. Okay, it's about six hours later and I've got all the cross braces, all the girders, everything in place now, the way it's supposed to be. And I'm gonna have to paint this in place. So what I'm gonna do is mask everything all the way around, pull out the airbrush and very carefully spray this with a silver coat just to paint all the things that haven't been painted yet because it was built in place. Right now it's looking pretty good. Okay, I've essentially got the bridge done and now I'm just finishing up the earth around the bottom of the bridge, the ballast line along the track.  I've got a bucket full of water here with a wet rag and it's like wipe down the sides in the event that I get glue on the sides. The last couple of things that I do know I need to do on this after this glue dries tonight other than pouring the creek with some resin. I need to run along the whole tops of the trestle and put in four bolts for each one of these 12 foot boards across the tops. There's a lot of bolts that need to be put in. There's no rush on that.  The other thing that I need to do and it's gonna look really dramatic. It'll really add some neat look to this is the Rio Grande Southern had galvanized tin that they put on top of each one of the trestle vents. And I'm gonna use aluminum foil for that. Turn it on its dull side with the dull side shine up. And that should, I've already experimented. That should look pretty good. I'll cut small pieces all exactly the same size and then wrap the tin around the tops of each one of these vents. And it should look pretty darn good. So now I'm gonna start gluing this last bit and get it all finished here. The whole trestle can have glue on it. It's not gonna hurt the wood. It's not gonna hurt the stain. And it'll dry completely clear. So there's not gonna be any issue. If anything else, it'll soak in and make it stronger. I do take the q-tips and I wipe some of the heavy white off the top of the trestle where it shows because that may dry white. And I don't want that to show up at all. Hasn't been really a problem. I'm putting it on very light so I don't blow the ground form away. And I'm getting good soaking of glue on everything so that this is gonna be bullet proof. Now in order to shoot the snow scene that I've got to shoot the Robert Richardson photograph, I'm gonna have to cover all of this beautiful scenery up with plaster to create the snow effect. And then what I'm gonna do is I'm gonna take a garden hose when the shoot's done and I'm gonna hose off this whole diorama. You gotta figure it was wet when we built it. It's sealed with woodland scenic cement. It's not gonna hurt the wood. And that's the only effective way to get all of the plaster off after a photo shoot. It should look pretty darn good. So let's let me soak everything real good here with glue. And this diorama will dry for about 48 hours and she'll be ready to shoot. I've still also gotta build the mountains that are gonna go in the background behind the photograph, matching the mountains perfectly. I'll set the camera right up in here into position and trace those mountains onto a piece of foam, carve them out, color them correctly and they'll be the background scenery that belongs in the shot from the camera angle that I'm shooting. So that's pretty much it for now. Let's see how this progresses. This is almost a completed diorama. Now that the bridge is done, it's time to pour our resin for the water. And what I'm gonna do is I'm gonna put the resin on the scale and I'm gonna turn it on and I'm gonna pour the resin part A, part B into the cup, weigh it out. So it's exactly the same. I built the clay dam on the edge here of the diorama that covers the top of the plywood so no resin's gonna get on the plywood. And this is gonna be a very low water, low running creek. So it'll be very easy to work this out and pour this next. Really easy, I'm gonna let it feather out to the sides, paint brush and work it underneath the bridge. This is just resin pouring 101. There's no magic to this. Follow the directions on the package. And the results are always good with this. Use a torch to get the air bubbles out midway through the project and don't burn the bridge down.  Now you just touch the flame, just let it lick the top of the water and it takes the air bubbles right out. Really quick, it's not the fire that does it, it's the gas from the fire that destroys the bubbles. I don't know how it works, it's magic. Boom, they're all gone. They'll come back, I'll do this again a second application and notice the bridge isn't on fire and that's a good thing. You don't want to super heat it too warm because once this gets to 125 to 130 degrees it'll start cooking all by itself and it'll literally get hot and start bubbling and work its way out. I've seen it do it on larger river surfaces where it starts out as two inches and it works its way out to 10 inches of super heated resin. It starts bubbling and fuming and you need to get that out of the house because it's probably not good to breathe. But at this point we're good. I'll do one more application with the torch and the water's gonna be done.  We'll figure the direction of the flow of the water which I know is this way and we'll make the appropriate bubbles and suds and the white effect on top of the water to give the effect of running water. The mountains on the bridge scene, I traced the outline of the mountains exactly the way they are in the photograph so that when this diorama is placed up over in front of this kind of scene, this outline of the mountain ranges matches the prototype exactly so that we'll have a good background match. Now it's a snow scene so after I've got the darkened paint color here I'm gonna go over this with some white and just put an outlight of white on this and allow the dark to show through so that it'll give the Apache snow effect that you get in the background on the mountain scene and this will match the photograph to the background so all I've got to really worry about now is creating the effect of cottony snow getting plowed off the trestle. If I pull that off, the whole shot's just gonna fall together and we're gonna get the photograph that we want copying the Bob Richardson's famous photograph of 464 running across Lightner trestle pulling the automotive loads back in 1952 in the early 50s so that's the whole goal of the whole job really that's why we built the whole trestle was for this photograph and we're gonna get there now, we're almost there. And this is where it all comes down, it's photo shoot days, weeks and weeks of working on this bridge and now it's time to cover the whole thing up with blaster to recreate the Richard Robertson shoot that we're about to do. All the building comes down to this very moment right now so let's see how this goes. It's coming out absolutely just right, everything's lining up, the shadows look good, camera angle's good, and there's no wind right now. So everything's just perfect and I know we got the shot. I know just like that we got the shot, little photo shot that she's done and that's how after two hours or two hours of shooting and eight weeks of building this thing, it's finished. So at that point that's all there is, I hope you enjoyed this videotape, thank you very much. Here we are at shoot day, this is a moment where it all comes down to all those months worth of work now get compiled into this very moment. Now we're reproducing the famous Robert Richardon photograph and let me show you how it's laying out. I got cotton that I'm gonna blur out in Photoshop. Here's a shot just the way we want it set up. That's the snow shot. So now that we're done with this, it's time to clean this plaster off of this thing.  You gotta figure when we built this diorama we used water to build the entire thing. Everything's sealed, the only way to get this plaster off is to save you about an hour's worth of vacuuming. Now she's just gonna dry, everything's been sealed, the deck is sealed, this is not going to absorb water. This diorama is just fine, it's like being born all over again, just take it back in and she's done. And as you can see the trestle survived its bath. Everything worked out just great and let me show you now, this is what the final photograph looked like. You can see the snow is being plowed by locomotive 464 as it pushes the auto loads across the trestle. It's dusting, it's just falling around the girder section. Everything matches, the sun shadows matches. I think we've pretty much captured the Robert Richardson shot in this photograph and Blackstone models is gonna have a really nice Christmas card for the year 2014. To conclude this video I'm gonna follow up with the research material that I used in order to build Lightner trestle. I relied heavily on Real Grand Southerner this volume nine and 10, the Real Grand Southerner story from Sundance Books. You can find those, there's a 12 volume set of those and you can find those available on eBay or check the Sundance website, they still have copies of various volumes available. A set like that can set you back almost $1,000 but it's worth the research material because it's invaluable, the drawings, everything for the entire Real Grand Southerner and Railroad is in that book. Also, a lot of material I used came from other books. Trails along the Columbine, there's 10 volumes of that set of books. Robert Richardson did a three set volumes of books, Chasing the Narrow Gauge and volumes one and two cover the Denver and Real Grand Railroad and volume three, I use that volume heavily on this as well because that covers the Real Grand Southern and there's some beautiful shots in that book as well on Lightner trestle. So with that, you there's also a follow up article as you can see in Kevin E. Daley's White River Publications, they bought the HON30 annual edited by Chris Lane and in that, not 2014 issue that's coming out, there will be a follow up to the video and to the project of Building Lightner Trestle and photographing it to get the final shot. So there's about 40 photographs in there, how to pictures and text that explain in great detail just like you saw in this video, how to go about building this bridge. So look for that. And with that, I wanna say thank you for watching. That concludes this video on Building Lightner Trestle. Thank you very much. For this segment of What's Neat, I've got Doug Blaine all the way from beautiful Philadelphia, Pennsylvania and being that this is the show that's running up to December 15th, this is considered our Christmas show. And with that Doug, I understand that we're gonna talk about a lot of wonderful Christmas offerings for the viewers out there. We are indeed. Good to be with you again Ken. Yes, for Christmas at Bachman, our saying is that your decorating is not done until there's a train under the tree. So whether it's under the tree, on a tabletop, in a spare room, what have you, we have the train for you. So without further ado, please consider what we're gonna show you for yourself, for as a gift. Always remember it's great to get somebody started in model railroading. So I'm gonna be doing a lot of reaching and grabbing for train sets, what have you. So excuse me if my backs are off screen for a little bit, but here's our first offering. This is a standard in our line. This is the Night Before Christmas large scale train set.  Nice. This is fabulous for under the tree. And just a great presence, a great size. It's got the 460 steam locomotive and tender operating headlight, battery operated steam, chuffed, speed synchronized, cold load. And it's got a hopper can put presence in it to run them around the tree and a classic caboose. That's absolutely beautiful. That's what we're gonna start with for under the tree. Of course, any of this works for under the tree. And I'm gonna be jumping back and forth a little bit between train sets and separate sale. But to continue in the large scale vein here, here is our large scale. This is a separate sale locomotive, also a 460. And there we go. That is beautiful. Same features as the one in the sets, except this one in separate sale has all metal valve gear and side rods. It's got metal gears as well. Nice. So it's just an impressive looking locomotive. Great size, takes the knocks. The animals can paw at it and you'll be fine. All right, let's see. So we're gonna move to 0 and 30 now, O scale narrow gauge. I've got a couple of sets to show you there. This one is our Norman Rockwell set. Beautiful. This is a complete ready to run train set. Train, track, power pack. Norman Rockwell, great Norman Rockwell graphics on it. Let's see what's under here. Nice. This has the nickel silver rail with gray roadbed. And about a, let's see, about a three by five track layout. Operating headlight, what have you. Great graphics for Norman Rockwell. Classic Christmas scenes. I can vouch for that one. We've got that one here in the studio. I should have brought it down and put it on the table. Also an 0 and 30 is this is a reversing trolley set. Okay. So this is a point to point system. The street car goes back and forth. You can control the speed. It has a variable stop sign or a stop time rather. And a great engine house to go back into when you're all done for the evening. So, but because this is point to point, it works on a mantle. Yes. So it gives you another option for a train and a space that you wouldn't normally think you could run a train and enjoy some Christmas scenery. Also great for Christmas buildings. The ceramic building sets like department 56. That last set was electric. This one I'm showing you right now is another Norman Rockwell set. This is also a street car set, but this one is battery operated. Very beautiful. And I know who did that photography. Gee, I wonder who that might have been, Mr. Ken Patterson. And you're right. It is beautiful photography. Thank you. So again, battery operated point to point system. So moving on to more HO scale or more sets. These are HO scale. This is our Jingle Bell Express. This has been in line for a while. Great colors, it looks like Christmas. It does. And anyone would be excited to find that under the tree for a present. Yes. All right. And then I'm gonna show you a new set. It's not in just yet. It should be in by the end of this month. This is our another Norman Rockwell set. Nice. Here we go. So that'll be in stock by mid November for sure. Should be the end of this month or definitely by mid November. Right, that's when this video will be coming out. Oh, perfect. Timing is excellent. So again, classic Rockwell illustrations on that set. And then also we would be remiss with not showing our HO scale Thomas set. This is Thomas Slea. Or Thomas Slea, yeah, Santa Slea. And this has a custom Thomas Slea on it. And Thomas with a snow plow. Of course, with our Thomas sets, the HO scale, the eyes move back and forth as it goes down the track. So that's some great animation for the kids. And just a nice fun set as well. And a break fan on the back. Nice dog. That's beautiful. Thank you. All right. Now we have some end scale sets. This is called the spirit of Christmas. This is a passenger set. Okay. There we go there. Nice passenger set with a steam locomotive. Great for smaller spaces, of course, table tops. And then we have a freight set. Also with a steam locomotive. Again, great for the smaller spaces. I don't have to tell you that for end scale. Right. But for decorating opportunities, it just expands if you want to use this strictly as a decoration and not as a full modeled railroad. You've got all the bases covered in all the scales. Absolutely. I'd also like to share with you Ken, our line of separate sale products in all scales as well. So one of our first item, going back to large scale, I'm gonna work my way down then. I already showed you the 460 locomotive. This one is in our fun egg liner offerings. And this is obviously the Christmas egg liner. It's got a nice Santa sleigh on the top with a merry Christmas greeting. Nice. You just have operating flashing headlights and marker lights as well. So from large scale, we have the same in O gauge three rail. Okay. There we go. Same top. Nice. Operating headlights and marker lights. And then also in O gauge three rail is this utility vehicle. With a headlight and it's got a flashing roof light which with a familiar red nose there. That's a beautiful little speeder. I love it. Yeah. Nice and fine. All right. Then from O gauge three rail will go to O and 30. Of course, two rail as well. We have our 260 locomotive. This is not the exact one we have for separate sale. I apologize, but it's similar. To see the exact one, please do check out our website, bachmentrains.com. Don't forget to double end in Bachman. Trains is plural and they're, oops, sorry. That's beautiful, man. We put one of those in the cover of mainline modeler in the very late 90s, early 2000s when you first came out with the Christmas set and I weathered that thing up and it looks so realistic and so beautiful. It doesn't look like a Christmas locomotive. It just looks like a very beautiful painted locomotive. Excellent. Yes, that's always one of my favorite locomotives. I think it's, it is a beauty. All right, and then let's see we have, these are some street cars, again, in O and 30. Okay. This is these greetings. It's got the trolley pole that comes up, spring loaded. And then new for this year, we have a Merry Christmas version. Very nice. Also with the trolley pole, lighted interior, also headlamps as well. So that's available separately. Moving to HO scale, we have our O6O locomotive. There we go. Nice colors, this is standard line, operating headlight with the bandy tender. Nice. All right, slopeback tender. All right, again in HO scale, we have another piece of motive power. This is a classic in our line, it's been around forever, our gandy dancer. Yes. So the pumping action for both Santa and an elf can get that zipping around the track, kids love that one. We have two, we have a box car and a stock car. This is our Claus candy cane company car. It's got the operating door, of course. So you can add that onto a set, add it onto the separate sale locomotive. We have a stock car in HO scale. This one is in our, most of these pieces that I'm showing you are in our, have our North Pole and Southern logo, which is our trademark Christmas railroad name. Nice. I have the reindeer popping in and out of the doors. The windows as it goes around the track, that's nice fun action. And lastly, last but not least, is our end scale separate sale locomotive right there. Terry, very nice, Doug. I'm so impressed at the amount of various models that you have to help our modelers out there, our viewers share the joy of Christmas. That's our goal. And as I mentioned, we didn't show everything. There are some things, everything I showed you is in stock or will be in stock by the time the show airs. There are additional items that will be coming into stock. So again, please do check our website at BachmanTrains.com. Share your enthusiasm, share the spirit of Christmas with these great railroading offerings. And we hope you will enjoy them. Absolutely so true. I wanna thank Lombard Hobbies out of Lombard, Illinois for helping us support this show and all the items that you have seen you can order through Lombard Hobbies. Doug, thank you very much. Fantastic presentation. A pleasure indeed, Ken. All right, buddy. Thank you for, thank you. Let me wish you and yours a very merry Christmas, Doug. And to you, and to yours, and to everyone watching. Thank you. That is awesome. And that it concludes this segment for What's Neat. All the products seen on this episode of What's Neat are available from Lombard Hobbies in Lombard, Illinois or order online at LombardHobbies.com. Bachman Trains. Now that's the way to run a railroad. Check out their website at BachmanTrains.com.


Well, welcome back. It is the last lap on our Democracy Day special. Yes, as we celebrate what's Nigerians in Nigeria and outside Nigeria. Yes, I mean Nigerians outside Nigeria have been getting messages from those who leave outside Nigeria. Don't forget, be part of the conversation on social media. We're on Instagram. We're on YouTube. We're on Facebook. And of course you can send us a WhatsApp message. The numbers are on your screen. Let me just quickly read some of the messages that we have got quickly before we go on to the protests that have been taking place across the country. Here, this person is Adebola from Lega Says. Women become political leaders, elected policy makers or civil society activists. Why does the world need more women involved in all aspects of the political process? Women's political participation results in tangible gains for democracy, including greater responsiveness to citizens' need, increased co-operation across party and ethnic lines, and a more sustainable future. Women should rightly have a choice in politics. Adebola puts it succinctly. Quite interesting. We saw quite more messages when we were talking about other issues we discussed earlier. Yes, of course. This one says there should be severe punishment for every political appointee derailing from his duties in office be it a youth, woman, etc. It should be added to our constitution. I think he was responding to the rule of law. And then finally, I think it's a she, she says, because when you know that there are rules and punishments awaiting you when you misbehave, then you will comply. Do we adopt the China policy in this regard? Interesting. You remember that conversation that if we could adopt China policy by banning Twitter, let's also use it for political leaders who are corrupt. Let's get them gulliteen. Chicken is good for the hen. Exactly. Okay, but it's been quite interesting. But you know what? Something unfortunate has been happening. I use the word unfortunate because we thought we shouldn't be stifled. People shouldn't be stopped from expressing their fundamental human rights. On such a day like this, we call democracy day. And people are being arrested for protesting. And you know the argument has always been that do you need police permit? And there is a court judgment that says all you need is to inform the police. Cairdi, I'm sorry. We do not need a court judgment. Our constitution clearly states in black and white. You know the court rested on the constitution. The court made up renownment based on the constitution. The constitutional court on this matter. It is our right. We have a right. If we are really having a democracy, we're operating a democratic system of governance, that is our only tool to demand for the dividends of that same democracy that we tout out. If you want to look at it holistically, if you look at the whole idea, if you want to protest and say that we call it a democracy day and we are not having a sense of democracy, that protest is very germane. But I think some people went too far in their demands. They are saying, Bwari must go. Bwari should do this. Excuse me. What I mean is, what I mean is, as much as they have the right to do that, what the judgment says is that inform the police. The police said they were not informed. I'm not speaking for the police now. If police says you've not informed us, the reason for that, it should be understood. The reason for that is, when you inform the police, they can control if there is any nuisance value to people who are moving post peacefully on the road. They can guide them. They can even protect the protesters. However, the fear is the police are not even making an attempt to protect the protesters, but they are harassing the protesters. Baba, you have answered the question. You asked it and you answered it. No, no, no. I'm saying there should be a check. We shouldn't just leave the streets for the protesters. I will tell you on my way to the studio this morning. There were policemen at the lekyto, and they were obviously there pre-empting this protest. So did we have pressmen also as early as 8am. The police officers know that their duty, their number one duty, is to protect. We do not need to inform the police on their responsibilities as police officers, law enforcement. Now the problem with Nigeria is that this same police would tell you that they are not aware. They have heard. They have seen stories. They have seen the news. These young people on the news granting press briefings. And they are still telling you that they have no idea that there's going to be a protest. Maria. But then you say, hold on, hold on. You are in an office. You are in an office. I will tell you that you are not informed me if you don't write to me. Hold on. I do not walk in that office. I do not walk with the police. I am a citizen of this country. Exactly. I have every right to protest peacefully on the line of the word. Now when it becomes violent is when those peaceful protesters are obstructed or arrested. Remember what happened a few months ago? Remember what happened a few weeks, a few months ago when people attempted again to protest because of the judicial committee that was put together for the leki talk. They were arrested. People were just walking by. Completely wrong. The reason why peaceful protests become very violent, if people want to protest, let them, watch them. They protest quietly, they move and they will be tired. They will go home but have they sent the message across? Yes. Why try to obstruct them if you have no skeletons in your cupboard? Agree. Just listen and listen again. The point is whatever the situation is, you just write to them. I listened to Femifalan a few hours ago before we started this program and he said that police agreed that police should be informed, not seeking their permission. He wasn't sure whether the protesters wrote to the police. That's the point I'm making, that let's just write to them. That is even a good way to tell them that, excuse me, don't stop us from protesting. Don't stop us from doing what we want to do. You need to tell the police the movement you're going to take. Mary Ann, there could be some miscreants among them. There are miscreants everywhere. There are opportunities everywhere. Innocent women who are working on the roads. I mean, look at what's happening with the insecurity in the country. There are people who are taking advantage of the fact that the country isn't secure. To stalk the fire, this is where again the police comes in. We intel doing their job as they should and not trying to play a script. That was sent from some place. Anyway, quickly, Sheriff has urged the federal government to immediately release all protesters. Sheriff says protests is legal and that it plans to fight to keep it that way. Exactly. There is no two way about it. It is democracy. We must allow the office of the citizens to have a say. Protesters in New York state are not being arrested by the police. That must be coming from the police. The governor of your state, Shea Imakide, was on the street. Interesting. Protesters making way for him. Let's hope this is not just a political move, but whichever way it is, it's duty to join the protesters. We as Nigerians deserve a right to call our governors, our House of Rep members, our president to the table and say, sir, we gave you the opportunity to lead us. But then we think that you have to rail. You have to be accountable to us. Please give us your blueprint of where you're taking us to. And if we think that you're not going the right direction, sir, please can we reroute? It's not a problem. Well, I want to thank everybody for being part of this conversation. Don't forget, you can follow us on all our social platforms, on Instagram, on Facebook, on our YouTube. It's plus TV Africa and of course plus TV Africa lifestyle. Enjoy all of our programs. Give us feedback on our shows. Give us feedback on channel 408 DSTV for those who are watching us online. Enjoy the rest of our programs. It's been a pleasure. Enjoy your American Sea Day. And let's hope that Nigeria will be great. I am Mariana Cohn. And of course I am Kayo de Lade, and it's been a wonderful time. See you next time. Have a good afternoon.


The next time you want to represent the content of a table in a chart, try the following shortcut. Select the cells you want to convert, then press Ctrl plus Q. A menu is opened with different options. Let's click on the Chart option. Here you can try the different chart options available. For this example, I choose this chart and that's it. In just a second, you will see a representation of your content in a chart. Keep our creative juices flowing by buying us a cup of coffee. Thank you. If you forgot to include some data, select it, then press Ctrl plus C to copy it. Then Ctrl plus V to paste it in the chart already created and that's it. The information has been added. Are you enjoying these short but effective tips? Select this video and subscribe to our Burn to Learn channel.


Good health to all from Rexall. It's the Phil Harris Alice Bay show presented by the makers of Rexall drug products and 10,000 independent Rexall family drug. Good evening. This is your Rexall family drugist with a welcome from all 10,000 of us. The 10,000 independent drugists who have added the word Rexall to our own store names. You can always tell us for the orange and blue Rexall sign on our windows, but we're better known because we carry the 2,000 or more drug products made with the Rexall drug company. Many of these products are household names, like Rexall pure test aspirin for instance. Millions of users know that by laboratory test, Rexall pure test aspirin disintegrates completely faster than any other leading brand tested. And quality like that is what we family drugists are talking about when we tell you, you can depend on any drug product that bears the name Rexall. Good health to all from Rexall. Now your Rexall family drugist brings you the Phil Harris Alice Bay show written by Ray Singer and Dick Chevrolet with Elliot Lewis, Walter Tetley, Robert North, Janine Roos, and Whitfield. Walter Sharp and his music, yours truly Bill Foreman and starring Alice Bay and Phil Harris. Phil was unprepared for his opening program and Mr. Scott the sponsor was so furious he's insisted that from now on Phil keep regular office hours. He's assigned him an office in the Rexall building and this is to be Phil's first day there. Alice I don't like this. Do you realize I'll have to get up at 7.30 every morning like this to get to the office at 9? Oh it won't hurt you to keep regular hours. I keep regular hours now. Every night I go to bed at 4 o'clock in the morning and get up promptly at 3 in the afternoon. Musicians do till 4 o'clock in the morning. We're making a patchwork quilt. Look honey, Scotty can't tie me down to an office routine. I ain't gonna come in at a certain time, leave at a certain time, and eat at a certain time. He can't treat me like a machine. What does he think I am? An auto-tartanmanon?   It'll ruin my health. Imagine getting to the office at 9 o'clock and working hard all day. Why can you imagine what will happen by the time the cocktail hour comes around? I'll be too weak to lift my buttermilk. Bad enough working in an office, but happen to get up at that time. She's going to be gone all day. Who's going to give us our music appreciation lessons? Well I'll get somebody to fill in for me. I'll get Toscanini or Dean's Taylor or one of them cats. Sure, I've been a musician for many years and I'm imparting to them all of the musical knowledge I've acquired. Now that you could do in a one fifteen minute lesson. I'll be a wise wise. Wait, did you see Fallen Angel? I'll show you.  There you are. That rendition of the scale. What happened to the rest of it? Is there more? Music is her daddy been teaching you. All kinds of songs. Ghost writers in the sky look at me and he's going to teach us the alphabet song as soon as he learns it.  He knows the tune. It's the alphabet that's slowing him down. What presents? Well, we all bought you something for your first day at the office. I bought you this briefcase. Willie bought you a green eye shade. I got you this lovely celluloid collar with matching cuff. Oh, how utterly chic. Oh, I thought it was kind of cute of mom to buy you that celluloid collar and cuff. Yeah, yeah, very funny. Oh, that mother of yours. She's a clip. She's quite a comedian. Yeah, I remember when she was a straight man. Look honey, do I have to go down to the office? Why can't I? I'll get there. If the musician junior never finds out I'm getting up during the day, they'll drum me out of the core. Yes, mister, what can I do for you? I'd like to see Mr. Harris. I'm Mr. Harris. You're Mr... Curly, I'm Frankie. No kidding. Yeah, we've been playing together for 20 years. This is the first time we've seen each other in broad daylight. I hate to say this, Curly, but you don't look very appetizing at this early hour.  What are you doing up so early? Wait a minute. What are you hiding behind your back? Present for you? Something you can use at the office. For me? Oh, gee whiz, Frankie, I hold it. Is it a celluloid collar or a green eye shape? Curly, please. You know I wouldn't buy anything as ridiculous as that. Well, I'm sorry Frankie, I'm a little bit bothered. I should have known better. What did you buy me, pal? A lunch pail. You ain't carrying no lunch pail. But it's a roomy one. See, you put your peanut butter sandwich here, your hard-boiled egg here, and your orange over here. Suppose I want to take a banana instead of a banana. It won't fit unless you can find a round banana. Oh, dead-carrying a round banana. It's got a beautiful vacuum bottle in it. Will you forget it? Now just forget it. Holds a fifth of milk. I don't care for that. It's Alice. Is that who it is? Well, Curly, she don't look much better than we do in the morning. But Alice is beautiful.  Gee, Alice, if you've got to put your hair up in curlers at night, why do you wear those old things? Why don't you wear the new ones you got? I'd like to, but you always get to bed first and beat me to them. No, I'm not. Goodbye, honey. Wait a minute. Aren't you going to drive me down? Don't you want to see my new office? Oh, I don't have time. Neither have I, but I got it. Now, come on, honey. Drive us down, will you? Us? Yes. You and me. If I got to suffer, you're going to suffer with me, Remly. Just call me Les Miserable. All right, Phil. I'll drive you fellows down. I'll get my coat. What's she so happy about? What's she singing for? I don't know. I guess this is the spot she's supposed to sing. I don't know. I never see this stuff, either, until about three minutes before we're ready to... Being cooked up in an office is going to dull my sparkling personality. I can't be Corell like a wild horse. I'm the wild stallion type. When it rains to Rome, I won't be tethered and have my spirit broken.  I don't know why you're carrying on like this. Being in an office isn't going to hurt you. Willie's been working here in the bookkeeping department for a year now, and it hasn't hurt him any... Don't mention your brother to me. Things are bad enough. Now, if you forget Willie, I'll go in. Open the door. Good morning. The character starts to annoy me before they get the door open.  Milk binge or something? They got to them things. They want to take one away from your desk anyway. I came down to show you how to act in an office.  I feel it my duty to enlighten you. Francis, what are you doing? I'm putting a few nickels in this slot machine. That's a time clock. I've been waiting for three cherries. It keeps coming up nine o'clock.  Punch it. You stand in front of it and I'll splendor it. There's a bunch of no-time clocks. Now, just show me the office. Where is it? It's right across the hall here. Oh, come on. I'm so anxious to see what it looks like. Phil! Phil, they got your name on the door. They have? Fine thing. Using my married name instead of my maiden name. Beautiful office. It's so decorative. Don't you just love it? I don't know. Don't you think the decor is a trifle rococo? What was that? That's French, but it's got a lousy color scheme. You'll get used to it. Well, I'd better run along so you can get to work. I'll see you tonight, honey. All right, honey. Okay. Man, I'm going to go nuts in this place. I don't even like the way it's furnished. We'll re-furnish it. Nice scenery. Well, good morning, Harris. Oh, hello, Mr. Scott. I'm happy to see you on the job this early. What time did you get here? Eight o'clock last night. It was just getting ready to go home. So long, Scotty. Everything's going on. Ah, just, just, just... Come back here. What time did you get in? Well, if you must know, I got here at nine this morning. Splendid, my boy. I'm glad to see that you're charming on the spot. After all, punctuality is a virtue. A good beginning means a good finish. Or, as I always say, the early bird gets the word. Oh, this kid really comes on with some jazzy expressions. Well, how do you like your new office, Harris? We don't. Remly, what are you doing here? I'm redecorating the office. We'll put the bar in that corner, the pool table in the middle, and the pinball machine over there. We don't like your furniture. You don't like it? Do you realize every piece in this room is an antique? They're all expensive imports, and they're beautiful. I think they're crummy. Remly. Hmm? Why must you torment me?    Curly? Is there any future in being a high llama? Well, I guess it's better than being a low llama. Maybe I can become a middle llama. Ah, don't pay nothing. They ain't organized.  Remly, I'm not going to tolerate you any longer. You ain't. I'm the one who's being tolerant. Wait a minute, fellas. Wait a minute. Listen, will you just keep quiet just a minute? Gentlemen. This is my first day at the office. Can't we make it a happy one? Why do you always have to argue this way? Why don't you two make up? Why don't you be friends? We're acting like children. Let's forget the past and shake hands. No, come on, Scotty. I want to be your friend. Shake hands. All right. Gad with a clammy hand. Remly, I can't... I can't touch anybody who shakes hands like that. You could have him assassinated. Look, Karen, you're here to work and work you will. Now get behind your desk and start thinking. Anything in particular you want me to start thinking about? You might try thinking about Rex all for a change. Try to come up with an idea that might be beneficial to the organization. I have to go downtown, but I'll be back at five and don't you dare leave this office until I return. Now get to work. Slave driver? Find a way to talk to me. The star of his radio program. Me, whose picture is in the current issue of Look Magazine, which may be found on any newsstand, Railroad Station, Dennis's office. All right, all right. Don't overdo it. You got it all in. Now, you better get to work, Curly. Oh, Frankie, I can't work in an office on such a beautiful day. This routine ain't for me. Up in the mornin' out on the job Work like the devil for my pain But that lucky old's got nothing to do But rule around heaven all day Show me that river, take me across All my troubles away Like that lucky old's son Give me nothing to do But rule around, got nothing to do But rule around heaven, pass with more Sweat till I'm grey, cold and gray But that lucky old's got nothing to do Send down that cloud with a steel I do a show that you have the company's interest That'll make the old pill roller happen Increase their sales, huh? Sure. Well, if we put our heads together, maybe we could figure something out. Now, let's see now. What could I do to increase the sales of Rexall? In business, I get fouled. What are you doing here? How'd you know I was here, Julius? Yeah, we're busy. We gotta put our heads together. How can we help their business? Curly, I got it. What's one of the most beneficial drugs ever discovered? Penicillin? Yeah. What do they make it out of? Mold. Okay. If mold is so good, why don't we invent an aspirin made out of mold? Common bread ain't good enough for us. Let's make it out of... out of dry, crisp mold. Better yet, let's make it out of seven-layer cake mold. But there's no telling how far this can go. We could have kosher aspirin... Sprint stroganoff. Boiled aspirin with horseradish sauce? Keep quiet. We're getting worse than he is. Trying to help? Well, you can't help. They ain't gonna buy aspirin stroganoff with horseradish. Why don't you stop?  Now, maybe we'd better stay away from the drugs anyway. You know, they got great scientists working on that stuff. Yeah, that's right. Hey. Hey, Remly, why don't we run a sale? Yeah, that'll help business. Let's have one of them one-cent sales. Now, Frankie, you got it. See you guys. We don't... ...beam a business. Let's get that one-cent sale roll. We'll go into Scott's office and get things started. We'll make a few phone calls and have this thing... Scotty will be back soon. Will he be surprised? I can just see his face now. We did? Remly likes our ideas so much he's stealing it. Look at these receipts, Scotty. We cleaned everything off of the shelves. We sold 10,750 items. How much did you take in? 10,750 pennies. Of course, how else do you think you could run a one-cent sale? Small like this never gets to be a big shot in a company. You don't even know how to run a sale. Don't be too hard with him. He ain't had much schooling. Harris, get out of here! You've probably been asked this many times before, but I'd like to know how you'd sum up the story of Rexall's quality. Well, ma'am, I think I'd put it this way. Always a little better, always a little more. What do you mean? Exactly. Well, let's take an example. Rexall's famous mouthwash in Gargle called MI-31 antiseptic. Thanks to its special MI-31 formula, this antiseptic kills contacted germs in a matter of seconds when used full strength.  I see. That's what you mean by always a little better. Exactly, ma'am. And here's what I mean by always a little more. Many other antiseptics come in 12 to 14-ounce bottles, but Rexall gives you 16 ounces of MI-31 a full pint. And at no greater cost than other leading brands of lesser quantity. This policy of always striving to give a little better quality and a little more quantity is Rexall's creed. And it's one of the big reasons why, wherever you see the orange and blue Rexall sign on the window, there's a family druggist who will tell you you can depend on any drug product that bears the name Rexall. Good health to all from Rexall! Folks, this is Phil again. This year's nationwide polio epidemic is the most serious in our history. Money available to pay for the care of polio victims is being used up at the rate of $100,000 a day. And unless additional money is received immediately, this fund will be wiped out in two more weeks. Look, you know and I know that this mustn't happen. So send your dimes and dollars to polio care of your post office. Good night, everybody. Good night. This program is produced and directed by Paul Phillips. Included into Gage's task was Gail Gordon. The part of Frankie Remily was played by Elliot Lewis and Julius was played by Walter Tetley. Alice Faye appeared through the courtesy of 20th Century Fox. This is Bill Foreman wishing good health to all from Rexall. Stay tuned now for the adventures of Sam Spade which follows immediately on NBC.


G started running.  I put it all in the watch list So I have the 10,000 stocks that are available in the stock market. I have the 1,000 stocks that are moving today I narrow it down to five five high Probability setups that I want to see that I use to be able to make my plan. I'm telling you the stocks I'm trading. I'm walking you through the stocks.  And the reason why we do this is so that as a new trader as a struggling trader That doesn't understand the concepts yet the watch list is the cheat sheet


Ladies and gentlemen, welcome to the video. Before we dive in, we are live. The brand new Good Company collection is live right now. 3SB.CO, GoodCompanyParel.com. Copy yours now, man. We've got full sweatsuits. My favorite sweatshorts to date. Five-inch inseam, thick, heavy, high-quality cotton, hoodies, sweatpants, and more. Check them out. 3SB.CO, everything we sell is small batch. So once it's gone, no restocks. Grab your size now. I guarantee it's gonna sell out. Today, we're talking about how to build that deadlift you want. You want to pull 500, let's get you to six. You pull six, let's get you to seven. We're talking about variations and accessories. After this, you'll know exactly what to do to build a big deadlift. Now, when we're talking about any lifts, I like to break things down into variations, which are things most similar and specific to what we're trying to improve. In this case, the deadlift. Then we're talking about accessories, which build muscle and build strength on all the auxiliary pieces that will grow over time. Variations are going to solve a skill issue, maybe a coordination issue, or allow us ways to progress in the lift that we can program to control fatigue better. Accessories, I think about more bodybuilding. I'm building my lats, I'm building my arms, I'm building whatever it is for the big picture, months, years, decades worth to put on that muscle that will help the lift in the long term. So first, we're gonna dive into some of my favorite variations that allow us to build the deadlift in a better, more efficient manner. If you're a conventional puller, I think some of the greatest things you can do are build your hamstrings. RDLs is one of the greatest variations. It obviously just limits the amount of knee flexion, which is obviously what emphasizes our quads.  A pause deadlift, where we're pausing just off of the ground under control, really bracing, holding that bar close to our body, not only allows us to handle or forces us to use less load, which manages fatigue over time. We can't max deadlift every single session. But it also forces that really good bar path and keeping tight, keeping that bar close to your body. Conventional and sumo, great.  Both RDL, you can RDL sumo stance and conventional stance and just the conventional itself, which puts a little bit more emphasis on the hammies and low back than maybe a sumo pull does. Again, in the off season or the big picture of programming, we're just trying to do many waves of progression. If you're just doing sets of five forever on the same lift, it's gonna be very difficult to handle more volume or more weight over time. So we'll create different waves of these variations that slowly allow us to chip on each other and progress baby steps over baby steps. You hear a lot of things about no sleeves or beltless training, both in the squat and the deadlift. And I think that's a great tool to utilize. What it does, again, is forces you to use less weight. So if we're deadlifting or squatting, this variation works for both twice a week, three times a week, whatever it may be. Having one that's a competition style, meaning the lift you're strongest with with all the equipment you're gonna use to compete or pull a one rep max, whether your goal is to compete or not. The other days can be beltless, tempo, paused, things that forces to use less overall load on the bar. The RPE or what we perceive is difficult, will still be very, very high and will still be working really hard. But the overall load still matters in the fatigue on our system and in the individualized, localized fatigue of the muscle itself. So again, when I think about these movements, I think about the variations being within a block, within a wave that can maybe help now if that bar's floating away from you, we can do a tempo or a pause and really focus on that almost like a drill in another sport, keeping that bar close to you, proper bar path, proper lock out of your knees and hips. When I'm thinking about accessories, I'm thinking more broad umbrella. I'm thinking months, years, decades to build the muscles that then can potentially be stronger to lift more weight.  We need to take it close to failure. One, two, three reps from failure. We need to hammer our nutrition in our sleep. Building up your glutes and hams takes time, but RDLs, leg curls, and any kind of GHR reverse hyper are great. Moving on next, talking to Booty. Booty's very similar, but you can do things like hip thrusts. Great, great movement to build hypertrophy in the glutes, in the hams that may transfer long term. Again, sets for anywhere from five to 12, loading it up heavy, getting close to failure. Moving up the body, we're talking about low back. Often gets a lot of work from the deadlift itself and those other accessories I talked about, but nothing hurts with little back extension, loaded, kettlebell swings, tons of different movements we can load up the back. We're working our way up even more. We're talking lats, upper back, rhomboids, et cetera, the basics, man. They've worked forever and they're gonna work again. I prefer a chest supported row because if I'm handling enough volume that I'm progressing, as you get more to the advanced stage of your deadlift, there's so much work to be done with the deadlift. I wanna save my low back on my accessories and save it for my next deadlift session. So a chest supported row, a pull down, close grip and wide grip, a row that emphasizes the lats, which means we're going a little bit more close grip or at least elbows down and pulling that elbow into our hip and then we're gonna do one that's more for upper back where we're gonna flare our elbows a little bit more and try to squeeze our upper back. Vertical pull, horizontal pull, elbows in, elbows out on both. Basically, we'll hit anything you need on your upper back and should get it done. And that's something, you know, it's a slightly smaller muscle and you're using less weight than something like a squat in a deadlift. It's probably something we could do two, three, four times a week. If you're doing full body, you can sprinkle it in at the end of each session. If you break your accessories up more towards lift, then just hammer them, get two or three good exercises, two or three good sets at the end of your deadlift day. So building both deadlifts, yes, have a lot to do with your posterior chain, right? Back, glutes, hands, but the slight difference is the sumo, little bit depends on your morphology, your leverage is how you're built, but vast majority of sumo pullers, your quads are getting a little bit more work than the conventional. So a lot of the stuff that applies to a squat may apply to your sumo deadlifters. And I've found the most success with myself and the thousands of athletes I've coached over the last 15 years building up your quads majorly for something like the sumo. Bulgarian split squats, paused high bar, close stance squats, bunch of reps, belt squats, lunges. All these things that really build up your legs long-term can be very efficient in slamming through the all-ranges emotion of the sumo deadlift. Last piece is your core, which obviously is highly involved in all lifts. You wanna be as rigid and as strong as we can here, almost anti-flexion, we wanna not bend, we wanna be tight from our shoulder to our hips. I'm gonna dive a little bit deeper into core training, one to look good for aesthetics, and two to be more functional both in powerlifting and in sport in our upcoming video. So be sure to subscribe, man. New video every single Monday. We got shorts every other day. If you guys can share those, any likes help a lot. Be sure to subscribe. I see 50% of y'all not subscribed, and that hurts my soul. I'll catch you in the next video, man. 3sb.co for all your clothing needs, Thursday shoe barbells, Sacramento, California. Salamac, man. I'm out.


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