A fiery horse with a speed of light, a cloud of dust and a hearty hyosilver, the lone ranger. With his faithful Indian companion, Toto, the daring and resourceful mask writer of the planes led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Join with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the great horse, Silver. The lone ranger rides again. The engineer and fireman of the three-car train leaned out the cab windows of the engine and watched the tracks ahead as the train popped along through a valley a few miles from the town of Oakden. We'll soon be in Oakden, Jack. Yeah, and I'll be glad to get rid of that money shipment in the express car. We put that off at Oakden. I know. No need to go worrying about that, though. Hey, look. Something on the tracks ahead. Holy mackerel, it's a pile of logs. Put on the brakes quick. If we hit that, we'll be wrecked. Cosh, Hank. You think it means we're going to be held up? There's your answer. Coming from behind the boulder. Several masked outlaws. Don't try to fight them. They'll shoot to kill. Whoa, whoa, there, whoa. Both of you are covets that don't make a move. Great day, a woman leader. Couple of you hombres get to the express car. The others watch the passenger cars to make sure nobody interferes. All right, ladies, hit them, then. Easy, Liz. The express car door is open. They're giving out their money bags. They better if they know what's good for them. See. Hurry up. Let's go, Liz. We got the money. All right. Come on. Get up there. A short time later, the outlaw gang, having taken off their masks, rode a trail that led away from the railroad into the hills. You think it's safe to ride this slow, Liz? Sure, Jake.  I told you it'd be easy, didn't I, boys? You're always right, Liz. We'd take much money from the express car, no? We sure did, Carlos. Must be all of $10,000. Hey, caramba, that's good. Now it is time you will go into Mexico and marry Carlos, no? No. Huh? The wedding bells and that beautiful Hacienda in Mexico you keep talking about can wait, Carlos. Well, to have said that only once more we'd do a job and then it would be finished with a gang? Oh, hold your horses. I heard about another job we can pull in a few days that'll really set us up for life. Yeah, what's that, Liz? But, Liz, you have said just one more job. And that's what I'm saying now, Carlos. I took over this gang after my brother Red got caught and hanged. Red always said all women were good for was housework. But I often told him if I had this gang, I'd do a downside better than he could. Yeah, you sure have two minutes. See, but of course, with Red we were always what you say broke. But now we have plenty of money, no? Yeah, and after the next job we'll have a lot more. Enough so we can sit back and take it easy. What is this job you speak about? A payroll that comes into Red Rock by stage every two weeks. It's due in day after tomorrow. But we're going to grab it, Savvy. Three of us can handle that job, Carlos. You, Jake, and me. How is it, Liz, that you'll find out such things? You've seen me dressed up respectable like and leave our hideout to ride into some town or other, haven't you? See, I have noticed it. Well, I just shop around in the stores and keep my ears open.  And they yap plenty. So that's it, huh? Yeah, that's it. So day after tomorrow we'll get that payroll off the stage and be a lot richer than we are right now. Get up there!  Three days later, the Lone Ranger and Tuttle rode the trail outside of Red Rock. We won't go too close to town, Tuttle. We look for a place to camp now. Oh, might as well. Now, me remember their quick round bend trail. When we get there, we find place. Something's happening beyond the bend.  Urging their horses into a fast gallop, the Lone Ranger and Tuttle soon reached the bend. A moment later, they had a clear view up the trail. Look, you must not be free outlaws. Hold up the stage. Yes, use your guns. And leave and pass. Yes, they're separated. Now go after the one to the right. Better get one of the others. And one hill to the left. Bleeding Tuttle to follow one of the other fleeing outlaws, the Lone Ranger swerved to the right off the trail in pursuit of the closest one, who turning in the saddle fired at the masked man behind him. One hill to the right, big fella. The great stallion, Silver, responded to his master's urgent cry and gradually began to close the gap between the outlaw and his pursuer. Once more, the outlaw turned and pointed his gun. But no shots were heard. His gun is empty. Come on, Silver. Silver's hoof seemed to fly over the plane. And within a few minutes, the big white stallion was almost alongside the rider in front. You can't get away. Taking his larry at the Lone Ranger burled it over his head. Then the supple rope flashed forward and settled snake-like over the outlaw's shoulders. And Silver instinctively split to a halt, pulling the outlaw from the saddle. No! Easy, Silver, silly. Oh, please, signal. My shoulder, she's hurt, but it falls. Don't shoot me!  The law will take care of you. The law? But you also are an outlaw, no? No. I'll tie you with my larry. Give me another hand and cross it over here. Just not. There. I'll hold you for a while.  Other outlaw, can we? Well, we have one at least. When we chase one, we'll ride Palomino. Outlaw's half fall back from head. Me see hair, it like woman. Never anybody catch leaves on that horse, senor. Liz? Toto, he must mean Liz Huntley. Been rumored that she took over the Red Huntley's gang. That right. See, she's much more senorita. Perhaps she must, senor. It does not like tracking Donny Wolven, huh? An outlaw is an outlaw. I've heard Liz Huntley is more ruthless than her brother was. Toto, I thought of a plan. We'll take this outlaw with us and go pitch camp. Better you can take him to the sheriff in Red Rock. All right, help me tie him on his horse. Then we'll get going. The Lone Ranger and Toto took the outlaw Carlos with them into the hills where they selected a campsite. After they were settled, the Lone Ranger spent more than an hour working on a disguise. Now, Toto, tell me what you think of my disguise. That good, Kimusubby. You look like outlaw Carlos. I want to look exactly like him, if possible. A little more buried, I might help. A little higher here. There. Now, how's that? Oh, much better. You not talk, me not know. Which one, Carlos? But I must talk like him also, no? Oh, that fool, anyone. Good.  You find Huntley gang and make them think you're Carlos? Yes. I'll let you keep Carlos here in the camp instead of taking him to the sheriff. When I come back, you'll be time enough to take him in. Well, how are you playing, gang? I'll go back to the place where the stage was held up. Then I'll try to trail one of the other two outlaws to their hideout. Now, I'll go give Carlos some old clothes and take his. After taking the outlaw's clothes, the Lone Ranger might have been Carlos himself. At first, he thought of riding Carlos' horse, but decided against it and left the camp riding silver and wearing his own expensive guns. Once he arrived at the place where the stage had been held up, it wasn't too difficult to find the trail left by Liz and Jake. Sometime later, after the sun had set and the twilight shadows covered the trail, a masked man approached a place where the tracks he was following went between two large rocks. It was well up in the hills, and he rode cautiously. The big boulders up ahead would be the logical place for a lookout if their camp is nearby. Even as the Lone Ranger spoke, the thought a shot rang out from behind the boulder ahead and to the left. He immediately pulled to a halt.  You up there! Are you so blind you don't recognize Carlos? Carlos, you got away. But of course, amigo. It was that stallion that made me shoot at you. So you know the same, eh? How could I miss? Seems like that's the white stallion that masked comrade was riding that chased you after the stage hole up today. Yeah, you were right, my friend. It's easy, same horse. Coramba, that masked comrade will not chase Carlos the second time, no? So you got the best of him and took his stallion away from him, eh? Oh, by thunder, you took his guns, too, I'll reckon. See? These are the same guns he masked man had. But come we're wasting time, no? I am anxious to talk to Liz. Yeah, I know. Liz is wondering what happened to you. But come on, let's go to the camp.  Come on, look.  Oh, great idea. Yeah, Liz, I'm sure be glad to see you, Carlos. Oh, but of course. Look who's here, Liz. Of course. Well, I'll beat all goons. Yes, yes, you are more surprised, no? I sure am. We were positive that masked comrade shot you down or something, especially since one of the men figured out who we might be. Oh, you have an idea who these masked comrade is, huh? Yeah, you didn't tell me, Liz. Wait a minute, Jake. Carlos, where did you get those fancy guns? Well, from the masked comrade. What else, senorita? Yeah, Carlos even got the white stallion the masked comrade was riding. I can't believe it. Carlos, I always figured you were a tough comrade, but not that tough. Oh, maybe someday you get to know Carlos better, Liz. Yeah, yeah, maybe so, Carlos.  The one who owned the white stallion and those guns Carlos's carrying. Oh, well, Joe was telling me from the description I gave him. He feels positive it was an ombre known as the Lone Ranger. The Lone Ranger? Caramba? I hear of him also. Yeah, so have I, Carlos. I've heard plenty about him. And from all I've heard, it still don't seem possible you could get the best of him. What's seeing is believing, senorita. Have I not brought back his horse and his guns? Yep, you sure have. But what happened to your own horse? Perhaps I tied an ombre to my horse and send him galloping off into the plane, no? Perhaps he will be found, and then again, perhaps not. Carlos, you sure are tougher than I gave you credit for. Yeah, that's just the way I'm thinking, Jake. Carlos has not had to get so tough before, perhaps. Maybe not. Say, Carlos, are you still thinking about that Hacienda? Hacienda? Never mind, I reckon you forgot about it. Oh, see, senorita, Carlos is most forgetful at times, no? Go on next door to the other cabin and rest a bit. You must be tired. See, that is a good idea. I think I shall see you later, no? Wait, Jake, I want to talk to you a minute. Oh, sure, Liz, see you shortly, Carlos. Mother of course, let me go. Yeah, what is it, Liz? Just this, Jake. I'm not sure, but I got a sneak and suspicion that that ombre isn't really Carlos at all. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. All to continue our story. After the Lone Ranger, who was posing as Carlos, left Liz Huntley's cabin, Liz told Jake the other outlaw that she suspected it was not really Carlos who had come back. For a moment, Jake looked bewildered. Then he spoke. What do you mean, Liz, by saying you suspect he isn't Carlos? I reckon it does sound crazy, Jake. He looks like Carlos, he talks like Carlos, but he doesn't act like Carlos at all. Oh, he's bragging just because you got the best of that mask, man, that's all, Liz.  Yeah, maybe you're right. But one thing I have got used to is having Carlos dig at me day after day every time we're together. How about us being married and having a Hacienda in Mexico? Yeah, I know. But when I mentioned it to him just now, did you notice how puzzly he looked? The way he answered, he said he didn't know what I was talking about. Say, come to think of it, he did act funny. Like it was something he never heard of before. That's what I mean. And what's more Carlos's story, if he is Carlos, but that lone ranger don't ring true, why even my brother Red wouldn't buck up against that masked ombre, if this Mexican comes riding here on the white stallion and bringing those fancy guns. But how can it be anyone else, Liz? I don't know. But I want you to watch him and also see what the others think about him. Now get over to your own cabin. Later that evening, Jake returned to Liz Huntley's cabin to discuss certain facts he had found out. Knock, knock, knock. Come in. Hey, Liz. Liz, you're right. There is something funny about Carlos. I mean about the ombre we think is Carlos. Go on, what did you find out? Well, he was too friendly with Joe. You know Carlos hated Joe. Why don't you kick him out of the gang only a week ago? Hmm, it's not interesting. What else? Well, you know how Les is always kidding Carlos about getting married. Now Carlos always gave him a song and dance about you and a Mexican hacienda. Yeah, what about it? Well, Les started the same kitten asking him when he was going to get married. And he answered, there was lots of time that he'd have to find the right woman first. I see. Look, Jake, you're the best of the gang for trailing somebody. What's that got to do with it? Just this. I want you to take your horse and back trail on that ombre's trail. To see what you can find out, I'll see that he stays here till you get back. Hey, look, Liz, if that ombre in the other cabin isn't Carlos, then who could he be? Could be his twin brother, Jake. Well, then again, he could be the ombre we were talking about, the Lone Ranger. Now get going and hurry back. Getting his horse, Jake left the outlaws camp quietly and followed the trail the Lone Ranger had made on his way there. The hoof marks left by Silver were easy to spot. A couple of hours later, Jake approached the camp where a tunnel waited with the outlaw Carlos, who was securely tied. Jake spied the campfire, leading his horse a short distance away, when cautiously toward the camp on foot.  Jake first saw Carlos' horse. Then he saw Carlos tied up and propped against a tree. With gun in hand, Jake moved quickly to Carlos' side. Caramba. Jake. Quiet. Who's got an Indian? He's gone for water. Untie me quick. I'll cut those claws in a hurry. See? Now your feet. That's it. And Liz was right. I can't believe it. Hey, Masplan. He's made to look and talk like me. He's hunt for the gang. Hey, he found us. He's at the camp now. Liz got suspicious. And I'll get your horse. Hurry, Amigo. All right, Carlos. Mount quick. That other horse is making too much noise. See? I ain't caramba. My legs are stiff. Come on, my horse is right over here. Come on, horse. Let's go. Here he is. All right, let's get back to the camp. Get up there. Come on. That's it, Amigo. Meantime, down at the creek, Tonto had just dipped the bucket in the water when he heard Scout whinny. That Scout? Him give warning. Maybe somebody coming. I'll get back to camp. Moving quickly, Tonto went up the bank and walked toward the camp where he left Carlos. I'll get away. That mean lone ranger in plenty danger. Please follow him.  She can't. Meantime, the sheriff from town with a posse had gone to the place where the stage hold up had occurred in hopes of being able to trail the outlaws. At first, they had picked up the trail, but had lost it after crossing a creek. Much time had been lost trying to find the tracks again, until finally they drew rain in the bright moonlight. Look here, man. I'm sure that's the tracks we were trying to find again. Yeah, I think you're right, Sheriff. There, the hoop marks are three horses. That's how many outlaws we were told held up that stage. Yeah. Remember the stage driver said something about a couple of other alhoots that shot at the hold up gang and then followed after them. Yeah, that don't make sense. I wonder who they were. There could have been a couple of the same gang who got left out of the deal and got mad about it. Anyway, we haven't got time to sit here and figure that out now. We better get started if we hope to get that gang and get back here by the town by the morning. All right, then, Sheriff, let's go. Come on, man. And this time, let's try not to lose sight of them tracks. Get up there. It was close to midnight by the time Jake and Carlos arrived at the outlaw camp, and a bright moon was shining. No, you're here and put them on his guard. We'll talk to Liz first, see? You were right, Liz. It's Carlos. Carlos? Then that masked man did get you. See? He's the plenty tough one, querida. He's makeup like Carlos, and it's hard to believe he's not me, myself. Yeah, I know. And the one who came here is that masked man, huh? See? That's right. And he's taken my gun away. Yeah, take one of mine. Oh, gracias. Carlos, get behind the door. You, Jake, go to the other cabin and bring that hombre here. Don't let on. You don't think he's Carlos, have you? Yeah, I'll bring him right back, Liz. Now, Carlos, so that masked man thinks he can outsmart Liz Huntley. Well, we'll wait and see what he has to say for himself.  What is it we ought to discuss, amigo? You find out from Liz, Carlos. Hey. My friend, did you have some sleep? But of course, senorita. Now, I've come for the talk, you are, no?  Oh, Carlos did not say what you mean. See, senor, Carlos does say what it's, senorita. Yeah, you can reach like Carlos tells you. Should have looked behind you when Jake closed the door. I got your cover, too. I heard you were a clever woman, Liz Huntley. Hey, he's not talking like Carlos now. Well, should he? He knows the game's up. Maybe.  I want him to see what happens to anyone who tries to pull a fast one on Liz Huntley. All right, Liz. Host your own gun, Carlos. Then go up behind him and take his while I keep him covered. If he moves his hands even an inch, I'll plug him. And be careful. Senorita, I put my gun away, so. And now I will take his from him. The lone ranger realized that once they had disarmed him, Liz and the outlaws would not hesitate to kill him. As Carlos reached out to take the lone ranger's guns, Liz Huntley's eyes were watching his upraised hands and momentarily missed seeing the sudden backward swing of the lone ranger's boot against Carlos's shin. At the same time, the lone ranger flung himself to one side, just as Liz reacted to Carlos's yell and pulled the trigger. Oh, my shoulder, I'm shot. I'll hit him this time. No, you won't. I'll hit him with my hand. You won't use that gun again. All right, you. Get over there beside Liz. Oh, see, Senorita. I'll take your gun. Also, the one Liz dropped. You won't get away with it. The others will be here in a minute. Hey, Caramba, something's going wrong outside. Somebody must apologize here. Hold it, you.  Puddle, you all right? Yes, what's happened? Well, Puddle come from this cabin. Me hit him on head. Then me here shooting in here. Puddle's run from other cabin. Then Posse come, catch him. Don't move any of you. This cabin is surrounded. Sheriff, what brought you here? We picked up the trail at the place where the stage was held up today. Lost it a while, but finally found it again and got to this place just as the shooting started. Fighting amongst yourselves, huh? Not exactly. Hey, Sheriff, look at them two. They look exactly alike. Great day, so they do. Say, you must be twins.  That one talks different. Well, you make big mistakes, Sheriff. This one not outlaw and me not outlaw. Him catch outlaw. Yeah. That's what they all say when they get cornered. Well, maybe this will mean something to you, Sheriff. A bullet. A silver bullet. Say, is that big white stallion outside yours, mister? Yes. His name is Silver. Well, I'll be jiggered. I don't get this. Is your name Tano Indian? That's right. Now I know who you are, all right. I'm sorry I figured you out for an outlaw. Forget it, Sheriff. But then, well, the way you look just like the other one there. I heard he did things like that.  That's right. I'll put it on now to avoid any more confusion. There. Do you have enough men to handle these crooks, Sheriff? Yeah, we got the other three outside. Who's the woman? The notorious Liz Huntley. Liz Huntley? Well, what do you know? She's a dangerous woman, Sheriff, and tricky. Don't worry. We'll watch out for her. Come on, Tano. Adios. Adios, man. Alas, perhaps now we don't have the Hussein there in Mexico for a long time. Make it either.  Even if I could, I wouldn't marry up with you now.  Well, then I don't understand.   You ought to know by now no hombre could have done that and got away with it, except the one who's known as the Lone Ranger. This is a feature of the Lone Ranger Incorporated, created and produced by George W. Trendle, directed by Charles D. Livingston, and edited by Fran Stryker. The part of the Lone Ranger is played by Brace Beamer.


TEFL jobs in Germany As is the case in many countries in Europe, there is a great demand for teachers who can teach business English. Lots of TEFL jobs in Germany are available to teach English in many locations throughout the country. If you have a TEFL certificate, you shouldn't have a problem finding TEFL employment. Pay is quite high for English teachers in Germany, however the cost of living is high as well. Germans have a preference for American English, so US citizens can find work here despite not holding an EU passport. Because of the current state of economic affairs in Germany, many companies from large corporations to smaller businesses want their employees to learn English in order to compete more effectively in the global marketplace. Because of this there are often more jobs available than teachers to fill them. Finding a TEFL job in Germany The best way to get a TEFL job in Germany is to mail your up-to-date resume to schools in the cities where you would like to work. Business centers and language schools offer most of the English teaching positions, so if you have a good at your business background, you will not find it hard to get a suitable job. If you don't have this experience on your resume, you can still look for TEFL jobs in smaller German towns. The demand for English teachers is high all over the country. Competition is not as high in the smaller towns, so as long as you possess a BA in the desire to stay for a while, you shouldn't have a problem finding a position. Teaching legally in Germany It's much easier to teach English legally in Germany than in other EU countries. US citizens generally just need to find themselves a job and then get their employer to write them a letter to begin working legally. Canadians can get a work visa as well, however, they have to go back home with a letter from their employer to start the process of obtaining a work visa. Sample TEFL job in Germany Specialized English Plus Business Training firm is looking to hire TEFL TESOL-trained English teachers who have solid experience in teaching business English to corporate personnel of all levels. Our trainers are provided with all teaching materials individually prepared for our clients by our back office team. Duration of contract is not limited, but we look forward to one year or longer. Requirements include native English speaker, EU, US American, Canadian or Australian citizenship passport holders, good German language skills, at least BA degrees in TEFL, education, linguistics, German, English or similar, about two years of English teaching experience. Benefits include regular income of around Euros 1500 up to Euros 2500, circa United States Dollars 3200, cash per month. High bonus after 12 months and min. 1000 teaching Euros 1000 bonus plus Euros 200 for bon cart will assist you in initial housing, work permit and tax office matters if necessary wanted.


दीस्टूडन्त मुजे आप से इस मुड्योल में पूनोलोगिकल लर्निंक के बारे में बात करनी है, उषितर मिलागे वो से नटन्टंसिस की शकल इक्तियार करते हैं, लेकिन इसकी चुके बून्याध है सावंच हैं, तो। इस में लंगुइस सीकने के लेंगुइस चीहते किल इस रूडि है, के हम sound को, की जो type हैं, या sound की जो, जिस तर sound language में use होती हैं, उनको सीखा जाए. और ये science of phonemes है, यस को refer किया जाता है, phonological learning को refer to the science of phonemes. यह स्पीछ साथ की, ये study है, और ये phonemes क्या है, these are smallest unit of speech, अर smallest unit of language learning. Phonological learning is refer to the acquisition of system of speech, जो बचा एक language बोलने के लिए, चीकता है, तो वर्ट्स के बाद वर्ट्स की श्टेज़ पर आना है, लिकन वो वर्ट्स की श्टेज़ से पहले, sound को मुकमल तोर पर, Phonemes को मुकमल तोर पर, understand करेगा, और फिर वर्ट्स की श्टेज़ पर आएगा, और उसकी phonological awareness is very important for the acquiring of language. That is the start of his or her learning language or acquiring language. And phonemic awareness is phonological coding. And recovery of phonological codes. This is phonological learning, this is coding. That is the meaning of the code. And recovery of phonological codes, to recover it, to retrieve it again, to remove it again from any working memory. And phonological learning involves the becoming aware of sounds of spoken language. The first objective of language learning or acquisition is spoken. After listening, it is spoken. And correct listening, correct spoken is present. And phonological awareness is holding the information in working memory. What happens is that when you save the information in the child's working memory, you have to retrieve it from there. To retrieve it, you have to repeat it or repeat it again. So this way, it shifts in permanent memory from working memory. That is, the important things that can be remembered, according to the information processing model, it goes into permanent memory. And phonemes are saved in working memory. After retrieving it, in the process of language learning, phonemes are used for phonological learning. And accessing phonological information, recovering the information. To recover it, what does it mean? That the information that is already saved in working memory, to recover it, to retrieve it, to remove it again, and to recover the phonological codes. That is, the codes are given to identify the meanings or to make them categories. And making association between the sounds and printed symbols. The printed symbols of the language and the relationship between those sounds. For this, we retrieve phonological codes and talk about it. And the hierarchy of phonological awareness skills are used to read the rhyme, i.e. to read it with practice, to repeat it, to blend it, to combine it, to segment it, to separate it. What are the words or phonemes of the sentences? To combine them and to separate them. And to change the manipulation. So, this is one of the things about the language development or language learning or language acquisition that you are learning. So, these are the things that are included in the last part. This is the critical process of phonological awareness. It is the critical process or critical literacy skills. Look, literacy skills, i.e. those skills i.e. those phonemes or those sounds that you are learning and by making them words you are naming them. And these are the things that help you to recognize kids and work with the sounds of spoken language. These are the things that help you to communicate with the words of the language. And these are the literacy skills that we understand through words and then through phonemes we understand it and the child understands it and speaks it.  Examples including able to identify words that rhyme i.e. words that rhyme especially poetry poems that rhyme their words and there is interest in kids for language acquisition and kids themselves learn the language through rhyme words and learn the phonemes and then counting the number of syllables in a name recognizing sound patterns so recognizing sound patterns and the name objects are named as i have told you that in language development words are naming of objects things are named and segmentation of sentences words of sentences break them like a sentence subject verb or object separate them and share them and understand them and in words understand the morphumes and learn any language the most refined form is phonemic awareness so this was the foundation of the language Phonemes Phonology study


Here, everybody, Dr. O here. This is going to be a long, meaty video. You're going to have to watch it more than once. The skull is just, there's a lot here, right? So I'll cover the sutures when I get to a different slide, but we're just going to walk through the bones from different angles, and I hope this helps as much as it can. So first, we have the frontal bone, the frontal bone there on your forehead. Then we have your two parietal bones. They make up the top of your brain case there. And then on the back, we have the occipital bone, the temporal bone near the temple. I always kind of think of the temples being up here. That's actually where the sphenoid bone would be, but the temporal bone is going to be that big bone around your ear. The key prominences there we have are the mastoid process. That's going to be the insertion to the sternocleidomastoid muscle. Then we have the styloid process. Think of a stylus, like a pen there. We have the, there where you can see the external acoustic meadis, or you can see it called the external auditory canal. That's going to be the opening into your ear hole there. And then we have the mandibular fossa, where the temporal mandibular joint is going to be, your TMJ. So those are all the key structures there with the temporal bone. Next we have the zygomatic arch, which can be a little confusing because you see it's the zygomatic process of the temporal bone fuses with the temporal process of the zygomatic bone, the zygomatic bone being your cheekbone there. So that's your zygomatic arch. Then we have the sphenoid bone. I'll show you. You can see that a lot better when you pop the top off of the skull, but the sphenoid bone is going to be there on the outside. This sphenoid bone is called the keystone of your skull because it connects to all the other critical bones there. Zygomatic bone, I just mentioned your cheekbone there. The only prominence there would be that temporal process of the zygomatic bone that makes up part of your zygomatic arch. Nasal bone, the bony portion of your nose. Obviously you've got a lot of cartilage there in front of it, but that's your nasal bone. Right behind that you see the lacrimal bone, think lacrimal for tears. So lacrimal bone. Then the ethmoid bone, I have to explode the skull a bit for you to see the ethmoid bone, but you can see a little bit of there inside the orbit of the eye. Then we have the maxilla and the mandible. I'll show you some more things from there, but the maxilla is just the upper jaw, and I'll show you the other parts of that in just a little bit.  Then the mental protrubrance would be where the chin juts out there at the front of the mandible. So I have some more things to say about those, but I'll show you some different views. That's the lateral view of the skull. This is just, I wanted to show you inside the temporal bone. So you have what's called the petrus portion of the temporal bone is going to be where your middle and the bone that's encased in the middle and internal ear. It's a very, very hard part of the temporal bone. So one of the functions of the temporal bone is to support the structures involved in hearing. So a more close-up view of the mandible, I already mentioned the mental foramen there and the mental protrubrance. We have the mandibular ramus, a ramus is an angle. So where the mandible changes directions would be the mandibular ramus there. I already said the mental foramen. The alveolar process. So each of the sockets that one of your teeth goes into is called an alveolar process. All of them as a group is the alveolar arch. So you'll see that with the upper jaw, the maxilla as well. Mandibular condyle there on the back, that's going to be what forms your TMJ, your temporal bone and your mandible form the temporal mandibular joint or your TMJ. So you can talk and eat and everything else. The coronoid process is going to be a little flatter piece of bone on the front. The muscles that are going to attach there that are involved in mastication or chewing. So that's going to be your coronoid process. And then you have the condylar process there is on the inside there of that mandibular contile on the other side. So those are the parts of the mandible to know. These are the sutures. So you should be, I will ask you to know, at least on our identification quizzes, I'll ask you to know your sutures. So here you see the coronal suture is a suture that connects the frontal bones to your two parietal bones. Sagittal suture, you can't see here, I can show you on a different view, but the sagittal suture connects the two parietal bones right there in the middle. The lambdoid or you may sometimes see it called the lambdoidal suture connects the parietal bones to the occipital bone. Then the squamous or sometimes called squamosal suture is going to connect the temporal bone to the parietal bone. So notice that every suture is connecting the parietal bone to at least one other bone. Now we see a frontal view of your skull. So we are talking about the frontal bone, but now you can see these supraorbital foramans. Remember a foramen is a whole supraorbital above the orbit. So that's the supraorbital foramen of the frontal bone. The maxilla, we have the infraorbital foramans there. And then you do have just like with the mandible, each of the sockets that a tooth fits in is called the alveolar process. All of them as a group would be the alveolar arch. You have the nasal bone again, lacrimal bone behind it. Inside that hole, you see the nasal septum, which is made of two bones, the vomer. So vomer means plough. So this plough shaped bone called the vomer. Then we have the perpendicular plate of the ethmoid bone. So they make up the hard nasal septum inside there. So the perpendicular plate of the ethmoid bone and the vomer bone make up your nasal septum. I'll show you the ethmoid bone later. Like I said, I have to kind of pop the other bones off or disc articulate this in order to show you some of the key pieces of the ethmoid bone. So it is important, but we'll come back to it. But you can see there, the middle and inferior nasal conche, which they create turbulence. So as you breathe in, as air runs through these nasal conche in these openings called miatuses, it swirls. And as air swirls in your nose, it's warmed up, you're nemidified and filtered. So that's very, very important, but we'll talk about that more with breathing. And I'll show you that in another image as well. All right, so you can't, so notice and tell you, tell me, take the skull apart. You cannot see the superior nasal conche, but you can see them here. So the superior, middle and inferior nasal conche of the ethmoid bone, they create these openings, these miatuses that causes air to swirl when you breathe. This image is also, as we're not talking about the sphenoid bone, but you notice the sphenoidal sinus or sphenoid sinus. This is the best image to see the sphenoid sinus because it's inside the sphenoid bone so you can't see it unless it's been taken apart. All right, here we see the ethmoid bone. So I won't go through the ones we've already talked about, we'll just quickly. We talked about the perpendicular plate being part of your nasal septum. We talked about the nasal conche, but we have not talked about the top portion of the ethmoid bone, which makes, which is the crystal golly and the crib reform plate. So the crystal golly, which means rooster's comb or rooster's crest is actually an attachment. It says bony projection, but it's an attachment point for part of the covering of your brain called the falx cerebrae, so kind of interesting. That's actually really important because with concussions, this connected tissue actually can send shock waves right down into the center of your brain because of how hard it is and how it's attached here to the ethmoid bone, which is why we don't, when concussions aren't just bruises on the outside of your brain, they actually send shock waves right to the center, which is why they can impact hormones and all sorts of things.  So there are sensory receptors from inside your nose travel through the ethmoid bone to get to the olfactory bulb and then back to your brain so you can smell. Ethmoid air cells, they're actually a type, they're a type of sinus there. Okay, now we have the back view, notice you can see the sagittal suture finally, so the suture that connects the two parietal bones is there. What else, the bump on the back of your bone, back of the skull is part of the occipital bone called the external occipital protuberance and then we had, I already mentioned the sagittal suture and then you can see the occipital condyles here too, the two rounded flat occipital condyles, that's actually where your skull sits on C1, the first cervical vertebrae called the atlas. And here we see the underside of the skull, what haven't we seen already? The palatine bone, this is actually the only view that allows you to see the palatine bone there in the center, like the name implies, it is part of your palate. But it isn't your whole palate, the roof of your mouth. Most of the hard palate, the roof of your mouth is the palatine process of the maxilla or the maxillary bone there. So that's kind of confusing students sometimes. So the roof of your mouth primarily the palatine process of the maxilla and that little palatine bone behind it. You can see the occipital condyles again, you already mentioned them. Then we have the frame and magnum, which is a frame as a whole.  All right, we're almost done here. Now this is, we're looking down, we've popped the top off of the skull and we're peering down into it. So you can see the Christegali and the cryptiform plate of the ethmoid bone well here. Then you can see that sphenoid bone and it looks like a bat, it's a very interesting looking bone. But the key structure here is going to be the seletursica, which means Turkish saddle because the seletursica is where your pituitary glands sit. So we'll cover that more with the endocrine system but the seletursica is the part of your skull, part of your sphenoid bone that protects the pituitary gland. You can also see here the internal auditory meadis or internal auditory canal. Remember, you see the external auditory canals on the outside of the temporal bone. You can see the internal here, it's called the internal acoustic meadis but you can call it the internal auditory meadis as well. I think that's it, yeah. So that's all the different angles and views of the skull. Those are all the parts of the skull that I expect you to know. I hope this helps, have a wonderful day. Be blessed.