AV Geeks 16mm Lunch 7-8-2025

Fore! Foreign! Foreign! Exist. foreign. The police She knew. for [Music] Fore! [Music] Foreign! Foreign! forfeit cafe tourist. Fore! Foreign! Foreign! forch. [Applause] for [Applause] Coca-Cola. Coca-Cola France tourist journal correspondence. Forever speech. Bonjour. Um, I'm Skip Alzheimer. Welcome to the AV Geeks Lunchtime streaming show where we watch old 16 millimeter films. And that was a uh Japole France uh episode that we have not screened. Uh we've done that periodically over the last 5 years and that one we missed La Toto de Pari. Uh, and um, so that was made by Milan Herzog and uh, I'm wearing a Wernern Herszog theater shirt and I so I asked Google was Milan related to Verer and it says yes, he was his father. It was uh, Milan was Rer's father. Uh but no that's completely wrong. Um Milan well so yeah so uh Google's AI was completely wrong in saying that they were related. Um I have some other AI that was kicking in. It was like nope not directly related. when it was Crowatborn uh RER's he took on the surname Herszog later in his life he had a different name prior so yeah do not trust Google AI it is garbage uh so today we are drinking um fluids only as we are this is some broth some chicken broth and we had some coffee earlier because we're preparing for a colonoscopy tomorrow. So, tomorrow will be pre-recorded. Um, but I thought I would share because this is inconvenient at best. I had some jell-o earlier that was not red or orange or purple. Uh, all right. Let's uh challenge the YouTube copyright robots with this film. And um when you watch it, you'll know why I'm kind of skittish about it, but whatever. Let's go for it. Go for it. The game. What should I do? [Music] Life is so full of little problems. Each single day we meet a few. And you ask yourself, you ask yourself, "What? What? What should I do? Is there a special rule to follow? It's up to you to find a clue. While you ask yourself, you ask yourself, what? What? What should I do? You may have months, you may have weeks, you may have overnight, or maybe just a moment to choose a course that's right. Let's take a given situation with a decision up to you and you ask yourself you ask yourself what what what should I do? What what what what should I do? [Applause] Strike three, you're out. What do you mean out? It's my ball. I should get another swing. Rules are rules, Red. Oh yeah, you listen to me, Georgie. Porgie. Oh no, here we go again. Come on, let's get on with the game. Hold it. Let's take some time out for thinking. What should they do? George, John, and Red, there are many things each of them could do. But first, let's tune in on Red and see what's on his mind. Gee, there are millions of things I could do in the first place. It's my ball. Maybe I could get the rule changed. Three strikes is dumb. I want four. I I believe you have something there. Red. All in favor of changing the rule say I. I. From now on, everybody will have four strikes. Everybody. Gosh, that's no help to me. Now I got to get five. Maybe I could get another swing if I threaten to break up the ball game. Come on. Either I get one more strike or I take my ball and go home. Okay. Okay. Here it is. So long, Sorehead. Good. Goodbye, game wrecker. Gee, that really backfired. I didn't gain a thing. I just lost friends. I'll think of an answer yet. Red doesn't seem to be thinking very clearly. But at least he's thinking. While he's doing that, let's see what's going on in George's head. After all, I am the Empire. Maybe I should stick to my decision. You're still out, Red. Out. The sorehead will take his ball and beat it. Yeah, George. Think it over or none of us will get to play. He whizzed. All it did was to get everybody mad at me. Why do I always have to be the umpire? Maybe they can get along without one anyway. Foy, I quit. Okay, Red, you're out. I am not. You are. So, he's not. He is. He isn't. Gee, they really do need me. I better stay on the job and come up with a decision. But just what is it? Well, at least George has decided to face the problem. And if he does that, he's bound to come up with the right answer sooner or later. Meanwhile, let's check in on John's thoughts. There must be something I can do to get this game on the road. Maybe I'd better back George up. Come on, Red. Rules are rules. You're out. says you. Oh no, you don't. Come on, gang. Gosh, that didn't solve a thing. We'll never get to play if we keep arguing about the rules. Gee, maybe that's what's wrong. Hey, I've got it. Let's forget the rules. Geez. Swill. Hey, you've got to get a hit before you run. That's against the rules. What rules? You're running the wrong way. Says who? We'll take six out. 11 balls. No, you don't. Come on. Pitch. Throw the ball. We can agree on anything. Gosh, that was a dumb idea. I guess you can't have a game without rules. I better give this a little more thought. Well, we'll have to give John credit for using his head. George and Red were thinking, too. They found that when they're face to face with a problem, there are many things they could do. You probably have thought of some yourself. So there is your given situation. Now the decision's up to you. And if you were George or John or Red, what what what would you do? What what what would you do tail? Um yeah, so there was a lot of uh Disney educational films that were made um that were not meant for television or for theatrical release. And I think that Disney was trying to explore uh other revenues for making money with their amazing animation team. And so this was a series of films. What should I do? Um let me see if I have more information. And I feel like I maybe I've shown another one called lunch money or the new girl. Let me see what should I do. The new girl is one. Uh 1969 is when these were made. 1969 1970. So there's the fight, lunch money, the girl, the game, the new girl, the project. Um, yeah, all made in that kind of 1969, 1970 period. And the animation's not bad, but it definitely started using the that Xerox technology um to uh go from pencil test to ink. Um, so uh and you think that that animation was bad, let me show you this animation. [Music] If you've ever ridden on a roller coaster, you felt some of the sensations of being weightless. Sometimes during the ride, you are close to being weightless. You may feel as if you are almost floating inside a space capsule. An astronaut would float if he were not strapped down. Notice that one of his strap ends does float. The astronaut is weightless. What is weight? How can anything be weightless? We can understand weight and weightlessness if we understand how they are related to gravity. Gravity is a force that pulls down on everything all the time. Because of the pull of gravity, objects are held down against the earth. And because of the pull of gravity, everything on Earth has weight. To measure the pull of gravity, we put a scale between an object and the Earth. Gravity pulls this barbell down against the scale. The pointer measures the amount of pull. We call this the barbell's weight. But how can anything ever be weightless? To find out, we'll lift the barbell and the scale high into the air. Now we'll let them fall. Gravity pulls them down. They fall together. The barbell doesn't press against the scale because the scale is falling too. They both fall freely. Both are weightless. Every object in freef fall is weightless until it reaches the ground. Once on the ground, gravity again pulls it again has weight. So if something could fall forever without reaching the ground, it would always be weightless. Can anything fall without reaching the ground? Let's try the following imaginary experiment. We'll place a cannon on a very high mountaintop. Now we'll shoot a cannonball out of the cannon. It moves forward, but gravity pulls it down so it falls in a curved path. Let's try again. This time we'll shoot the cannonball harder and faster. Notice that it again falls in a curved path, but because its speed was greater, it hit the Earth farther away. Now, let's fire the cannonball still harder and faster. When the cannon fires, the force of the explosion moves the cannonball forward. As it moves forward, the force of gravity pulls it down toward the Earth. The action of these two forces results in a curved path. And the greater the cannonball's speed, the longer its curve will be. If the cannon could fire an object hard enough and fast enough, the curve of its fall would follow the curve of the Earth's surface. The cannonball falls toward the Earth, but the Earth curves away from it. And so it falls and falls without ever reaching the Earth. It becomes an orbiting satellite. Today, when an astronaut is launched into orbit, a rocket carries him into the upper regions of the Earth's atmosphere. At a predetermined height, the rocket is turned until, like the cannon, it is parallel to the Earth's surface. Then, additional rockets fire the astronaut and his space capsule forward. Finally, the capsule is turned into its desired position. Now it is in orbit, a satellite falling around the Earth. The capsule's forward motion and the pull of the Earth's gravity cause it to fall in a curved path just as the cannonball did. Because it is falling, it is weightless. The astronaut inside the capsule is falling at the same speed and he too is weightless. Space travelers like this astronaut must live and work under weightless conditions. And weightlessness creates effects very different from those under which we normally live and move and work. To study the problems of moving, working and living in space vehicles, research planes like this one are used. In such a plane, weightlessness can be produced for short periods of time. The pilot has a television receiver that enables him to see what is happening inside the plane. To create weightlessness without going into orbit, the pilot follows an up and down flight path, very much like the path of a roller coaster. The people inside this plane are weightless. They are actually falling. Gravity pulls them down, but the floor of the plane is moving down as fast as they are, so they appear to float. Experiments like these illustrate some of the problems that occur under the weightless conditions of space. This man is working under weightless conditions. Watch his pencil. Even eating and drinking can be difficult. Today we are studying and learning more about weight and weightlessness. We know that gravity pulls down everything on Earth. When gravity pulls objects down against the earth or some other support, the objects have weight. Objects fall because gravity pulls them down. But a falling object is not pulled against anything and so during its fall it has no weight. A satellite orbiting the earth is falling. a satellite and everything inside it is weightless. On a roller coaster ride, you are almost weightless. You feel somewhat the same as an astronaut does inside his space capsule. In an airplane, an up and down roller coaster flight path will produce short periods of weightlessness. In order to live and work in space, man must study, understand, and solve the problems weightlessness creates. Oof. Some nice stock footage there though. um the vomit comet and um uh the roller coaster footage, but the animation. Yeah. Yeah. All right. Well, maybe uh you can help me solve a riddle. And the riddle is that uh occasionally certain films that I have get like a lot of attention in a very short period of time and I don't understand why. And so um you know I post something and this is this goes back to you know why does that film from the 50s called rabies why is that so popular? Um, why is story of lead popular again? Why was fundamentals of filing popular? And I posted that like almost 10 years ago. Um, so this next film is one that just I posted it uh like a day and a half ago and it has just gone. Yeah, it is the nudity. Um, yeah. Let's let's watch this film and I won't tell you what it is. I mean, you'll figure it out. But I like it for different reasons, but I don't understand why this suddenly got nearly 3,000 views in a day and a half, whereas normally what I get are hundreds of views in a very short period of time. So, let me see uh when I'm sorry. I'm looking here to see if it actually if I had an actual number. Um, but I I'll have that number. So, anyways, let's watch this and find out and and please post your your guesses. And I don't have an answer. So, whatever your guesses are, you know, work. Um, but I guarantee you it's not the nudity. So, uh, enjoy. When fitting a taper key, the keyway in both the gear and the journal must be rotated to the bottom. This will assure that any clearance between the parts will be calculated when measuring the height of the keyway. To determine the proper taper of the keyway, use a telescoping gauge and measure the height at the outermost part of the keyway. Check this measurement with a micrometer. Now place a mark 1 in inside the keyway. With the telescoping gauge, measure the height of the keyway at the 1 in mark. The difference between these measurements multiplied by 12 will give the amount of taper per foot. Most keys will have a standard taper of 1/8 inch per foot or 0.0104,000 per inch. Next, measure the width of the keyway in the gear. The keyway will be straight with no taper on the sides. Measure the width of the keyway in the journal. This measurement should be the same as the width of the keyway in the gear. If not, a step type key must be made. Another method of measuring the height and taper of the keyway is by using an altered adjustable parallel. The parallel has been machined to a taper of 1/8 in per foot. Insert the parallel and position it until it is tight fit at the outermost end of the keyway. Remove the parallel and with the micrometer measure the large end. When milling the key, make a straight cut on the side opposite the taper. This will relieve the stress and prevent the key from warping when the taper side is cut. Keyto is normally coldrawn steel. To asssure the correct taper, a master key is used. The master key is smaller at one end than at the other end and has a taper of 1/8 inch per foot. Place the master key in the vise on the milling machine. The new key is now placed on the master key with the previously mil side down and clamped tight. Starting at the large end, mill completely across the new key. The key will now assume the same shape as the master key or a taper of 1/8 in per foot. The key should be cut about 10,000 oversiz to allow for an interference fit. The serrated jaws on a vice can mar the smooth surface of the key and make it difficult to attain a precision fit. The use of soft metal inserts is recommended. Most keyways have a slight radius at the corners in both the gear and the journal. To correct this, the corners of the key should be rounded slightly before fitting to prevent a heavy bearing at these points. The key is coated with Prussian blue prior to fitting in the keyway. Now insert into the keyway as far as possible. When the key is removed, any interference caused by high spots in the keyway will show as clear spots or marks in the Prussian blue. Note the high spots and remove the Prussian blue. If the Prussian blue is not removed, it will tend to choke up the file and require frequent cleaning. Remove all the indicated high spots with a file. The taper key acts as a driver for the keyed parts and holds them against axial or endwise movement. Turn the key to the opposite side. Check for high spots and remove the Prussian blue. Repeat the filing procedure removing all the indicated high spots. After the first fitting and the high spots are removed, again apply the Prussian blue, now the key will slide further into the keyway. When removing the key after the second fitting, the high spots will be larger and longer. This procedure must be repeated several times before the final installation. Remove the Prussian blue and file down the indicated high spots. The large end of the key has been drilled and tapped. A bolt placed in the threaded hole will protect the end of the key when it is driven in with a hammer. It will also serve as an aid when removing the key. With a hammer, drive in the key as far as it will go. Now the key has almost reached the proper depth in the keyway and this will be the last fitting before the final installation. With a threaded rod and bumper, remove the key. The high spots are now the entire length of the key. Again, remove the Prussian blue. and remove the excess metal with a file. When making the final installation, coat the key with white lead. This acts as a lubricant and will assist in the seating of the key. It will also aid in the removal if the need should arise at a later date. With a sledge or other heavy hammer, drive the key into the keyway as far as possible. The bolt has served its purpose and can be removed. A final check with a thickness gauge should show no clearance at the top or the bottom of the key and only a slight clearance at the sides. There are several methods of removing a taper key. One way is the use of a threaded rod and hollow ram. This acts as a hammer to force the key from the keyway. The system shown here consists of a length of hightensil threaded rod screwed into the tapped hole in the key. A strong back is attached to the rod and two hydraulic jacks are positioned so as to push against the strong back. Each jack has a capacity of 10 tons. So a total of 20 tons is pulling the key from the keyway. When a gib key or taper key which has not been drilled and tapped is to be removed, a strong back may be welded directly to the key, make sure the weld has penetrated both the key and the strong back sufficiently or separation may occur at this point. The jacks are again positioned on each side of the key so that they are pushing against the strong back. If the welded section has been properly made and is strong enough to withstand the 20 ton pull, the key will be easily forced from the keyway. Another manner to remove a taper key is by using a jack with a hollow ram. Again, the hightensil threaded rod is screwed into the tapped hole in the key. The jack is positioned over the threaded rod and secured. This unit exerts 30 tons of power and used properly will remove the most stubborn key. Caution. Look out for the time when a worn gear may have been reversed on the journal and the taper key inserted from the back. If this situation exists, any amount of pulling will be working against the taper, thus making it tighter and impossible to pull. The gear must be removed first and then the key. To check for this, measure the height of the key or keyway at both ends. [Music] Yes, I get it. I get that this is a weird um very specific thing. Uh I like it because it shows a little bit about the process of you know how you machine something and why you machine something and and the importance of machinists and you know because this there's these taper keys appear everywhere anywhere you have a gear uh that you're trying to lock in or you know something else. Um so that that interests me and I also love the hands doing things and and all that. the narration is, you know, I could deal without that. But, uh, so here's I'm going to show you a little bit of behind the scenes. We're going to geek out a little bit about Age Geeks. So, this is what, uh, YouTube tells me that there I've posted this about a day and a half ago and it has gotten 37 more than 3,700 views. And with ad revenue, I've made 34 cents. And so, just in case you're wondering, yes, watching videos do make money. Does make money. You know, 34 cents that I could buy some gum. Um, and it's been watched uh 254 hours total by people. And this is what's is puzzling to me is the the vast majority of people found the video because YouTube recommended it to them. That's 3,500 people were they got recommended this on their homepage. They went to YouTube's homepage and they're like, "Hey, you might like this film on Taper Keys installation and removal." Um, and the the average view duration is four minutes. Four minutes. It's crazy. It is absolutely crazy to me that people are watching this for four minutes. But I don't know, maybe that's the deal. Maybe people uh some people they comment on my videos and they say that this is a perfect AMSR. Um you know, because it's so slow and methodical. It's not heavily edited. And that's another reason I think I like I like these types of films uh because they are procedural but also very slow and meditative. I don't know, but that's always part of the mystery of why. And uh uh Nathan, you were talking about sex uh in the comments that, you know, this is a sexy uh video. It's just implicit. Well, I did do a show uh not streaming show, but I did do something. And it was called machine sex sacks because there are there's a lot of machine sacks like of pistons and uh repetitive motions and close-ups and it is very it is very close to porn. In fact, I the the um the trope is assembly line porn because it it's these close-ups. It's this music and it's all obsessed with the manufacturing of something and not necessarily the final product. And that's pornography. Um, all right. So, I got one more film. This one is has uh suffered from vinegar syndrome and we were able to transfer it uh with our scanner and to make the thing lay flat. Uh although there's a little bit of wobble. Uh, but one of the things I want you to notice is the there's these like fractioned lines or fragmented lines that are almost like crystallin in structure and that is uh the vinegar. That's the acetate beginning to deteriorate and it c it sometimes can crystallize and you know we can use software to try to remove it but um it the results are not going to be worth it. And so this film, we after we scanned it, we threw it away because it was not it it was just going to get worse from there and it would not run through a projector ever. So we got a 4K scan of it and then we said goodbye to it. Uh and that's what we're doing more and more because we're getting to the sense where we know that that film has had it and it's not going to be recovered. Uh certainly if it was a like amazing one-of-a-kind thing, then you know maybe we would consider it like if it was raw footage of something that was uh historically or culturally significant. Uh this film is not that. Uh this film there's other copies out in the world. Um but I figured I would show it to you so you could see the um the weird filmic artifact. And if you notice, like when people apply an old film filter, as I have been accused of doing, um, this is not one of the settings. And so this is what sometimes what old film looks like. So here it is. 50,000 lives. Enjoy. These scenes unfortunately are everyday occupants in big cities and small towns at work and at play. Yes, accidents can and do happen to all of us. And it is vitally important to realize that regardless of the type of injuries resulting from these accidents, they are frequently accompanied by esphixxia. And this condition is a primary cause of death. Her university has this to say. Every year 50,000 people die needlessly because of asphixxia that could have been prevented. These lives can be saved if proper resuscitation methods are used. Asphixia is the condition caused by lack of oxygen and an excess of carbon dioxide in the body. Without oxygen, the brain dies within 3 to 5 minutes and the heart soon stops beating. Asphixia is associated by most people with drowning or smoke or gas inhalation. Yet actually it may accompany any accident causing unconsciousness, electric shock, poisoning, injuries to the head, neck, chest, or abdomen. It may even be caused by convulsions, cardiac arrest, or obstruction of the air passageway. Yet most victims of esphixia could be revived if sufficient air could be gotten into their lungs without delay. This diagram shows what happens in normal breathing. An average conscious adult quietly inhales about one pint or 500 cm of air per breath. In an unconscious person, the neck usually bends forward and the jaw sags. This tends to push the tongue over the air passageway and block it. Asphixia develops because less and less air can get through to the lungs. The average adult cannot survive with less than one. When obstruction of the air passageway is complete, breathing efforts and heart action stop within a few minutes. This can happen regardless of whether the victim is on his back or on his stomach. Until now, the methods of artificial respiration used to relieve this condition were for the most part manual pushpull methods such as the Schaffer method, the Sylvester method, the Holar Nielsen method. Recent medical research supported by the Surgeon General of the United States Army has demonstrated three areas in which these manual methods are deficient. First, they tend to produce obstruction of the upper air passageway by the tongue so that little or no air can enter the lungs. Second, even when obstruction is not present, the manual methods may still not move sufficient volumes of air to revive the victim. You will notice that the average amounts of air moved by these methods is below the critical level. And third, because of his position in relation to the victim, the rescuer has no way of knowing whether or not his efforts are moving air through the victim's nose and mouth. On the basis of a review of available data, including the records of actual revival of victims in emergencies, the National Research Council, the United States Armed Forces, and most medical authorities now recognize that artificial respiration with the rescuer's own breath, or exuscitation. With exhaled air resuscitation, the rescuer can maintain an open air passageway by tilting the head backward and pulling the jaw forward. And he can move an average of three pints of air per breath into the victim's lungs. As a matter of fact, this method is not new. In the Bible, in the book of Kings, the prophet Elisha attempting to revive an apparently dead child, quote, "Put his mouth upon his mouth." And the child revived. Here is how you can perform life-saving artificial respiration with your own breath. This man could have been a victim of any type of accident. He is conscious. His breathing has stopped. He will die within minutes unless prompt and effective rescue breathing is begun at once. Place the victim on his back face up. Approach his head from the left. Clean his throat only if necessary by forcing the mouth open and wiping the throat clean with your fingers or a piece of cloth. Tilt his head back into the chinup position. Grasp his lower jaw with both hands just in front of the earlobes. and hold it forcefully upward. The lower teeth must be in front of the upper teeth and the front of the neck must be stretched. If the mouth is closed, hold it open by pushing the lower lip gently toward the chin with your thumbs. Never let the chin sag as this causes blockage of the air passageway. Take a deep breath. Cover the victim's entire mouth with your mouth to make airtight contact and blow. Press your right cheek against the victim's nose to prevent air leakage. Blow forcefully into an adult gently into a junk. Watch the chest. When the chest rises, take your mouth off and let the victim exhale by himself. When he is finished exhaling, blow in the next deep breath. Repeat inflations every two to five seconds. Same procedure but with these differences. In a child, breathe into the mouth and nose and blow gently. In a baby, do not blow, but use puffs from your cheek. Here is an alternate method. Insert the thumb of your left hand between the victim's teeth. Grasp the lower jaw and hold it upward forcefully. Pinch his nostrils with your right hand. Take a deep breath and place your mouth tightly over his mouth and your own thumb and then proceed in the manner already described. Direct mouthto-mouth breathing is effective because it gets adequate amounts of air into the victim's lungs and is always available. However, as a result of experiments conducted at the department of anesthesiology, Baltimore City Hospitals under the oposis of the surgeon general, United States Army, a device called the resuset tube airway was developed. It is made of plastic. It provides a mouthpiece for the rescuer, a breathing tube for the victim, and a flange to prevent air leakage. For adults, insert the long end into the victim's mouth. For children over 2 years of age, invert the flange and insert the short end. This is the pediatric size for children under two. The recessive tube makes mouthto-mouth breathing more effective and easier to perform. It prevents obstruction by the lips and teeth and holds the tongue forward. Now watch how the recessive tube is used to revive an unconscious non- breathing victim. Place him on his back face up. Tilt his head backward as far as you can. If you feel no breathing through mouth or nose, force his mouth open with your thumb and index finger crossed. If you have difficulty forcing the mouth open, insert your index finger between cheek and teeth and wedge it between the jaws behind the back teeth. Hold the resuset tube so that your mouthpiece curves back toward you. Insert the other end over the tongue. Do not push the tongue back into the throat. If necessary, hold the tongue forward with your finger during insertion. The flange should be cuped over his mouth. Pinch his nose with your thumbs. Press the flange over his mouth with your index fingers to prevent air leakage and pull the chin up and toward yourself so that his head is tilted backward. Take a deep breath and blow into the mouthpiece of the resuscit. Watch the victim's chest at all times. Blow very forcefully into an adult. Blow gently into a child. When his chest rises, off and let him exhale by himself. Repeat the inflations every two to 5 seconds. Again, timing and rhythm are not important. If the chest does not rise, readjust the position of the tube. Increase the chin up position. Press more firmly on the flange and blow more forcefully. If the chest still does not rise, remove the tube and check for foreign matter. Make sure the tube is clear and reinsert it. If you notice the stomach bulging because of air blown into it, press on it. If vomiting occurs, clear throat quickly. When the unconscious victim begins shallow breathing, blow in your breath at the moment he inhales and take your mouth off the resuscitly when he exhales so as not to interfere with his natural breathing. When he is breathing and you are transporting him, elevate his shoulders so his head is tilted backward and leave the resuset tube in place. Be prepared to blow into the mouthpiece if he should stop breathing or when the victim reacts by gagging or wretching. Remove the airway to prevent vomiting. Keep the head tilted backward to make sure that the air passageway is open. There are many cases where an unconscious person may still be breathing. Unconsciousness alone may kill by air passageway obstruction. Very frequently, this type of asphixia can be prevented just by tilting the head backward. You must maintain the victim's head and jaw in this position until he regains consciousness. If this is not effective, insert the short end of the resuscit. Use the short end of the tube to prevent gagging when the jaw is tight or the victim is partially conscious. Here are some important points to remember about drowning. You must get air into the victim's lungs without delay. Do not worry about water in the lungs. Often the drowning victim vomits water and food during resuscitation. If this should happen in an adult or large child, interrupt rescue breathing at once. Turn the victim's head to the side. Clean the mouth and throat swiftly. and resume artificial respiration immediately. If vomiting occurs in a small child and two rescuers are present, one holds the child upside down while the other cleans the mouth and throat quickly. Remember, any type of accident causing unconsciousness may result in asphixia. A non- breathing person will die in a very few minutes if air is not gotten into his lungs quickly. Practice the methods of exhaled air resuscitation you have just seen. In the mouth to airway method, insert the short end for practice purposes. In an emergency, if the resuscit airway is not immediately available, do not waste valuable time looking for one. Start direct mouthto-mouth breathing at once. Every year, 50,000 people die needlessly. Well, it just ends. Um, yeah, that film was beat up. Beat up. So, it was splicy. Uh, the end was clipped off, the beginning was clipped off, all of that. Um, and you know, but we got to see it and all that crazy film artifacts of uh vinegar syndrome and scratches and all that stuff just it's fascinating to me. I mean, I'm sad because I don't have a clean version of it. But, uh, you know, film is this really is kind of this living thing. I mean it's made up of this of these organic materials acetate uh and then the gelatin which has either the dyes in it or has silver in it uh to make the image. All that stuff interacts with the world either being scraped or or cut or embedded with mold or it begins that process where it starts to deteriorate due to vinegar syndrome all that stuff. Fascinating. Absolutely fascinating. Uh so, thanks for joining us today. Uh I just finished my second cup of uh gelatin jello. It's not really Jell-O. It's a store brand. Um and I am going to be pre-recorded tomorrow because I am going to have a camera up in my nethers. Um and you're not going to see that. Um, but uh I'll be back on Thursday and I will be eating solid food again. Uh, and I'll be excited because I'm not excited right now. Uh, but if you're around that age where you need to get one, go ahead and do it. Knock it out. Have friends in your life and family in your life to help you with it. Um, and then you're done. Uh, at least for a while. Uh, but thank you so much for the donations. Uh Jeremy, uh Richard, uh yes, today was filled with all sorts of crazy stuff. And um uh we will have more crazy stuff tomorrow and then even more crazy stuff on Thursday. Everybody take care. We love you and we will see you soon. Bye.