#540 – The Space Time Continuum with Fran Blanche

Fran Blanche: This is the Amp Hour podcast, recorded May 4th, 2021. The Space-Time Continuum with Fran Blanche. Welcome to the Amp Hour. I'm Dave Jones from the EEV blog.

Fran Blanche: I'm Fran Blanche from the Fran Lab. Hey, Fran, we're back. When was the last time you were on? I think it was like four years ago or something.

Fran Blanche: Yeah, something like that. I'm looking. We don't have dates. I think we just have episode numbers. 263. We're up to now 540. So, yeah, that was, yeah, probably five years ago now. Sorry for the delay getting you back.

Fran Blanche: Yeah, well, thanks for having me. That's right. It's always good to be on the Amp Hour. Although I think I've been on twice officially. One time it was with you and Chris Gammell. But the first time I think it was because I was the first guest host to the Amp Hour. Oh. Way, way back. Yes. That's right. And as I recall, we went a little over time. I think it was like two hours, 15 minutes. Right. So.

Fran Blanche: All right. Well, we'll try and keep this. We do try and keep it to an hour these days. We're reasonably strict. All right. Oh, old school. What's that? Fob watch. Is it called a fob watch there? This is a stopwatch. Right. Oh, okay. Oh, it's a stopwatch. Okay. But a pocket watch. Is a pocket watch called a fob watch? We call it a pocket watch.

Fran Blanche: But a pocket watch does have a fob. This is actually the fob. The thing that holds the, you know. So. Right. A pocket watch can have a fob. But we call them pocket watches.

Fran Blanche: Okay. Because if you've got pants. Right. Yeah.

Fran Blanche: Right. But it's not a stopwatch.

Fran Blanche: If you've got pants, it comes with a fob pocket. Well. Which is like a change pocket, which is the one I keep my knife in.

Fran Blanche: It comes with a foe. A foe. They call it the watch pocket, but it's too small for any watch. Actually, when I get my pants custom made, and I tried to get them to make me a watch pocket big enough for my pocket watch, and they couldn't do it. They just couldn't get, they just couldn't understand the idea that an actual watch had to fit in this pocket. And I gave them the dimensions and everything. I told them the tolerance. And it just didn't work out. Right. But yeah. But yes, every pocket watch has a fob.

Fran Blanche: Got it. There you go. We've learned something already. And we're only a couple of minutes in.

Fran Blanche: So I've been enthralled by your recent videos about the solar panels and your new solar panels. Oh, yes. Thank you.

Fran Blanche: And you don't have, oh, no, because you already know you rented.

Fran Blanche: Yeah. I tried in the old lab. I had a roof. I had, it was a duplex, but I had a roof. And I try, and I had a really good footprint in that old building. So I tried to get them to let me put solar panels on the roof because I could have easily put five kilowatts up there. Nice. But they wouldn't let you? No, they wouldn't let me do it.

Fran Blanche: Wow. Wow. Okay. Even if you paid for it. Yeah. Didn't matter. Wow. So even if you left, were they afraid you're going to take them with you and there'd be holes in their roof and whatever?

Fran Blanche: It's Philly. I mean, they don't even let you, most buildings in this town, they don't even let you put a satellite dish up. So, oh, wow. Really? Yeah. Yeah. It's a lot. There's a lot of just, you can't do it because, just because.

Speaker ?: Great.

Fran Blanche: But I wish I did have, I wish I did own a property where I could, you know, put up some solar because it's, it's the way you described a couple of videos ago is that at this point, it, it's, it's basically free.

Fran Blanche: It's basically free. Yeah. Pretty much. If you install like a lower cost system, your payback period's incredibly low. But if you buy like all the top quality stuff, your payback period's longer, but still it's like five years tops or something and then it's free after that and the solar panels last forever.

Fran Blanche: Yeah. Well, I mean, if you're, if you're running a lot of electricity, I guess the, I guess there would be some kind of a curve with how much you generate versus how much you use versus what you pay normally. Yep. How much do you pay in Philly? Actually, it's pretty cheap. Actually, that's one of the benefits of Philly is the electric. It's pretty cheap. I mean, it's a Philly is mostly natural gas. The, the grid is the way the grid is set up. Well, Philly used to be all coal years ago and they shut, fortunately they shut down all the coal plants, but they've converted everything to natural gas. So it's, it's probably like 90% of the power in the city is natural gas, which I like you, the way you go to task with people with solar roadways because people see the power. I don't know if you say that you're against solar, but you're actually very pro solar. You just, you're just, you're just realistic solar. I used to have the same argument with people. I used to go at the supermarket. They'd have these booths set up as green energy, you know, because a few years, you know, years ago they passed the law in Pennsylvania where you could choose your utility, where the, the, the PICO basically got deregulated to be a pro they got to be a provider utility. So they, they provide your electric service, but exactly who you pay for, for your generation, they made it an open market. So these green energy companies came in the market, which is great, but the way that they sold it in the city was they'd set up, you know, kiosks everywhere. Usually these young, young eager volunteers. Yeah, right. And they'd say, buy green energy. You'd be a hundred percent green. You know, you, you get this green energy, you know, you'll be off coal. You'll be off everything. I said, it doesn't work that way. I said, uh, it's just, I, and I try to explain to them that they said, no, no, that's, it's on the grid. You know, you buy it over here. I said, no, it doesn't work that way. You know, it's like you, you're, you're not using a lot. You're not using, uh, electrons that are being generated by, you know, by, by a wind farm, a thousand miles away. I said, I said, you're, you're, you're investing in a green energy generator, which I think is good. You're investing in the infrastructure. Yep. Exactly. You're supporting green energy, but you're not using green energy. I said, you're still using natural gas and a little, but still that's better than nothing.

Fran Blanche: Cause I've been buying green power as we call it here for, uh, 15, 18 years, ever since it first came out. And we pay a like five to six cents per kilowatt hour extra for green infrastructure. And it's fully audited. And we actually read the audit cause my wife's an environmental scientist and, you know, we're all green and everything. So yeah, we, well, we haven't done it for a long time, but we used to read the audit reports of where our money actually went to. And they were actually installing wind farms and you know, the whole lot, but yeah, you're not actually using the electrons from that wind farm, but you're paying for new infrastructure to go on, which is better than nothing.

Fran Blanche: It's better than nothing. I like, I, I support the, the idea of supporting these companies with the problem is that in Philadelphia, absolutely none of that energy gets here. You know, I mean, no, because, uh, you're, you know, you've had the inverse square law with load and everything. So, but so, uh, yeah, like 95% of the power that's used in Philadelphia is generated within, you know, 10, 50 miles of the city limits.

Fran Blanche: So, uh, uh, uh, but yeah, we've got so much solar here because the government did such a solar roof rebate thing that everyone took it up. You, you used to get paid 50 cents per kilowatt hour for feeding back into the grid and, and the solar system was subsidized. It was a gravy train. So we had like within a couple of years, we had 10% of the country on solar of homes on solar. Now it's like 30% or something. The, the number of homes here was souls insane.

Fran Blanche: There, um, there's currently a, um, they're trying to get, uh, a few companies are, they're trying to get a cluster of, uh, wind turbine farms, uh, built, uh, off the coast in New Jersey. But, uh, they're meeting a lot of resistance, um, from people who don't want them around, which I don't get. I don't, I don't see anything ugly about wind turbines. I think they're majestic. I think they look beautiful. Yeah. You know, I totally agree. It's like, uh, you know, you see this huge turbine, uh, you know, miles out, you know, to see, it's like, it's mesmerizing. Yep. Uh, but yeah, I, I think, I think it's the basic idea that America, people fear change. Right. They don't want anything to change, even if it's good, you know, we don't mind change

Fran Blanche: here as long as it, um, goes into our pocket, you know, well, you're a much more, you're

Fran Blanche: a much newer nation, you know, Australia is a much newer nation.

Fran Blanche: You know, you're, you're, it is, but, um, electric cars, for example, the uptake of electric cars here is, is like nothing. It's, they almost don't exist here, but it's because the government doesn't subsidize it. So they've massively expensive here because we, cause we have to import them.

Fran Blanche: But you also have vast expanses of open country and such.

Fran Blanche: Oh, we do, but most people live in the cities, you know, like, I don't know how many, like 98% of people live in like, you know, the five major cities in, uh, yeah, it's a bit of a myth that everyone drives, you know, 500 kilometers a day to work, you know, it's kind of, I think the average, uh, the average distance people actually here in Sydney is like 25, 30 kilometers or something to and from work. So, you know, it's not, it's not huge. So an EV can do, you know, suit almost everyone. It's just a matter of price really. So, whereas you guys in the U S like it, you know, you can almost get an EV for free over there. It's like, they're so subsidized. It's like a no brainer in, in certain States. Certain States. Yeah. Yeah. So certainly not free in Philadelphia. Right. So what's happened since the last time you were on, you've changed, have you changed labs since the last time and you've been flooded and you've been, so how long have you been in the current lab?

Fran Blanche: A year plus, uh, but two years, two years, uh, plus, um, maybe a month.

Fran Blanche: And you've got some industrial pipe work in the background. For those who don't know, yes, you can watch this. We are recording video for this. So it will be up on the EV blog to channel.

Fran Blanche: Um, it's a, it's a, it's a ferro concrete structure. So it's all, all cement, uh, cement with iron. And is that a ventilation? That's ventilation. Yeah. Right. I was going to say that. Of course.

Fran Blanche: Right. Okay. And that just, that just pushes air from outside in.

Fran Blanche: No, it's, it's, it's actually the air. Oh, it sucks out. It circulates around, but it's a ferro concrete. That was one, one of my, uh, very difficult requirements in finding a new lab is it had to, the floor had to support the weight of it. I mean, I've got these, you probably can't see it. I've got these massive steel racks back here. They've got tons, tons of gear. And I knew I'd have to have like, uh, lots of weight concentrated in small footprints, you know? So, um. Are you up, uh, several floors or are you like, you know, like a high rise? You know, yeah, I'm, I'm in, in the middle of an industrial building now. Whereas in the old lab, I was sort of by myself. It was, it was sort of a paradise.

Fran Blanche: So it's right. So it's an industrial building. It's not a, it's not a residential.

Fran Blanche: It's an old factory. Well, it's, it's, it's, it's been divided into semi, it's like a live work, um, building. So, you know, I, I, I choose to do both. So I, I live in my lab. So I forgo all personal space, no couch. So does anyone else actually live in the building or is it just? Oh yeah. Yeah. Other people live in the building. Right. Other people have businesses in the building. It's sort of a mishmash, uh, recording studios and, you know, photo shops and stuff like that. Some people just live in the building, but it's a lot of live works, you know? That's, that's why I came here. It's a sort of, uh, it was the best compromise I could do at given all of the circumstances and the limited timeframe I had to get out of the other place. Yeah, that's right. Cause you were booted out post-base. They were tearing it down while I was in there.

Fran Blanche: Literally around you. Literally. Everyone was following those videos. That was like, it was morbidly fascinating how it was being deconstructed around you.

Fran Blanche: It was awful.

Fran Blanche: I know it was awful. Some people, I, you'll have to forgive me, but I couldn't help but laugh sometimes that they were literally tearing it down around you. It was just so, it was almost comical that that was allowed and happening. Well, yeah. Yeah.

Fran Blanche: Well, I called it the, the, it's, I called it the, the Brooklyn push out because that's what they do in New York. Yeah. Uh, when buildings, when they want to, um, you know, make buildings go condo, they, they push out renters by just, uh, starting to demolish the building and the other apartments around them and just make it as uncomfortable.

Fran Blanche: It's uncomfortable, but you're allowed to stay and that they were not pushing you out. You're allowed to, you're welcome to stay as long as you like.

Fran Blanche: That's why they call it the Brooklyn push out.

Fran Blanche: Yep. Unbelievable. So it's, it's, are you like, is it just the one big level there? Cause it almost looks like you're in a basement kind of thing.

Fran Blanche: Uh, I'm all on one level. Well, this used to be an, uh, an old, uh, like a sewing building. So, uh, you know, but I, it's all one, I'm all on one level. The old place was a duplex. I had two floors. So I had the lab upstairs, the office downstairs, my sewing shop downstairs. So it was very like compartmentalized here. Everything is just stacked on top of one another. So everything's like, you know, compressed here. It's, you know, a little claustrophobic. I mean, you can see the. I was going to say, you seem a bit cramped. Like I said, there's no couch, no living room, no den. Just, uh, you know, I live in the shop. Wow.

Fran Blanche: That, that, that, that is commitment. I wouldn't, I'm not actually not allowed to live in my lab. Um, it's, it's against the strata terms. In terms and conditions here, you can't, you know, live, but I guess there's nothing stopping me working 24 seven technically. But, you know, if they ever found that somebody was living in the, um, it's, we have showers here. Like I could, I could technically, you know, if I get booted out, I'm saying, yeah, this is the backup plan. I'll be working, working 24 seven. Yeah.

Fran Blanche: Yeah. It's, it's, it's your lem. Right. Yeah. It's your lem.

Fran Blanche: But yeah, that's it.

Fran Blanche: Well, in, uh, in the, well, in the U S, uh, we've got, uh, we have commercial buildings that are strictly commercial like that, uh, and residential, but in the, in the cities and in some rural areas, uh, there's another level of zoning, which is mixed use. Ah, yes. And so this is a mixed building is mixed use. So, uh, it's all, uh, uh, also called live work mixed, but it's, uh, technically the zoning is mixed use. So that's, it's a combination, you, you combination of people who live, people who work. Some do both. Uh, I do, I do both. Plus it helps me on the tax side to, uh, limit my living space to zero.

Fran Blanche: Oh, right. Because yeah. Okay. So that sounds like very much here. You can only claim a percentage. If you work from home, you can only claim a percentage. That is your workshop or your office. You can't, I don't work.

Fran Blanche: I don't work from home. I live in my workshop shop. Yes. Right. So it's as far as the tax department's concerned, you're homeless. Yeah. Is that right? Well, the, the, the, the work is all up here. So I'm never off clock. I never clock out.

Fran Blanche: Join the club. Yeah. YouTube is just don't clock out. Do we? People don't realize it's a 24 seven job. You're always thinking about it.

Fran Blanche: Really? It's hard to. Yeah. It's just, there are so many levels to it from, if it's not just about what you're doing, you're planning, you know, a dozen videos ahead, uh, planning things, work, working on things now that you won't shoot for a month or two months. Um, getting, you know, it's just endless like supply chain of ideas and things. And, uh, and I, I wake, when I wake up in the morning, I get up before I even put on the kettle. I, I hit the sleep on the computer, get it booted up so that by the time I have my tea, I'm sitting down and I'm, yeah, you're going, you're answering comments in your, you know, as soon as I'm awake. And then, uh, when I'm going to sleep, it's the same thing, you know, when I'm fading off to sleep, I'm thinking of work. It's just, it doesn't stop.

Fran Blanche: How are the, um, how are the finances? Cause you raised that, um, it was the Kickstarter and Indiegogo. I can't remember. It was a GoFundMe. A GoFundMe. That's right. Yeah. Yeah.

Fran Blanche: GoFundMe for the eviction and, uh, it was very successful.

Fran Blanche: Yep.

Fran Blanche: Uh, it was, and I, I made a video after the fact, uh, showing the total breakdown of costs and expenses and everything. That's right. I remember that. If I, if I wouldn't have gotten that GoFundMe, cause when I, when the GoFundMe came in, I thought it was a ridiculously huge amount of money, but it turns out that I, I needed every bit of it to make it happen. Cause it wasn't just, uh, the cost of the move. It was also the, the time that I was shut down and also the tremendous amount of money that I had to put down just to secure a space because the, you know, I, I, I had to put a $11,500 down just to secure the space to rent it.

Fran Blanche: And, and that's dead money in terms of cashflow.

Fran Blanche: You'll get it back if you move, but I get it, I get it back over time. Oh, you do. Do you? That's different to here. Wow. Yeah. Okay. Well, it's, uh, yeah. Cause, uh, I mean, I negotiated a very fair lease. I mean, it worked out good in the long run, but it was very, very heavy upfront.

Fran Blanche: Yeah. Wow. 11. And that's, well, that's what I paid. I paid 10,000 Aussie bucks here, which is probably about seven, 8,000 us at the time. But you own that space. Don't you? No, this was the one I was renting. This was the, this was when I moved into the hundred square, like the double size, you know, I was renting that and I got a two year lease and that, yeah, I had $10,000 tied up in that, um, which, which you don't get back until you move.

Fran Blanche: That's another part of what people don't realize about YouTube is the, the, the overhead. For having a shop and, you know, and everything, uh, people don't realize just how much it costs to, to have just a space to work in.

Fran Blanche: To do stuff. I know. And you need, you know, it's, and the kind of stuff we work on, like we need a decent amount of stuff. It's not just like one little desk with a computer and a, and a multimeter and something, you know,

Fran Blanche: it's like, yeah. Well, I'm actually renting, I'm renting three different properties right now because I've got this shop. I've got the wood shop that I haven't been in in a year.

Fran Blanche: I was going to ask about those.

Fran Blanche: Yep. Yeah. Cause the, well, the wood shop, I got my wood shop, sewing and painting shop all in the same building, but it's a communal floor. So I haven't been able to work over there during COVID because there's like a dozen other people working in that space. And it just hasn't been safe, but now I've gotten vaccinated and stuff. So now I'm back over at the factory. I'm cleaning it up. I'm going to get back to work after a year, but I'm renting those spaces. And of course I have the vault, which is just a hundred percent storage. It's just like you, you've got your vault. So yeah, I got two now. I got two. If you haven't seen my recent announcement video.

Fran Blanche: I saw you scored a new vault. I did score a new vault in the building, the basement of this building. So yeah, I don't need it, but it's, it's much as vastly more convenient than the one which is elsewhere in the business park. And it's like, yeah, I can walk there, but you know, like try and cart, you know, things to and from and stuff like that. So it's just, yeah, nah, I, I, I, I have occasionally like wheeled the trolley down the main road, you know, with like stuff on it. Like, you know, I just look like I, I dragged my Sinclair C5, you know, cause it's not operational. So like I dragged my Sinclair C5 down the main road. Here I am. It's like, you know, it's crazy, but no, you can't have too much storage space. So I'm glad I nabbed that. Now they're very rare. Like there's, there's over 50 offices in this building and there's like three storage units. So, you know, it's rare as hen's teeth. And once people get them, they don't want to sell them. Yeah. Yeah.

Fran Blanche: Yeah. It's like a penthouse in New York, you know, you can't just get one.

Fran Blanche: Right. People never want to sell. Yeah. It's nuts, but that'll be good. Hopefully it doesn't just fill up, you know, junk expands to fill the space available, but.

Fran Blanche: Oh, I have a feeling you'll, you, you will, uh, you will have much less, uh, prejudice about what you acquire. Yes. You have extra. Exactly.

Fran Blanche: Which is, which is a good thing, you know, because like, I get like big things that are made to repair. Like I've got a giant TV at the moment that's made repair, but I've got other videos that I want to do. So it's something that I want to get back to, but I can't keep here in this smaller lab, you know? So it's like, where do I put it? Okay. It goes down the storage room. Great. Until I'm ready to work on it. You're laughing. Cause you know, it'll still be there in 20 years time. And I haven't worked on it.

Fran Blanche: After the apocalypse, it'll be Dave Jones and that half repaired television. That's it. It's sadly in the news. Uh, Michael Collins, the third man. Yes.

Fran Blanche: Yes. Just the other day. Yes, he did. Yep. Yep. That was sad. He was, um, he had a great sense of humor. If you've ever seen interviews with him and stuff. Yeah. He's, um, he's a really cool dude. Yep. I didn't, did you meet him or you met? No, I met, um, Gene Cernan. Gene Cernan, right. Gene Cernan, Apollo 17, last man to set foot on the moon. Yep. And then he, he died like 12 months after I met him or nine months after I met him or something. So yeah, they're, they're going quick. Few and far between now. There's not many moonwalkers left or even like Apollo astronauts. Cause there were 12 that walked on the moon and I think 20 total.

Fran Blanche: That it'll be, uh, yeah. It'll just be Buzz pretty soon.

Fran Blanche: Yeah, probably. He's, he's still going. I've got my sign. There's my sign.

Fran Blanche: Buzz Aldrin print over there. Yep. Yeah. I've got, I've got the very same, uh, picture in my office. Signed by Buzz himself. Oh, it's yours just signed.

Fran Blanche: Oh yes. Oh yeah. Yeah. No, I got it from his official thing. I got a photo of him signing it and you know, official certificate and everything. Yep. So it's, it's, it's the real deal. And it's like a canvas. It's not like a, you know, it's one of the high quality canvas prints. It's not just a paper thing. So. Yeah.

Fran Blanche: Everybody, uh, everybody wanted to get an Al Bean, but, uh.

Fran Blanche: Oh, I wanted, oh yes. I wanted an Alan Bean. I mean, I should have bought one like a decade ago now. They're unattainable. Yep. I know. Unattainable. I know. I should have, I should have like shelled out. But then back when I was looking, they were still like $50,000, you know, from like an Alan Bean. They were never cheap. But Alan Bean original.

Fran Blanche: Because he put like, we put like real moon dust in them. He put real moon dust in the photos. That's right.

Fran Blanche: Oh, yep. I, yeah, I lusted off one of those, but I can't justify my $50,000 for a painting. But I, I, it probably, it would have been a good investment. Like if I really thought about it. You probably, it would have been worth five times. Yep.

Fran Blanche: Now.

Fran Blanche: Yep. What you paid for it. Yep. I should have shelled out $50,000 and yep, did it. Oh, well. God.

Fran Blanche: What a shoulda coulda. In my world, the, the Pella movie dropped last week.

Fran Blanche: Oh, yes. I have not seen it. How, how much are you in it?

Fran Blanche: Like about that much. Oh, right.

Fran Blanche: Oh, okay. How, how is it like a full length movie? Is it like an hour and a half or something?

Fran Blanche: Or two hours, two hours, 25 minutes. Wow. Epic. So two hours, 25 minutes. I'm in it for like 50 seconds.

Fran Blanche: Oh, that's it. Well, that, you know, that's all right.

Fran Blanche: Well, you wouldn't even, if you wouldn't even see me if you scan the YouTube bar.

Fran Blanche: Oh, okay. Right. It wouldn't even come on. Damn it. Damn it.

Fran Blanche: So where can people watch it if they, um. It's on Blulu and Yibyab and Zibzorb and I don't, it's, it's on a, it's like, it's on a bunch of streaming apps that I have never heard of. Right. Got it.

Fran Blanche: So it's not on Amazon Prime or one of the majors. It's not on. No, I don't think they wanted to pay any money. Netflix or any. Yeah. Yeah.

Fran Blanche: Cause that, that's not free.

Fran Blanche: You know? No. Right. No. I have to pay money for content. And here we are just giving it away. We just give it away. Give it away. How do we make any money? Volume. Volume. That's it. Yeah.

Fran Blanche: It's like that free energy video I did.

Fran Blanche: Yeah. That was good.

Fran Blanche: I like that.

Fran Blanche: Yep. So did you get any, you wouldn't have got any, you know, crazies on there. Cause it wasn't a legit. Snarky.

Fran Blanche: Well, I started, you know, I, it's, it's interesting after YouTube allowed filters, I started, I started just banning the crazies years ago. And it's amazing the, the inverse curve when you start to squeeze out the trolls, it's just, they don't, you just don't get many. It's like, you know, cause, cause it's like, if you, if you let a few trolls and all you have is trolls, it's just like, it becomes like a troll fest, but you squeeze out a few of the really like aggressive actors. And it's just, they just don't, there's just the trolls disappear.

Fran Blanche: Yep. I know. It's great. Yeah. They feed on each other. It's a, yeah.

Fran Blanche: Yeah. Yeah. It's, it's, it's, it's, it's, it's just a, like a, it's like a, it's like a, it's like a positive feedback. Only it's negative.

Fran Blanche: There are self replicating mechanism. There are self replicating. Yeah. It's like antimatter positive feedback. So what are you working on at the moment? What's your latest thing? What's your next video?

Fran Blanche: Oh, the next video I'm shooting tomorrow. I've been working for the last week building animation for this movie machine that I'm going to build tomorrow. So above, yeah, I'll have a video up about that. But, but it took a week for me to storyboard and work out the animation and draw the cells. And 48, it's just, it's just, it's a loop of 48 different drawings. But it, if I didn't screw anything up, it should look okay. But I won't really know if it worked until I actually load it tomorrow and run it. So who knows? Oh, looking forward to it. No, I've got some unobtainium. It's weird. More unobtainium. Yeah. I got some unobtainium on the table. I got a few really just like amazing things in the past, like six months. Um, and I've just been trying to figure out how to get videos together because it's, it's one thing to have like a really amazing item. It's another thing to be able to make a video about it. And some of the things that I end up getting are amazing, but I sit on them for long periods of time because I'm just struggling to figure out how I'm going to present it.

Fran Blanche: Well, yeah. And you've, and you've probably got to build something to make it work and, you know, make it do something that's worthwhile to show. Otherwise you just sit in front of the camera and go, well, here it is. Isn't this fun? It's, you know, it's ancient, but. Always. There you go. See you next time.

Fran Blanche: I had this, uh, three digit incandescent display I put up a couple of weeks ago and, um, it took me two days to build the hardware driver just to demonstrate it. Yeah. And, but I had that display for the better part of a year and I knew that it was going to be very painful to build a driver to present it. So I just kept putting it off, uh, until I could knuckle down and just do it. But I, I've got a bunch of things like that. I've got boxes of displays that I'm dying to show, but it's like, man, it's going to, I, I just, I, I just really, really don't want to put in the work. Yeah. Join the club. To get the, to get it working. But every, every one of these displays of which I, I now have like a dozen boxes of things, uh, in there that I want to show, but each one of them is a difficult project. And I'm just really, you know, with the pandemic and everything, especially being in Philly, where it was really tough. Um, cause we had a very serious problem, um, in Philly for that. And we were, we were basically in lockdown for a year. And so I was dealing with, well, there was so much to deal with, uh, just daily life. Cause I mean, for many months, like six months, there were massive shortages. You couldn't get food. You couldn't get any, anything. I would go to the supermarket. You'd have to wait in line for an hour to queue, to get in. Like, uh, it reminded me of, um, the movies I, or I used to see the footage I used to see on the news in the eighties of Soviet supermarkets, you know, where people wait all day and they get in there and it'd be aisles and aisles of empty shelves with like a, like one, like jar of something inedible on it. Um, but it was like that for months, you know, you couldn't buy food. In fact, um, it got so desperate cause, uh, we couldn't buy any canned goods, couldn't buy any bread, eggs. And I mean, basically the only food you could buy was like shit food, like potato, like maybe, maybe a bag of off-brand potato chips or something, but you can't live on that. So I, it actually got to the point where my, my, uh, my, my family, my sister and my mother way out in the country, they were buying groceries where they could get them and shipping them, bringing them to me. I was going to say, yeah. That's the, that would be the solution. Cause there was no food to be, to be bought, but it was, you know, and, uh, we, you know, we had several, uh, uprisings in Philly because of other issues, not related to the pandemic, which, uh, caused, uh, you know, businesses get shut down and shuttered. And it was, it was a very trying time, not just cause of the pandemic, but living in the city. So, so I was overwhelmed with just like surviving 2020 and keeping my head in work. It was, it was tough, but now it's gotten to the point where I got vaccinated. Uh, you know, you can, you can buy toilet paper again. So, uh, I'm, so I'm not thinking about just, just the root survival stuff. And I'm actually, I've been, it's been weird cause I've been able to shift my brain into working again. And I'm not just spending my days and nights thinking about where the fuck am I going to get a loaf of bread? Unbelievable.

Fran Blanche: Like, I just can't, yeah, I just can't comprehend it. Cause we had nothing like that here.

Fran Blanche: No, we, well, yeah. I mean, we had, I think to, to date it's, it's like somewhere in like 560,000 people died of COVID last year in the U S so it's, it's, it's hitting, it's getting close to 600,000.

Fran Blanche: So, uh, yeah, we, we're not even, uh, four digits like, you know, and if we didn't have one outbreak, it'd be barely three digits.

Fran Blanche: Well, you handled it right, right at the beginning, you know, I mean, you, you, you did everything. You, you had an, you had an organized, you, you had an organized attack on the situation early on and, uh, and we did not.

Fran Blanche: But we also famously made news around the world for, you know, during lockdowns, everyone just went to the beach, you know, it's like, it was, it was front page news around the world. You know, these bunch of Yahoo Aussies were just not given a shit and just going to the beach. So, um, yeah, but as it, as it turns out, the research seems to show that that's not a problem. So hence why it, you know, it didn't. Yeah. It, it just made us look dumb, but you know, at least we, uh, survived, I guess, but yeah, there's other factors at play as well. Our population density and all sorts of other stuff. We probably get a lot more sun and all sorts of things. So you got a warmer climate contribute. Oh, warmer climate. The whole works. Yeah. But even, even during a winter here, we didn't have a problem. There was no winter wave. There was no winter flare up. So how cold does it get down there in the winter time? Oh, a cold day here. It'd be 12 degrees Celsius or something, you know, like a really cold, you know? Oh no, no. It's yeah. It's like, it's like you put a jacket on. Yep. Oh yes. In a, yes, I might have to put jeans and a, and a jumper on maybe, you know, on, on the coldest winter days, but no, during winter here in Sydney, I'm still, you know, t-shirt. So yeah. No, it really doesn't get cold. Yeah.

Fran Blanche: It doesn't really, it really doesn't get cold anymore. I mean, when I was a, when I was a kid, I mean, it got cold. Like, um, I, I do remember, I think when I was in high school, there was a winter. It was around, uh, somewhere around new year's, um, the, um, it got to minus 80 degrees Fahrenheit with the wind chill. It was like minus 80 Fahrenheit. What's that? I don't even want to know. It was, it was, uh, yeah, it was like Arctic circle cold.

Fran Blanche: Oh yes. That's minus 62 Celsius. Holy crap. Yeah. That's like, you'll, you'll die if you don't, you know, you'll die in five minutes if you don't kind of have appropriate protection.

Fran Blanche: Yeah. But it used, it used to get really cold. It doesn't anymore. I don't know why it just doesn't get cold anymore in the wintertime. So we don't really have winter here anymore. It doesn't even really snow. It just kind of rains every now and then.

Fran Blanche: Oh, okay. So it used to snow in Philly. Oh, you still, we used to get crazy snow, like six feet, eight feet.

Fran Blanche: Oh, wow. Yeah. Jeez. But, uh, yeah. All these foreign concepts. It doesn't get cold in the wintertime anymore. It's, it just sort of, it just kind of gets to autumn and just kind of stays there until summer happens, uh, where spring used to be. Right.

Fran Blanche: All these foreign things like this white powdered stuff. I just don't understand why anyone lives in a place like where this happens. I don't, I don't get it. You know, people shoveling snow out of their driveway so they can go to work. Like what, what is this strange planet you live on? I don't get it.

Fran Blanche: Oh, I, I should mention that, uh, you being a senior member of the IEEE. Oh yes. And, and, and I being a senior member of the IEEE that we're.

Fran Blanche: Yep. Secret handshake out of camera frame. Out of camera frame. Yep. Yep.

Fran Blanche: I threw my back out the first time I tried that.

Fran Blanche: You did it.

Fran Blanche: I'm still just trying to get over the blood initiation. That freaked me out. I was not expecting that.

Fran Blanche: That's really scary. That was. Things you gotta do. Yeah. You weren't. It's a company. Like the president, the IEEE president was going to sponsor you. Yeah. Yeah. That was a, that must've been a huge surprise.

Fran Blanche: Yeah. I didn't see that coming in a long shot. I spent like a month trying to get like one other person other than you to, to sponsor me. Right. And then it's just like, I, I had a flood. And then flood happens. Yeah. Typical.

Fran Blanche: It's I, yeah. I thought like, I didn't know anyone who's a senior member. And then all of a sudden all these people came out of the woodwork. Oh yeah. I'm a senior member. You know, I'll help you out. You know? So it's like, yeah, I had no idea. Cause nobody advertises it really. You know, people don't go around with their senior member t-shirt, you know, or whatever. Yeah.

Fran Blanche: I don't know. I, I, you think they would. I mean, the fringe benefits are great.

Fran Blanche: Engineer. Do you guys have any other organizations there in the U S any other engineering organizations? Cause we have engineers Australia here, which used to be the Institute of engineers Australia, but then they rebranded to just engineers Australia. And, but nobody in the, it's only for like the mechanical mining building people. Like nobody in our industry is a member. Like it's just, I don't get it. Is there any other, or is the I triple E sort of it, the major engineering? Cause there's going to be other ones for like building and construction and mechanical people. Surely.

Fran Blanche: Well, there's a, there are a lot of guilds. There are countless guilds and organizations and to trade, you know, trade organizations, people in the, in what they call the trades, uh, plumbers, electricians, builders, bricklayers, you know, there's, you name it. Um, there's lots of organizations. Um, a lot of the organizations in the U S are very old ones. You know, the, the, the, the Masons still have their thing. Oh yeah, of course. Yep. Um, I, I, you know, the, in fact, uh, Philly is like a big hub of Masonry. And, um, I, you know, I was very disappointed cause I had a friend who was a Mason and I, I was like, well, I want to be a Freemason. He said, well, you're never going to be a Freemason because it's, it's for men only. So, uh, it's like, wow. So, uh, is it really? Yeah. Yeah. Always has been, which is, which is, I used to work with a woman who was a Mason. Uh, yeah, but you can, you, you can be a Mason, but you can't be a Freemason. Oh, there's a difference. Oh, Mason is any, a Mason is anyone who lays bricks and works with cement, but a Freemason is in the order of Freemasonry. So, uh, but I, you know, when I started learning that, uh, that people who were in the, you know, in the Freemason, uh, groups in Philly, that they were getting a lot of work and, uh, it just seemed unfair that, you know, if you want to get this kind of work, you got to be a Freemason, but you can't be a Freemason if you're, if you're not a, not a guy. So a bit of a closed door, but I, I, I, I, you know, I was very honored and surprised to get the, um, SMI triple E. That's great.

Fran Blanche: What I discovered, like just the other day, I don't know how I ended up, you know, you're surfing Wikipedia, right? And you end up like, I don't know how I got there, but there was like, um, there's this, uh, there's a bronze ring or something and engineers bronze ring. You can look it up. Oh, um, bronze ring, bronze ring. And it's, um, for this engineering, uh, there's, there's, yeah, there's various, um, engineering organization, engineers ring. There it is. Engineers. If you search wiki for engineers ring, there's a stainless steel engineers ring and there's these bronze rings and it's all these, uh, universities. They've got like secrets to engineer societies in the U S and they, they, they present you with your bronze ring. And, you know, when, when you, uh, graduate and, you know, all sorts of other bizarre kind of things like that. I had no idea. I just stumbled across this, but it's on wiki. So it must be true. So yeah. Engineers rings. I don't know.

Fran Blanche: Yeah. I wonder what the hazing's like for, for, for the, uh, for the steel ring and you have to like, you have to suck on the mains. Or something like that.

Fran Blanche: Or the tongue, you know, you're going to put the mains on your, on your, on your tongue. Um, so yeah, I don't, I don't get it. Um, but I, it got me thinking though, like, um, about like engineers creeds and things like that. There's, and, and I look for those as well. Like there's various engineers creeds, you know, like I will engineers. Here we go. Oh, look it up. I will. Let's, here we go. The, the, the engineers creed, this one, who does this one come from? Uh, hang on. Engineers creed. The NSPE engineers creed. No idea who that is. The engineering profession ethics lecture. To give the utmost of performance. To participate in none but honest enterprise. To live and work according to the laws of man and the highest standards of professional conduct. And to place service before profit. The honor of standing of the profession before personal advantage. And the public welfare above all other considerations. In humility and with need for divine guidance. What?

Fran Blanche: It's pretty tall order.

Fran Blanche: That's it. I know. So I was like thinking, could we come up with like an engineer's creed? That's not that kind of wanky.

Fran Blanche: I think, I think they, they, they left out temperance and chastity in that list.

Fran Blanche: Yeah. Cause that's pretty much guaranteed, isn't it? Oh, goodness. And to be, yeah. Like I wanted like some sort of engineer's creed with something along the lines of, you know, you're not to spread bullshit or, you know, some other, like needs to be worded more elegance, but you're not, you're not to promote nor contribute nor engineer bullshit, you know, or something like that. You know, or no one impractical, you know, things with no one impractical value. So no solar roadways, you know, cause it's just, no, it just, no, just don't do it. It's against the order of the batterizer. Jesus. Free energy. It's real. It's real. We just pretend it's. I don't know. Can we come up? Anyone? Leave it in the comments down below, please. Engineer's Creed. Or if you've seen a good one, that's not completely wanky. And here's another. Stephen Acosta's Engineer's Creed. I pledge to give the utmost performance, patissiere, honest enterprise, professional conduct, public welfare. Oh, divine guidance again. Holy crap. Can't escape it.

Fran Blanche: Where's the fun in that?

Fran Blanche: I know. And, and, and of course you have to swear on the art of electronics. You know, you've got to like, yeah, you have to get.

Fran Blanche: I've got a first edition. So.

Fran Blanche: Yeah. Yeah. Well, obviously you have to swear on a first edition.

Fran Blanche: It actually just actually glows in the distance. It glows in the corner. Yeah. And you get close. It's a. You know.

Fran Blanche: Yep. I don't know. Can we come up with something?

Fran Blanche: Let me know. I think that if we had a list like that, I would have to list explosions. Oh, okay.

Fran Blanche: But yes. The magic. Things that have to catch fire. Yeah. Maybe, maybe to join, you have to blow. You have to have blown up something expensive in order to join in order to, and it may be in, in order to become a senior member. What do you think? You have to have released the magic smoke.

Fran Blanche: Yeah. You, you also have to present a classic circuit board smell at some point. You know, you have to like, you have to give an offering of classic smell. Like you have a radio that you take the back off of and everyone gets in there and goes. You have to date it.

Fran Blanche: You've got to date it. You're blindfolded. This is part of the initiation. You're blindfolded. And you have to tell. Yes. And you have to tell the age. You have to tell the decade of the product by the smell.

Fran Blanche: Mm-hmm. Yeah. Yeah. Those, those elastomers, polymers, I would say 68, summer of 68, based on the polyvinyl chloride and the, and the, and the, and the, and the, yes, and the ethanol that I am imbibing. Yeah.

Fran Blanche: This reminds me, on my list for years now, because I've gotten around to it, is I wanted to find an expert and a local university that can somehow analyze odors, right? And I wanted to actually analyze what makes that vintage electronic smell.

Fran Blanche: I think it's most, yeah, it's, I, I've thought about it too. I think it's a combination of things. In radios, one is that they used beeswax to coat a lot of the coils and such. So there's, there's beeswax when it gets older, has a very kind of specific sort of organic resiny smell. And combine that with the phenols because the, those old phenolic boards outgas phenols and which, you know, also the capacitors have the, the, the, some of the chemicals they used for the elect, for the, for the, for the electrolyte. Oh, yeah. The, they used to use the same chemical that was the elastomer that they put in polyvinyl chloride, which causes the green goo problem. It's, it's, but when that gets, when that gets older, it reacts with copper and nickel and, and it creates a very specific sort of licorice-like odor. There's some of that. I, I've got a hi-fi, a pilot hi-fi in the other room that, um, it, it gives off whiffs of licorice smell. Wow. Um, and it's, it's the, it's this, uh, elastomer that's coming out of all the PVC wiring in there. But there's a, a component of that. I've had some radios recently that started to sweat. Uh, I had to remove some parts out of one because the, um, the elastomers had started to sweat out of some of the polyvinyl chloride parts and it was starting to pool in the bottom of the radio. And, um, in the last few years, some of like groups of my 1960s electronics have started to just give up the ghost, uh, or give up the, the elastomer. It's because the, uh, polyvinyl chloride is starting to disintegrate and lots of things that I own. I was like in the last year, I've had to quarantine, I think, uh, half a dozen items. And I had to move some things to stores just because they were stinking too bad. Yeah. Um, but yeah, it's like the wiring and a bunch of my, uh, antiques just started to go. It's like a, it's some kind of weird, it's like a time bomb, like chemical time bomb. Some of these, uh, plastics, they just, they all seem to go at, you know, around the same time. Yeah. Yeah. Um, I also learned that humidity has a lot to do with acceleration. So, um, you know, higher humidity here than in the other place that I was in, um, it accelerates. Yeah. Yep. Uh, it causes the, where the, the elastomers that are prone to get out of plastics, the, some of them are accelerated by humidity. It's just sort of. Got it. Yep.

Fran Blanche: So what does that poster you got in the background? I can't see it. Yeah. Yeah. That's a, that's a painting actually. That's a paint. Oh, okay. It looks like, because everything's so blocky because we're straight, when we stream this, it's very, you're very blocky. Like everything's just like, like 144 P resolution or something.

Fran Blanche: So, yeah. Let's see. I don't know if I can do this here because we're doing this on the cameras.

Speaker ?: Oh, yeah.

Fran Blanche: Right. Yeah. I can. Yeah.

Fran Blanche: No, I thought it was one of those detailed engineering, um, you know, posters that had, you know, lots of little detail on it.

Fran Blanche: Unfortunately, my, my computer is all hardwired to a bunch of stuff. So I can't flip it around, but, uh, there's, there's artwork everywhere. I've got like every square inch, uh, covered in artwork and stuff.

Fran Blanche: I saw you went to, um, the, uh, Philadelphia, um, the, what's the, what's the museum there?

Fran Blanche: Franklin Institute.

Fran Blanche: The Franklin Institute. That's right. I haven't watched those videos yet, but, uh, you have, yes, you looked at the Apollo capsule

Fran Blanche: and the idea. Yeah. I, I, I, I did finally make a video with their limb just because I just got in there. So I just shot the video and just said, fuck it. Yep. I, cause I was waiting for three years for permission.

Fran Blanche: That's right. We've talked about this before. Yes. Wouldn't do it. They wouldn't give you permission because reasons, you know, they wouldn't let me in

Fran Blanche: the park, but then because of the COVID, they had the park open and I went at their first thing. I was the only person in the whole museum and I just went out there and shot it. Nice. Oh, I'm going to have to watch it now. When, when? Right. Rub it in. Yep.

Fran Blanche: What are they going to do? You know, like nothing.

Fran Blanche: You did damage anything? I don't know. They've already done the worst. I've already been in with the Smithsonian with, uh, you know, the, the, the, the drama that ensued back, uh, behind the scenes, uh, when I was down there at, uh, um, at the, uh, storage facility. So, uh, yeah, I definitely have history with them, but yeah.

Fran Blanche: So what's, what's happening on the space history front? Anything? No. Cause you gave up the Apollo diskey thing because somebody else had already effectively done it. So you didn't see the point.

Fran Blanche: It wasn't, wasn't worth the work to, to do my own version of, you know, been there, done that. But, um, um, but yeah, I, I, I've got other space related projects, most of which I shelved when I was moved out of the old space. So, um, I've got a few that I'd like to finish this year that are, I've just, you know, not been finished. Um, but yeah, I'll, there will be some space themed projects definitely. So, um, I just really trying to restart the boiler, you know? Yep. Listen forward to it.

Fran Blanche: What do you think about, um, the rapid, like the last five years, nobody gave five years ago, nobody gave a toss about space. Now it's like, wow. How many YouTube channels are doing space stuff? There's like thousands of people camped out in front of bloody SpaceX, just watching every movement they do. What's your opinion on the whole revival, I guess, of space? Is it like, especially an interest in space? Cause these space YouTube is getting millions of views.

Fran Blanche: Well, I think, uh, when, well, to your point, I think it's not, it's not that there is a new interest in space. It's just that millennials discovered space. Right. Okay. I mean, that's really all it is. I mean, the people, our generation, it never stopped. No, of course. Uh, all the new YouTube channels, everyone, everything you're talking about, it's all millennials and it's just, they've discovered space. And so when millennials discover something, it's seen for the first time. So. Right. Of course. Yes.

Fran Blanche: Obviously it never happened. We weren't driving electric cars on the moon 50 years ago. No, never. You know what I mean?

Fran Blanche: We weren't driving electric cars on the earth a hundred years ago.

Fran Blanche: A hundred years ago. Yeah, exactly. So now, no, but it's all new because Tesla did it and because Elon Musk did it. Right. So it's like, yeah, we, we, we weren't landing rockets, um, you know, 30 years ago. No.

Fran Blanche: That's like, uh, when you're having a talk with, uh, a 20 something, then they've just discovered the Beatles, you know? Oh, right.

Speaker ?: Okay.

Fran Blanche: Yep. Yeah. You discovered the Beatles.

Fran Blanche: Good for you. Have you seen that movie? Um, uh, where he goes back where the world. The world doesn't know about the Beatles.

Fran Blanche: Yesterday.

Fran Blanche: Oh, yesterday. Yes. I loved that.

Fran Blanche: I thought that was fantastic. Yeah. Hamish Patel. I know. I, I, yeah, I love that film. That was brilliant. That was absolutely brilliant. Yep. Uh, yeah, it was weird. I, I just saw a film over the weekend. Um, it's, uh, another, it's a sci-fi film that Hamish Patel is in, but he has a, he has a completely flawless American accent in that. Oh, right. Okay. I flipped around. I was like. Yeah, yeah. It just. What? Cause those British actors, they can, they can turn on the American, like no, the no accent, American accent, you know, you can't identify where they're from, but it's. Yep. It's the, it's still, it's American in quote marks. It's the pan American accent. Cause I mean, cause in the U S like, uh, most places, like in, you know, it, the British can tell where someone's from, like sometimes like within the block by how they talk, you know, not just, not just Croydon, but like this corner of Croydon, you know, uh, but America is sort of like that. I mean, there, there are so many different accents and dialects in the U S that, you know, Americans usually tell where someone's from. It used to be much more specific.

Fran Blanche: Even I can tell a New Jersey accent. I think like a heavy New Jersey accent. I could probably pick.

Fran Blanche: Well, even I, I, I, I do not have the traditional Philly Delco accent because my, I've, I've lived all over. So I've, I struggle to not have an accent, which is also probably why I speak so strangely because I'm trying not to have like either talk like I'm from Brooklyn or from Philly or from the Dutch country, but it's like a mix mishmash of Pennsylvania, Dutch, Philly and Brooklyn, like mish. And then I'm trying not to sound like any of those three. Right. So you actually actively try to do it? I'm basically doing the non-accent accent. Although, although sometimes I, I, when I hear myself recorded, I can hear the, you know, I can hear that some of that Philly coming through that, Oh, Oh, not going to walk, go to the, bring blowing into Wawa. Right.

Fran Blanche: We've got a similar thing here.

Fran Blanche: It's like, you know, the further out west you go and yep. I do not say water. That's that, that's a stereotype. Right. We don't say water. No, but I know about Australian accent. I've seen Mad Max. Oh, okay. Yeah, of course. Although interesting, you know, when Mad Max came out in the U S I was in high school, I guess when that got, but when they, when they really seven or something, uh, 78 here, it came, it was released in, it was released in the, like the fall 78, but in America, they, they overdubbed all the voices. So. Oh, really? So it was like, it was like a spaghetti Western, you know? Yeah.

Fran Blanche: Is that common over there for Australian and other foreign movies? No, no.

Fran Blanche: I think it was, it's kind of weird because now, I mean, these days when it comes on TV, it's always the Australian version. Oh, okay. But the American theatrical version, I think they, somebody got in their head. No one wants to hear these weird accents. You know, no one's going to watch a movie with people talking like that, whatever that is. Yep.

Fran Blanche: I can remember there's a famous movie, Australian movie, the castle it's called. And it's like quintessential Australian movie. And they released it in the U S but they, they, they didn't dub or they didn't essentially dub over it, but they replaced a lot of the car. Like there's lots of names of local cars and things like that. And they actually rep replace them with American car names so that people would understand the joke, you know, otherwise people wouldn't get the joke, you know? So I, I've never seen, I've, I've heard of this version, but I've never watched it. So yeah, apparently it's like sack of litch. Like they've just, you know, dubbed out all the best jokes and Americanized it. Bastard. So yeah. Oh, unbelievable. Please. Anyway, if our audience know of any others, any other movies that have been Americanized. They don't do that anymore. I mean, it's, it's really something of another time.

Fran Blanche: Yeah.

Fran Blanche: Yeah. I guess ever since a crocodile Dundee came out, then people accept. Oh, that's rough. Yeah.

Fran Blanche: I tell you though. Uh, I, um, recently, uh, I guess late last year, I did a series of videos on, uh, incandescent, um, seven segment displays. And it's, it's weird. It's like, once you discover incandescent seven segment displays, you can't unsee them. And so, uh, like ever since I've made those videos, especially about the, what the Delcos and the, and the Stanleys, I'm seeing them everywhere. Like, like every movie made in the 1980s and the 1990s up to like mid nineties, like every single movie that has any kind of scientific seven segment display. It's all, it's always those Delco displays. Like, like, why is that? Is that because they look, they look the part? No, because they were bright because the stage lighting, uh, even when stage lighting looks dim, like, uh, just because of the nature of film, uh, like if, if it's a dimly lit, like spaceship and you think that there's like candle lighting, if you were there, it would be like daylight bright, you know, and all the control panels and everything, they're blindingly bright to look kind of like regular bright. So, uh, no, but they were using the, um, the incandescent seven segments because they'd show up on film like the back to the future, you know, Oh yeah. The, the, uh, time display. Yeah. Yeah. They're, they're all incandescents. They're not led. There it is. Yeah. The originals are, uh, the originals are all Stanleys. They're, uh, Stanley incandescent seven segments. They're, they're all, they're all, uh, light bulbs. And, uh, but I, I found them in every day. I was just watching 2010 again, the really bad sequel to, uh, 2001.

Fran Blanche: Oh, right. Yeah. It's, it's got some okay bits. It's yeah. But it's, yeah, it's generally.

Fran Blanche: Yeah. But I wrote Roy Scheider. Oh, yes. Look, it looked, look like he, he had gone, uh, to the tannery. Like he's like embalmed in that. Um, but I, but there's lots of like, they're in the Russian spaceship, you know, and all the control panels and stuff, but loaded with those seven segment incandescent displays. So, but yeah, I, I've seen them in war games and like everything, but it pretty much like every, every weekend I'm watching some eighties era movies. It's like, Oh, that's a Stanley. That's a Delco. Yep. Like you can't unsee them now.

Fran Blanche: You can't unsee them now. People don't realize how bad led displays, uh, were in the seventies and eighties, how like piss weak, bright. They were. They're just like, you know, you're pumping 20, 30 milliamps through each segment and they're barely lighting up, you know?

Fran Blanche: Yeah. Well, I, somewhere, uh, someone sent me some of these, uh, early HPs. They were the, the ones that had the, uh, they had the decoder in the display. They're like a little more like taller and they have a little like, you know, bonded on chip, you know? Uh, and those, uh, cause I, I ran them, someone gave me this board and I fired it up. Um, um, it was very bright. Um, but I don't know how it doesn't just melt down to the core of the earth. Cause it, it was, it got red hot. Uh, yeah. Wow. Like it says, pulling like 25, 30 mils a segment. Um, they must've had like six or so dyes in there, screamingly bright. Um, but I mean the heat it was putting out, it was just like, what's, what's the point of it being an led if it's pulling more current than a light bulb would and it's not even as bright. So, but yeah, there was that weird transition period, uh, between, uh, the high voltage, you know, neon, Nixie, CRT era and the led era is like decades. There were all kinds of weird things were put in there, which like, uh, these, uh, incandescent displays where they were used strangely late. Like they were still using them like well into the eighties, nineties for a lot of applications just because if you needed to be able to see a display in daylight. Yeah. You, you couldn't do it. It had to be a bulb, had to be a light bulb. Exactly.

Fran Blanche: There's other, um, things like this, like there's a whole like missing decade of, of movies. Well, I like TV shows that were shot on like tape and they're like in this dead period of where like before that it was film. So everything in the eighties was like all shot on film. So now you can get like 4k Blu-ray transfers of it and all looks gorgeous and everything. Yeah. And then like in the nineties, I think 90, 90 to 2000, I think it was pretty much a nineties phenomenon. Everything like all TV shows, they were shot on, uh, tape at like 570 P, you know, or I, you know, 570 interlaced. So you'll never get, we'll never be able to see anything made in the nineties in Blu-ray or 4k or anything. Cause it just does not exist. They, they, they just, um, HD didn't come along until the two thousands really like in, in recording shows and stuff. So yeah, there's all these old TV, you know, people's, I think, um, what, what, what are one of the Star Trek series? If you're into your, you know, there's like 10 different versions of Star Trek series. I think one of them was shot in the nineties and it's like all this, like you can't get a HD box set of it because it just doesn't exist. Um, something like that.

Fran Blanche: Yeah. There were, there were a number, I think the, well, Star Trek, the next generation was shot on film. And I think deep space, I think deep space nine. And I think most of those were shot on film.

Fran Blanche: Yeah. I, I, I watched this, um, doco and there's one of them. I watched one of them. Yeah.

Fran Blanche: I'm sure there are ones that I haven't seen. Yep.

Fran Blanche: And yeah. And so they were just, they were just actually produced for TV. Like there was no thought given that, you know, there would be these high definition, you know, DVD players in the future and stuff like that.

Fran Blanche: Well, they didn't, they didn't shoot, uh, shows on film because they were thinking about 4k. It was just that it was just easy. It was just the, there was a whole industry set up, but where it was just easier to shoot because I, they, they had, you know, studios were set up to shoot film. There were sound stages for film. So, um, I mean, there were some exceptions to that. Like, you know, uh, I was a Desilu, like, I love Lucy that started like doing, like shooting on videotape. There were some, you know, you know, that, that were, you know, very ahead of their time. Ernie Kovacs very famously did everything on videotape instead of using film, uh, which still, which eerily looks weird because when you look at the Ernie Kovacs shows, uh, I mean, there were, there's the shot on and black and white NTSC videotape. Um, weirdly, it looks, it looks strangely modern because you're expecting to see a kinescope, but it's, you know, it's, it's 60 field, you know, interlaced NTSC. So there's a weird kind of reality. It's like this, what's the word for it? Like a, like a few, like a time shock or something. It's like, you almost, you expect it to, it looks modern. But it's not. Yeah. It looks real, but it's older. Yeah. So, um, but there, there are some strange crossovers. I have had some luck with upscaling NTSC stuff because I, you know, I have laser discs, things like this. And I, I found that the, the 1080p upscalers, they tend to, if you have a really clean NTSC source, like there's a very, very high, high quality, uh, source video, it does upscale pretty well, uh, I find. So I don't know. I think some things upscale and some things don't. It all depends on how good the source is. You know, two inch quad used to look great, you know, in the old days, two inch quad. But I think the problem is that a lot of those shows, they don't have the original, uh, two inch masters anymore. Cause those would get recorded over. And so what they end up with is, uh, you know, three quarter, uh, copies, you know, which were used for syndication, which were like copies of copies of copies. Um, and you know, you, you end up with, uh, a three quarter cassettes, which were the, it was sort of the industry VHS, you know, it's, it's, it's full NTSC, but it's not like the two inch quad, you know, a high, high definition, you know, fast moving, uh, video. So there's not too many of those like two inch masters that exist, uh, with few exceptions. So the problem with a lot of the videotape stuff is it's, it's like the kinescopes. It's a copy of a copy of a copy. It's not, you're getting far away from the original.

Fran Blanche: We get in some weird topics here. Um, going back to the displays, like every time I think, oh, you, you've run out of these unique displays to show us. No, here comes another damn video with another display I've never even seen before.

Fran Blanche: What the hell? I got boxes in here. It's, it's, it's, it's, well, they just keep coming out. You know, you find them. I was looking for some, there, there are some that really, I don't think exist. You know, I, the data, I did a video recently about the, did the data strobe ever exist? Because whenever I do a video of some new thing, people say, oh, Frank, you got to do something on the data strobe. It's like, well, okay, well, I've done all my research and I can't find any evidence that the thing actually existed in real life. So some of these, some of these displays that people say, oh, that there's a pick, cause there's a page, there's an article. So, you know, find this, but you know, I'm trying to convince people, well, some of these things were red herrings. They, they didn't really exist. It was a concept. Oh, okay.

Fran Blanche: They advertised them in the sixties or whatever. They would, they put an ad out, but they didn't really have anything. They'll see if they could get any bites. Is that?

Fran Blanche: Yeah. Well, the data strobe, there were several articles that were written by people. It's my talking clock. That was my talking clock in the background. It said, it said nine o'clock. But there were, there were several articles that were written by people who worked for the company, Raytheon. And so what I could deduce is it was just a PR stunt. They, they, they were putting it out there expecting that, you know, if some, if some, someone at the Navy joint operations, you know, or the, you know, or the air force, you know, someone with a four star said, yeah, we want to use that for the new missile system. They would just, they had confidence that, well, we'll make it work if they buy it. So, so it was just a matter of that. I've never seen any proof that it ever existed. So, yeah, I think some of, some of these legendary displays, I think did not exist outside of prototypes or proof of concept models, but there are a number that I have back here that I'm still going to make videos on this year. So that's, that has not run dry. Oh, the well has not dried up.

Fran Blanche: All right.

Speaker ?: Fantastic.

Fran Blanche: Not yet. And what is the personal fascination with those? I don't know. Displays. You don't know? It's just a thing?

Fran Blanche: I think the perverse curiosity. Everyone's got their thing.

Fran Blanche: Yep.

Fran Blanche: Everyone's got their niche thing, you know? Well, you know, it's like, you know, you, you, you have like a multimeters and scopes. Old, yeah. Multimeters and old, old test gear, basically.

Fran Blanche: Yeah. Yeah.

Fran Blanche: Big Clive has LEDs and, and things that catch fire. You know, you know, Electroboom has flammable electronics. But I, everyone has the thing they're attracted to. But I, I, I don't know. I've always had a thing about display technology. And not just displays, but media in general. Because, you know, behind the scenes, I've spent my life in media. You know, film, videotape. I've, I've, I've actually, I have this telecine setup that I've been trying to get time to, like, I have to clear out a big area to set it up. But I have all these films I was going to transfer. And I haven't even gotten around to doing it yet just because I've been distracted by other projects. But, but film and, and audio technologies has, has always been a big thing. Tape, vinyl, audio, video. So displays kind of fall in there somewhere.

Fran Blanche: Do you find that you're getting the, are they getting the views? They're, they're getting the most views of, or decent views?

Fran Blanche: No, not really. I mean. Or it depends? It depends.

Fran Blanche: If you're, if you're, if you're blessed by the algorithm?

Fran Blanche: Well, the, the, the first one, the, the, you know, the, the Nemo tube, the first Nemo tube video did very well. The other is not so much. I mean, it's a niche thing. Actually, I think my, one of the, if not, if it isn't number one, it's like number two in the whole channel is the Saturn F1 engine video I did last year. I mean, that, that's, that's, that's got more videos than anything.

Fran Blanche: Well, and that's got with the new, as we talked about the new space thing, it's getting recommended to people.

Fran Blanche: I think the only reason that video did so well is I, I didn't appear in it. So people can't tell how old I am. I'm serious. It matters. No, I don't think it matters. No. It does with the, yeah. Cause YouTube is analyzing, you know, your age and then, you know, filtering you to the, there's a lot in the algorithm about, you know, age, age. Age category. Yeah. Yeah. And things like that. So, you know, so I think there isn't that.

Fran Blanche: I don't think so. If it's space, they're going to recommend it to other space.

Fran Blanche: No, I'm convinced that the algorithm is, I'm convinced, I'm convinced that age is one of the major. Interesting. Signifiers for content. So that F1 video, there's nothing in the video to suggest my age. And so it kind of just got, it kind of fell through the algorithm to get into that millennial space interest surge. You're right. But if my, you know, craggly 50 something face were in the video, it would, it would get relegated to a little niche corner market. So.

Fran Blanche: I'd love to be able to test something like that, but you can't, it's, it's impossible to get an AB comparison test on.

Fran Blanche: Yeah. There's no way to do it scientifically. There's no way to do it scientifically.

Fran Blanche: Anecdotal. It's, you know, yeah.

Fran Blanche: But, you know, it's, I, I, I just based on my own limited data set of the videos that I've made. There's, there's definitely some, some weird chicanery in there with content and content and visibility. For the most part, my channel, my, it's weird because since my subscribership has gotten over 150,000, my views per video has actually been going down. So, like, my, like my, my average, like, yeah, because even though I got on like 158,000 subscribers, but most of my videos, most of them that I put up will max out somewhere around like 9,000 views or something like that. It's just a tiny little fraction of the subscribership.

Fran Blanche: Yeah, it's a 5 to 10%. Like, if you're getting, you know, you're phenomenally, you're doing phenomenally if you're getting 20% of your subscribers watch every video. Like, that would be, but in our industry, yeah, it's like 10% is common, unfortunately.

Fran Blanche: Remember what I was thinking about, you know, it's been batted around in our circles for a while. But I, I'm convinced that if, if the e-Youtubers like created their own little, like, network show or something, you know, something, something like the, you know. Are you talking off, off of YouTube or on YouTube? No, I'm talking about on YouTube to, to, to, right. Because in order to guide the, you know how skydivers, when they're like flying in formation, they all kind of grab each other's hands and form like a circle. Well, we, we gotta do something like that of e-Youtubers to guide the algorithm to like bring in audience to, to e-Youtubing as a thing. As a thing, right. Yeah, because I think e-Youtubing is, it's regular, I mean, we're at the kiddie table, you know. Oh, yeah. As far as YouTube goes. And I think the only way that we could get like e-Youtubing to be more mainstream is if we were sort of had like a, a unified, like circle of content.

Dave Jones: So to speak.

Fran Blanche: Right. But we all do such diverse content and all have such diverse styles. Whereas unlike, like all the space YouTubers, they're all not going to say they're all the same, but they all, you know, all the science YouTubers, they're all, you know, they're all kind of doing the same thing. But electronics YouTubers are, there's just so many different things. You know, you could be doing a circuit design tutorial one week. You could be doing a tear down the next week. You could be, you know, doing some other obscure thing than a week after that. So.

Fran Blanche: You're saying we're too, we're too exciting and interesting.

Fran Blanche: We're too exciting and interesting. Yes. We're too diverse. YouTube does not like diverse content. YouTube likes to deliver the same content over and over and over again.

Fran Blanche: That's true. That's true. It likes consistency. It's not about the content per se. It's about the association between different channels to create it within YouTube algorithm to create an association. Like I said, like the skydivers and a circle.

Fran Blanche: I wonder if the algorithm knows that we, we're all the same.

Fran Blanche: Well, there's a difference between the algorithm, there's a difference between the algorithm knowing that we're all related and bringing viewership in from outside of the circle. So if every single YouTuber has their own like cluster of, you know, viewers, then bringing all the YouTubers into one circle brings all those myriad audiences into a focal point algorithm wise. Right. I'm thinking three, three dimensionally. So, you know, thinking of the YouTube algorithm in a three dimensional construct, I'm thinking that if we can concentrate our audience into one spot, it's like a singularity of like YouTube. YouTube. And so YouTube. But it's the only way to trip up the algorithm to move YouTube from the kitty table to somewhere more like where Adam Savage is tested is. Because like Adam Savage is doing all kinds of, he's doing all kinds of content, making stuff, talking stuff. Sometimes he just answers questions. Sometimes it does a build, but his audience is there because YouTube has put him front and center. But the YouTubers as a group could do the same thing if they collect themselves into their own sphere in YouTube that would move the YouTubing world closer to center.

Fran Blanche: More like, I've got no idea how that would even happen.

Fran Blanche: I don't know either.

Fran Blanche: Yeah.

Fran Blanche: Yeah. Just putting it out there. Just.

Fran Blanche: Yep. It could certainly be possible. But yeah, I don't. I don't know. Like everyone says, oh, why don't you collaborate with, you know, such and such YouTuber? It's like, oh, what are we going to collaborate about? Collaborate. Yeah.

Fran Blanche: Collaboration is difficult. I've tried to do that with other creators and it's like, well. Well, you did the dinosaur den. Yeah. I mean, for a while, but that was tough. It was a lot of work and hardly anybody saw the show. So it was like, you know.

Fran Blanche: So what made it hard? Was it just trying to tee up time together and be in the one place to.

Fran Blanche: Well, we shot it in. We shot it in Bill's lab. So I had to travel to Jersey. Okay. So and. And for every episode, there was a lot of homework. I mean, we were doing a show every couple of weeks. And, you know, I had to do prep work and everything. And plus for that show, I was also doing animation and music. And so it was all, you know, that the hours put in and, and it just didn't, it just didn't take off like we thought it would. Unfortunate.

Fran Blanche: Yeah. I mean, yeah. Like, like I enjoyed that. So yeah. And it just, it just stopped one day. But, you know, it was a lot of work. Yeah. Yep. Yep. I can imagine. So yeah. Unfortunately, yes. So all those who ask about, you know, can we collaborate on stuff? It's just, I, I don't know how we'd, you know, I can't come up with a clever idea.

Fran Blanche: I don't think it'd be. Well, in my eye, what I was thinking of, it wouldn't be collaboration. It's, it's, I guess it's hard to define. It's all about YouTube. To get YouTube to associate the e-YouTubing channels with one another. So it doesn't have to be collaboration. It can, it can be. It just has to be pointers, markers. It just has to be a, a chain of content that goes in a circle.

Fran Blanche: It's, it's, it's the 1990s web ring all over again. If you remember the, if you remember the web ring where you would put down the bottom of your website, cause you, you know, you had a HTML website back then you'd join a web ring, you know? So there were, there was an Australian electronics web ring. And I was part of that, you know, I was part of the Australian electronics ring. And the whole idea is that you had a little bar down the bottom of your website and you would, you know, there was a next button. And it's like, you could go to the next person in the ring. It's like, yeah, that was web, web ring. I don't, I think they lasted about five years and then they died. Nobody did web, web rings. That was the thing. I can't believe you haven't heard of web rings. They were, they were, it's, it was the biggest thing at the time. It was like, yeah. How do you get people to visit your website? Cause back then search engines weren't very good. You know, it's like, if you like this content, yeah, here's how you found other similar content. You click the next button. It'd take you to a, a related website that you didn't, that you couldn't otherwise find. So yeah. Yeah. Why did they stop doing that? It was just, well, websites died as a thing. You know, it was like everyone moved over to, you know, the socials.

Fran Blanche: I guess.

Fran Blanche: Yeah. Well, mine are still frozen in time. So yeah. I've, I've, maybe I've got an old website somewhere with a web ring link. That's about, you know, some 20 year old website somewhere. I'm sure still exists. I don't know. Um, if anyone's got any good ideas, leave it in the comments down below, please.

Fran Blanche: I've got a wacky new, uh, idea about space time that I've been working on.

Speaker ?: Oh God.

Fran Blanche: Tell us. All right. Last thing. We'll, we'll have to wrap it up.

Fran Blanche: Oh, it's going to be too long. It's too long. No, come on. It's too long. You started it. It's. Uh, concept of friends, concept of space time.

Fran Blanche: Uh, well, I've, I've, I've, I've come to, I'm coming to doubt my, um, established, um, model for time. And I've, I'm starting to think about it differently than I used to. I'm, I'm thinking that time is not necessarily a constant, um, well, it's not.

Fran Blanche: Everyone knows time flies, flies when you get older. It's like, you know, it's the time dilation effect as you get older. That's true.

Fran Blanche: It's just, but in cosmology, it's a little different. Right. No, because I, I think that, uh, you know, uh, the, the big paradox is that, uh, with Hubble, they were able to see, uh, into the distant viewable universe. And so the, the most distant galaxies, I think it was 13 billion years or something to that effect of this, how far we can see back. And when we look at the most distant galaxies and quasars, uh, we see that the red shift is such that it appears as though the, the very distant universe is accelerating away from us at an incredible rate.

Fran Blanche: Yep. Which we won't ever catch up with. So the longer we wait, those stars will eventually vanish out of our field of view because they'll be so far away in time. Right. Apparently like in several billion years, we, we won't be able to see further than several galaxies or something because they're traveling away so fast. Possibly. Yeah. That's the, that's one of the theories. I just watched that the other day.

Fran Blanche: Yeah. But there's another possibility which, uh, makes a little more sense than the accelerating universe. And that's the, if time isn't a constant because if time, time is an illusion, uh, like gravity,

Fran Blanche: I talked about gravity in a video. Gravity is not really a force, not actually a force. People think it's a force, but technically it doesn't exist as a force.

Fran Blanche: Right. Because there is no opposite to gravity. There is no, there is no opposite action to gravity. It's not like a, but that's because it's, uh, it's in the four dimensional realm, fourth dimensional realm. So, uh, but, uh, but time is also time and gravity are both related to the same thing, which is that we only have time because when the universe, when after the big bang, the universe is expanding in all directions, not just our three dimensions, but also into the fourth dimension. So we have time because space is, as, is also expanding into the fourth dimension at the speed of light gives us our, uh, cosmic, um, speed limit, speed of light. It's also one with gravity is also why mass, nothing with mass can travel at the speed of light because mass has to exist in time. And time only began when gravity and mass, uh, you know, precipitated out of the early universe. In the early universe, it was just energy. And after the universe cooled to the point where matter could form, could develop. Then when matter came about, we mass energy was converted into mass. And when mass, uh, entered the universe, gravity entered the universe and time started. So, um, but I, I think that it's very possible that time in the early universe, time is moving a lot faster than it is now because, uh, as soon as mass formed out of energy, gravity would start putting the brakes on the expansion of space. And if, uh, that were the case, then time would start to slow down because the expansion universe into the fourth dimension would also be slowing down. So when we're looking at those very distant objects, like 13 billion years ago, when those photons were created, time was running at a much faster clock. So, um, so those photons are still moving through space and now they're moving through a space where time is slowed down. So they, so the frequencies become so stretched that they look like they're accelerating away from us at a terrible speed, but it's, but those distant objects are not as far away as they appear and they're not moving away from us. In fact, uh, if gravity is putting the brakes on, uh, cosmic expansion, and if time is slowing down, then what would happen is eventually time would start getting slower and slower and the expansion would happen, would be getting slower and slower to the point where time would eventually stop and time, and when, when, after that gravity would begin to take over and time would be running backwards as the universe would come to, uh, eventually a big crunch crunch. And then the inertia of all of that compression would, uh, convert the universe back from mass to energy, to another singularity. And then, uh, the energy would become so concentrated in such a small spot that it would again burst into a completely new realm with a completely new realm, uh, list of possibilities and another universe that can be based on any kind of principle, any kind of matter or energy and not, not at all like this one, not even like with matter as we understand it. But I think that, um, when time runs backwards, it's, it would not be like time travel. It's not like the universe as we know it would play in reverse like a record. Hang on. Someone's at the door. I've got a courier at the door. One second.

Dave Jones: We have someone at the door. Someone is at the door. Dave Jones is answering the door. Yeah. Thanks mate. Someone is saying hello to Dave Jones. Dave Jones is returning to the show.

Fran Blanche: I'll edit that one out. That she's been talking behind my back. All, all, all of my multimeters turned up. So you might've actually seen my courier guy deliver boxes now. There's a little, yeah. Anyway. Yep. I've got like 10 boxes of multimeters out there. So, so anyway, I've,

Fran Blanche: I've solved the whole, uh, problem. You've solved the whole thing. The theory of everything, but gravity and time are, are related in that way.

Fran Blanche: Interesting. I can see the, yeah, I can see where your thoughts go in there. The interesting thing is you may not be able to measure it because time is the most accurate thing that we can measure. Right. I believe, I believe like of all the quantities, time is the most thing we can measure with the, you know, the maximum resolution. Right. We measure time because

Fran Blanche: we measure light, the speed of light. But here's the thing about my model. The speed of light never changes. Mm-hmm. Even throughout the entire, throughout the entire universe, throughout all time periods of the universe, the speed of light is always the same. Yep. But speed it's distance over time. Time. Yes. So if time changes, the speed of light is always constant, but time slows down. And because time is always relative, uh, you can measure time very accurately wherever you are, whenever you are, but there's absolutely no way of, but the only way that you can know what time was in the past is by looking at the light that was produced. Yes. Right. Whoa, this is heavy. And I think that those dramatic, uh, um, unexpected red shifts are due to a change in the time constant,

Fran Blanche: not in speed, not in speed. Hmm. Are you going to do a video on this? Well, you already have. There we go. You just did. French, we can actually, we, we, we can break this one out. You can just break that out as your own thing. Here's my thoughts on space time. Hmm. That, that, that might get a million

Fran Blanche: views. Who knows? Uh, I'll, uh, I'll accept my, uh, inductance into the Royal Society, uh, for this one.

Fran Blanche: Um, oh yeah. And because to beat the algorithm, don't, don't have your face on there, put like really trippy, graphic-y, you know, um, uh, you know, spacey, you know, traveling distant through space as you're talking over the top of your- Well, you've got the video. You're going to have to do

Fran Blanche: that, Dave, because you've got the video. I can, I can send you the video. I can send you a copy of it. No one is going to watch this on my channel. You should put it on your channel.

Fran Blanche: Friends, trippy space-time, continue. Uh, yeah, I'll put some wanky, great, and some, you know, melodic, uh, background music as well. You know, some little subtle, like, you know-

Fran Blanche: Do I have to, uh, do I have to write the music as well? Do I have to do the music?

Fran Blanche: Maybe, maybe. We can make, maybe that would be an experiment. Can we make a space-time video

Fran Blanche: that goes viral? Yeah. Yeah. Well, like I said, my F1 video, it's, it's, it's like a half a million views in six months. Yep. Wow. That's more than any of my videos I've ever gotten. Not that it's on my channel any, but yeah, but people watch that video. So yeah, I, it's a, if you've got the right thumbnail and if you can, uh, make it interesting enough in the first 20 seconds that people don't

Fran Blanche: hang up, you got a chance. Right. That's what we can do. All right. Well, we've done an hour and a half. Thank you very much, Fran, for joining us. It's not our record. It's not even close. No,

Fran Blanche: no, no, it's not even close, but we do try and keep it too. We're about an hour short of the, the, uh, amp hour record of, uh, Blab. Because this is an amp hour, but a video version, hopefully,

Fran Blanche: if this all saved correctly, um, will be available on EEV blog too. So, yep. I'll go edit that now. So thanks, Fran. Okay. Thanks. Catch you next time. Bye.

Speaker ?: Bye.