The Flip-Flop and Accidents Happen

(upbeat music) Lynn Combs Good morning.

Good morning.

You're charged with going through a red light on Eddy Street, and Dudley Street.

Yes.

Is there anything you want to tell me about it? I'm innocent.

You're innocent? Yes I am.

Okay.

I have my photos here.

Mm hm.

And and I am in that area a lot because my doctors are there.

And you can see I believe in the first photo that I did stop.

Okay.

So the issue is whether you stopped and you clearly remember that you stopped.

Yes sir.

Okay.

And as evidence you have a photograph.

I do.

Showing that you stopped.

Yes and my brake lights are on, my brake lights are on at the red light.

So I did stop first and then I proceeded after I stopped to make my right hand turn on Dudley Street.

Okay.

Miss Combs, I can tell you that I have not yet seen a photograph that shows a car moving.

So I know that you probably applied your brakes, and that was captured in the video.

But the question is whether or not you came to a complete stop.

Yes, I believe that I did.

And you did, okay.

I believe I did.

Okay.

We're gonna look at it.

All right.

The light is red, your vehicle is coming.

The lights are on.

So I didn't make a complete stop.

I didn't even make a stop.

(laughing) But I thought I did though.

And I did not.

Maybe a third time is a charm, we'll look at it once more.

Let's try.

We'll try once more.

One more time.

Okay.

Let me just.

Watch this.

Lisa stop it.

Brake lights.

Brake lights.

(laughing) Inspector Quinn.

Brake lights.

Your honor.

It appears she stopped, Judge.

Look.

You stopped.

I did, there's my brake lights.

I did stop.

There you go.

Look the car stopped.

It did.

I told you third time is a charm, inspector Quinn.

See? There's my brake lights.

She knows what she's talking about.

You stopped? I did.

That's the proof? That's the proof right there, brake lights.

And there's the red lights.

And I stopped.

Sir, I did.

I did.

(laughing) I did stop.

I didn't? Fourth time, let's look at it once more.

No I'm, nope, I believe I stopped.

Red light.

(laughing) I put my brakes on yeah.

I did.

You did.

I did.

Clear and convinced that you stopped.

What do you think? It's up to you.

(laughing) The fifth time was the charm, Judge.

It's up to you.

(laughing) All right.

I have your record, you have a completely unblemished record.

I'm going to charge you $35 court costs.

Thank you.

Okay.

Thank you.

Beautiful stop.

Good luck.

(laughing) Thank you.

Well I don't know about you, but I'm exhausted.

That case had more twists and turns than a very special episode of Law and Order.

I'm innocent.

You're innocent? Yes I am.

So I didn't make a complete stop.

I didn't even make a stop.

Brake lights.

Look.

You stopped.

I did.

There's my brake lights.

I did stop.

There you go.

I didn't? No I'm, nope, I believe I stopped.

Clear and convinced that you stopped.

It's up to you.

I'm sorry Mrs Combs, but the video tape speaks for itself.

You did not stop.

However, not all is lost.

To help ease the pain, I'd like to present to you a pair of personally autographed Ziggy Quinn flip flops.

It's abundantly clear you could use a pair.

Good morning your honor.

Good morning Jennifer.

Jennifer, this is a failing to yield the right of way in a crosswalk.

Evidently there was an accident involved.

Yes, your honor.

Was it a pedestrian? Yes, your honor.

You only have two choices, Jennifer.

You can plead not guilty and in that case you come back and have a trial.

Or you could plead guilty and in that case you pay the fine.

Did the rescue come? Yes, your honor the rescue came.

Was the pedestrian taken to the hospital? She was.

Was she admitted to the hospital? I assisted her.

And at first she was unconscious, and then she came to consciousness.

And she was coherent at the time, able to speak and I observed her, I've been in security myself, able to first responder, so.

She didn't have anything coming out of any extremities.

But she did take the hit well, unfort– I don't say that lightly.

I'm just saying she, she was speaking and she stood up, and she was well.

Okay, you have insurance on your vehicle? Yes, your honor, I do.

Mm hm.

And if you know what are the limits of liability? What are the limits on my insurance? The liability.

Um.

How much are you covered for? I, I, IYou don't know.

I'm sorry I don't know.

I understand.

I can't give you and accurate answer.

All right.

How do you plead? Well I mean, I plead guilty.

I did hit her.

There's no denying that.

And I feel horrible about it.

I take responsibility for my actions.

It's a total of 86 hours on the charge.

Good luck to you, and.

Thank you.

I know it's an unfortunate thing, I know you didn't do it deliberately, but the fact that you stopped, you got out, you assisted her and did all that and you.

Absolutely.

You're obviously very contrite about it.

So this is not something you did deliberately, accidents happen, unfortunately it happened, right.

Plus people have to be compensated for their injuries.

Absolutely.

And hopefully you have enough so that your insurance company will pay her and that you will not have to pay any damages over your policy limit.

I certainly hope so.

So it's good to have high policy limits.

Yes sir.

Good luck.

Thank you so much Judge.

I'm concerned that Jennifer is not aware of the limits on her liability coverage.

That is crucial information that every driver needs to know.

Liability coverage safeguards you from losing everything if you get sued because you're at fault in an accident.

It also helps to ensure that the person you injure will receive money they need for their medical care and damages.

So how much coverage should you have? A lot.

The more you own, the more you should have.

I urge everyone to check their policies to make sure they're adequately covered.

Accidents do happen, and when they do, you want to be sure that you are properly covered.

All rise, and hit subscribe.

So you don't miss the latest viral moment like this one.

Share these videos and weigh in on the cases.

You be the judge.

Subscribe now.

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FLIP FLOP TUTORIAL – BEGINNER FRIENDLY || Friendship Bracelets

hello everyone my name is mush nuts and today I'm gonna teach you how to make the flip-flop friendship bracelet as you can see this is a very sort of funky looking bracelet it's kind of textured when you touch it and it also has a little bit of a

zigzag to it now this bracelet is super easy to make it only involves one type of knot and the beginner could definitely do this however I wouldn't recommend this to be your first bracelet to try if you've never made bracelets before this bracelet involves a lot of flipping

in the bracelet around to get the effect which can be confusing if you've never made bracelets before so if you are a complete beginner who's just starting out I highly recommend you check out my beginners dyed which goes over a whole bunch of beginner information and also my

Chevron tutorial which i think is the best bracelet to start with so going into this tutorial I do expect that you've made at least one bracelet before and that you are familiar with the basic knots with that being said let's get into it so I decided to go

with a simple rainbow and I have six strings here but you can go with whatever color combination you like it doesn't matter I'm not doing a loop here as you can see I have one string per color I left about 10 to 15 centimeters of string on top

just out of frame here and I've taped it all down and I'm gonna use that leftover string at the top when I finish the bracelet to make the ties you can make a loop if you want to that will double your strings however since you need to fold

the string to make a loop to have double of every color that you choose that also works that's just not what I'm doing here now if you want to learn how to do loops or any other starts I have a whole playlist that I'll link in the description

for you to check out later so each tree here is about 1 meter long and as I mentioned previously I left about 10 to 15 centimeters before the start of the bracelet just here out of frame to make the ties once I finish the bracelet so let's get

into actually making it so what we're going to be doing here is essentially just a candy stripe this is probably the simplest bracelet that you can make the candy stripe consists exclusively of forward knots so if you know how to do those you're good for this bracelet now

here for the first row the leading string is going to be the red string is the leftmost string of the bracelet I'm gonna separate the next string since I'm going to be doing a forward knot onto it now I have a very detailed tutorial for beginners on basic

knots which I will link in the card and in the description down below but here is a basic overview for you you take your leading string which is the right one for me and you put it over your other string in the shape of a 4/4 4/4 would

not extend your finger put it into the loop under the string then over your leading string grabbing it with your nail you twist it you pull it through and then you tie the knot upwards and that is one half of a forward knot to complete the knot two

you do the process again you put your leading string over the other string in the shape of a four you put your finger into the loop under the string grabbing the earth string with your nail twisting and pulling it through and then tying it up so two of

these halves is one full forward knot and as you can see the red string moved from left to right that is what a forward knot does it moves your strength from left to right while making a knot of its color so now that our string has moved we

take the next string which is the yellow string for me and we do a forward knot with the leading string once again so same as last time we put our leading string over the other string in the shape of a four in under over twist and pull that's

one half then again over in under over twist and pull there we go now Austrey has moved once again to the right leaving these two strings behind now as I said I do have a very detailed tutorial for basic knots so if you are a little bit confused

on the knots here I'd highly recommend you check that out but what we do here is we continue making forward knots with our leading string until the end of the row so taking each string as they are coming in in the order that we want them to I

ordered mine a rainbow you can order yours however you like and you make forward knots on each individual string as you go along until you reach the end of the bracelet and there we go as you can see I have completed a full row I have a row

of red knots at the top and my red string has been moved from all the way to the left to all the way to the right now in a normal candy stripe we would take the next string and do a row of forward knots again but in the

flip flop candy stripe we are going to flip the bracelet now for me this is gonna be a little bit annoying because I have quite a lot of tape here but basically you undo your bracelet from whatever was tying it down and you literally just flip it you

turn it upside down so that your leading string is on the left once again so this is what it was like when I started and I literally just flip it and then you tie it back down again so now this is the other side of the bracelet normally

you don't do this normally when you're making friendship bracelets you stick to one side but as this is the flip flop bracelet you flip it around every row so here you can see the strings that I had they're exactly the same strings but they are now mirrored since

it's the other side and we're starting with the purple string instead of the orange string like we did last time so the leading string is on the left once again since we flipped at the bracelet and we do exactly the same thing we just do a row of

forward knots on each string so starting with the purple string this time we do a forward knot then we take the blue string and we do a forward knot and so on until we reach the end of the row [Music] and there you go I finished the row

again our leading string is again moved all the way from the left to all the way to the right and as you can see there are now two rows of red what we do now is once again we flip the bracelet this time we flip it back to

the position that we started so all I do is I flip the bracelet back and then one last time for this color for the red we once again do a row of four dots [Music] and there we go the red bit of the bracelet is done and we

can already see that it's sort of in a zigzag shape now we need to go into the next color which is the orange and this is the only time that we don't flip our bracelet when we are changing colors for the red bit we flipped our bracelet for

every single room we do a row we flip the bracelet we do another flip the bracelet again and then do the third but when we change the colors we don't flip the bracelet so just in the same position as the bracelet was when we finished the red we

are going to go in and we're going to do a row of orange so same as last time we take the outermost thread which is the orange and we just do a row of four dots just like in a regular candy stripe [Music] and of course at the

end we also did a forward knot on the red string so here you can now see we've got a row of orange and now we go into the same thing we did with the red we have to flip the bracelet to do this second row so literally just

flip the bracelet upside down and then once we flip the bracelet we go in with the orange again and we do a row of forward knots on each of the strings and then again for the last row of the orange we flip the bracelet back to the way

we started just flip and we do a row of forward knots again [Music] and there we go we've done the read and we've done the orange so now we go in with the yellow and we do the same thing that we did before when we switch the colors

we don't flip the bracelet we just do a row of ordinates the first row of the orange is done we now need to flip the bracelet do another row flip it back do the third row and then go in with the green do the same thing then with

the blue then with the purple and so on so we basically continue doing the same exact thing I showed you until you reach your desired length so I'm gonna go off-camera finish up this bracelet and I'll see you when I'm done and there we go the bracelet is

now complete I really like this bracelet I think it's super cute I really like the textured effect and the zigzag effect as well I think this bracelet could be very interesting in different color combinations personally I really write personally I really like the rainbow but I also think

that maybe some complementary colors or something else would look really nice here perhaps even some kind of color-changing string in any case I hope you guys enjoyed today's video I hope you learnt something new if there's something you don't quite understand feel free to leave a comment for

the ties as you can see I just braided them as I mentioned at the beginning of the video I left some string at the top before I pinned my strings down so that well then when I finished my brace I could go back and make these braided ties

if you are a beginner and you would like to learn some more I have plenty of beginner tutorials I will leave some linked in the description along with a playlist and if you're looking for something more advanced I have plenty of that as well thank you guys for

watching I hope you enjoyed I post videos on Wednesdays and Saturdays and I will see you next time by [Music]

Sandals, Flip Flops, Birkenstocks for Men: Should You Wear Mandals

Welcome back to the Gentleman's Gazette!Today's video is all about sandals for men; we'll discuss whether you shouldwear them, the history about it, how they are defined, and how to wear them if youdecide it's necessary.

Sandals for men are one of those weird things in menswearthat are on the one hand, very old but on the other hand, not really present in theclassical Western men's wardrobe.

Just think about the Romans and the ancientGreeks, they all wore sandals yet wearing a pair of sandals with a suit is notsomething you'd wear today.

Sandals for men are sometimes also referred to asmandals and subject of an ongoing debate especially when worn with socks.

So without further ado, should you wear sandals as a man or not?Let us start bysaying you can wear whatever you want, whenever you want in this day and age.

Sothe real question is would a dapper gentleman consider sandals to be ingood taste? If you're a fan of the Gentleman's Gazette, chances are you havea slight bias towards the classic realm of things.

That being said, let's take alook at the history of the sandals and how they came to be.

The word originatesfrom the Greek word sandalon or sandalion.

Sandals are defined as shoes thatleave most of your foot exposed but beyond that, there's no universaldefinition for the word.

Going back, the earliest known pair of men's sandals inthe world are over 10, 000 years old.

They were made from sagebrush bark .

Greekand Roman soldiers were known to fight in sandals known as Buskins.

Going back hundreds or thousands of years in history, many men wore sandals, however, in a more recent history, sandals have pretty much fallen out of favor forthe classic well-dressed man.

So how did that change come about? Well on the onehand, shoe making got a lot more sophisticated than just slapping certainpieces of leather onto your foot.

Probably, the climate in Europealso contributes to the fact that a closed toed shoe has been the standardfor men for over a hundred in Europe and the Western Hemisphere.

Ofcourse, each country and culture will have their own standards and there is nouniversal truth.

Also, if you think about it, most places that experiencetemperatures below 50 degrees in the winter or 10 degrees Celsius willprobably not want to wear sandals all year round.

Looking back the 1930s and 1940s, which are often considered to be the golden era of classic menswear, you willhave a very hard time finding men wearing sandals.

All the illustrationsand photos from magazines usually show men either barefoot on the beach, sometimes they wear espadrilles, or if you look at Cary Grant in this photo, hewore socks but not sandals.

It was really much more common to see men wearingloafers sometimes with socks even when they wore shorts or espadrilles whichhave fallen somewhat out of favor especially in the US.

Even though inplaces like Spain or Italy, they're more prevalent.

Today, probably the mostpopular sandals are flip-flops.

In the US, they didn't really become popularuntil the 1960s but these days, you can see men wearing them all over the place.

Now, as a side note, I'm a citizen of the United States, Germany, and Brazil and theflip-flops known in Brazil as Chinelos are something like the unofficialfootwear of Brazil.

People there will wear it everywhere but it's a hottropical climate and it's something that is very casual.

Back in the day, even inBrazil, men wore hats, full suits, and shorts were only something that you'dwear by the beach or when you were playing tennis or for other kind ofsport activities.

As soon as you were done at the beach, you changed back intostreet clothes, however, with the catalyzation of fashion and menswear inparticular, things have changed quite a bit.

So a lesson we learned from back then was that every garment had aspecific purpose.

So should you wear sandals today or not? Now, just thinkabout it this way, have you ever seen an outfit that you thought looked betterthat was based around sandals than if it would if it had regular shoes? Well, Ihaven't.

So maybe you come up with something, if you do, please share in thecomments below.

At the end of the day, if you care about style and you want toachieve the classy look, I strongly suggest you stay clear of sandals in mostsituations.

Why do I say most? Well, there are always exceptions.

For example, you'reat the beach, you're at the pool, or a spa area, of course, that's when you wear sandals such as flip-flops.

When it's practical and itmakes sense and the climate around you commands it, absolutely.

What about acruise ship? In a tropical climate, yes, wear sandals, it's okay.

Now on the otherhand, there are 68 reasons why men shouldn't wear sandals.

Just kidding! I'mjust listing six here even though I think there may be more.

First of all, don't wear sandals because most of them look really cheap.

Just think of Tevas, Birkenstocks, or flip-flops.

Most of them are made out ofcheap materials and that's what they look like, cheap.

Even if you upgrade andyou invest a few hundred dollars in Salvatore Ferragamo flip-flops, they'restill just that, flip-flops.

When I grew up in Germany in the 80s and 90s, Birkenstocks were a traditional house shoe and nothing else.

No one would everdare to wear it on the street until they became more popular in the US.

Models andstars like Heidi Klum would wear them in public and so it became more and moreacceptable to wear these shoes in public.

Back in the day, people would have beenashamed to be seen in the street like that.

Because most sandals lack the structure, they're oftentimes glued and use very inexpensive materials such as plasticheel caps, maybe rubber, and just materials that arenot high-end.

Of course, there are exceptions and we found some really nicehigh-end sandals and I'll talk about them later.

The second reason sandals are not ideal for men is that most men don't havepretty feet.

Now, most women I know really take good care of their feet, it's justsomething they know they want to pay attention to because often times theywear sandals that expose their feet and they literally want to put their bestfoot forward.

Now, the same isn't true for men.

Hairy toes, ungroomed toenails, calluses, warts, and other stuff is just not pretty to look at.

Of course, you cando some nice toe nail grooming with our manicure pedicure kit which you can findon our website here or you can go and have a pedicure which is notunusual anymore in 2019.

At the same time, it's a lot of work to keep up with itand it's still not very classy look even if you have a high-end pair ofsandals.

The third reason is no one really wants to see your feet unless, ofcourse, you're a foot fetishist.

Just think of the person behind you on the planeor on the bus taking off their shoes and putting them right next to you, I meanisn't that ugly? The fourth reason sandals are not a good option for gentlemenis that they're a fashion faux pas, more often than not.

Just think of countryclubs, weddings, nice restaurants, or cities, in general.

These are all not goodplaces to wear sandals.

Why? Well, they weren't made for that environment.

Ofcourse, if you're at the beach, if you are anything where it's wet, if it's reallyhot outside, then sandals can be a better option evenas a man.

Which brings us to the next point number five, sandals will make youlook like you didn't put much care and effort into your outfit.

Sandals are aconvenient casual look that you can just slip onto your shoes but it's nothingyou'd ever want to show up to for interview, for example.

Now, if comfort andconvenience is very high up on your priority list, how much longer does ittake to put on a comfortable pair of boat shoes or maybe espadrilles? Not much, really.

Yes, as I mentioned, sandals do have theirplace, pools, spas, and so forth, that's the right place for them.

Other than that, skip them.

Also last but not least, sandals can be bad for your feet in thelong term especially if you walk a lot.

The lack of structure is just notconducive and the foot bed is usually quite flat.

You are also more likely toend up with splinters or dirt on your feet so all good reasons to skip thesandals unless it's really necessary to wear them.

Obviously, we're not big fansof sandals at the Gentleman's Gazette but sometimes, they are necessary.

Inthose cases, we came up with two different models that even I would wearif the circumstances call for it.

The first ones are Huarache sandals.

They'repopular in Mexico, they are made out of woven leather that look distinctlycasual.

Oftentimes, you can find them with a leather sole or a rubber sole.

This modelhere came from Etsy, it cost $56.

00 shipped to the US.

It has a crepesole and it's a very nice casual summer shoe that covers most of your foot butbecause the leather is woven and unlined, you still get the airflow you would getwith sandals.

In my opinion, this is a much better option than most men'ssandals out there especially flip-flops Tevas and Birkenstocks.

Another classic look are fisherman sandals.

If you look at this model here fromChurch's which retails for four hundred and ninety five dollars you can see thesimilarity to a men's dress shoe.

It's Goodyear welted, it has a slight heel, it's made out of good quality leather, lining is nice, overall, it's a qualitypair of footwear that rivals that of regular dress shoes.

It also has a closedtoe so people don't necessarily see any toes or toe hair, you have big airpockets and you can wear them all day long.

That being said for $495 are an awfullot of money to spend on sandals and personally, I'd rather invest my moneyin let's say a woven leather penny loafer for example.

I think they're justbetter summer shoes that look better and the Huarache sandals, I can see mewearing them they're a shoe for $56 that you can easily wear they don't break thebank and it's just perfect for those one or two occasions when you need them per yearor season.

Of course, if you live in an area directly by the beach then yes, youneed more sandals, you wear them all day long but at the Gentleman's Gazette, wedon't really focus on beach wear style.

So last but not least, if you decideto wear sandals how should you wear them? I think they look best when worn withshorts, maybe a polo shirt, maybe it's so hot at the beach that you don't evenneed them, that's okay too.

If you get those fisherman sandals, you can maybeeven get away with wearing them with a pair of linen pants or let's say a pairof seersucker pants or slacks that are longer, it just has to be a distinctsummer fabric, otherwise, it just looks out of place.

One thing you should always avoid is to wear your sandals with socks and yes, Iknow many of my countrymen do that but it's just an awful lookthat should just never ever happen even if you don't care much about style.

In today's video I amwearing brown fisherman sandals from Church's paired with a pair ofseersucker shorts that is checked in red and white from Polo Ralph Lauren anda no-name polo shirt without any logos in pale gray.

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FOR THIS PROJECT YOU WILL NEEDTHE FOLLOWING.

THE FOLLOWING.

6 6 BRIGHT 6 BRIGHT COLORED 6 BRIGHT COLORED FLIP- 6 BRIGHT COLORED FLIP-FLOPS 6 BRIGHT COLORED FLIP-FLOPSBRIGHT 6 BRIGHT COLORED FLIP-FLOPSBRIGHT COLORED 6 BRIGHT COLORED FLIP-FLOPSBRIGHT COLORED RIBBON 6 BRIGHT COLORED FLIP-FLOPSBRIGHT COLORED RIBBON ” FLOPSBRIGHT COLORED RIBBON ” FLOPSBRIGHT COLORED RIBBON “IN FLOPSBRIGHT COLORED RIBBON “IN WIDTH- FLOPSBRIGHT COLORED RIBBON “IN WIDTH- 5-6 FLOPSBRIGHT COLORED RIBBON “IN WIDTH- 5-6 DIFFERENT BRIGHT COLORED RIBBON “IN WIDTH- 5-6 DIFFERENT BRIGHT COLORED RIBBON “IN WIDTH- 5-6 DIFFERENTCOLORS IN WIDTH- 5-6 DIFFERENTCOLORS IN WIDTH- 5-6 DIFFERENTCOLORSJUTE IN WIDTH- 5-6 DIFFERENTCOLORSJUTE RIBBON IN WIDTH- 5-6 DIFFERENTCOLORSJUTE RIBBON APPROX.

IN WIDTH- 5-6 DIFFERENTCOLORSJUTE RIBBON APPROX.

10 IN WIDTH- 5-6 DIFFERENTCOLORSJUTE RIBBON APPROX.

10 FT.

COLORSJUTE RIBBON APPROX.

10 FT.

COLORSJUTE RIBBON APPROX.

10 FT.

SUNGLASSES JUTE RIBBON APPROX.

10 FT.

SUNGLASSES JUTE RIBBON APPROX.

10 FT.

SUNGLASSESWOODEN JUTE RIBBON APPROX.

10 FT.

SUNGLASSESWOODEN WORDS JUTE RIBBON APPROX.

10 FT.

SUNGLASSESWOODEN WORDS I.

E.

JUTE RIBBON APPROX.

10 FT.

SUNGLASSESWOODEN WORDS I.

E.

'LIVE, SUNGLASSESWOODEN WORDS I.

E.

'LIVE, SUNGLASSESWOODEN WORDS I.

E.

'LIVE, LAUGH, SUNGLASSESWOODEN WORDS I.

E.

'LIVE, LAUGH, LOVE' WOODEN WORDS I.

E.

'LIVE, LAUGH, LOVE' WOODEN WORDS I.

E.

'LIVE, LAUGH, LOVE'WHITE WOODEN WORDS I.

E.

'LIVE, LAUGH, LOVE'WHITE SPRAY WOODEN WORDS I.

E.

'LIVE, LAUGH, LOVE'WHITE SPRAY PAINT LAUGH, LOVE'WHITE SPRAY PAINT LAUGH, LOVE'WHITE SPRAY PAINTSILK LAUGH, LOVE'WHITE SPRAY PAINTSILK DAISY LAUGH, LOVE'WHITE SPRAY PAINTSILK DAISY FLOWERS- LAUGH, LOVE'WHITE SPRAY PAINTSILK DAISY FLOWERS- 3-4 WHITE SPRAY PAINTSILK DAISY FLOWERS- 3-4 WHITE SPRAY PAINTSILK DAISY FLOWERS- 3-4DIFFERENT WHITE SPRAY PAINTSILK DAISY FLOWERS- 3-4DIFFERENT COLORS WHITE SPRAY PAINTSILK DAISY FLOWERS- 3-4DIFFERENT COLORS THAT SILK DAISY FLOWERS- 3-4DIFFERENT COLORS THAT SILK DAISY FLOWERS- 3-4DIFFERENT COLORS THATWILL SILK DAISY FLOWERS- 3-4DIFFERENT COLORS THATWILL MATCH SILK DAISY FLOWERS- 3-4DIFFERENT COLORS THATWILL MATCH YOUR SILK DAISY FLOWERS- 3-4DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPS DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPS DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPSSTICKERS DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPSSTICKERS OR DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED DIFFERENT COLORS THATWILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODEN WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODEN WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODENSHAPES- WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODENSHAPES- SUMMER WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODENSHAPES- SUMMER THEME WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

WILL MATCH YOUR FLIP-FLOPSSTICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALM STICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALM STICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALMTREES, STICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, STICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, STICKERS OR PAINTED WOODENSHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 CAN SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 CAN OF SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SPRAY SHAPES- SUMMER THEME I.

E.

PALMTREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SPRAY PAINT TREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SPRAY PAINT TREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SPRAY PAINTHOT TREES, SUNSHINE, FISH, FLOWERS1 CAN OF WHITE SPRAY PAINTHOT GLUE 1 CAN OF WHITE SPRAY PAINTHOT GLUE 1 CAN OF WHITE SPRAY PAINTHOT GLUEDOUBLE-SIDED 1 CAN OF WHITE SPRAY PAINTHOT GLUEDOUBLE-SIDED STICKIES HOT GLUEDOUBLE-SIDED STICKIES HOT GLUEDOUBLE-SIDED STICKIESMETAL HOT GLUEDOUBLE-SIDED STICKIESMETAL BBQ HOT GLUEDOUBLE-SIDED STICKIESMETAL BBQ SKEWER DOUBLE-SIDED STICKIESMETAL BBQ SKEWER METAL BBQ SKEWER .

.

2.

.

2.

LAY .

2.

LAY YOUR .

2.

LAY YOUR FLIP-FLOPS .

2.

LAY YOUR FLIP-FLOPS OUT .

2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY .

2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON .

2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE .

2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKING 2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKING 2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKINGSURFACE.

2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKINGSURFACE.

ALTERNATE 2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY 2.

LAY YOUR FLIP-FLOPS OUTVERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY OTHER VERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY OTHER VERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY OTHERSHOE VERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY OTHERSHOE FRONT VERTICALLY ON THE WORKINGSURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TO SURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TO SURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TOBACK SURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TOBACK HORIZONTALLY, SURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TOBACK HORIZONTALLY, LEAVING SURFACE.

ALTERNATE EVERY OTHERSHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUT SHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUT SHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUTA SHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUTA ONE SHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SHOE FRONT TOBACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACE BACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACE BACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACEIN BACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACEIN BETWEEN BACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACEIN BETWEEN EACH BACK HORIZONTALLY, LEAVING ABOUTA ONE INCH SPACEIN BETWEEN EACH PAIR.

A ONE INCH SPACEIN BETWEEN EACH PAIR.

A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

USE A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

USE YOUR A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

USE YOUR METAL A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ A ONE INCH SPACEIN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWER IN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWER IN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWERTO IN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWERTO PUNCH IN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES IN BETWEEN EACH PAIR.

3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES IN 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES IN 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR RUBBER 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR RUBBER FLIP 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU 3.

USE YOUR METAL BBQ SKEWERTO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILL TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILL TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILLUSE TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO TO PUNCH HOLES INYOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREAD YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREAD YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREADTHE YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREADTHE JUTE YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREADTHE JUTE RIBBON YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH YOUR RUBBER FLIP FLOPS.

YOU WILLUSE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THE USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THE USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THEFLIP-FLOP.

USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE USE THIS HOLE TO THREADTHE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE THE THE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE THE THE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE THEHOLES THE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE THEHOLES LINE THE JUTE RIBBON THROUGH THEFLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

4.

FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

4.

ONCE FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

4.

ONCE YOU FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

4.

ONCE YOU HAVE FLIP-FLOP.

SO MAKE SURE THEHOLES LINE UP.

4.

ONCE YOU HAVE PUNCTURED HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTURED HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES IN HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR HOLES LINE UP.

4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, START 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE 4.

ONCE YOU HAVE PUNCTUREDHOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBON HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBON HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

IT HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

IT IS HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO HOLES IN ALL OF YOUR FLIP-FLOPS, START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORK START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORK START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING START THREADING THE JUTE RIBBONTHROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFF THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFF THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE JUTE THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME THROUGH.

IT IS EASIEST TO WORKON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SO ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SO ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT THE ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT THE SPACING ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT THE SPACING IN ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT THE SPACING IN BETWEEN ON ONE PAIR AT A TIME.

TYING OFFTHE JUTE RIBBON EACH TIME SOTHAT THE SPACING IN BETWEEN IS THE JUTE RIBBON EACH TIME SOTHAT THE SPACING IN BETWEEN IS THE JUTE RIBBON EACH TIME SOTHAT THE SPACING IN BETWEEN ISACCURATE.

THAT THE SPACING IN BETWEEN ISACCURATE.

THAT THE SPACING IN BETWEEN ISACCURATE.

5.

THAT THE SPACING IN BETWEEN ISACCURATE.

5.

ONCE THAT THE SPACING IN BETWEEN ISACCURATE.

5.

ONCE YOU THAT THE SPACING IN BETWEEN ISACCURATE.

5.

ONCE YOU HAVE THAT THE SPACING IN BETWEEN ISACCURATE.

5.

ONCE YOU HAVE TIED THAT THE SPACING IN BETWEEN ISACCURATE.

5.

ONCE YOU HAVE TIED ALL ACCURATE.

5.

ONCE YOU HAVE TIED ALL ACCURATE.

5.

ONCE YOU HAVE TIED ALLTHE ACCURATE.

5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS ACCURATE.

5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER ACCURATE.

5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'S 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'S 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'STIME 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'STIME FOR 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'STIME FOR THE 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN 5.

ONCE YOU HAVE TIED ALLTHE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

THE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

THE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

DECORATING! THE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

DECORATING! HEAT THE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

DECORATING! HEAT UP THE FLIP-FLOPS TOGETHER IT'STIME FOR THE FUN PART.

DECORATING! HEAT UP YOUR TIME FOR THE FUN PART.

DECORATING! HEAT UP YOUR TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT GLUE TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT GLUE OR TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT GLUE OR USE TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA TIME FOR THE FUN PART.

DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTH DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTH DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTHSTICKY DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTHSTICKY TABS DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTHSTICKY TABS TO DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTHSTICKY TABS TO ATTACH DECORATING! HEAT UP YOURHOT GLUE OR USE EXTRA STRENGTHSTICKY TABS TO ATTACH YOUR HOT GLUE OR USE EXTRA STRENGTHSTICKY TABS TO ATTACH YOUR HOT GLUE OR USE EXTRA STRENGTHSTICKY TABS TO ATTACH YOURWORDS.

STICKY TABS TO ATTACH YOURWORDS.

STICKY TABS TO ATTACH YOURWORDS.

AND STICKY TABS TO ATTACH YOURWORDS.

AND YOUR STICKY TABS TO ATTACH YOURWORDS.

AND YOUR SUNGLASSES.

STICKY TABS TO ATTACH YOURWORDS.

AND YOUR SUNGLASSES.

YOU STICKY TABS TO ATTACH YOURWORDS.

AND YOUR SUNGLASSES.

YOU WANT STICKY TABS TO ATTACH YOURWORDS.

AND YOUR SUNGLASSES.

YOU WANT TO WORDS.

AND YOUR SUNGLASSES.

YOU WANT TO WORDS.

AND YOUR SUNGLASSES.

YOU WANT TOSECURE WORDS.

AND YOUR SUNGLASSES.

YOU WANT TOSECURE YOUR AND YOUR SUNGLASSES.

YOU WANT TOSECURE YOUR AND YOUR SUNGLASSES.

YOU WANT TOSECURE YOURBIGGEST AND YOUR SUNGLASSES.

YOU WANT TOSECURE YOURBIGGEST ITEMS AND YOUR SUNGLASSES.

YOU WANT TOSECURE YOURBIGGEST ITEMS FIRST! SECURE YOURBIGGEST ITEMS FIRST! SECURE YOURBIGGEST ITEMS FIRST!6.

SECURE YOURBIGGEST ITEMS FIRST!6.

AFTER SECURE YOURBIGGEST ITEMS FIRST!6.

AFTER THE SECURE YOURBIGGEST ITEMS FIRST!6.

AFTER THE WOODEN SECURE YOURBIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDS BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDS BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDSARE BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDSARE ATTACHED, BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE BIGGEST ITEMS FIRST!6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISY 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISY 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS ON 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS ON THE 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION 6.

AFTER THE WOODEN WORDSARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OF ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OF ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OFTHE ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE ARE ATTACHED, PLACE THE DAISYFLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOE FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOE FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE HOT FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE FLOWERS ON THE CROSS SECTION OFTHE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE HEAVY THE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE HEAVY THE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE HEAVYDUTY THE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE HEAVYDUTY STICKY THE FLIP-FLOP WHERE THE TOEIS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

7.

IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

7.

THEN IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

7.

THEN ATTACH IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

7.

THEN ATTACH YOUR IS.

USE HOT GLUE OR THE HEAVYDUTY STICKY TABS.

7.

THEN ATTACH YOUR WOODEN DUTY STICKY TABS.

7.

THEN ATTACH YOUR WOODEN DUTY STICKY TABS.

7.

THEN ATTACH YOUR WOODENSUMMER DUTY STICKY TABS.

7.

THEN ATTACH YOUR WOODENSUMMER SHAPES DUTY STICKY TABS.

7.

THEN ATTACH YOUR WOODENSUMMER SHAPES AND/OR 7.

THEN ATTACH YOUR WOODENSUMMER SHAPES AND/OR 7.

THEN ATTACH YOUR WOODENSUMMER SHAPES AND/ORSTICKERS.

SUMMER SHAPES AND/ORSTICKERS.

SUMMER SHAPES AND/ORSTICKERS.

8.

SUMMER SHAPES AND/ORSTICKERS.

8.

FINALLY, SUMMER SHAPES AND/ORSTICKERS.

8.

FINALLY, ADHERE SUMMER SHAPES AND/ORSTICKERS.

8.

FINALLY, ADHERE YOUR STICKERS.

8.

FINALLY, ADHERE YOUR STICKERS.

8.

FINALLY, ADHERE YOURFLOWER STICKERS.

8.

FINALLY, ADHERE YOURFLOWER TO STICKERS.

8.

FINALLY, ADHERE YOURFLOWER TO THE STICKERS.

8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER STICKERS.

8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF STICKERS.

8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THE 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THE 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THEJUTE 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THEJUTE RIBBON 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THEJUTE RIBBON WHERE 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THEJUTE RIBBON WHERE YOUR 8.

FINALLY, ADHERE YOURFLOWER TO THE CENTER OF THEJUTE RIBBON WHERE YOUR FLIP-FLOP FLOWER TO THE CENTER OF THEJUTE RIBBON WHERE YOUR FLIP-FLOP FLOWER TO THE CENTER OF THEJUTE RIBBON WHERE YOUR FLIP-FLOPWREATH FLOWER TO THE CENTER OF THEJUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILL JUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILL JUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILLHANG JUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILLHANG FROM JUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILLHANG FROM THE JUTE RIBBON WHERE YOUR FLIP-FLOPWREATH WILLHANG FROM THE DOOR.

WREATH WILLHANG FROM THE DOOR.

HANG FROM THE DOOR.

.

Studio Nouveau Printed Mesh Draped Flip Flop Dress w/ Removable Slip | Fashion Must Haves | Shop…

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Metastability – Part 1: Introduction, Causes and Effects

hello and welcome to electroTuts, in thisvideo we will be looking at the concept of metastability in detail.

So, let's get started.

We have learnt from previous videos on Statictiming analysis and interview questions that when dealing with sequential circuits likeflip-flops some conditions must be followed.

Input to the flip-flop must remain stableatleast setup time before the clock edge, i.

e.

this time must be greater than Ts, setuptime.

Input D must not change in this region beforethe clock.

Also another condition is imposed that saysthe input D must be stable atleast hold time after the clock edge, i.

e.

this time mustbe greater than Th.

The input D must not change in this regionafter the clock Now here comes an obvious question, what happenswhen the input D is changing during the aperture time around the clock.

Aperture time is another name for setup time+ hold time.

We know that if the input to the flip-flip, D is stable at low value, during the aperture time, the output Q takes a low value, whateverbe the previous output.

Similarly, if the input D is HIgh during theaperture time, Q takes a High value.

If the input D changes to a High or a Lowvalue during the aperture time, flip-flop captures a value partway betweenLow and High and this state is called as metastable state, or a quasi-stable state.

The output will eventually settle to a High/Low, but it can take unlimited amount of time to resolve into a good Low/High value.

This whole process of flip-flop going intoa metastable state and then settling into one of the stable states, a high/Low stateis known as metastability.

Moving further, let's get some intuition aboutwhat a metastable state is, through a common analogy.

Consider a hill on a golf course, the valley around the hill can be related to the to stable states of a flip-flopa high state and a low state, then the top of the hill becomes a metastable state.

From position 1, if you hit the ball lightly, it remains where ball 1 is, but if you hit the ball hard it crosses the hill and reaches2 But if you hit the ball such that it landsat the top of the hill and stays there even the slightest disturbances like the wind, will make the ball fall to either 1 or 2.

the hill top is the metastable state becauseeven if the ball can reach this state it can't stay there infinitely in the real world becauseof the noises and disturbances present.

same goes true for any bistable device likeflip-flop, the flip-flop must go through a metastable state when transitioning from onestable state to another.

and transitioning during aperture time canbe compared to reaching and stopping at the top of the hill, where you know that the ballwill eventually fall but you don't know the exact amount of time after which the ballwill fall.

Now that you have an idea about what metastabilityand metastable state is, let's look at some possible causes for the metastability in asystem.

If setup time constraint or hold time constraintis not met for the system, the concept of setup time constraint or holdtime constraint is discussed in great detail in my previous videos on STA.

If you want to know more about them, you canlook at my previous videos from the link in description below.

If the input to a flipflop is asynchronous.

this statement needs some more explanation if the input to the system is let's say froma button then you can't predict when the button will be pressed.

therefore you can't ensure that the systemwon't go into the metastable state.

let's look at another example where the inputto the flipflop is asynchronous.

if you connect two systems operating at differentfrequencies or at the same frequency but different phase, then also the input to the receivingsystem is asynchronous compared to it's own clock domain.

to explain this statement, lets have an exampleof two systems A and B operating at different frequencies defined by CLKA and CLKB.

Now let's say A wants to share some data withB.

then because of different frequencies it can'tbe ensured that data received by B is not changing during the aperture time, so we can'tensure that the system isn't going to a metastable state.

After discussing so much about metastability, lets look at an obvious question.

Why should we care Why should we care if the flip-flop goes intothe metastable state.

we should care because, once a flip-flop goesinto the metastable state, the amount of time it takes to settle to one of the states isunknown.

so if the data output resolves before thenext flip-flop capture it, the system doesn't get impacted negatively, but if it fails to resolve in the allottedtime, i.

e.

before it reaches the next flip-flop, it can cause system to fail and these failuresare very difficult to track down and even correct.

so we need to ensure that the system avoidsgoing into a metastable state.

In the next video, we ill be looking at themethods to prevent metastability using synchronizers and an estimate used by designers to quantifyfailure rates of a system.

Thanks for watching this video, and if yougained something from this video, hit the like button, and subscribe to this channel for more electronicsrelated tutorials.

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Lecture 33: Representations of Flip-Flops

Hello, everybody! In the previous classeswe have got introduced to flip flops.

So, we have seen clocked flip flop, edge triggeredflip flop.

And we had seen representation of flip flop in the form of truth table.

We shall look at some other representationof flip flop in this particular class, which will be useful for analysis of sequentiallogic circuit and synthesis of sequential logic circuit which will come up in futureclasses.

So, we start with SR flip flop and what wediscuss now is representation through Characteristic Equation.

So, truth table of SR flip flopwe had seen before in a compact form like this and more elaborate form which can berepresented here ok, so this truth table is also called characteristic table in some ofthe literature.

So, if you remember that for S and R wheninput are 0 and 0 then if current state is 0 next state will also be 0, current stateis 1 next state will also be 1 that is previous state is retained ok.

If inputs are 0 and1 then the flip flop will be reset irrespective of what had been the previous state.

So, whetherit is 0 or 1 next state is 0 and 0, so this is the case we have seen in a more compactrepresentation; when it is 1 0 it will be set irrespective of the previous value itis 1.

So this is the case in more compact representation.

And when it is it is 1 1 it is not allowed, 1 1 is not allowed.

So, if you want to geta characteristic equation that represents this flip flop what we will do, so this isthe current value based on which the next one is obtained.

So, we get – we form a Karnaughmap or any other minimization technique also is useful.

So, the idea here is we want to represent Qn plus 1 as a function of SR and Qn thatis the idea ok.

So, you can take minterm based representation and then we can minimise itusing Boolean algebra or any other technique.

Karnaugh map is handy, so we look at the Karnaughmap based representation of this logic equation right.

So, SR 0 0 if Qn is 0 then the Qn plus one is 0; 1 Qn plus 1 is 1.

If it is 0 1 it isreset.

So, 0 0.

If it is 1 0 it is set.

And 1 1 -since it is not allowed we put it, puta don’t care here that means, from the equation whether we get it 0 or 1 it does not matterbecause, the value will never appear at the SR flip flop input a case of both being 1right.

So, we shall use that don’t care either as 0 or as 1 depending on how the groupingscan be obtained and a minimized representation can be made available ok.

So, for this case what we see the largestgroup of this 1s that can be covered is coming where this don’t cares are included andfor that we see that S is remaining constant with a value of 1.

So, what will be cominghere S will come as one of the product term I mean, there is no other term which is gettingANDed with it.

And this 1 is not covered this 1 is already covered, but together you canform a larger group, group size of 2 in which we can see that R is 0 here R is 0 here.

So, the variable that will be coming here is R bar one term one literal and the otherone is Qn – Qn is remaining constant with a value 1, so Qn will be coming for this oneok.

So, then we sum it up and we get Qn plus one represented as S plus R bar Qn ok.

So, this is the characteristic equation of SR flip flop.

Is it clear – right.

So, next we look at characteristic equationof J K flip flop right.

Characteristic equation of J K flip flop again we shall start withthe truth table.

So, truth table with J K and Qn these are current value based on whichthe future value will be coming at the next clock trigger and when we try to representagain similarly as a function of J K and Qn right.

So, we would like to have a Karnaughmap based representation first and then we shall see how to – how to get a minimizedrepresentation right.

So, how SR flip flop and J K flip flop youknow truth table differ or characteristic table differ.

So, up to this 0 0 input, 01 input and1 0 input they are the same right.

So, 0 0 Qn, 0 1 0, 1 0 1.

So, only place whereit differs is 1 and 1 right.

So, when 1 1 is presented as input, in SR flip flop itis not allowed, in J K flip flop the output – the next state toggles.

That means, whateverhas been the previous state, 0 it becomes 1 and if it was 1 it becomes 0, so that iswhat you have seen over here in a more compact representation.

So, for getting the minimized representation in the Karnaugh map, so 0 0, 0 1 and 1 0 willbe having same entry as that SR flip flop and we can get it directly from the truthtable also right for 1 1, for 1 1 now we have got a different entry earlier it was not allowedso we put don’t care right here.

If it is 0 if it is 1 1 then the next value will be1; and if it is 1 next value will be 0 right – this is understood.

So, with this we goahead with the minimized expression; how to find the minimized expression – we know againby forming the larger group possible and we have to cover all the 1s if you are lookingfor SOP representation right.

So, this is one group which is covering thesetwo 1s and this another group which is covering these two 1s and what we see here that Qnis remaining constant with 0 and J is remaining constant with 1.

So, J Qn bar will be oneproduct term that is coming and which will represent this group.

And this group willbe represented by similar to what we had seen in the previous case, so this is your K remainingwith 0.

So, K bar and Qn is with 1 so Qn so these two product terms when you sum it upyou get the characteristic equation of J K flip flop fine, clear, ok.

(At D or Delay flip-flop, irrespective ofprevious state) this input, 0 is just pushed to there next state right.

And if 1 1 is presentedright.

So, the output will become 1 1 irrespective of what is the previous – in previous statethe next state will be 1 1 right.

So, when we put it into the form of a you know, Karnaughmap we have 2 variables ok, so four such entries will be required.

So, for D is equal to 0 this is 0 and 0 right irrespective of Qn being 0 or or 1 and D isequal to 1 this is 1 and 1 irrespective of Qn being 0 or 1 ok.

So, in this case we haveonly one particular product term coming out of this because, only one group is sufficientto cover both the 1s right and for which D is remaining with a value, D is having a value1 right.

So, Qn plus 1 is simply D ok, so it is just the – so this is the characteristicequation of D flip flop, clear.

So, here we introduce another flip flop whichwe call T flip flop or toggle flip flop right.

So, basically if we try to visualize whatwould be the internal circuit of logic circuit of T flip flop, then we refer to how J K flipflop is made and then if we connect if we connect both the inputs of J and K and tietogether remember between SR and D we had a inverter here there is no inverter ok, fromSR to D we had put S as D and then R was D inverted ok.

So, there was a NOT gate herethere is no such NOT gate directly it is connected, so it becomes a single input flip flop right.

So, all those things pushed inside – inside the logic circuit within a particular youknow group ok, where all the elements are there then what we get is a single input flipflop.

Of course, it is clock positive triggered and all and the Q and Q bar this is outsidethat is why these bubble is there if it is inside the convention is not to put the bubbleI mean this symbols Q and Q bar if they come inside bubble is not put – we have discussedthis before.

So, this is your T flip flop ok, so this Tflip flop then what would be it is truth table right or characteristic table.

So, this isyour if 0 is presented at the input ok.

So, this is like J and K both being 0 0 so previousstate will be returned, so if it is 0 it is 0; 1 it is 1.

And if 1 is presented so itis like for J K flip flop both the inputs are 1 because T is equal to 1 so the outputwill toggle alright the next state will become the invert of previous state.

So, 0 becomes 1, 1 becomes 0 – is it fine right.

So, if you try to get a characteristicequation out of it, the minimized expression, so we can see for T is equal to 0 the previousvalues is retained.

So, 0 is 0, 1 is 1.

And T is equal to 1 so it just toggles so 0 becomes1 and 1 becomes 0, is it ok.

So, now what we see that larger group of 1is not possible only 1 member groups are there, so this is one group and the other the otherone is over here.

So, it is T this is T and Qn bar alright and this is the other one isT n bar this is 0 and Q n, so this is your T flip flop characteristic equation is itright.

So, we shall make use of all these things later, in subsequent classes we shallsee how to make use of it.

Next is another representation through excitationtable ok.

This is interesting! While characteristic equation and characteristic table or truthtable are useful for analysing the circuit, excitation table and the one that is to follow, we shall discuss that also, that is useful, that are useful for synthesis – design ofcircuits.

So, all those examples we shall take up in subsequent future classes.

So, right now we are learning how to represent flip flops in various forms, through variousrepresentations.

So, what excitation table tells us? So excitation- what sort of excitation should be present at the input of the flip flop right.

So, inputof the flip flop is S and R for SR flip flop right.

Other one is clock, clock is a simplytriggering and based on what is presented at S and R the output you know, changes – thenext state changes and of course, there would be reference to the previous state feedbacketcetera etcetera that is another part of the story here.

The external excitation, externalinput that is there to trigger, needed to make a change in the flip flop that is the- that is what we are trying to figure out.

So, in that reference, in that context, forSR flip flop we are looking for excitation when we see that the previous state was 0and next state is also 0 – current state to next state right.

So, previous state was 0and next state is also 0.

If that is what we observe, then can we figure out what wasthe input at S and R? We can figure it out from the truth table if previous value was0 and next value is also 0 ok, so that means, in one case we can see that previous stateis retained 0 0 right.

So, previous value will be retained, so weare talking about 0 previous value was 0 and next value is also 0.

So, it will occur whenthe previous – when the input is 0 0 that is possible and instead of input is you know, input being 0 0, if input was 0 1 then also the next state will be 0.

Please understandthis part ok.

So, if we refer back to more elaborate truthtable of SR flip flop ok.

So, we can see if this is 0 1 and previous value is 0 next valueis 0 and 0 0 previous value is 0 next value is 0 So in both the cases it is happeningright.

So, if this is what is observed, we can saythat either of 0 0 or 0 1 was presented at SR to make this happen that it has changedfrom 0 to 0.

And how we can represent it in more compact form? We can write this as 0X.

X stands for don’t care.

So that means, S need to be 0 and R could be any of 0 or1 for which if the previous value was 0, next value for sure will be 0 ok, this is whatis coming as entry into the excitation table.

So, 0 to 0 you can see the input requiredto be is to be 0 0 or 0 1 in more compact form 0 cross – 0 X.

Is it ok? Right.

Now, what are the different possibilities of this transition because, it is a 1 bitkind of thing alright.

It will – flip flop contains only 1 bit of information.

So, 0to 0 is one possibility that we have already explored, so the other one is 0 to 1 – 1 to0 and 1 to 1 right.

So, in each of this cases we can figure out if such transition doestake place then what has been the excitation at the SR input, so for 0 to 1 right.

So, the previous value was 0 next value is 1, so you can understand from the truth tablethat input required to be 1 and 0 – it is becoming set.

0 0 will not occur – will nothelp because, previous value will be retained right.

So, if you put 0 0 then 0 will be remain0 only, so only option left is you have to put 1 and 0 right.

1 to 0, 0 and 1.

And for 1 to 1 for 1 to 1, you can have 00 case this is 1 to 1 if you have 0 0 right previous value is retained and if we have1 0 that also will make sure that the next value is 1, in either case for these inputsbeing present if the previous value is 1 next value for sure will be 1.

So, that is R needsto be 0 and S can be any of 0 and 1, so that is the case where we say – what we say ascross 0.

Is it clear? So, the excitation table of SR flip flop looksnow something like this.

So, it is re-reading of the truth table or characteristic tableand putting it in a different manner, that if this is what we desired if the circuithas to move from states – one state to another and the states are represented by individualelements which are flip flop then to make certain changes happen what should be presentat the input ok.

So, this is looking at it from the reversedirection right.

Characteristic table, truth table – if this input is there what will happenwhat will – what change will occur.

And excitation table – if this change is to occur what isto be present as input ok.

So, this is the way these two representations differ fromeach other.

So this is for SR flip flop, so we can seehow it would be for other flip flops ok.

So, for JK flip flop – for JK flip flop, so againthis transitions, all this 4 transitions are to be considered so 0 to 0 right.

So, if 00 is present previous state will be returned and 0 1 is there – that also will make thatthe next state is 0 for previous state being 0 ok.

So, this is 0 cross and similarly 11 like previous case.

So, 0 0 and1 0 both the cases it is becoming if the previous statewas 1 so the next state becomes 1.

So, this two we can see we can visualise from SR flipflop excitation table ok.

Now coming to the other two cases.

So for 0 to 1 – 0 to 1 in SR flip flop it was only 1 and 0 ok.

But in JK flip flop for1 1 input we know the output toggles ok.

So, if the previous value was 0 the next valuewill become 1, also for the case when input is 1 1 right.

So, 1 0 as well as 1 1 – why1 1 because the state toggles 0 becomes 1; and why 1 0 because that is how the thingsget set I mean, set similar to SR flip flop setting ok.

So, these two cases we can seethat a 0 to 1 transition is possible, if that is the excitation at the JK flip flop inputright.

So, we can put this as 1 cross, similar to what we did for SR flip flop truth tableexcitation table.

Similarly, for 1 to 0 transition, earlierit was only 0 1 now 1 1 is also possible because of this toggling part of the truth table inthe JK flip flop ok, so this becomes cross 1 right.

So, this is how it differs and whatis it is significance and other things ok, if we want to realise a circuit using SR flipflop or JK flip flop, how these things will come up that we shall explore in future classes.

Now for D flip flop, it is relatively straight forward.

So, we know if the next state is0 right the input need to present is 0 if the next state is for 0 to 0 cases.

1 inputneed to be present is 1.

Again from 1 to 0 since next state is 0 input need to be presentis 0.

1 to 1 again input need to be present is 1.

So this is the excitation table of Dflip flop.

And for excitation table of the T flip flopok.

So, we have got 0 to 0 so previous state is retained, so this is 0.

0 to 1 togglingok.

So, input to be need to be 1.

1 to 0 again toggling, so input need to be 1.

And 1 to1 previous state is retained – so, input is to be 0 fine.

So this is how excitation tableis – through excitation table we can represent different flip flops ok.

Now the excitation table, whatever we haveseen there, we can put in the form of state transition diagram, this is another way ofvisualizing what is happening in a flip flop ok.

So, for a particular flip flop we havegot a one I mean, two states because, it has – it stores one bit information; state whenit is the output is 1 and state when the output is 0 ok.

Transition means when the excitation comes at the input, it is supposed to make I mean, it is now can make a transition.

So, whether it will make a transition to next state as1 or it will remain in the same state that is 0 if the present state is 0 ok.

So, thatis explained, that is visualized pictorially in the form of state transition diagram througha diagram.

So, if we look at the SR flip flop state transitiondiagram, so this is pne state with value 0 right and this is another state current statedescribed by 1 ok.

Now when it is at state 0 and it receives a input 0 0, what will happen?It will remain in the same state, so that is what is shown through this line and thisarrow mark will be there to show where it is.

And if it is at state 0 and if it receives0 1, if it receives 0 1 what will happen? It will stay at 0 only.

Isn’t it? Right.

So, 0 – it is remaining at 0 for the cases 0 0 and 0 1, so we can see from the excitationtable, also from truth table we can you know, in an inverted way, we can figure it out – right.

Now it is at 0 so 0 0, 0 1 we have seen.

If it receives a1 0 what will happen? It willget set.

It will become the output, the next state will be become 1, the state of the flipflop will become 1 right.

So, it will move to 1, so that is what is shown through thisarrow over here – from 0 it is coming to 1 and when the input presented is 1 0 – is itok.

Now it is at state 1, the state at 1 and it is receiving you know, whatever is allowedother than 1 1 everything is allowed 0 1, 1 0 and 0 1 right, so these are the threethings that are allowed for SR flip flop.

So, if it receives 0 0 it will stay at 1 onlyif it receives 1 1 sorry, 1 0 it will remain at 1 right and if it receives 0 1 then itgoes back to state 0, it goes to state 0 is it ok.

So, for each of the stable state, forSR flip flop, this bi-stable circuit, we can figure out for the allowable inputs what wouldbe the next state and it can we can pictorially depict it through state transition diagramas you have seen here.

So for JK flip flop again current state is0 right, if it receives 0 and 1 it will stay here, if it is receives 1 0 it will go there, if it receives 1 1, four – all, now 1 1 is also possible, then also it will go to1 ok.

At 1, if it receives 0 0 it will stay here, 1 0 it will stay here and if it receives0 1 it will go to 0 and 1 1 it will go to, again it will toggle, it will go to 0 similarlyok.

For D flip flop right stable state 0 if itreceives 0 it will stay here if it receives 1 it will go to 1.

If it is at 1 if it getsone it will stay there if it is – if it receives 0 it will come to 0.

And for toggle flip flop, if it receives 0 then it will stay at 0 and if it receives1 it will toggle – it will go to one and if at 1 if it receives 0 it will stay at 1 andif it receives 1 it will toggle and go to 0 ok.

This is the other way, other form ofrepresentation.

The another representation through timingdiagram ok, in all these cases the delays and other things ok, however, small it mightbe, is not visible – all this representations that we have discussed so far.

So, if we representthe flip flop, the transitions that are happening for a particular set of inputs and, ratherall possible set of inputs excitation – so, through timing diagram we can show it ok, that we shall discuss through some examples in some subsequent classes.

Characteristic equation of a flip flop isa minimized representation of the next state by considering present input and present state.

Excitation table shows in tabular form what as input is required to move the flip flopfrom one particular state to other.

A don’t care in excitation table indicates that specifictransition will take place irrespective of the variable under consideration being 0 or1.

And, the change in state of a flip flop for a specific input can be represented bystate transition diagram when – if you look for a pictorial description.

Thank you.

.