Once we get formulation down, right, once we get the really solid formulation down, then we can bring some tools in to do some serious serious blondes, which we can do, which we can do after lunch. But I just wanna get this going.

Alright.

This goes for everything.

This goes for every color.

I don't care whose color line you're using.

This goes for everybody's hair color.

Four steps of formulation are universal.

Every single color company teaches the same four steps of formulation? Yes?

Now the trick would be if you would actually just do them.

That that would be a miracle if we could just actually do it that way.

I'm gonna turn this a little bit so they can just see more of the board there.

Okay.

Let's do four steps of formulation.

What's the first step?

Natural level.

What else?

Texture. Texture. Right? Is it thick and coarse? Is it baby fine?

Is she Chewbacca's mother?

Does she have five hairs on her head and three are busted?

You know, this is why you don't just one size fits all.

That's what hairdressers who put on hair color do. Colorists understand the fabric that they're working on.

So level, texture, what else?

Percentage of gray.

If she has any. If there's any percentage of gray.

What else?

Nope. We're we're still on one.

Level, texture, percentage, great. Tone, right, when you match her up in, in your swatch book, maybe she's more warm, maybe she's goldy, maybe she's cool, maybe she's copper.

Sort of. I just need to know the tone of it. Let's not let's not make it overly complicated. This is a very simple thing.

This is a very simple thing to do this. So if I was giving you directions to my house, I need your address, starting point. You need my address, ending point, and then it spits out directions. Yes?

We need the starting address, then we need to know where we're going, and it spits out directions.

The problem is you guys don't do this.

You guess.

You don't know how to formulate. That's why I use bleach all the time for everybody because if you knew how to formulate you wouldn't use bleach all the time. So we know what you're doing.

We know what you're doing by the way you buy.

So, if we know you don't know how to formulate for blondes, what do I have to do today?

Teach you how to formulate for blondes.

The problem is in in teaching you something that simple and basic, I gotta kick the shit out of each and every one of you on separate issues.

To get all that crap out of your head so I can teach you how to do this. Okay.

Step one. Where are you?

Right? This is where are you. I need I need the level, the tone, percentage of gray, the texture.

Wrong, everything you do after that is wrong.

So be right.

Take your time. Get your book. Match it up to her head. Don't guess.

Don't guess. Don't be standing by in a chair. Oh, she comes back in the back room. She's a five.

I grabbed the book. I put it in her hand, and I'm like and then she stands there for five minutes with the book, and she can't figure out if she's a five or a six.

Although, twenty feet away when she walked in the virtual, she's a five.

I give her the book and go back out. So if you're standing there with the book and you get your swatches up against her head and you're going five, six, five, six, five, six. What do you do? Go with the darker.

Always.

Blue star in the forehead right there. Always, formulate to the darker color when you can't decide. There's no such thing as a five and a half.

Are you good? Are you comfortable?

If you can't decide where she is, you always formulate to the darker color.

Two.

Now, where are you going? Where does she want to be? I'm gonna tell you right now, nine n is the number one picked color. That's why nine v is the number one sold toner.

Bleach and tone and throw a nine v on there. Alright? So, nine n.

Everybody picks nine n. You know what? Wanna know why they picked nine n? Because the ten's too light, but the eight isn't light enough.

And I like that beigey champagne y, sandy blonde. I don't want any red, I have so much red in my hair.

Oh my god.

Everybody picks nine n given the choice, given the book, given pictures, given all that. Nine n is the number one picked color by clients in the blonde world. That's why you see nine a a or you see all these crazy things with a level nine on it because it's the most commonly done thing.

Talk to her. This is all consultation.

This is showing pictures. This is showing swatches. This is get just getting an understanding for her what she sees and what she wants. I'll give you a perfect example.

My cousin who lives here in the state, she just doesn't live too close to me and she's like, I want caramel highlights. I want caramel highlights. Oh, you you can you give me I gave her a couple names of some salons near her. I said, go here.

Try there. Try there. And she finally, like, after a year of this, she called she said, you know, when I come down for the holiday, can't you just do my hair? Nobody can make caramel highlights.

Everything's a problem. I don't understand why this is so difficult.

It's like, oh, for Christ's sakes. Alright.

So I give her the book.

I give her the swatch book and, I said, you point out to me what what caramel is, what the idea in your head. And she pointed to nine n.

Nine n.

Like her daughter who's like blonde.

She goes like like like like Lauren's hair. I go, have you ever eaten a caramel in your whole fucking life? Do you even know what one looks like? Because that is the last thing when a caramel can do it. Say, I'll go get one in the kitchen right now.

I break it up and I go, does that look like that too?

Could you go into a swan? You say caramel. They're thinking the same thing I'm thinking. Candy, they make a caramel. You're thinking blonde.

Color is a visual thing. You have to use props. You have to use your books. You have to use pictures. You have to use all of these things. What she has in her mind is completely different than what you have in yours. So this is the full out conversation.

This is the full consultation.

And not just what she wants but the maintenance of that.

Because when I make her nine n, it's gonna fade.

Right? It's gonna lighten and fade in the sun and it's gonna end up looking like a ten.

And when her five n roots come in next to a next to a ten, it feel she feels like Cher.

Right? My hair grows in faster and faster and darker and darker.

I go, no. The blonde is getting lighter and lighter and more of it. So when your roots come in, it shows quicker. So they don't understand unless we have these conversations with them.

Because I don't do desperate dot.

You don't call me and have me squeeze you in to get to get your hair done. So you are making every five weeks, you're gonna have that five n come in next to that nine, ten n. You cannot call me like desperate dot. We are making your next appointment.

You can't you can't do that to me. I don't squeeze. I won't do it to you. I won't squeeze somebody in when you have a scheduled appointment with me. So you gotta have these conversations and it's a full out con consultation when you get to number two.

And it requires a lot of visuals because they don't know. We give them way too much credit. They're picking out all sorts of pictures off Instagram and Pinterest and all of these things, which number one wouldn't even look good on her.

You you you gotta take her away from the pictures. Bring out the swatch book. It's actually harder to do it with the swatch book because there's no face or clothing or anything attached to it. This is this is important.

Number two is hugely important of where you are going. I know where I am. I am at five n. I know where I'm going.

What's the third step?

Regulation.

Yeah. Well, what's the third step? Step three.

Are you lifting or depositing?

Alright. This is it. You don't do the two of them together.

You decide what you are doing here. You don't mix that with color.

You decide absolutely, are you lifting or depositing.

This is supposed to happen with every single color you do.

Every single color.

You do it, you're supposed to do this. So why why if you had seventy five percent gray and you are just depositing would you use thirty volume?

I'm just asking.

Did Kevin Murphy teach you that?

Shame on them.

Shame on them.

Because if you went to get board certified in hair color and you gave that answer, you'd fail.

I know because I'm board certified.

And if you answered that way, it would be wrong and you would fail. So shame on Kevin Murphy for teaching bad color.

They can call me if they want to.

They can call me if they want to.

I have to know what you're doing here. We're lifting. Right? We're doing a blonde. Are you lifting or depositing? You're lifting how many levels?

And it all falls apart, Russ. Just like that.

This is blondes are forty percent of what you do every single day of your life. I am asking you a simple question. You're lifting or depositing. You're lifting. You are going from a five to a nine. How many levels?

And why we grab bleach in twenty volume in a toner on everybody.

Yikes people.

Holy schnikes.

All right. Let's walk through it. Let's just walk through it so we understand what it is that we're talking about here. If you are lifting, alright let's let's let's do it another way.

Let's say she's a level five and we're gonna make her five R. Well, she's gonna stay a five and we're gonna make her five R. What developer do you use?

Ten. Right? Five to 5R.

Ten volume.

If she wants to be a six?

If she wants to be a seven?

If she wants to be an eight?

If she wants to be a nine?

That's five levels of lift.

If you don't know that or understand it, that's why you're using bleach and twenty and a toner on everybody Cause you don't know how to formulate to make that happen.

Five levels of lift.

Now remember fabric, we could we could certainly do a thirty three point three percent average here That thirty three percent of the people that you do this on, it's all, you know, that's whatever you do is only gonna lift four levels.

Bleach would only lift four levels on on a third of those people. They're Chewbacca's mother. Their hair is strong. You're only gonna lift four levels which on somebody else it's gonna lift five or six. Is everybody following me? For example, you have this exact scenario. You put bleach on her hair.

Ten minutes later you check it, it's pale yellow. You take them to the sink, they're done. Very next client comes in, she's a five. You put bleach on her hair.

Ten minutes after you're done, ten minutes later you check it, she's still orange. You literally have to leave the the second one on ten, fifteen minutes longer to get to pale yellow. Right? This happens to you every day.

Right? So on the second client that you had to leave it on longer, did you say to yourself, wow, I worked on really resistant brown hair today? Did you?

So why is all gray hair resistant but all brown hair is not?

Is that stupid?

Yes. It's stupid.

Texture is so much a part of this. You have to understand what you're doing. We make these four steps for you to follow knowing that you're gonna have a little, a little difference just from the texture of hair. Lift a little bit more on some and not enough on others.

We know this.

But the the the four steps are designed to keep you in the safer place if you follow them correctly.

That is not four levels of lift. If you thought that was four levels of lift and used forty volume, you're wrong. She's not light enough, she's brassy, and she's pissed. And you've done that so many times, you're so sick of it that you bleach and tone everybody.

And that's why ninety nine percent of the salons to achieve blondes do bleach in twenty volume with a not level nine toner. It's gotta stop.

You gotta know how to do this the right way.

You gotta know how to formulate.

This is five levels of lift.

How do we get five levels of lift?

What?

Fifty volumes. Fifty volumes is bomb diggity, man. Fifty volume.

Fifty volume.

You can buy it everywhere.

You can buy it here, you can buy it at any Sally's, or any Salon Centrix, or CosmoProf, everybody's get a fifty. Forty percent of the work that you're doing in salons is blondes, you need one of these. You need one of these. It is awesome.

It is awesome to be able to lift five levels with color and not have to rely on bleach. It's awesome.

Now say you do this because we know with this, we know on thirty percent of the clients it's only gonna lift four levels cause their hair's tough and strong and thick and coarse. We know on thirty percent of them it's gonna lift five levels.

And we know on thirty percent of them it's gonna lift six.

So this will keep you in a safer place if you if you do this. But say you do it fifty volume on someone and you didn't get the lift out of it because she had thick hair.

Oh yeah, we get sixty two.

These are things you need to do blondes.

You can't just go from doing high lift blondes and and forty volume to bleached. You gotta have a whole vocabulary of things that you can achieve in between those Because that is going from, really mild formulation to excessive with nothing in between to achieve these really great things.

You can balayage and paint with color.

Absolutely you can.

You need to be able to do these things.

But first you need to be able to do this. Once you follow this, this is five levels.

Step four formulation, are we enhancing or neutralizing?

We know when we lighten our hair it's gonna be brassy. You're either working with it or you're fighting it. What are you doing here?

We know when we lift, it's gonna pull warm. Are we working with the warmth or are we fighting it? What are we doing here?

She wants to be nine n, no no warm tones.

We're neutralizing.

So we're either step four is always enhance or neutralize.

Here, we are neutralizing. We know we have to fight something.

And most of you would pick 9a.

Yes?

Yes.

Incorrect. This is not correct.

No.

What did you mix your fifty volume with and it came out warm?

I tried using the ash.

What level?

Well. Was it Wella?

Yeah. Well Alright. So you got So listen to me, pay attention. This is important.

This is how you buy quality.

If you have a fully pigmented line of color, meaning you don't have to mix N for gray coverage.

Which you do with Wella.

So if you have to mix in for gray coverage you don't have a fully pigmented line, so your ashes are not effective.

They don't have enough ash in them to fight that undertone when you lift her.

So for you with your line, you'd probably have to drop to a seven.

Does that make sense? If it doesn't, speak up and I will explain it to you so you understand what I'm saying.

Say that again. Thank you, miss Annie.

If you, well you have You have a fully pigmented line. Not that you have to worry about this, but I'm gonna answer the question anyway.

If you're if you do not have a fully pigmented hair color line, meaning you have to mix n for gray coverage. You're mixing N for gray coverage because all of the other colors in that line aren't fully pigmented.

So the N has to assist it. That's why you mix N with it, all right?

Okay, so if I was to do this with a line that is not fully pigmented, there is not enough ash in the ash series to be able to work. It's not, they're not able to cover gray. They're certainly not able to, neutralize an undertone. Does that make sense to everybody?

Does this make sense to everybody? So, for the Unfortunately, it you know, for the for the color lines, the the there's more old school color lines out there than not. There's way more McDonald's, Burger King, Wendy's color lines out there than there are five guys.

And unfortunately for most of them, they're they're made poorly and and ineffectively, which is why everybody's using bleach for blondes.

We don't really know how to buy color that that is quality for us to be able to do this stuff. A fully pigmented line, even with a fully pigmented line, I should say, even with that formula, I would probably drop to a level eight in that formula to make sure I had enough ash to neutralize the warmth. You you you picking up what I'm putting down? Okay, good. Did everybody understand that?

The fifty volume I would drop. I mean the rule is that you would typically use a pick a nine.

The problem is with fifty volume and the more you lighten and the more blondes that you do, the whole first half of your processing time, the the the natural color is lightning. You are lightening someone's hair. You're also lightening the color in the bowl. By the time the color is actually depositing in the bowl, I've lost color.

So it's not my nine a isn't gonna deposit as a nine a. If I wanted to deposit as a nine a, I have to put eight in the bowl so I can lose some pigment to when it deposits, it deposits like a nine. If you're using a color line that you have to mix n for gray coverage, it is not a fully pigmented line, you'd probably have to drop to a seven and even at that I don't know if it would work.

This is why it's so important to buy quality and not bullshit.

I'm sick of the bullshit.

I get these questions all the time. It's just I'm sick of it. It's awful that we buy and don't know how to buy color, that we don't even understand how formulation works. It's pitiful.

And the color company certainly aren't running around doing anything to fix that, unfortunately.

Does everybody understand what I just did? Because it it is hugely important to forty percent of what you do in the salon every day.

But you can do amazing blondes.

You have a fifty volume, you can have a sixty volume, you can do it with color.

Now were you talking hair without color in it? No. I'm doing this formula right here, babe. Okay.

So it's what if somebody comes in Okay. No. No. No. Not what if. There's no what if, and.

Let's do this and then we'll go from there, alright. There was this, I just don't want you to get lost. It was this scenario.

She's five going to a nine. She doesn't want any warmth.

We're lifting five levels, we decided to use fifty volume, right. With that fifty volume we decided to use fifty, right? Five levels fifty.

Typically, most people would do this, You can't. Even with a good line, I would do that. Is she a five n naturally? Yes.

With no color? Right. If she had, you can't do this with color. Okay. I mean if it's previously colored you have to.

Color doesn't lift color. Yeah. But her regrowth you can certainly start doing it on.

Now what what was the what if it was kinda Come on. I got it. I got it. What if she was colored all over?

We have to use bleach. Yeah. Yeah. Okay. We do. Questions?

I know. I know. Everybody's like, what?

What? You're kidding me. What?

Yes.

So you dropped it down to the eight level eight if you're working with the color line that Like a two toe or pro rituals?

So it'd be the same like that's more with the two toe or pro rituals?

A fully pigmented line.

Fully pigmented because I used the two toe.

Yes. It's fine. Have you used the two toe ashes?

Yes.

They'll scare the shit out of you.

A little bit.

Yeah. Yeah. Yeah. They're great.

You just nobody's used to using color like that. That like it is really ashy.

So if you're using I always tell everybody embrace the ash. Be an asshole. It's awesome. Be an asshole.

With something like two toe though in that situation of color, will you do instead of dropping it down to an eight or would you still drop it down to an eight with the fifty volume?

I would. Even with a fully pigmented line. Okay. With any line think about with any line. When you start going forty volume or fifty volume or sixty volume, as volumes go up, your processing time increases, be because of the nature of what's happening. So when you get to fifty volume, the the first forty forty five, fifty minute processing time, the first half of that is all lift. You're you're breaking those melanosomes.

You're lightening her natural melanin. As that's happening, you're actually lightening some color in the bowl. You're losing some color in the bowl. So the second half of the processing time we're getting more deposit.

We're starting to deposit the color, but we've lost some of it.

So I would drop to an eight instantly with a good color line like a Pro Rituals or a two toe.

If you were using, you know, all the other ones that you have to mix in for gray coverage and all that. Yeah, you probably have to drop to a seven and even at that I don't even know if it would work.

But you definitely have a better shot trying it that way. Does everybody understand what I just said And why I said it?

Does everybody understand? If you don't, say so, I will explain it to you so you do.

It's so, so important.

And you have to follow that to the letter.

So I would not do this with high lift blondes.

I would do this with regular color.

I'm gonna answer a little backwards, second part first.

It's, it's not about getting enough lift, it's about just lifting in general.

The more it lifts, the more pigment you compromise that's in the bowl. So it doesn't really matter that way.

The more I add to the lifting process the more I'm gonna drop the color.

Because whatever I'm using to create that lift is sacrificing some of that.

Are we there, Scott? I think so. Okay, alright.

Extra blinding cream and everybody has them by the way, except for Wella.

Wella doesn't I don't know why but they don't. We have a couple of good ones here. I actually brought them up. Chromastics, Tom Dispenza. Tom Dispenza, he's a color chemist. He's gonna be teaching a class here in a few weeks.

He's the bomb. He's got an extra blonde and cream and a super extra blonde and cream. I'm going to explain how these look. They're awesome. I'm gonna explain how this works.

Extra blinding coons, does everybody have them in their line and everybody use them? Who uses them on a regular? Who uses them on a regular? Okay. Once you learn what they do you're gonna start using it on a regular.

Like high lift blondes, High lift blondes have more ammonia.

They have more ammonia.

Uh-uh, they have more ammonia to, to to give you a little bit more lift and I will explain how that even came to be. Years ago, when I was a young young lass in the salon industry, everybody made these. Everybody had a fifty or a sixty or a seventy, every color company.

But most of the color was shipped to swans through UPS.

UPS at one point said, we're not take we can't take anything over forty volume because if the box spilled and it got on the UPS guy's hand. So everybody stopped doing it. Everybody stopped doing the fifty and sixty.

There weren't a lot of beauty supply outlets on every corner for everybody. You got it through UPS.

So high lift blondes were kinda introduced to take the place to give you like an extra level of lift because you didn't have fifty fifty anymore. So the high lift blondes were just level nine with extra ammonia to give a little bit more lift to your formula. And then you would double your developer to get as much lift as you could. They worked. They did give you more lift. The problem is they didn't give you any control.

You would get the level of lift that you wanted, but there wasn't enough pigment in them to control the undertone.

So they were kind of a half flop.

People fooled around them. They did all different things. I mean, I can't even remember the last time I used one. But now with the with the, you know, beauty supply place on every corner, right, you we can now get fifty and sixty everywhere. And some some beauty supplies, they have hundred volume.

And and in fact, the very first salon I worked in, that's how we got it. We got it at a hundred volume and everybody had a hydrometer and you would mix it with water and dilute it and would make, you know, so much twenty and we did this for the week. I mean, I am, like, really dating myself right now. Russ, cut that whole thing out. I want anybody to know that I know that, That I was old enough to to experience that. But we've kinda come full circle now.

You know, well, we have these things that are available. We have fifty and sixty volume. We have really good extra blinding creams that you can add to your formula. So for example, if I did if I didn't have fifty volume, I I would do on that formula, I would do an ounce of eight a, an ounce of extra blonding cream, and two ounces of forty.

And I would make that formula now be able to lift five levels.

Are you with me? Does everybody understand how that works?

It actually acts as an extra level of lift. Now in smaller amounts, by adding more ammonia to the formulas in smaller amounts like for gray coverage.

Right, you're using ten volume. It's covering, it's just not lasting as long as you would like it to. You would add like maybe a couple of strips, Little inch strip on the bottom of your bowl in your in your gray coverage. And you would get more ammonia which swells the cuticle and you get better coverage without creating lift.

Because with the with gray hair the biggest mistake is you're we keep lifting. We're making the opposite mistakes here.

Forty percent gray coverage, forty percent blondes.

We are making the opposite mistakes.

Gray coverage, everybody is overshooting their developer. They're lifting when the formula cause calls for depositing only. So it's pulling warm and fading brassy on our gray coverage. Forty percent.

And on forty percent of the blondes, everybody undershoots their developer because they don't know how to formulate. They all go six, seven, eight, nine. Six, seven, eight, nine. They think that's four levels.

It's not light enough. It's brass. So we are literally making the opposite mistake in two of the biggest sections of hair color. And the fact that I have been teaching for twenty six, seven years and for all of these huge color companies out that a roomful of hairdressers doesn't know how to use developer, I think this industry, I think all the money you spent from the color companies you've been buying for, I think they should pay you back.

I think they should pay you back.

If you're buying spending eight dollars for a tube of hair color and you don't know how to formulate hair color, that's a fucking crime as far as I'm concerned.

It's a fucking crime.

How you ever gonna get better at? How you ever gonna achieve the skill that you wanna achieve as a colorist if you don't even have the basics down that you even understand the basics of how this works. And then people go out and spend two hundred and fifty dollars on a bond multiplier and dump it in their in their lightener thinking this is gonna make them a better colorist. It's insane.

And that's what we're gonna I'm gonna spend two days in May here doing everything. We're gonna do it from a strand of hair all the way through every single thing. Most comprehensive hair color class you can take.

And I'll kick the crap out of you too.

Does this make sense?

I have a question. Yes.

I'm sorry I didn't I'm I'm sorry I didn't hug you early, Adelgies. I knew who you were when you came in.

So, it's weird because it's just all of a sudden, she's not covering.

That's normal. It happens. It can be a lot of things that cause that.

If you didn't hear the question just she had a client that all of a sudden stopped Covering.

Covering. It it it happens. It could be really nothing more than a change of whatever product she's using at home. It can be hormones.

Literally, just a hormonal imbalance can cause that. It can be so many things. She started a new medication.

It it could be just the dryness, how dry some people's houses are with their heat this time of year because remember that rubber cement which makes your cuticle swell and contract, that will get so dry and hard that it's just not covering it. You're just not swelling the cuticle. There can be a hundred reasons why that happens. It's common. Just try one of these and do it on damp.

And if she's still do a GepSure treatment Yeah.

And then do and color her hair when it's damp. And if that's not really rectifying the problem, there's a couple more tricks and tips we can try.

Can I just add a little bit of like a a neutral in two?

No. No.

That's not gonna help her.

No. Okay. You're gonna have more pigment but if it's not coloring, what difference does it make?

I feel like the more pigment that I have, it will cover the gray. It won't.

Well, you said all of a sudden it stopped covering. It was working and then it stopped.

More translucent. Like I feel like I see that gray peeking through more than, like, covering all of a sudden.

So maybe just her percentage of white is increasing. Your your formula's working, everything's the same and maybe her just percentage of white or gray is increasing, so you see starting to see that difference.

Maybe?

No?

I'd I'd try it that way but if not try it that way. I mean there's more than one way to go home.

You know?

My first thought is leave it on longer.

I did. Okay.

So if that's not working then she might just What would I need? She just might need to get pure treatment.

To twenty volume is whatever.

No. I wouldn't. Okay. I You could try fifteen?

I think fifteen is absolutely great to have in the, in, in the back room. I a lot of salons that I work with, I actually make a fifteen. Take a ten, take a twenty, make a fifteen, leave it in the back because gray coverage being forty percent of what you're doing. Yes. At some point, it calls for, some little increase in in developer, but it should be the last thing you do.

Really, I'm making more fifteen volume because I'm taking people who are addicted to twenty volume on gray coverage, and I'm, like, weaning them down. Alright. Go to a fifteen so you don't feel like, you know, like like you're doing color with your pants down around your ankles. Oh my god. I got ten in the bowl and everybody can see it and everybody knows it. So sometimes I would just wean them down to a fifteen before a ten.

But it's necessary for some fashion things to have a fifteen so it's not a bad idea to make one and and just have a have a jug that's back there.

Questions?

Does that feel good to everybody?

Yes, honey.

Yes, yes.

Fifty but I feel like it needs to To be more.

At a girl. At a girl.

When you do the formula, so it's like AA, like, a half ounce AA to half ounce of the blonding cream equal parts to lift more?

You could. There's a lot of ways to do that. There yeah, that's definitely one way. And like I said, there's a lot of ways to go home.

And this is, you know, a lot of what getting board certified in color is. They will ask you things like this. And, they know there's more than one way to go home, but they want to know that you know how to do that and that you're not taking the scenic route to do it, that you try to get there the the less way. You could just go to sixty, honey.

Right.

So if I didn't have the sixty then Absolutely. Then so I guess that's one because with those, like, with the wand and cream, the neutralizer, and all that stuff Mhmm.

Like, say, if I just wanna add a couple strips to, like, a gray coverage just because I need, like, a little extra Mhmm. It's not quite covering. Mhmm.

Do I do I add that to my Yeah.

Absolutely.

Mhmm. You what if you're doing less than, if you're doing less than like an eighth of an ounce in your formula, you don't need to change the developer to accommodate. If you're doing just a couple inch strips, you don't need to change your developer amount. You you can do that all day long, you know.

I actually do that like, in a short I'm trying to like short short hair like like Anne's. You know, Anne sitting up front here in the front row doing a red, like colored her whole head red but took extra blonding cream by itself in my hand and just ran it through pieces on top of the color that I just did. Are you with me? Yeah.

Everybody understand that? So now I can I'm like hair painting.

I'm lightening pieces just to make them when it's done it'll be a level or two lighter than the red. So I'm literally just throwing in some highs and lows with my hands with extra blonding cream on top of it once I color it. Are you with me?

With no peroxide?

With no peroxide. Just with my hands doing it.

You can mix peroxide too if you want it stronger. If I really wanted that to be lighter, I would mix an extra blonding cream with you know thirty or forty but still with my hand just go in on top of what I colored. And it'll just kinda brighten up little, you know, sparkly little lightness here here and there around the face. But you understand this is the difference between a hairdresser who puts on hair color and a colorist. When you understand how these things work, now I can teach you how to do these things and achieve all of these things on your own. Give you templates on on creative things that you can do but when everybody's so bogged down by in every ridiculous thing, I can't I can't get anybody to that point to train them to be that kind of colorist.

And you can do that on previously colored hair?

Yes.

The bomb.

You can do it blondes too.

I mean even even in a situation like this, if you did eight a and and fifty volume.

All over.

You did a virgin application off the scalp, down through the ends. You go back and put it on on the roots. Right? And you're just processing that. It's forty five minutes processing time. I can go back and mix up extra blonding cream and thirty or forty volume. And go in and paint while it's processing.

Paint some things around the the face or whatever. Just to make highlights there. I can certainly do that as well. Because once you understand how this stuff works, now you control it. It doesn't control you.

Most people are totally controlled by their products because they really don't know how they work.

And they don't know how to formulate. Once you do, now you get creative.

The and the Tudo, sorry. Mhmm.

In the Tudo wine, the Neutro and the Neutral. Those are That's extra blinding cream.

Same? Okay. Yeah. Not as strong as as, the the neutral and extra and two toe, is there extra blonding cream? It's good but it's not as effective as Tom's regular blinding cream and his super.

Most extra blinding creams are really just conditioner and ammonia.

There's no pigment in them. And they run around three percent ammonia, but, two doses just a little less, Tom's have a bomb. I mean, when you're doing creative stuff like I just said in your hands on top of color like that, you want you you want a really good strong one that works well and Tom's are awesome.

They really are. They're super good.

So I'm just trying to kind of compare this to what I have to work with with Salon. Is the extra so the extra bonding cream isn't necessarily a color and it's not a bleach.

It's ammonia. It's just ammonia. Yeah. So, unfortunately for you, you have you have, ammonia free color.

If if you take out the ammonia, you have to put something in its place that works exactly like ammonia. Right?

So my question is sugar or sweeten, though?

What would you rather have, sugar or sweet and low?

What's more natural?

Sugar. Sugar.

Sometimes just a little bit of mental gymnastics and you can figure that stuff out on your own. So I don't know if Kevin Murphy has an an extra blending cream. I am not a big fan of hair color that's ammonia free because the substitute for that is toxic Right. And terrible.

So any better. It's just yeah.

It's toxic.

Yeah.

It's literally toxic. I have to use twice as much of it to get the same exact effect. It is not a gas. It does not evaporate into the air and leave a a clean finish to your hair. Ammonia is clean. It evaporates. You have no residue chemical residue on the hair, but with ammonia free, you have so much chemical residue on the hair.

So I'm not a big fan of it. So I don't know if they have an extra blending cream. And if they do, it's just MEA anyways. It's just monethanolamine in a higher amount anyway.

So I know. I'm not I mean, you have to I left them as a.

Yeah. I'm not a big fan.

Not not a big fan of ammonia free color.

Every chemist I work with too. The the ones the three of us, four of us that I work closely with, every single one of us would rather have ammonia any day of the week and twice on Tuesdays.

Just not a big ammonia for it's more it was more of a selling gimmick than it was to had any teeth to it whatsoever.

Yeah. Blonding cream is ammonia with some little bit of conditioners in it. Yourself? No. You can't. No.

You can't.

And even if you could, I tell you no.

No. It's not a good idea. It's just not something that you could make in this one.

How does everybody feel?

Alright.

We So what do you what do you say to a client when they come in and they're like, oh, I'm looking for, you know, an organic color line around. I'm Go.

Good. I got one.

Or the other one is the whole plant based stuff.

Alright. Okay.

I'm just looking for a screwdriver.

Yeah.

Yeah. Yeah. I hear you. I feel you.

It's painful. If a client come in and says, you know, I'm looking I want an all natural, organic, they all are. Fuck.

They all are.

There's no such thing.

It's bullshit.

You either say every single color line is all natural and organic or you say none of them are. It's bullshit. It's just a selling thing. So when she goes, I'm looking for an all natural plant based. Go good. I got one.

Yeah. I do. In fact, I got two of them.

Which one do you want? What flavor do you like? They all are. There's no such thing.

In fact, the only thing that's that's almost questionable is the ammonia free color. Which is funny because all of the all of the ammonia organic tree huggers are buying ammonia free thinking that it's more natural, and that has chemicals in it. Where ammonia is natural. It's a completely natural thing. You make it every time you pee.

I I have I have hairdressers that ask me, have asked me in class, I have clients, my clients are I got a client who's allergic to ammonia. I go, no, you don't. You don't have a client that's allergic to ammonia because if she is, she can't pee. And she got bigger fucking problems than than hair color if she can't pee.

And you can't I mean, this stuff that you hear, it's crazy. There's no such thing Dalgiesa. I am telling you. You say they all are or they all aren't.

What about, I know that you one of the best things you taught me was testing on the inner arm.

Yeah. The patch test. Yeah.

I had a plan. The moment I put that thing on, she was so itchy. Yeah. You have an alternative to the No.

Because there's No. It's gotta be great.

And it's it's not necessarily the organic nature or natural. It's pigment.

But every shade is different pigments and different different dyes and different couplers. So, you know, you hear all this stuff about PPD and it's PPD. PPD, just taking two toe.

PPD, paraphimaly and diamond, is not in every shade. It's used to make certain shades.

And if it's a red or a gold, there's some things that that it's not in. So there's different combinations of pigments and dust. When people go, we have PPD free color, they only talk about five shades.

They only talk about five shades that they have. That doesn't mean they're not gonna be allergic to another one or something different. So I'm very leery, of of those conversations, but I what I'll tell you is this. What I can suggest to you, to protect you is it is not a bad idea to keep a bottle of liquid Benadryl in your backroom.

I'm not kidding. If lips start swelling, you know, you see you see somebody's face or lips start to puff out and she's having some sort of allergic anaphylactic type of thing, you give her a shot of liquid, get her shot glass and pour some liquid belt. Pick up her phone and call nine one one from her phone.

Don't do it from yours and call nine one one. But Right now from her phone. Because because then you're not responsible for the for the ambulance.

Because you'll be responsible if you call.

But it is not a bad idea. A lot of this irritation just with gray coverage, you know, a lot of it is not all allergic. It's not all she's got something weird going on. It's not there. A lot of it really is just the pH.

It's just pH. Like, we're literally washing off our acid mantle. But, again, it is not a bad idea to keep a bottle of liquid Benadryl in your back. God forbid.

God forbid.

I explained, like, I have a client who, I had to I did to go on her. She was itchy. She was red.

What's the What's the I don't know.

I I wish I could answer that question. I mean, it would take so much for me to look into to answer that. It could be Any ingredient. It could it could be any ingredient.

I mean, it could be the conditioning agent. It could be a nut oil. It could be you know what I mean? Because it is plant based.

So there is a lot of things people can react to. But no, I wish I did know. It could be just the fact that Tudo has more pigment than Cadence.

It could be a pigment reaction and she's you tried it with something that has more pigment than less.

So she might have reacted to that one and not that one even though it was the same thing.

Other questions about that?

So, in a minute we're gonna break for lunch.

And after we're gonna take about a half hour, forty minutes so our streamers can then break for lunch. Although they're on a completely different time zone, some of them than us.

When we come back I wanna go through more formulation and you know, really nail down some things. And I wanna show you some really cool products to make really cool specific blonde things. Awesome.

Alright, everybody. So, you can do, right out here we have lunch set up. Grab your food, come back in. You can sit right here and eat.

If anybody has any questions, like I said, for any of my educators sitting over here to the side, please ask them or for myself. But we're gonna, wrap up in about thirty to forty minutes so we have our streamers can come back on the same time we are. So eat ladies' room, nicotine, whatever order you like to do that in. We're actively.

Some do, but most of them don't.

Is everybody feeling?

Look at, let's it's it's, ten to three. Let's take a quick five. Caffeine, nicotine, bathroom whichever way you want to do that.

Doesn't matter to me. But it's ten of three. Let's get back here at three.

Quick at the end of the day, you just have to follow the four steps of formulation. It doesn't matter what you know because that's all you're doing. I could switch It's just like they'll give you a perfect I'll give you a perfect example of this. I'll give you a perfect example of how this works.

Seriously, I want you to embrace. I'm gonna give you a perfect example. I used to manage a salon, you know, near near Mansfield area, south of Boston.

There's fourteen girls and it would get loud and you know how fourteen girls can be.

And you know, all of us, you know, then there's fighting and this one isn't doing this and this non sweeping and clean, all the things that go on, right? And when things would start to escalate to a fever pitch, I would go after Saturday, everybody would leave for the day and I'd go in the back room and I'd put the whole color line, take it right off the shelf, put it in a box, I'd go down to the beauty supply and I'd swap it for a completely new color line.

Come back and put it up, they come walk in and Tuesday, there's a completely new color line in that back room.

And you know what they did? They matched it up and formulated.

They didn't need to know anything.

You match it up and you formulate.

That's it. Where some color- well I did this, I did this five times in seven years.

Because then it got quiet. They'd walk into the back room, oh my god. There's a new color line back and they were all freaking out about what they were gonna do. I used this last time.

They were all freaking out. So it got quiet, the fighting stopped, all the little And then when they got used to this line, and the fever went up to here again, I did it again. They didn't need to know anything but to follow the four steps. Match it up, and formulate it.

Are you going to hit a home run every time? No.

So you looked up in the air like I guess because it's not that simple because It is that simple. Saying no other color lines are not fully pigmented and so that there the formula is not gonna work exactly the same as you That's right.

Before.

That's all I'm trying to describe.

I How to make it well, guys.

Okay. Okay. But but you do have you have the manual. Right, you have the manual and you know you don't, you know that's simple. The, the, the simpler this is for you guys to do with any color line.

The the the simpler this is, the better the quality of the product you have. If you get to fifty percent gray and half the formula needs to be from n and you have to add gold and you have to turn around three times and throw salt over your shoulders and pray to the color gods that it's gonna come out alright, then you have a shitty product.

And you've learned you've learned with that for twenty five years. You have learned color that way. So I'm telling you, let it go. Go back to the four steps and that's it.

You have no idea. You you young ones have no idea what she's going through because we were bombarded with this crap for years. These young ones are like, cool. I'll just follow the four steps. Never living through what we went through, but I'm trying to deprogram you.

That's why I'm here.

It's it's painful.

It is. I have hairdressers been doing this just cry, freak out, all because literally the the deprogramming process to get rid of all of that bad shit in their head that they have been poisoned with for years is is a bumpy road. And to just go back to it being that simple, it is. It's that simple.

That, those four steps are never gonna tell you to grab a demi. It's never gonna tell you to add n. It's never gonna tell you to do anything but give you a formulation to follow. And if the color line supports that, the color line is good. If you have twelve other categories of product and all of these other things, yeah, they're basically, you know, it's easier to dumb it down and make things for people. If you can't follow that simply, you you don't have a good quality product because color should just work very simply that way. Dell g's are my babe.

What do you got? I felt that way.

It looked She didn't go down easy either.

I said, you didn't go down easy either. She was creeped the whole way.

Airbase.

So if you take, you know, if you have a client that comes in, a young one who has virgin hair, and they want a few inches cut off, take that hair, save it in your back room.

Do you Strand it.

With it, and you're you're good to go.

It's true. It's a it's a bumpy road.

Diving in and actually, like, doing it, and I didn't And you have to trust it.

So I had to just trust my instinct.

You you you do. You just gotta trust it. And you and you know no matter what happens, you can fix it because you're just gonna follow the four steps of formulation to fix it. There is no such thing as color correction classes. I don't care what color it is or how bad it looks. You're still gonna start with number one and follow the four steps every single time.

Now the, the chemist designed those four steps purposely to keep you in the best position you can be in.

You know, if you're gonna make a mistake, in my mind, I do the formula in my head and I go, what is the better side of the situation to be on when I'm done? What is the easier thing to fix? And obviously doing blondes is too light is the better mistake to make. It is definitely easier to go darker than it is to relighten it at that point.

So when you kind of walk that through your head too, it makes it a little bit easier. What's the better side of the situation on? These steps will keep you on the better side of the situation. At that point, it's, if you if you have a color line that's difficult to work with, that becomes that becomes harder for you to achieve.

But we just want people to follow it.

If everybody just followed it, it would be so easy.

Color is a very simple thing to do. My seventeen year old nephew can formulate hair color. He knows his four steps. That's it.

We've been, you know, for the young ones who don't know yet, but we have heard so much ridiculousness and all the gimmick products and all the magic pixie dust stuff that goes into stuff and that one color line is so different than another. One color line isn't so different from another. They're all made the same. They all work the same.

They all teach the same four steps. Are some a little better than others? Yes. They are.

But we still are doing the same thing. We still have to follow the same the same work and you're gonna have better success with some than others if you just do that.

I don't care if it's a first time that day or the fifth time that day on the same model, you're still gonna walk through all four of those steps.

You know, and I get on the phone all week long. People call me or text me or instant message me about formulas and they take pictures and they're like what do you think? I'm trying to get her here, what do you think? And I go okay well where are you?

Match it up, I'm I can't do it in a picture.

What is it? And I go, okay where do you want to go? Are you lifting or depositing? They tell me, are you enhancing? They give me I go, okay.

So I literally walk them through the four steps. I don't give them an answer. Just walk them through the four steps. That's all you can do.

And then what makes that work a little differently is if the hair's finer or the hair's coarser, right? I didn't get the lift because her hair was coarser. It's not the product, it's the hair. So as hairdressers, that's when we make notes.

Next time, add a little blonding cream.

You know, you gotta keep good notes. And when you change and tweak a formula, you change one thing, not both.

Change the developer or you change the color, but you don't change both because you then you don't know what worked and how these things make a big difference in your formulas. You don't know. So you gotta keep good notes, follow the four steps, learn how to tweak and adjust it so you nail it exactly what it wants to be every single time.

And it's it's it it becomes a very simplified process. You just gotta let go of the noise and then, you know, all of these. That's why demi permanent color is so big. It's so big because people don't know how to formulate. And demi permanent color is a band aid.

Throw it on, you know, you kinda you get what you see, you see what you get. There's not a lot of formulation involved in it, and, and that and it's why it's so huge with the kids. Kids are coming out of school, they don't know how to formulate. Kids are coming out of school thinking, that's four levels of lift still. Putting it on dirty dry hair, thinking that that's four levels of lift for forty volume. That is so old school.

You know, I was teaching this class in Illinois, and Illinois is a state they have to go to continuing education to renew their license.

And they can't just go anywhere for education. They have to go what the state deems an accredited program.

And to teach an accredited program in Illinois, you you you you gotta have a pretty good resume.

But I was out there doing a class, and we were going over the the lawsuits.

And, I was taking them through some stuff. We were talking about Get Pure and Malibu and and and different demineralizing products.

And this young girl, twenty two years old, who was renewing her license for the first time, she raised her hand and she said to me, you mean there's still hairdressers in the country who put color on dirty dry hair? That's so five minutes ago.

She did. And she said that to me thirteen years ago.

So when I say somebody is so far behind they think they're first.

I mean you walk into half the salons in this state they're like what? Put color on what?

Yet, it's part of their regular teaching.

So we gotta all get on the same page here. There's way too much marketing and not enough teaching. Everybody's so busy trying to sell you something that nobody's teaching you a fucking thing anymore.

That you don't even know how to formulate or understand that hair should be clean.

That's that's just frightening. That's terrible. I would go back to any color company if you're using them. You haven't heard those two things from your color company? Go back, call them up and say I want my money back, because you suck.

And they do.

It's it's it's a sad state of affairs when this is where we are after all these years. So, I wanna talk about ash while we're talking about blondes.

Okay. I'm just using, this one as an example. You can look at the pro rituals of this. So I don't know, I'll Okay.

Thank you. We don't want that on on the on the video. Okay.

So with the ash thing, okay, again, I I I will explain.

I'm sorry. I need my book.

I don't have all my props together right now. Alright.

Because, this might help. This might help some of my veterans.

Because four through eight n is the number one selling color in every single line.

Six n is the number one selling color in every single line.

Pigment is the most expensive thing that goes into hair color.

It is the most expensive thing that goes in here. And because we're only using four through six n, we're not buying all these other colors.

We're not buying them.

The color companies really don't wanna put the expense of putting really good pigment in all these shades. Do you see how big some of these color companies are? Like, they have like a hundred and sixty shades. Right? This one I think has like ninety.

They're not gonna do it. And it's gonna sit on the shelf and nobody's buying them and they're not using them. So they're not gonna put the expense to make these things work better. So how a lot of color companies did it was they put more pigment in in this series, the n series.

And now that they did that, they have to teach you how to make this color work. And the rule typically is if it's twenty five percent gray, twenty five percent of the formula needs to be from the end series.

Right? Right? If it's fifty percent gray, fifty percent of the formula needs to be from the end series. If it's seventy five percent gray, seventy five percent of the formula. Okay. That was to get this to work because these don't have enough pigment in them.

That's why when you put red on it turns pink.

Okay this particular color line does not do that. It's the same amount of pigment in everything.

So it makes your life easier to just follow the four steps and do it.

That's it period.

That's why these will work with your blondes whereas most of your ashes won't work. If they can't cover gray without n, then they can't neutralize brassiness.

Does this make sense? This is why even if you were doing that correctly, your blondes aren't going to come out right because your ashes don't work.

This is why I say don't be an asshole.

Get the good ashes.

Now, let's talk about ash itself.

As we found with some of the newer, these are, you know, newer colors and newer pigments that come out.

This particular color line, if you look at, if you look at these ashes, I'll try to hold it up the camera so you guys see. If you look at them, they're gray. Yes? They're gray. They're not blue. They're not violet.

They're gray. And you're gonna find most of the newer colors are this way, because blue and green and violet will neutralize its opposite color. But when you have all sorts of warmth in dark orange, medium orange, light orange, lightest orange before yellow.

Gray works.

Gray neutralizes that better than blue, better than violet, better than anything. There's no such thing as a nine BV.

There's no such thing. You can't have blue at a level nine.

Blue makes depth and darkness. A 1N is ninety nine percent blue.

As it lightens to a level ten, what do we remove?

Blue. So how do you have a nine with blue in it?

It's impossible.

Anne, don't make me come over there and kick the shit out of you right now.

I think all of those two.

They a lot of them will write nine b v. They do it to make you feel better, but there's no such thing. There's no such thing as a level nine that has I mean, violet has a little blue in it. That's why it's violet.

Right? Blue and red. But there's no no such thing as a b BV at a level nine. But you can have gray.

Gray is amazing.

And and two toe, yeah.

And and you can cover gray with them too. There's enough pigment in them to cover gray. Now you might not like the shade of it because it's gonna be super ashy, but if you mixed it with an n, you can get a beautiful ash brown and it will cover. Everybody said, well, you know, ash doesn't cover gray. It's not that ash didn't cover gray. It's that the color company never put enough ash in their series to cover gray.

So we gotta lose all of this old school marketing bullshit and and understand color for what it is. Hair does not recognize the shade of pigment that you're putting on. It just accepts pigment.

And of course, they all make different configurations anyways. But there's no such thing as a nine b v, but gray works.

Gray is excellent. In fact, Tuto also has, and if you find it in any color line, but they have a silver concentrate.

So you can yeah. So you can make you can make a lot of those pastel and rose gold and all those really fun metallicy colors. You know, because you could just put a chocolate morsel of red in with silver, or a chocolate morsel of blue, or a chocolate morsel of whatever. And you can make some of those fun. But you can add this to your colors.

You can add it to your blondes because, you know, gray and silver will neutralize undertone and it will add more ash to your formula without darkening it. If you add blue or violet to your formula, it darkens it and it throws the whole thing off. But you can add gray and silver to your blondes to really make them super neutral or super cool, and it won't darken them. So that is a huge bonus. And you can mix two toes silver with any color you have.

Shh. They don't know. They're different color lines. Can you Just squeeze it in the bowl. Shh.

They'll mix together just fine.

You have somebody who's going gray. Mhmm.

I'm sorry?

Yeah.

If you have a client No.

No. You use that? No. I wouldn't. I'd I'd probably be better off with your with the ashes, but I don't even know if I would necessarily do that. I just do a color remover and and and call it a day.

Well, let's say they're like ants.

No.

No. Ash peep I wouldn't I wouldn't do it. It would look artificial.

It would look like spray paint.

It might be okay for for them. It might be okay for you, but that's pretty tough that's pretty tough to pull off. Okay. Yeah.

Because Jeanne did us like some point.

At some point.

No. As you shouldn't be. Yeah. You shouldn't be all one color.

But I love the roots. Yeah. But yeah. You know, Jeanie is super trained. She knows what she's doing. I mean this is you know, I say it every class.

It it takes me so long to get everybody up to speed.

Just up to speed with my world before I can even teach you something new.

I mean, I I'm literally go having to go backwards fifty years about cleaning and and and formulation just to get everybody up to speed before I can share really new and cool things with you guys. It's frustrating.

So, we gotta we gotta catch up. And, and I I got my kind of pedal to the metal on you guys to force you into the future. In fact, I'm trying to go back to the future. I gotta go back to take you to the future and undo a lot of of stuff so we can move forward.

But these are all this is creative stuff. So, I'll I'll I'll give you an example.

And I've been working with a salon in in New York City for years, and it's formulation.

So we're done. I don't need to do color stuff with them. When I go to the salon to work with them, I don't need to sit and go over, how do you formulate this? How do you formulate that?

How do you do this? We we don't need to talk about it anymore. They know how to formulate. It's done.

There's no discussion anymore. We can discuss some new toys to use with those formulas, but we don't need to talk about it anymore. So what we do is design.

You know, these guys set the trends. So we design color. We sit around and we come up with things to do. And and and the guys who own the salon are very French and from Paris, and you see them on TV all the time. I know you all have, so I'm not gonna say their name because we're streaming.

But you always see them in all these fashion.

Like, what did he just say?

It's true. So it they're not the the guys are not colorists themselves. They're they're cutters. But I work with their color department and these. It's it's too light. It's I don't like. I want s'more.

I want to see s'more.

I go, alright. We'll work on it. So we try to come up with some ideas and, you know, for dimension and low lighting and we and we try to come up with ideas and we came up with a couple. We showed it to them.

They were like, yeah. It's alright. It's not, you know, it's not like groundbreaking, but they were pretty good formulas. And I got home and, I got home and I was at my house.

I live on a lake. I was sitting there. My nephew was eating a s'more and it made me think of him because he kept going, s'more.

I want s'more.

So as I saw our meeting and I saw all the colors and and this more, I went, I got it. I got it.

I got it. So I went back and we did this whole thing. We had all the colors of all, you know, the white with the graham cracker and the chocolate. We'd and we positioned it with dimension and and they took a picture of this girl on the beach and she's got a marshmallow on the stick in front of the fire and she had all her long hair hanging down with all the colors in it. And it was and it was awesome but see, we don't have to talk about formula anymore or even which color we're using to do it because it all works the same.

Fuck.

Can we get past this bullshit and do some really good work?

Let's be creative colorist instead of deciding which fucking developer or what we're gonna add to our bleach. Let's just get it done. It's a very simple thing to be able to do this. And once we understand it, but you do realize the more educated you are in this, the less shit you buy And nobody wants you that smart.

Do you get it?

It's a simple, simple thing to do. And you gotta trust the science. And you gotta know even at the end of the day, if that formula takes you a little off, you're just off a little. You just need to tweak it.

You just, it just takes a little tweak, that's it. So my job as a coach is to get you to that point. I don't want to talk about formulation anymore. I wanna talk about ideas.

I wanna talk about creative things. I wanna design colors and looks and not teach you, how do I get that blonde? Because you should be able to look at it, formulate it and get there on your own.

Nobody should have to tell you how to do that anymore.

Are you with me? You young ones, where's my kids, my students, my young ones? This one right here, this one. Okay? You have your head up my ass for the next ten years. You take every class that I teach and I will make you that colorist.

Alright.

Don't stop. It take- it didn't take, you know, one class to get all that going, you know what I mean? You're going to take it over and over and over again. Till this stuff is really solid in your head. It did for me too.

But you you we gotta have really good colors out there and stop with a bunch of hairdressers who are putting on hair color. I'm over it.

I'm over it. Okay.

I wanna do some fun stuff.

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