And you might be close to be our 12,000s viewer. Isn't that exciting? So we are also in our, this is our Veterans Day Week edition. So couldn't be more appropriately that one of our panel members here from Live With Us from Long Beach, California, Ron Lindgren, hi Ron. Hello. So we celebrate you because you went to Vietnam for us back then and so thanks for that and we honoring you and all your comrades. But you wearing multiple hats because we have you with us here just as much as the leisure leg and legacy of having designed the most intriguing hospitality design projects in Hawaii and beyond all over the world. And we also have from the Bishop Museum in Honolulu his employment place, the Soto Brown, hi to Soto. Hello everybody. And we have me, your host, Martin Despeng. Would you wish being close to Munich and Germany half around the world? So let's get up the first slide because we are in the volume two of our show in looking how your fine project, the Holly Kalani Ron has turned out and in fact survived after its remodeling which has been going on for the past year. But we wanna frame this with the all German but adopted by you guys a term of zeitgeist and I've been using the model of the Holly Kalani a management who said the remodeling was under the sort of guidance or model of shades of white. So that somehow when I started to give different shades of white to that slogan there it kind of seemed zombie to me and this is something I wanna point out as kind of the point of discussion about the zeitgeist. We agree that you can only identify a zeitgeist after the fact but let's try the almost impossible to being in a time and imagine how one would look at us when you look back. And we wanna do this because in many shows or the recent past and ongoing we identify the phenomenon of basically well you can depends on how you wanna call it but we call it the pandemic of guest room remodeling intervals that as our exotic escapism expert Susanne keeps telling us that every seven to 10 years all the hotels seem to swap out all the interior throw it all away and make it all new so it looks novel and people would look in. So let's contemplate about this guest room here that we have in front of us Ron and you gave it a lot of thoughts so jump at it. Yeah, the first time I saw this particular image which is an advertising image that very first quick impression was I would say a tastefully designed and comfortable space within what is a rather ordinary standard size guest room module. Now that sort of sounds like damning with faint praise and it is for me because when I looked closely at the photograph and studied it it appeared that the room is so genetic in appearance that the design gives absolutely no indication of where this might be located. And I mean in the world either physically or culturally or climatically I couldn't find any hint of where I might be in the world. Now this design follows along a sort of unhappy temporary tendency that I've observed in hotels in the last decade or so where guest rooms no matter where they're located their interior designs have become sort of homogenized and you might also say gentrified and the sameness is bothersome to me. I guess if that throw that's shown on the end of the bed was like an American Indian blanket I might have guessed that it was in the American Southwest. Martin with all the wood that appears in the room you had some thoughts on where this room could have been located. That might be in the Pacific Northwest where we have abundance of like light colored woods bruiser pine but I'm also assuming along with a blanket there is carpet on the floor so it must be a really cold place might be in the Rockies somewhere, right? Who knows? Maybe we find out later down the lines of the show. Should I interject something here or should we just keep going? Well, I was gonna say we do have to let people know that this photograph has been altered. The original picture has had something taken out of it by Photoshop. So that thing that was removed is what really shows you where this hotel room is but I also wanted to add that I always find hotel rooms very cold wherever I am I mean physically cold in temperature and I will try to adjust the temperature to make it less cold and it usually doesn't work. So regardless of where I am in the world I usually have to use those nice thick comforters on my bed to stay warm at night and it's possible that this place is like that too. It might be. And I think in sort of respect of when you have there's lots of generic places I mean no offense any place in the world is things that's unique and it probably has some uniqueness of course every place is different, right? But as far as what you look at from your hotel room there's probably many places where you're just looking at interstates and freeways or whatever, right? So you want to basically distract from that and you want to overload the hotel room which was one of your criticisms wrong, right? There's so much, there's too much there's just an over celebration of the TVs and we're just saying, you know, Rockefeller when he was doing the Mauna Kea Beach Hotel he was saying no TV in there not to distract from the real gem which is the view, the beautiful view and that lasted supposedly for 30 years that mandate of no TV in there. While here not only is there this huge TV hung on the wall but they make this sort of huge wooden canvas to even overly celebrate and emphasize that, right? So again, if you wouldn't have given us a hint to sell it once again this seems to be in a really generic location because they did such an effort to not make you look at that sort of very boring context there because they want you to feel good in the hotel room when the hotel, so they, you know they want to keep you happy in the room because it's boring outside. And I have to say that again in looking at that image originally I felt that there was that sort of preponderant use of built-in fixed case goods gave a kind of institutional aura to the room in that the first thing I thought of when I saw this was that it was a very upscale college dorm room. There is such a thing as warmth and solidity and elements in the room that are there I think there's just too much there there. For example, when you've called out the slightly protruding wall that is a backstop for a TV and a dresser that is at least three times larger than it needs to be for someone coming to Hawaii as far as their clothing needs. And across the room was a very direct decision to use a platform style bed. Now, and inherently with that sort of bed it can't help but sit solidly and I think too heavily on the floor. And that's my comment about the dorm-like aspects that caught my attention. Exactly. So not to spend just one show on just one slide although this discussion would make it well worth it. Let's jump to the next slide and let's open it up and redirect it back to your project Ron. But once again frame the zeitgeist context. We're talking 80s. We threw in at the middle on the right Doco Momo posted of the 1970s turning 50 which has happened now but we're saying give it eight to nine years then we're gonna face this with the 80s and what's gonna be our attitude? And postmodernism which is the attribute of the time means different things to different people as for you DeSoto and that's what the show quote in the center the little one stands for you, it was Memphis. You Ron at the beginning of the year had been talking about Phillip Johnson's iconic postmodern high rises and in a show that we called Honolulu Miami Vice versa we've been looking at this most sort of schizophrenic and you might even call it bipolar example of architect Tonica who were doing a hermetic microwave international style glass high rise on another tropical beach in Florida and then basically pimping it or decorating it with these colorful little gimmicks there and the most dramatic is that shotgun hole that we're shooting through it, right? We see you Ron at the very, you can barely see but I wanna point out at the show quote picture at the bottom right at its bottom left corner is you sitting there looking at a building that reminded us of that architect Tonica building and you mind repeating what your comment was Ron? Well, I've started to admire a lot of the architect Tonica work because some of it is very zany in a good sense and I found that particular high rise with the hole in the middle and the hole actually is a pool terrace up in the sky to be a really good joke but the building we're looking at in Hawaii which was an attempt to be zany, I don't know I just found it to be a failed bad joke. Absolutely. And next slide, postmodernism is an iffy thing especially for the ones who had their prime era in it as far as their life, like me for example I went to school when postmodernism had just tanked but it was still lingering around so I have a really ambivalent attitude which could stay my problem but other people my age have the same problem and even the next generations Bill Chapman for example, who basically gave you I think one of the best compliments you can ever get Ron is that he called you if not one of the if not the best postmodern architect and that basically really means something and I think this picture we took recently is really a great because it shows to the left the lures house that you renovated in a really sort of a critical way not historically correct but interpretively and then on the right side we see that part of the hotel that is by its problematic nature introverted and hermetic which is all the conference room where you don't get natural daylight you don't get natural ventilation and you basically kept that very honestly just a blank wall didn't pimp it, didn't decorate it but then you put this performative lanai in front of it and that one I find once you are very collegially respectful with your postmodern peers which thank you for that but for me still postmodernism will always stay ironic or polemic or sarcastic in some way which you have never been but this is a detail that speaks for your attitude being humorous and eye-winking I find this a perfect the best collage of that I've ever seen in postmodernism but we also see at the very bottom right show quote there was something distinct along with it and these were draperies slash curtains and let's go to the next slide and make you miss something, Ron. Yeah, of course I give great credit to hotel management and their design team in the sense that on the columns of these porticoes or porches wherever they appeared the custom lighting all in a beautiful bronze by a very fine designer Leslie Will they all remain and there wasn't some attempt to upgrade the lighting there was a recognition that there was a timelessness about these fixtures and the quality of light that they do provide but and then on the columns and you can see other little dribs and drabs of bronze items and they actually held some draperies against the columns these were a sort of specially treated canvas drapery that required no maintenance it's a legacy of wonderful interior designer Robert Egan and they didn't occur very often they occurred on this porch in front of the conference rooms and the ballroom above they occurred in the pedestrian entry pavilion which is shown behind your image Martin on that slide and they're not there and my hope of course is that because all of the the fittings that they are just to rehang them that they will be rehung because they were such a wonderful and again a kind of an eye-winking blurring of the distinction between indoors and outdoors and then they added the all important residential touch and scale to what is billed as for a hundred years the house befitting heaven, please restore them. Exactly, let's just get into the benefit of doubt and say they're only in the dry cleaning still, right? Or by now they're back. I hope that's the case and I want to say too that they add a little bit of warmth and a little bit of softness to an environment which is largely hard and concrete and terrazzo and elegant and nice but that little bit of movable fabric I think is a very important touch in an otherwise fairly austere setting which is one of the things I think it's very beautiful about the Holly Kulani is that it is so stripped down and it does becomes very elegant. Yeah, and that's setting. Let's go to the next slide and look at that courtyard space here.  And so in the opening of a song, they basically say to each other, nothing has changed in here, man. And that is exactly how I feel about what we see here, Ron, right? And elaborate on that one as the creator of it. Yes, one of the things that can humanize any sort of space is when things are moving in it. DeSoto mentioned the fact that the canvas drapes did move slightly in the wind and that enlivens things, but here's a version of tropical elegance that I've always admired in terms of the Holly Kulani's president's choice that he did not follow up ideas that were pressed on him. Very, very, well, a number of landscape architects thought that spaces created in the Holly Kulani should be filled with this sort of jungle-like version of tropicality, which can, of course, be very beautiful and some of it is even sort of self-maintainable. But the opposite of that is what Chuhei Okuda, the president, loved so much. He went to other hotels around the islands, but he fell in love not with the hotel, but he fell in love with the Ihulani Palace and the lawns around it, but especially the moving, ever-moving shadows of palm trees on stretches of lawn. For a hotel, of course, those stretches of lawns or courtyards, as we've described them, are also outdoor rooms used functionally. The one we're looking at at the moment, facing back towards the pedestrian entry, is a wonderful setting for literally hundreds of Hawaiian weddings every year that have been held at the Holly Kulani. Yeah, and that being said, let's go to the next slide, because the wedding, the broom and the bride, they actually process up this element here, which is a staircase that's just in the corner of, the right corner of what we just wore before. And this way, we also return to Leslie Wheel and one of her chandeliers. That is, again, as you've been sharing with us, a beautiful, interpretive way of a mixture of tradition and modernity. And if we go to the next slide, which shows the similar, it's exactly the same architectural detail, but in the opposite corner, because this is opening up to the other courtyard here. And these are, Ron, our favorite spaces and places, at least in the public areas there. And we've been, I've been spending significant amount of time contemplating in these and just sitting on the stairs. And as the show quote on the previous slide on the top right was pointing out, we've been there together. And these always struck me as being so ambitious and being so playful. I mean, I've been seeing these being just suspended and hung from the ceiling. And when the winds pick up, they're like swing and swing in the wind like crazy. And I don't know if you want to push something like that in these days with all this paranoia of liability and lawsuits and safety and stuff like that. I'm not sure if you could do this as well as the light systems in there seems to be still light bulbs, right? And maybe they have been switched. There are ways to make LEDs look like light bulbs, but that would mean even more. They're really staying true and sticking to the original. And so really cool to Peter Shantlin and the management and really recognizing that and not saying, oh, there is this expanded metal. And by the way you told us it's brass, by the way, and that sort of expanded metal, maybe that's out of style, it's out of date. We need to refresh that. So let's go online, let's go to the newest catalog and see what most people like and do that. They resisted that temptation and that takes a lot, right? I was going to say that it was a wonderful opportunity for me to work with a lighting designer who looked at the context, the architectural context and made very architectonic light fixtures. And of course, the interior designer for the hotel was also an architect, not an interior designer. His interior design work, which was considerable, was secondary to his architectural work in the Pacific Northwest. Yeah. And I just want to add something about this. And let's go to the next slide. And how many of you have final slides? Okay, one more thing too, what you see in the background. Oh, you can stay on that one, keep going this photo. Okay, the thing that you see in the background of that picture, which we saw in the previous picture, which is really exceptional for the Holly Kulani and Ron is, to be thanked, is the open space, which is astonishing and unique for Waikiki Hotel right on the beach. And that the Holly Kulani has this space and that you can use this space and that you can go there for cocktails in the evening and look across the lawn is an amazing thing, which really sets the hotel apart. Ron, you resisted the temptation to fill the entire property with buildings. Thank you, because that's what makes this hotel so wonderful. Partly, I was really guided by the fact that I did see a scheme previous to mine of what the Holly Kulani might have been. And of course, in the simplest sort of way, that scheme, which was rather handsome, was another 30 story tower, which was a maximum height you can go, sitting next to the Sheraton. And yet that immediately guided me to the fact that let's tear that down, put it into pieces and emphasize space, precious space and public space and useful space, not only to have a wedding on, but just to look at for sheer beauty as the palm tree shadows play across the lawns. Yeah, what an opportunity I had and I could have blown it and I don't believe I did. You didn't. You did not, we agree. And let's do one more slide or final slide, next slide because if you proceed from the staircase and actually this is between the two staircases, this is rather, once again, like you said, it's sort of generous outdoor space for these gatherings, predominantly weddings. And we have this sort of roll of chalkboards up there that give us an idea about the tradition of this very sort of killings worthy Lindgren, Strickler, Wilson starting with Brady even at the very beginning, but you guys developed it actually to full fruition is that sort of architecture integrated landscape through these planter troughs and starting from the top left to the top right, we insist to still call it seaside hotel not rebranded to the shoreline, still has it. The Ihilani has it in this sort of where the gym is, but unfortunately the troughs on the exterior of the hotel are currently without of plants at least in the atrium, every other floor still has them. The Manalani in the recent $200 million renovation they threw it all out pretty much and de-jungleized it. And if that wouldn't be enough, your beautiful Kapalua Bay hotel is entirely gone. So given that kind of tragic background again, kudos and thank you, Halekolani, to having retained that. And once the plants just like in your front yard which we talk about in a couple of volumes ahead of us of this show here, once this green is back, it's actually camouflaging the guardrail. So it's the absence of architecture and the presence of nature. So how much, how more fitting could it be for the tropics? I must say too, then, so many hotels, not only are those that were designed in the Killingsworth office did provide some trough like features and it seems like management decides that they are too expensive to maintain. And yet I make the rejoinder that this hotel room you're staying at might cost $400, $500, $600, $700 a thousand dollars a night and you can't afford to maintain some tropical landscaping. I just find that completely bewildering and it cuts away from the tropical experience you're having and that you are expecting and is everywhere in Hawaii when it's allowed to happen and to be maintained. All right, so with that, we're at the end of how far we can go and get today but we will continue our flannuring through the recently remodeled Halekolani designed by Iran and we're increasingly optimistic that nothing has changed man as Darrell Hall, I think was saying it to John Oates. So with that, I'll see you back for that for our continued scavenger hunting in your hotel, Ron and until then, please stay as erotically, tropically exotic as you did with your design, Ron. Thank you and thank you, Peter Shantlin of Having Kept It. Have a good week, happy Veterans Day, Ron everyone else protecting us and see you next week. Bye bye.


In a previous video, you learned how to find Creative Commons license images. This video will show you how to use a Creative Commons license image in PowerPoint and write an attribution. First, open a new PowerPoint session. Next, set up a space where you want the image. Be sure to leave space to attribute the image. The tribute means to tell the image source. You must always attribute Creative Commons license work. Before you insert the picture, write the attribution for the image. Click on the tool to insert a text box. In the text box, type the image by the creator's name and the license type. For example, to attribute this image, I typed image by klexanderson, cc-by-sa2.0. Now you have the text, but you need to add the URL for the original image. This is called hyperlinking. To link to the original image, find where you recorded the URL. Copy the URL. Now, select the text that says Image. Find the linking tool. It looks like a chain. And paste the URL into the empty box. Click Open. You need to add a hyperlink for the license as well. To find a URL for the license, you can search for the license in Google. Go to google.com. Type the license abbreviation in the search box. Click Search. The first link is probably the license. Click on the link. Copy the URL for the license. Return to PowerPoint and insert the URL for the license by following the steps for linking to the image. You have written your attribution. Move the text box to the bottom of the screen. Now you can upload your picture. Select the Insert a Picture tool. Find the image in your files. Hopefully you named it so you can find it. Select the image and click Open. The image will appear in your PowerPoint. Be sure to practice with the Image Style menu to size and position your image the way that you want. The attribution must always show near the picture so that you are giving the creator credit for his or her work.


Hi, I am Simone Fani and I am presenting the work with the title MutiQ haptic guidance through wearables for enhancing human ergonomics. The importance of ergonomics enhancement is gaining attention with the deployment of wearable interfaces and robotic technologies in industrial settings and the need for reducing work-related musculoskeletal disorders in human workers. In these environments, wearable haptic modality has emerged as a privileged solution compared to audio devices suitable for the noise or visual displays often distracting. An important postural parameter is the center of pressure that influence the balance and the posture maintenance. We propose a multi-Q wearable haptic device for the control of the center of pressure combining arms squeezed through the two cuffed devices, right and left, and vibration through four fiber-tactile motors, two in the back and two in the front, to control the movements on the frontal plane and sagittal plane respectively. The use of these two cues, differentiated also at the mechanoreceptor level, allow to avoid possible problems that haptic multi-Q delivery can produce. The two cues are modulated to provide the error amplitude, activating only the corrective direction. The error on the sagittal plane was modulated controlling the vibration in a norm of pattern with off periods in decreasing with the increase of the error. The error on the frontal plane was instead modulated with two cuffs in increasing the squeezing force with the increase of the error. The system was validated in an experiment in which it was compared with a visual feedback. A ground truth with no guidance was also performed. The experimental setup was composed of described haptic system, a sensorized board, and the visual display. The sensorized board was used to compute the center of pressure position and consequently the error along the two directions computing the input to provide to the user through the cap and through the fiber-tactile actuators. The visual display was used to provide visual cues during the task execution as start and end trials, cues, and the visual guidance cues were needed. The visual guidance cues were structured at the haptic ones, providing both information on the corrective direction and the amplitude of the error. 11 subjects took part to the experiment, composed of one training session and three randomized experiments conditioned blocks of 65 trials each, no guidance, haptic, and visual guidance. Participants were guided to move their center of pressure in one of the 13 selected locations on the board. Every trial concluded once the 30 seconds time limit was reached, considered as fail, or after 5 continuous seconds on the goal point, considered as success. This shows no statistical difference are present in terms of success rate, no execution time between haptic and visual conditions. The subjective evaluation shows no difference between two conditions, with a slight preference on the haptic guidance for the participant. The present work provided us with interesting results, allowing us to state that the haptic system are a viable solution for economic enhancement and posture correction. Future plans involved the testing of the system in industrial settings and integration of tangential stimuli. Moreover, a more exhaustive characterization of the system will be performed. I would like to thank you all for following this presentation. If you have any questions, please do not hesitate to contact me at my email simone.finey at hinge.unip.it. Thank you very much.


Good evening everyone and welcome. This is Melissa Arma with The Stock Swoosh and I'm here tonight to do a video on the market. What an amazing call I made today in the market. It actually was just a crazy call. The only people that heard the call were the people that were in the room with me this morning and my broker because I talked to her like five minutes before the open and I said I said the market is gonna 100% retrace the red bar from yesterday and rally and power trend all day. That's exactly what I said today to the room and that's exactly what the market did.  It took a little bit to get going but we set the low of the day at 10 o'clock and we actually broke the low. So we broke the low set the low of the day at 10 o'clock and we did exactly what I thought. So the high today was 193.26. We just we just ran out of the day here so basically we are going to gap up boy that was just that was I mean I make a lot of good calls I do but the people that hear me talk in the morning before the open that that that is the best of me that is the best of me and the people don't people to get that other people in the room with me that the best of me is the stuff I see in the pre-market that that is the best of me it is just so raw and it is 99.99% right maybe 100% right that whatever I say before the open it like turns out to be true it's like I just blurted it out this morning I just saw it I saw it I saw it was going to do it and even then when we broke the low I still thought it would do it and he did it it's like and I'm telling you right now we're going to gap up tomorrow so we're going to gap up big tomorrow so let's just look at tomorrow it depends where we gap up well it really depends on where we gap up okay I think we gap up big tomorrow though into the open so we could we could gap up here here here here here here I mean I have no idea so it depends the target the targets 200 so depending on where we gap is going to depend if we get to the target of 200 but all along at the same the market's higher and it is and it's just to that was a crazy call I made today I I can't like to hear what everybody says in the room tomorrow morning a couple of people already emailed me and I said you could go on the market today and and I really don't say that about things necessarily we did gap up today so it was a gap up to go long but we broke the low we broke the low and we still we still did it so what I'm trying to say is that you've got to learn how to read all of this stuff it's not just about looking at the pivots because if you looked at the pivots of the market you would think of the markets lower it's not I did a video last night I said it wasn't and you know the funny thing was I said this to my broker this afternoon after she called me she's like oh my land to Melissa because she saw them the what I said this morning turned out to be true I said you know what when I went to bed last night I thought to myself today is gonna have a lot to do with the market meaning Thursday because we didn't fall off during the gap up here Wednesday and I thought we would and when I went to bed last night I looked at that bar and I did the video and I thought you know what there actually was some institutional selling in that bar yesterday and I thought to tomorrow this is last night I thought it's gonna tell me a lot about what's gonna happen and then and then look what we did today so it was like totally unplanned and and and I just saw it when I made the call but I have this ability to be able to like look at something and just see it it's like I'll look at a gap and it's because of the gaps but I was like I'll read the gap and I'll look at the gap and I'll see exactly where it's gonna go and actually I can just look at the charts and see where they're gonna go but it's because I know how to treat gaps gaps tell you so much about price action pivots don't otherwise we'd all just buy every pivot and buy every higher high and higher low and lower low and lower high we shorten it this it's another right way to trade okay otherwise trading would be so challenging for people I'm telling you this everything and then some in gaps but not everyone you can't short every gap down you can't buy every gap up you can't do every gap fill it doesn't work like that this method that I figured out how to read institutional buying and selling and charts and gaps is phenomenal it is phenomenal it is the reason I can make a crazy crazy call like I made today and the crazy call that I'm making that the markets gonna make a new high this year which it will and I also said in the video yesterday we're only eight days into the air don't be surprised if we retrace more than 55% of the drop-off we've had in eight days in two I'm telling you we gap up tomorrow I think we could gap up a lot I don't know but we're gonna gap up we're gonna rally tomorrow we're gonna close the week we could even close the week with a game in the week from the start of the week anything's possible why power money is very very powerful I wouldn't call it power money and whenever it wants to step in it will just rip through everybody and then some everybody complains it says oh they drove it down they wrote it out no I always said the market was higher I never said it wasn't so you know I'm not surprised when we rip on through every single number here I won't be the least bit six surprise I'm expecting that to happen so for those of you that are short the market I have no idea why power money is gonna come in buying and then it's gonna stop at all the shorts and then more buying is gonna come in and then more shorts are gonna get stopped out and then more buying is gonna come in and the late buyers are gonna come in and the markets gonna make a new high over 215 it's gonna be amazing and we'll see how we trade tomorrow to determine exactly where we close tomorrow to determine exactly when I think it's gonna happen so very interesting just phenomenal call I made today phenomenal I almost just wanna it's like I was speechless except for I'm doing the video but I don't even want to say I don't want to say I just don't even want to say anymore I have this incredible ability to be able to predict predict like actually accurately predict what something's gonna do now the timing of that is challenging but for day trading you don't need to worry that much about it for options you have to be concerned about timing for swing training you don't need to be concerned about it at all but it's like I see into the chart like I already see it like I've been talking about this anyways like I already see it there and I saw this morning like I saw that we would do this before it did it and I'm seeing already other things here which is I talked about in the stock market class like I see it's like I already happened in my mind like I see it playing out it's just incredible and it's all because I spent eight years eight years of my life doing nothing but training gaps and reading charts it's a long time it's a long time when you're as a methodical of a thinker as me so just phenomenal gap up tomorrow I wouldn't be surprised if it's a biggie either have a great night everyone if you're interested in the Golden Gap class the next class is January 23rd and 24th email me at Melissa at the stockswish.com for more information


For the first time in its history, Scotland Yard opens its official files to bring you the true stories of some of its most interesting and baffling cases. These are the true stories, the plain, unvarnished facts just as they occurred, re-enacted for you by an all-British cast. These stories are presented with the full corporation of Scotland Yard. Research on Whitehall 1212 is prepared by Percy Hoskins, Chief Crime Reporter of the London Daily Express. The stories for radio are written and directed by Willis Cooper. The next voice you will hear is out of Chief Superintendent John Davidson, custodian of Scotland Yard's famous Black Museum. Good afternoon. Would you have a cigarette? No, I'm sorry, not this case. This is the exhibit from the Black Museum and it has fingerprints on it. Besides, if that makes any difference, it's empty. Yeah, one of these, if you don't mind. I smoke with myself. Woodbine. Well, if you insist on one of your own, then this case had a great deal to do with the murder case back in the last year of the First World War in 1918. It was owned by an army officer. That's a curious mark on the outside of the case, isn't it? A scar, almost, you'd call it. Tis a scar. Bullet scar. And here's the man to tell you how it came into our possession, here at the Black Museum Scotland Yard. Superintendent Ben Inspector Norman Gray. Yes, it's been a long time since I've seen this case, Chief Superintendent. I remember the night quite well. September 26, 1918, the day the Yanks began their fantastic offensive in the Argonne Woods in France. I remember the telephone call I received that night, about a quarter to nine. What's up, old boy? Right, 131 Ladbroke Grove. Right, sir. I am on my way. In a few minutes, thanks to one of the earliest of Scotland Yards motor vehicles, I alighted near number 131 Ladbroke Grove, which is a fairly posh address. My knock on the door was answered by a lanky gentleman with a large black moustache, wearing a uniform with the crowns and red tabs of a staff major, and the flaming grenade badges of the Royal Fusiliers. What's up, sir, I asked, remembering to say, sir. I'm Major Robert Henry officer. My brother's been shot. I looked past him and on the sitting room floor, another officer was lying, bleeding from what appeared to be several wounds. I looked more closely. He was gasping. My brother, Captain Dougal Henry officer of the KRRC. Who shot him? An intruder, burglar, housebreaker. Where's he? Escaped, I'm afraid. Can you do anything about my brother? I've tried, but... Sorry, sir. Dougal. He can't hear you, sir. Is he? Is he? Yes, sir. Now, sir, what happened? Dougal, old boy. What happened? There's nothing. Nothing, sir. I'm sorry. He's dead. What happened? He was in the library talking with Major Ward. Where's Major Ward, please? He's in the library. Edmund... May I go in the library, sir? Is that it? Edmund's in there. And so he was. Oh, I say. Are you Major Ward, sir? Yes. May I have that revolver, sir? No? Oh, yes, yes, of course. I'm afraid I fired. At whom, sir? At the burglar. The man who killed my brother. But I'm afraid I missed him. I'm not a very good shot. He didn't miss. No, no. Poor Dougal. Is he dead? He is. Oh. You didn't give me a revolver, sir. Oh, excuse me. Thank you. Is this your service revolver, sir? Yes, of course. One goes on leave, of course. Webley, caliber 38. Issue. You're in the London Irish Rifle, sir. 174 Brigade. You know this gentleman? One of my dearest friends. That's right. Dearest friends. He'd been at my home this evening. Oh. Before we came here. Oh. That can easily be proved, officer. I'm not required that, sir, now. Well... You were on good terms with the dead man? I... Of course he was. What are you implying, officer? Only that I never saw either of you gentlemen before, sir. We know him. I'll have you understand that... May I remind you so that nobody has told me what happened? Well... I'll tell him, Edmund. Thank you. Please. I'll tell you quite simply, Constable. Inspector, sir. Oh, excuse me. I was sitting here, looking over the overseas edition of The Daily Mail. The one our soldiers received in France. Major Ward and my brother were talking in the library while I waited. We were all going to dinner shortly. Carriages, please. Yes. Well, there was an infernal noise in the library. Scuffling. Shots fired. I jumped up. Just as I came hurrying out and told... Said a burglar just shot poor Dugald and I think I've wounded him. Wounded whom? The burglar man. Wounded whom, Major Ward? Eh? Wounded whom? Oh. The burglar, of course. Just as he was clamoring out the window with his arms full of... He had already killed Captain Henry. Yes, of course. Yes, of course. But I didn't know he was dead then. All right. How'd he get him? The burglar? Yes. I don't... I haven't the faintest idea. One minute we were alone and the next minute there he was pointing a gun at Dugald. And you shot at him? I certainly did. I see you fired all the chambers of your revolvers up. I'm afraid I didn't hit him, though. You fired at him, though. He did. I heard him. Bullets are probably in the walls. We'll find them. Of course. Of course. How'd he get out? The window, the way he came in. And he did take something? What did he take, Edmund? Oh, that silver tanket that always used to stand on your desk. He belonged to my grandfather. I'm sorry I didn't kill him. It's too bad, Major. Now we must find him. Yes. Yes, indeed. Do you think you could describe him, Major? I know. Oh, partly. Eh? I could describe him partially, Officer. Little chap. Ruddy face. Ginger hair, I thought. But I'm not sure. I was shooting at him. Yes, but you missed it. Yes, but you missed it. And I was... What should we do now? I think our first task is to get this dead man out of here. Too good. Yes, I don't think he'll be much help. What's that, sir? Why, I... I said... A dead man? Not quite often useful, sir. Murdered man, I mean, sir. I'm afraid I don't understand that, sir. Why, sir, a murdered man is often the only one who knows who killed him. Except the man who did, of course. May I telephone Scotland Yard, sir? Major Robert Henry stood and watched sorrowfully as the detail I summoned from Scotland Yard loaded up his brother's body and started a way to the mortuary with it. Where's Major Ward, I ask? He's lying down. Mara. After all, old chap, he's just seen a very close friend shot down in cold blood. Oh, yes, of course. He's a combat officer. I notice surely he's seen a good many other close friends of his killed. I doubt he's seen any who were closer than Doogled. Oh? They've been pals since they were kids. I'm a good deal older than Doogled. Never was much of a brother to him, you know. Ward was just his age. He was the brother, in effect. Oh, yeah? Dreadful blow to him, especially under the circumstances. Circumstances? Yes. Ward was shell-shocked. Oh. Very alive by a shellburst not two weeks ago. Yes, they didn't get him out for five hours. Totally unconscious.  Horrible. Unconscious, I said. Perfectly conscious the first few minutes to remember the worst part of it. Then to come home and see his best friend murdered before his very eyes. I'm sorry. I didn't know that, sir. Of course you didn't. How could you? You never saw him. Did you? I remember him now. What? Oh. Oh, you've seen his picture. Everyone's seen it. I remember it from the illustrated papers when he was married. To Marjorie Carswell. Marjorie Carswell about six years ago. For the war. And Doogled was groomsman at the wedding. Oh. He was godfather to the first child, too. Yes, as I remember now. Doogled's been stationed here in London for a year now. Attached to some American something or other while Ward's been overseas. Oh, yes. As soon as he heard Ward was home on sick leave, he popped out to Carling Hill. That's where Ward lives, Carling Hill. Did you say that was tonight, sir? This afternoon and tonight. Oh, yes. You said your brother returned here. He and Ward were booked for dinner at Cadget's. At Cadget's, I asked them to stop past for a cocktail. Yes, I remember. They were in the library talking when this burglar or whatever he was entered. And, well, you know the rest. Yes. Mrs. Ward's still at Carling Hill, isn't it? Yes. She doesn't know anything about this. Or perhaps you telephoned her. No, I didn't. I don't believe Ward did either. Quite understandable if he didn't, isn't it? Oh, yes, yes, yes. I was wondering. Yes, sir. I was wondering if I hadn't better go down to this mortuary place, where they took poor Doogle to now. Well, sir. What? Well, I shouldn't if I were you, sir. Look here, why not? Well, sir, the police surgeon will be examining the body now. What difference does that make? You won't be able to see your brother, sir. Oh, what will he be doing? Something unpleasant. I don't think you'd better go, sir. Oh. Well, what'll I do? Perhaps you might stop and see Major Ward, sir. Perhaps there'd be something you could do for him, or better still, what? I was wondering if you'd like to call Major Ward's wife, sir. Mortuary? Yes, sir. I see. Oh, tell her what's happened. Break it gently, you know. She was very fond of poor Doogle. Good, good, good. Oh, but I say, what'll you do? I was hoping I could see the library. Library? Isn't that where they were when the burglar shot your brother? Oh, yes. Don't expect to find the fellow now, do you? No, sir, of course not. I want to look for bullets. What bullets? The one's Major Ward fired at the burglar. Oh. Oh, why? Why, Major Ward fired all the bullets in the cylinder of his revolver. If one or more is missing in the walls, perhaps he didn't miss, after all. And the fellow would be carrying one of Ward's bullets in his body. And we'll put out a call to find a man that answers the description Major Ward gave us. And who's been recently wounded by a Webley 38 bullet. That's clever, sir. Thank you, sir. It'll be simple. Those slugs from a service revolver make the very juice of a hole in a man, seeing what they do to Germans. Well, I see these cases in good hands. I'm going to go telephone mortuary. I was in that library 26 minutes by my watch. I was just concluding my examination when Major Henry entered again. Ah, there you are. Amazing. I've been trying all this time to reach mortuary, but the telephone doesn't answer. What seems to be the trouble? Well, I expect she's asleep after all. How's Major Ward feeling? Still sleeping. Not very quietly, but sleeping. How have you been doing? Major Henry, I've just made the most extraordinary discovery. Whitehall 1212, which you are listening to, is compiled from official Scotland Yard records. And this story, like all the others, is true, except for the names of the people involved. It is presented with a full cooperation of Scotland Yard. Research is by Percy Hoskins of the London Daily Express, and the story is for a radio, written and directed by Willis Cooper. Now, back to the story of the murder of Captain Dougal Henry of the King's Royal Rifle Corps, which occurred in September 1918. Inspector Greg had just told the brother of the murdered man that he has made a most extraordinary discovery in the library where the murder occurred. No, sir. I'm afraid I can't tell you about it now. Police secrets, aren't I right? You could call it that, sir. Well, I expect you will tell me in your own good time, won't you? I probably shall, sir. I probably shall. Well then, now I think Edmund Ward had better go home. Well, sir, was no harm in getting him home? I should think not. Yes, sir. Quite. I was wondering something. Yes, sir. And you at the war office in 15 minutes? Yes, sir. If I could persuade you to drive him home, you're quite through here for the moment, I fancy. You've made your extraordinary discovery. Yes, sir. Well then, I could lend you a car. I think we can spare enough petrol. It'd be an official business, sir. Oh, quite so. So it would, wouldn't it? You'll do it then, like a good chap. If I may make bold to ask you for a paper, sir? Naturally. Chit for tattle, boy. If I could borrow your car to drive me to the mortuary after I take Major Ward home. And breaking the news to Marjorie? Of course, sir. Well, I think so. Oh, I say, the mortuary. You wouldn't let me go there. This will also be official business, sir. Oh, of course, sir. Sorry I didn't think of that. Certainly you may use the car. I'll send it back by a police driver, sir. Oh, I'll have my man drive you, sir. I say, what do you call yourself? I mean, how does one address you, sergeant, lieutenant? Were you ever in the Army? Yes, sir. Oh, really? A sergeant? I was invalided out after Pashendale, sir. Oh, I'm so sorry, sergeant. I was a lieutenant colonel in the Royal Artillery, sir. Oh, oh, I say, I do beg your pardon, sir. That's quite all right. Forget it, Major. Yes, sir. Thank you, sir. I am ashamed to say I really did chuck my rank about just the slightest bit.  We arrived at Carling Hill and drove sedately up to the small cottage he occupied with his wife whenever he was home. We entered. The place was dark. My wife should be somewhere about. Marjorie, dear. Marjorie, are you asleep? Marjorie, we have a guest. I'm afraid she's asleep. I'll go see. Marjorie, she's not here. She's not? She's not here, you see? Down the light. There's nobody here. She may be in the other room. We have a very small place here. She's not here, either. Could she be at one of your neighbors? Well, there aren't any neighbors very near. I wonder where... Shall I help you look? Oh, no, no, no, no, no, no, no. I'll find her. She's about somewhere. That her hat there? Well, oh, yes, that's her hat. Well, then she must be here. Wait, I know what to do. Where are you going? That's your telephone, ma'am. Yes, but... who are you calling? Put me through to the nearest police station, please. No, no, no, don't do that. I can't have policemen running about. Inspector Greg of the CID here, Scotland Yard. I should want a police constable here at once, please. No, no, no, no, no, please. There is no necessity to have a policeman here. I'll find her. I'll find her. I don't want any big, flat-footed constable mucking about my life. Now, listen to me. Listen, I say you. Thank you very much. You'll be here in half a minute, Major. But I don't want anybody, I tell you. I'll wait a moment until he gets here. Now, where shall we look next, Major? The largest, the most truculent policeman I've ever seen, shortly appeared at the door, complete with manacles, lanterns, and an enormous truncheon. And I returned to the waiting car, whilst he and Major Ward began their search. Not with the exceptional grace on the part of the Major, I thought. I would have liked to remain, but I had an appointment with the police surgeon at the mortuary. The body of the dead Captain Dougal Henry lay on a white table, now in considerable deshabit. I sit down, invited the surgeon, and I sat down beside the late Captain. I wish I was a detective. You've got a better job. You chaps have someone to talk with. That's right, we do. Too many. Who shot this one? He didn't say. If he could, he probably would. Where'd he come from? Somebody'll catch it for shooting an army officer. He was in his brother's library with another chap. Who? A friend of his. Burglar came in and killed him. He didn't know the burglar? You know? You don't odd thing... About what? The burglar. What? Other fellow said he shot at him. Who shot at whom? Our chap shot at the burglar and missed him. Oh. An army officer, too. The burglar? No. This chap's friend. Lots of army officers can't shoot. And this one admitted it? That's unusual. In the library where this one was shot. Go on, Daddy. Six bullets from a service webby. Empty the cylinder. I saw it. What's so funny about that? I went into the library afterward. And? Not one of those six bullets was there. In the wall, or the floor, or anywhere. Webby revolver bullets? Yes. I found them. What? Here they are. These are webby bullets. Right. Where'd you get them? In the captain's body. Ah, there's only five here. Where's the six? In his tunic pocket. Here. How did he get there? Only one that didn't go into him. Flattened out against his cigarette case. See? Have one of the captain's cigarettes. Wood binds. No, thanks. I don't mind. I like wood binds. Blow it the other way. Look. I'm looking. Sure these bullets killed him? Positive. No other wounds on him? None. And answering the question you haven't asked yet? Yes. I'm practically certain they are from an army webby revolver. Saw enough of them when I was in the army. I'm sure too. I carried an army webby myself a long time. Sure enough. Sure enough to convince a jury? Well, no. You haven't got a case. Who's that? Come in. Is Inspector Greg of Scotland Yard here? Tell her no. No, madam. Who is she? Who are you, madam? Marjorie Ward. Marjorie Ward. Tell her to come here. I'm sorry. Will you come here, please, Mrs. Ward? Are you really Mrs. Ward? You're Inspector Greg. How did you get here? I found a taxi cab.  Where were you? How did you know where I was? How did you know who I was? Where were you? Give her a chance, Inspector. Answer me, please. I was in the cellar. Answer the rest of it, madam. The Inspector wants to know. I was in the cellar all the time. I heard you and Edmund. I heard the constable come in. He's the one who let me out. Let you out? I told him I had to see the Scotland yard man. And he said, who is that? Duke of Henry? He's his dad. Then Edmund did kill him. Oh, Duke. Don't please, madam. Be still.  He's the one that had the bullets and the weblet. He's the one that was with this poor blighter when the burglar... What are you talking about? What burglar? Is he? Yes, he's the one. Burglar? Your husband said he saw a burglar shoot Captain Henry. Where? At his brother's house. Robert's house? Robert Henry's. Where's the burglar? He ran away after the killing. Oh, poor Dougal. And your husband shot at him, but he missed. It was Dougal he shot at. There wasn't any burglar. Edmund murdered poor Dougal just as I said he would. Edmund murdered him. I know he did. You're very convincing, madam. But why should your husband shoot the man? Yes, why? They were friends.  Don't call names, please, madam. But Inspector Greg and I had grave doubts of your husband's story in as much as the bullets that killed the late lamented are undoubtedly from your husband's service revolver. But... But why? Why should he? Because my husband's crazy. Yes, he is. Long before he got shot, he was crazy. I can prove he's crazy. How? Come listen to me, whoever you are. There's a history of insanity in Edmund's family, but it's easy to prove. You have to prove him crazy, madam. Well then, look here. Look at my shoulders. Does a sane man beat his wife with a whip? But where? And look here at my arms. Better let me put something on there. This is what he gave me when he locked me up. But why should he lock you up? The man must be crazy. I've written statement that I was going to divorce him. And then he came home shell-shocked. Shell-shocked? He was buried alive. And I hadn't the heart to go through with the divorce. Poor Dougal came here to call. He was there talking to me. Not about the divorce at all. And Edmund came in. I went out of the room. Then after a while, Dougal left. Then Edmund came back and his eyes were blazing. He hit me with his riding prop and he swore at me. Accused me of all sorts of dreadful things with poor Dougal here. And Dougal was such a good friend of both of us. When I tried to reason with Edmund, he hit me again. This is the mark of that. There was nobody there except us. He screamed at me, threw me down the cellar stairs, screaming that he killed Dougal. He knew where Dougal was going to his brother's house.  Say what he said I was. He slammed the cellar door and I could hear him raving and screaming. I'll shoot him. I'll murder him. I'll kill him. I'll kill him. And so he did. Poor old Dougal. You were the best friend Edmund and I ever had.  And where is he now? Who? Your husband. He's still at home raving, I suppose. Where am I? Yes, my beloved wife. Yes, me. Hello there, Dougal, you. You. I did you in all right, old pal. And now...  Stand up and be killed, dear. Made that silly great-over for Constable tell me where you'd gone and here I am.  And you. And you. And you too, Dougal. Killed you once. I can do it again. He's got a gun. Didn't know I had another, huh? I'm in office, I got two guns. Quite enough for everybody. You first. I'm sorry, I don't seem to have any more bullets. Cartridges, I mean. Excuse me, Dougal, for not having any more cartridges, Mark III. I seem to have used them all up killing you. Excuse me, sir, is there something I could do for you? Edmund Ward. I arrest you on a charge of willful murder. Well, excuse me, sir. Sorry to beg your pardon, Dougal. Oh, champ. Here, here. I warn you that anything you say will be taken down in writing and may be used in evidence. Major Edmund Ward was duly tried for murder and duly found guilty. He was, however, judged insane. And instead of the scaffold, he ended his days at Broadmoor. His wife got her divorce. Here today on Whitehall 1212, Horace Brayham as Inspector Greg, others in the order of their appearance, Harvey Hayes, Guy Spall, Lester Fletcher, Gerard Burke and Isabel Elson, Lionel Rico speaking. Whitehall 1212 is written and directed by Will Cooper. America is a country blessed with mountains and forests, woods and timberlands. But each year, thousands of acres of our forests are destroyed by fire. And these are acres of wealth and beauty that cannot be replaced. This is our most shameful waste, because most forest fires are caused by human carelessness. Today, this problem is more vital than ever, because forest fires destroy the natural resources upon which our nation


This is super cool what you're using right here.  I might just have to take care of any loose ends. I'll guide a little later. What's going on everybody? Welcome to a special Korean episode of Fung Rose Food. We are here with special chef, guest Shin from Banchon Story and we got a special video for you. Now I know a lot of people are familiar with K-pop, K-dramas but what about K-Mush? Well K-Mush is a lot of mushrooms from Korea. They're high protein, high anti-accidents and low in calories. Could we call it the vegetarians protein? Yeah, definitely and also known as meat of the month. Chef Shin is gonna be teaching us the top three best Korean mushroom recipes and then we're gonna be going on a food crawl around New York's K-town to try other Korean mushroom dishes. We're not just talking about Korean barbecue, this is K-Mush. First one is brugogi with enoki mushrooms. You know for those of you who don't like mushrooms, this is a great introduction to mushrooms because enoki mushrooms are so delicate and mild but a little bit of fruity flavor to it so this is a great way to start. A little starter mushroom. Yes exactly. It's just a starter pack mushroom. Just remember, we just gotta fully cook them and they are about to be the meat of the mountain. So I just added and you're hearing the sizzling, right? So we just want to eat it. I can already smell it. It just smells umami, I can't even taste it yet but it's just umami is wafting into the nasal cavities. The brugogi meat is already cooked with onion slices and some scallions so we're just gonna add that here to warm it up. By cooking with the rest of the ingredients, the enoki mushrooms are really soaking in the flavor of the rest of the ingredients. Previously people would have called this brugogi with enoki but maybe after this we could shift it to enoki with brugogi. So we're shifting the focus. What if we called it bulnoki? Now the japchae. So japchae is a very traditional festive dish, anniversaries, birthdays, weddings but it's also now become an everyday dish in Korea. And we're using all three mushrooms here. We're using enoki mushrooms, penny basad, king oyster mushrooms, taesongi basad and also fresh shiitake mushrooms. When you were saying the names between the enoki and king mushroom, basang is at the end? Is basang mean mushroom? Basad, basad. Is that mushroom? Yes, that means mushroom. This is such a good looking mushroom. This is a K grade K mush. This is a K grade mushroom. This is a K grade K mush. This is super cool what you're using right here.  I might just have to take care of any loose end I got a little later. We have this japchae ready to go. We're gonna heat this up with the mushrooms. So the glass noodles are made with sweet potato starch. You just need to, they come in dry form. You just need to boil them in water for about six to eight minutes in high heat. Now we're moving on to round three. This is the burger. Very excited about this because these are more traditional Korean dishes.  There was a simple way to, you know, add Korean textures and flavors into your regular burger. And it just gives you a flavor bomb. We're using king oyster mushrooms and we have this cut into round. The discus. Wow. This is the discus throw. Oh. Coins for us. Why are you choosing to use the king oyster mushroom in this dish in particular? It has a very meaty texture to it. Just the right degree of this, you know, like soft chewy texture.  And we're gonna let that cook.  That's crazy. Unbelievable. We're cooking the mushrooms and let the mushrooms soak in this amazing flavor. All right, so we're gonna assemble it together. So what makes it a K-style mushroom burger? So we saute the king oyster mushroom browns or coins, as you say. And this is gochujang aioli. So gochujang with a little bit of a spicy heat and a little tang. I love how gochujang mixes well.   Little heat. Yeah, a little heat. Little fermented. Yep. And this burger patty also has chopped up shiitake mushrooms in here. So that adds a little bit of texture to the meat patty. All right, now that will top off. Oh, that's lit. Wow. That's lit. What I love about the shape of that is that they lay flat so you can stack it up. So now you see why we cut it this way. So it soaks up all the flavor and it lends nicely on the burger. Man, I'm excited. And we have some friends over here also enjoying it. Hi, I'm Kuh.  You got K-pop, you got K-dramas. Could we add in K-mush into that lexicon? Absolutely. Jopche. One of the best jopche's I've had. So good. I like this texture, honestly.  I've been trying to cut out meat so it's a really good replacement. It's so funny because, you know, until you see something like Shin explain to us, you don't really notice it. And this whole time that I've been eating jopche, I never noticed the backdrop of mommy that the mushrooms really provide. All right, you guys, Inoki Bulgogi to me. You know, obviously this is Bulgogi Inoki, but I think I'm gonna go with Inoki Bulgogi. This Bulgogi is from Soju House. Shout out to Soju House. This is a dish that you can get at Soju House, exactly. Bulgogi. Seems like that blue you guys out the corner. What you guys feeling right now? Heaven, it's so good. The flavor alone, spot on. The mushrooms are essentially like we said, and we've iterated before. It's like another meat. King's Burger. This just hits me. I think actually the mushroom being incorporated into the patty was big for me too. And on top of that, kind of the sweetness, but it's not like a candy sweet. That sweetness that came from kind of the caramelization of the mushrooms. So the goju ganga yola too. Woo! All right, you guys, that was amazing. We just left Soju House, but we gotta try K-Mush Korean mushrooms at other spots in New York's Koreatown. And we are outside of one of the most famous Korean barbecue spots in all of K-Town, New York, Jongro BBQ. I'm so excited to eat here. And they got a whole bunch of other Korean mushroom dishes that we didn't have. So we gotta check them out. Dude, I'm on a K-Mushroom vibe right now. I'm riding a car. And you know the thing is, you can eat a lot of mushrooms and it's healthy for you. You're gonna be okay. Jongro. All right, so the food is coming out here at Jongro and it's amazing. We got a lot of beef and we got a lot of mushrooms, but we got the waitress, Alicia here. She's gonna describe to us and explain what is going on and how people order this. This is our mushroom platter. There's a shiitake, oyster mushroom, king oyster, that's gnocchi, and then baton, and that's horibaba. Each mushroom has their own flavor. So it actually goes very well with the meat. So there's a house soy sauce seasoning that's already on the mushrooms here at Jongro. I'm not even lying, no cap. These are some of my favorite mushrooms in the entire world, all on one plate. And I'm getting them with short ribbed.  When I was young, I wouldn't order the mushrooms and I don't know what I was missing out on because when you get older, your taste buds become more sophisticated, your palate, your spectrum of experience is larger. You need the mushrooms. All right I'm going on a triple mushroom medley, all mushroom, no meat. I got my gnocchi, king oyster, and shiitake. My favorite combo is the brisket gnocchi because the gnocchi gives a lot of texture and brisket is really thin and soft. All right, so our next spot is maize. It's a bar that's been around in K-Town for about six years and we're about to try some other Korean mushroom dishes. Let's go out. All right you guys, we're on floor three here at the maize in K-Town and we are looking at K-Mushrooms in a fusion dish between Korean and Mexican. Will, tell us about it. Yeah, this is one of our signature menu, the bulgogi fajita. Bulgogi means marinated beef and then we just combine Mexican and the tortilla, the guacamole and then Korean, the garbage. Yo, I'll tell you this Mexican-Korean fusion really works, those two flavors, they tend to like balance each other out a lot. We are looking at the king oyster mushrooms with the bulgogi, we are about to be putting this with sour cream, wok. All types of mushrooms, there we go. Korean mushroom fajitas, here at the maize. It works with the sour cream.  The mushrooms, they do a really good job of soaking up the rest of the seasoning and the flavors and even a little bit of spice of jalapeno, so this is hitting. All right everybody, thank you so much for watching that video. Big shout out to AT New York and K-Mush. Was it kind of crazy to just only focus on mushrooms this video, but like you just really saw the range of it? To be in Koreatown, we're on the first floor, second floor, third floor. There's so many people in the streets here.  When we were thinking about Korean food, you're not always thinking about mushrooms. First, you're thinking about K-Barbecue and stuff, but they're growing some very tasty and meaty mushrooms up there on the mountains of Korea right now, guys. So definitely go to your local Korean market, check them out. We're on 32nd Street, New York Koreatown between Broadway and Fit Dad. I feel like I'm in Seoul right now. It's an amazing vibe, come check it out. Let's walk.