Hello, everybody. Guess what? It's time for statistics again. Chapter 8.2 estimating mu when the population standard deviation is unknown. It's Monica Wahee, your library college lecture here to talk to you more about confidence intervals. Now, at the end of this lecture, you should be able to state one way in which the Z distribution is like the t distribution, and one way in which they are different. You should also be able to demonstrate how to find t sub c in the t table. You should be able to state how to calculate degrees of freedom. And you should also be able to explain how to calculate a confidence interval when the population standard deviation is not known. Alright, so here's what we're going to go through. First, I'm going to describe to you how and why the t distribution was invented and give you really the important backstory on why this came about. Then I'm going to show you how to use the t table when calculating confidence intervals when the population standard deviation is unknown. Now, if you see there, that's a t table, but that's not the kind of t table we're going to use. However, this t table is probably better than our t table because it looks really yummy, doesn't it? Okay, the reason I'm using a very serious tone of voice is because this is a serious issue. What happens if you can't use the z table? So I'm going to tell you about students dilemma. Now, student wasn't really a student. Okay, that's just a nickname for a guy who was having a political issue. So he couldn't use his real name, right? So I'll get to that in a moment. But first, I just want to go and set the stage for this political issue. Remember back in the last lecture, when you know the population standard deviation, you also have to consider some assumptions about x before you make your confidence intervals. Okay, and these are the ones up here, you know, this was from the last lecture, but I want to call your attention to two things. One is obviously, you have to know the population standard deviation. That's one of the things you have to really have before you use that z table. Also, if you're not sure of access distribution, you really should get a sample of at least 30. And if you know it's not distributed normally, like it's skewed, you really need a lot more. But you need at least 30. Well, those two requirements can limit you a lot, right? Because what if it's unknown? What if the population standard deviation is unknown? Like, for instance, let's say you're studying a new topic, like now we have e cigarettes, they're kind of new. Maybe we don't know population standard deviations about e cigarettes. Or maybe we're starting to study a particular subgroup of people that we didn't really understand, like we're doing more studies on transgender people right now. Okay, maybe we don't have a population standard deviation for the subgroup now, because we're starting to do better studies. You know, that can be an issue. And also, what if you just plain old have small sample? What if you just can't get a lot of people in your study? Well, there are ways to work around it. So first of all, if you don't have a population standard deviation, you need to use some sort of estimate for that. And you can use a kind of lower quality estimate by using your sample standard deviation, right? I mean, there's sample standard deviations only going to be made out of however's in your sample. So it's not the greatest estimate of the population standard deviation, but it'll do you could use that. But the it also means if you're going to use your sample standard deviation, that we kind of violate the whole central limit there, right? I mean, we need a super large sample or else we're violating the central limit there. So this is kind of what the problem looks like. And so here is that guy was talking about that he had to hide behind his nickname, which was student. Okay, so in 1908, William Sealy Gossett had this problem. That's him on the slide. He worked at Guinness, you know, the beer maker. And they use barley, I guess to make the beer. And he needed to test samples of barley where he did not know the population standard deviation. And he also couldn't test large samples. So he had this problem. So this is actually a common problem. So what he did to solve the problem is he came up with his own distribution. I don't know why he called it the t distribution. But that's what he did. He called it the t distribution. But again, as they had a rule at the time that everybody working there could not publish anything, no matter what. And he like begged his boss, and his boss would not let him publish. So he secretly published it and they, they nicknamed him student, probably because he was always doing calculations and stuff and acting like a student. So he published this new t distribution under his nickname student. And now it's called the students t distribution. Although some people get really political about it. And they say, we have to call it Gossett's distribution. He was robbed of his whatever, you know, but we can call it students. I'm sure he's fine with that. He seemed like a really modest guy actually. Okay, so let's talk about students t distribution. What I've got on the slide is actually the Z distribution. But I wanted you to kind of think about that. So you could see what the differences are between the Z and the t distribution. So like the Z distribution, the T has its own table. So don't go to the Z table. If you want to look up T, you got to go to the T table. And unlike Z, T is different, depending on the size of n.  On the T table, you actually have to know this thing called degrees of freedom. And how you calculate the degrees of freedom is you go n minus one. And so obviously, you can't get the degrees of freedom unless you know what n is. And if you don't get the degrees of freedom calculated, then you don't know how to find what you need in the T table. So that's sort of the key to the T distribution that's different from the Z distribution. So like for example, if you have degrees of freedom of three, the curve looks kind of like the Z distribution, but it's really like shallower.  Now I'm going to show you an example of, okay, here's the degrees of freedom of five. So like if your n was six, and it was degrees of freedom or five, see how it gets stretched up more. And the tails are not as thick. So as you increase your sample size, here, let's look at 10. It keeps going up. And eventually, you're right, it's going to meet the Z. But that's why you need to know your degrees of freedom because you're going to get a different number for T, no matter or depending on which degrees of freedom you have. So I'm just going to review here these properties of the students T distribution. So like Z, the T distribution is symmetrical around zero like you may have not noticed that from what I was just showing you. But yeah, that's similar. But unlike Z, the distribution depends on the degrees of freedom, which depends on the sample size, since the degrees of freedom is n minus one. And like Z, the distribution is bell shaped. But unlike Z, the tails are thicker, right, like the thing gets kind of stretched out. And so as the degrees of freedom in the sample size increases, the T distribution approaches the Z distribution, like you saw how that as I increase the degrees of freedom, that curve kept going up until eventually it would meet the Z. And also, for the T distribution, like the Z distribution, the total area under the T curve is always one. So we're dealing with the same kind of area probability situation. Alright, now that I've introduced you to the T distribution, I'm going to explain to you how to find the conference interview interval when the population standard deviation is unknown, and you get a new formula. Okay, let's just go over what the slide says. Okay, these are the steps and then I'll go through an example. So step one is make sure that you've calculated your x bar and your s, right? So you have a sample of n size n. So you need to know n. And you need to calculate the x bar, which is pretty easy, but you need to calculate s, which is not that easy, right? Because remember that from chapter three. So you got to get all that together and get that ready. So that's step one. Then step two is you got to select your confidence level like C. And like I was just saying, you know, depending on the confidence level, and also the degrees of freedom, then you get that stuff together. And you look up T sub C in the T table. And I'll demonstrate that like how to do that. After you do that, then you have to calculate your margin of error. Only you have to use this formula because we don't have Z is you'll notice it looks a lot like the Z one, only instead of Z sub C, you have T sub C, instead of population standard deviation, your sample standard deviation, because we don't have the population standard deviation. So we're going to use this estimate using the sample. So once you get your E, you're familiar with step four and step five, right? Because step four is to get the lower limit, you subtract E from x bar. And step five to get the upper limit, you add E to x bar, the margin of error. And so I'm going to demonstrate this. And then I'll also be able to show you like how to deal with the T table. Okay, so hello, time for class, right? Only we're in a different college. So the population standard deviation is unknown. See, we're studying a different subgroup. But we want to know their mu, and we're going to do our best. So first, let's obtain their x bar. And let's calculate their s. And let's count up the n. So I'm pretending at the new different college where we don't know the population standard deviation, that they did their test and they got x bar 68, which is a little bit better than we were doing before. And I made up that they got the sample standard deviation was 10. And that we studied 30 people. So n equals 30. So we did step one, we pulled together our x bar, our s and our n. Okay, now we need to decide on a C, right? So I just picked 90%. We also need to calculate our degrees of freedom. And so that was really hard, right? That's n minus one 29. That's probably the easiest thing you'll learn in this class is degrees of freedom. I just love that, at least something's easy. Okay, but now we're going to do something kind of hard. We're going to look that up. We're going to look up T sub C in the tea table. So before we go to the tea table, I just want you to remember we've selected 90% for the confidence level. And our degrees of freedom are 29 because we need those ingredients before we go to the tea table. And we go find our T sub C. Okay, here we are at the tea table. Okay, so please notice that the tea table is on page a 10, that's appendix 10. Also notice that it's only one page. Okay. Now, I know this doesn't really look a lot like the z table, but don't worry, I'll help you understand. First, we're going to look over here, and notice this DF, this is degrees of freedom, right? And they're down this way. So remember the one I told you remember, we're looking up, which is 29. This is where we're going to look for the 29 isn't here. Now, you'll notice over here, it says C for confidence level. And then you'll notice these two things under here, ignore these two things right now, these two rows under here, and just pay attention to C. Because you know what C is, basically, it's our confidence level, right? And remember, I told you to remember 90% because that's the one we picked as we go across here. Sure enough, here's 90%. Right? If you'd done 95%, it'd be over here. Here's 99. But this is 90. Okay, so we looked up our C here. And now we're going to go under our DF, our degrees of freedom, and we're going to find the number there. So let's scroll down. So this is, this is the fourth one over, right? So I got to remember that as we scroll down. Do do do do. Okay, here's 29. So the fourth one over is the one we want, which is 1.699. So as you can see, it matters what your degrees of freedom are, because like if we'd gotten, for instance, like 20, what we had degrees of freedom of 20, we'd have like a bigger T, meaning that would make our E our margin error bigger. And that would mean that our confidence interval got wider. And that's the penalty we pay for having smaller sample.  And as you get up there, you'll see that this just keeps getting smaller and smaller. You'll also notice that they started kind of cheating over here. After 30, they jumped 3540 4550, because it's hard to fit all of us on one table, you'll find different tables, sometimes they'll go out. But one of the things I want you to notice is that down here, it says like 120. And then it says infinity. And infinity, like over here, the 95% 1.96, what's that, that's Z, right? So this is sort of the table version of what I showed you in a diagram, that if you get enough degrees of freedom, or sample size and then you end up just having Z. So this is really to solve the problem like student had where you have small sample and also it's compounded by the fact that you don't have a population standard deviation.  And here we go. And now hold that thought remember this number 1.699. All right, we're back. We looked up T sub C. That was a lot of work. So here it is. T sub C 1.699. Okay, we did step two. Now we can move on to step three, because we have all our ingredients, we're going to calculate the margin of error using this formula. So here we are calculating me. So we took our C T sub C, and we multiplied it by our standard error, which is 10 over the square root of 30, because 10 is our standard deviation, and 30 was our n. And so that's how you make the standard error, right? So once we did that, we got 3.1 for our margin of error. Okay, great. And now it's all smooth sailing, right? We're used to four and five, but let's just do it out here. So I added that margin of error to our list. So that's 3.1. So we subtracted 3.1 from our X bar, which is 68. And we added it to our X bar to get our lower and upper limits 64.9 and 71.1. So this is what you say is, you know, we wanted to know, we said class from a different college, what is their meal? And you say, I am 90% confident that the meal of the class from a different college is between 64.9 and 71.1. That's how you say it. So just to recap, if you know the population standard deviation, like in the last lecture, then you have a very robust measurement of variation, right? Because it's based on the whole population. This allows you to use the Z table. As long as your X is normal, or as long as you have a lot of sample, right? So if your X is normal, you don't need as much sample. But if it's not, or if it's iffy, you need a lot of sample. But if you have that population standard deviation, then that makes all the difference. And Z scores are smaller than T scores, which means that your margin of error is always going to be smaller if you can use the Z table. So your confidence interval will always be smaller if you can use the Z table. So that means you have a more precise estimate of mu. So the smaller your confidence interval is, the more you kind of know where mu might be. And you like that. So using the Z tables grade, and that's what's great about having a population standard deviation. But unfortunately, that's not always the case. Like with student, he had all these issues. And sometimes in healthcare, we have these issues because we can't get large samples of certain kinds of patients and or certain populations. And also sometimes we just don't know their population standard deviation. There's not going to be any way we can figure it out. So if you don't know the population standard deviation, then you really just don't have a very good measurement of variation in your data. But as long as your X is normally distributed, you can use the sample standard deviation as a stand in instead. And if you are lucky enough to have a sample size bigger than 100, you can use the Z table, or like above that 120, you know, where it's infinity, because they're the same at high numbers. But if you have a sample size is smaller than 100, you probably be safer using the t table. And if it's smaller than 30, you definitely need to be using the t table because it really matters that those low numbers. So in conclusion, students t table was really useful to us. And it was really useful to him and everybody else who needs to deal with smaller samples. And when you don't have a population standard deviation, so you can actually make a confidence interval and you can actually estimate me anyway, even with these problems. And so and then I concluded this lecture with a demonstration of how to calculate a confidence interval using the sample standard deviation and using the t table. Now I just want to point out something this guy was at Guinness. Why didn't he name it a beer table?


When you think about black men in America, whether you agree with it or not, there's a progressiveness among black men here that you don't find in other groups of men. And when you see these men dating internationally, the women will tell you. The things he asks for are nothing compared to what the men of my culture require. It's a good brother of mine. He married a white woman as he was getting to know her. Said, I need a woman that takes care of me. In the sense of she cooks, she cleans, she does X, Y, and Z. And he laid out what he needed for himself. It wasn't based on what was on the internet. It wasn't based on what others told him to do. He reflected on it for three days. You're going to do all of these different things for me. All you need me to do is take care of you. Hell yeah. And that was the first time in his life he had ever heard a woman realize that he was bringing more to the table than what he was asking for. What I think some American women are going to get hit with is how the lists of what men are looking for really isn't as bad as you're making it out to be.


And we're broadcasting live from three different locations from Long Beach with Ron Lindgren. Hi, Ron. Hello. From the Bishop Museum in Honolulu, DeSoto Brown. Hi, DeSoto. And wouldn't you wish so, myself, Martin, this bang back from Munich, Germany. And this is also our Thanksgiving week edition. And so in these days, we'll be a little bittersweet Thanksgiving because we got unfortunately COVID ranging, ranging around. And I have to say back in Bavaria, we have the highest cases ever. And it would be too easy to say that's because of the toll of the temperate, because also there's an overdose of stubbornness, to stubbornness and resistance in some states, not just the Bavarian, but also the Saxony one, which is where we are. So I'm sorry for that. And let us, let us work on that one. So this is the volume four of revisiting your Halikolani Hotel, Ron. And we also got to start out on a more a bittersweet note that will be yours. So for that, let's go to the first slide. Yeah, I've had several weeks now since I first seen a picture of the nearly renovated Halikolani room. And the fact that I am averse to its appearance. And I've got the temerity to just to discuss briefly what the room has that I don't like. And more importantly, what the room doesn't have that I find really bothering and bewildering. And we can zoom in on to the room itself. There it is. It certainly registered to me when I first saw it as rather generic and rather characterless. But it was certainly a comfortable hotel guest room. No problems there. That's, but that is the least that I think a hotel room can provide. It's the most important to some. And to me, that comfort, there are other things that I think can make the room interesting, which might be more important. It looked decidedly bland at first glance. The only spot of color in the foreground, of course, being that fabric throw at the end of the bed. At the same time, as I zeroed in and really studied it, I found this preponderance of all of this fixed built in wooden furniture and all bearing the same sort of bleach blonde finish. A kind of a matchy matchy approach to interior design. Look at the bed. The choice of a platform style bed means that inherently it sits rather heavily on the floor. It's a solid presence in the room. On access directly across from the bed and of that king size bed, and exactly the same width, is this blonde sort of stub wall that runs almost to the ceiling. It provides a backdrop for a very large piece of case goods filled with a serpent of dresser drawers, more than I've ever seen in a hotel guest room before. But what I think bothers me the most is that commanding presence of this wall seems to only be there in order to feature and dramatize the fact that there's this expansive flat screen TV hung so grandly upon it. Now, large TVs and hotel rooms, that has become de rigueur. But making it such a grand gesture, I'm not, I know that isn't necessary. My mind, the presence of so much sort of heavily solid built in furniture of this sort of totally matchy matchy look is a blandness that sort of lands just a bit of an institutional character to the room. In other words, maybe an uninformed person might read it at first as a very upscale college dorm room. What the room doesn't have to my chagrin is I realize that its appearance gave absolutely no indication of where in the whole wide world it might have been located. The blonde case goods and the fact that the the throw has the colors of the flag of Finland might make an uninformed person think it might be in Finland it might be somewhere in Scandinavia. Frankly, if someone had thrown a throw that simulated a Navajo blanket, my first guess uninformed would be that it was somewhere in southwest United States. If we go to the next slide and zero in again on the room suddenly there's what to me well it's certainly the unmistakable but to me a surprising sight of diamond head through the glass wall at the end of the room. I purposely had it fall to shop the way in the first slide because I was trying to make a case that without the view of diamond head you know this world famous tropical crater mass the room could just as well have been in in Akron, Ohio. There's not a single suggestion that it's located in the glorious Hawaiian tropics in my mind in my opinion without that priceless view yes Akron, Ohio but I would warn those prized visitors from Akron that if they visit the Haleiklani and let's hope that they do it isn't likely that they'll have the desirable view you're looking at now at all because barely 7% of the typical rooms which just inhabit one module have that view of diamond head. I should know because as the architect original architect I placed all of the rooms throughout the hotel and the only rooms that have that view are those in a single guest room wing along the Eva property line that's shared with Roy Kelly's Outroof Hotel. I have to ask myself why are the guest room interiors so bland and totally inexpressive of basically anything that might happily be recognized as tropical and I don't have an answer there's not even a single living tropical plant in the room maybe a small decorative palm and surely even though it's almost a stereotype site perhaps a beautiful gorgeous blooming orchid could could at least begin to provide a marker for where you know where you are in the world anyhow absent from the hotel guest room experience and this is a diminishment of an experience of one who wants to come to Hawaii the expected the much coveted and the highly anticipated charm of actually living in Hawaii in the tropics no matter how temporarily in all that blissfulness is just completely absent now that's my damning indictment of what I personally experienced in an overall current trend that I found in all kinds of worldwide tropical hospitality during what are very necessary renovation efforts every number of years hotels need a refreshment outside inside in their in their mechanical electrical plumbing systems you name it it has to be done but each time that they do it they appear more and more gentrified and sort of generically indistinguishable again from beautiful Akron Ohio now I don't mean to come down on Akron Ohio in any way it's a perfectly wonderful place to have been born grow up and live but this sort of policy of gentrification and generic design without any context or any suggestion of context in my mind and I would think in a hotel management's mind isn't a viable policy for achieving you know long-term survival in the cutthroat competition of all of the other hotels in Hawaii I do think that designing and building and maintaining a sense of tropical elegance is possible in a resort hotel and in fact that it's absolutely necessary especially when it's a luxury property if a luxury hotel room does not have elegance something something has really been lost that's a costly proposition but the discriminating luxury hotel guest is willing to pay a hefty price and they do pay a hefty price at luxury resort hotels all around the world and in Hawaii they'll pay very handsomely for what should be a uniquely memorable experience and a very specific experience and if their highly justified expectations are simply not met what happens they will simply look elsewhere to avoid such expensive disappointments in the future I however cannot avoid expressing my disappointment both as the original architect of the hotel and as just a citizen in the appearance of the room after such an expensive outlay to change it so and I think some people might say well well smart ass what would you have done differently I think a little further in the program I might get my chance to talk about not returning to you know all of the elements that appear in the original room some taste change some materials aren't available anymore but tropical elegance would have to be the would be what would be perceived by a guest in a Hawaiian tropical room and I have some very specific ideas about how that would happen and in fact I was schooled by the appearance of the newly renovated room in just what I would do in opposition right on Ron and the ribbon show quote at the top here is is reminding the audience to go back to our most recent shows here where we've been running across that global pandemic of what you just explained also in the Mauna Kea Beach Hotel also in Oscar Niemeyer's Hotel on Madeira same thing and so no surprise when you watch these shows when you have watched these shows that we say bring them back to the original but how you do that let's get us to the next slide we want to again once again we're still in the ongoing using methodology of using cars as vehicles for thought this is a fancy contemporary Mercedes and AMG that the youngest generation tells me oh this is cool this is a hot car and it might be at this point because it's pitched that way right it's it's it's high end it's high class it's it's it's well motorized but does it have the capacity to become a vintage Mercedes because not all Mercedes have become equally vintage that we don't know only time will tell and the the top row of of show quotes basically shows you Ron cruising in what has become vintage which is our p.i. mobile which the model number r1 and 2 and we know it as our 560 SL that was that was made unchanged from 1971 till 89 and the Soto is kindly hosting it currently which will further feature in our ongoing automotive show so that being said let's look at the price tag and this is a steal from booking.com the normal rate is probably a little higher and a little show quote at the very bottom left we just want to remind the audience in the Niemeyer hotel that a lot is still original in the commons area as in your hotel Ron runs for 75 dollars so that gets us to the point that you make right we're talking high end here so money should not be the excuse so the next slide is from your treasure pieces in your home that we're going to talk about next after we're done with what you designed in the sequence of shows is an artifact from way back that we admit that you Ron are biased and probably not objective about to say this should be put in again but the Soto you and I allow ourselves to say very much so we want to see that again is that right sure and this is an original tile from the the bathrooms of the Holy Kulani from when it was first built and designed by our friend Ron and it's kind of a suggestion of a Hawaiian canoe with the ocean and the sun above it i'm particularly fond of tile accents and there's a little picture in the upper right of the Laau Gardens apartment complex on date street in Honolulu from the early 1960s it has an abundance of similar unique outdoor tiles as part of its decor and this was something that was very popular in mid-century it's something that is unique it's something that is artistic i like it a lot i admit i'm biased but we're hoping that those tiles are still in place in the bathrooms but we are not sure they're there and we're dubious that they are which is a shame if that's the truth yeah and tell us more Ron about you just so eloquently and intelligently reiterated your thoughts about them when you choose them together with your interior architect colleague back then yeah what uh uh these tiles are used to create string courses that run around the bathroom walls it's a wonderful detail it's wonderfully tropical it's sort of a kind of almost and and the tile looks very handmade which i think is a nice touch it looks almost naively childlike expression of of the tropics of that kind of detailing is what i would expect in a room in the tropics and maybe here's where i should go into a short description of what i would do with the hotel guest room in the tropics and anywhere in the tropics in terms of of its particular context whether it's Singapore or Honolulu first of all the rooms would contain a perceived tropical elegance which is a trait which is real and is possible part of that is to make sure that the rooms would appear light and airy and residential on scale anything that appeared even vaguely institutional perhaps like built-in furniture in with that kind of character would be absent the furniture too would also be light and airy and appearance all raised above the floor in regular size guest rooms when the space is allowed to flow under the furniture including the beds the room appears much larger you know when you're inhabiting it and certainly to me the appearance of rattan bamboo and raffia wouldn't wouldn't be remits in the choice of the furniture like Vera Wang in her suite renovations i think that a slight asian inflection in the furniture would not be remits also in in sort of enhancing a room's tropical appearance there would be not matchy matchy furnishings but carefully curated contrast in the tone and colors of all of the rooms furnishings the fabric elements in the rooms there's no reason that throws and pillows and whatever else might be used could be graphically vivid and colorful again as Vera Wang approved in her suite renovations there would definitely be at least two live plants of a tropical character in the room of course these are expensive to maintain but this is a luxury hotel i would have an ornamental palm and a gorgeously flowering orchid on display the the guest room as it exists now after the renovation does not have heavy and inappropriate and what would become musty curtains i'm happy to say there are still the very tropical appearance instead of wood adjustable louvered sliding doors they're still there and they give an ineffable tropical appearance to the room but not only that they allow a sort of striated shadow play to occur in the room as the sun moves across the sky during the day it enlivens the room it makes the room more interesting for someone who is there there will certainly be a large coa bowl somewhere in the room but that bowl would have to be so expensive and by that i mean so large that the guest would not put it in their suitcase when they left after their visit that's a problem for hotels that's one of the reasons why wonderful smaller furnishings are they're just taken often and i i appreciate that is a problem so just get a really big coa bowl of at night when the beds are turned down there would be something tropical as a memory of your hotel uh a sort of summing up of your day and of course in my past experience in the original hollocks running that was a beautifully boxed with a little white bow containing every night a different seashell each one very different from each other each one beautiful and memorable if i wanted to get really specific and and i really do somewhere on a wall there would be a colorful piggy hopper print on display and it would feature her beautiful and very languid Polynesian women oh and there would definitely be a ceiling fan in the room and i and my original design with my interior designer should have had such a feature in the room for several reasons first of all uh even when it's not operating and you've got your air seat ac operating at full blast it is definitely a tropical site hanging from the ceiling it has to be of a domestic scale i think it had to be painted white to match the ceiling so it is too commanding the presence but when you open the doors the large lanai doors at the holly cloney sometimes you get enough peripheral breeze from the trade winds that the room is very comfortable anyhow no ac but even if you had to augment the breeze by using the tropical fan overhead of the other thing that you gain by opening the door which is unforgettable and for which the people from akron came to the room for is the sound of the surf not only that but at night when uh the the household out of key always has night time musical entertainment you can be in your room you might or you might be on the lanai having a wonderful room service meal which is one of all aconic specialties and room service is a terrific profit center for all the hotels and you can be hearing the music and if you're lucky enough to have the view you can even watch a beautiful Hawaiian dancer uh doing her thing uh with the uh the darkening pacific ocean and the sun setting off in the distance what else might there be uh and of course i would certainly have details in the room like that charming tile that we're looking at now that is obviously tropical it's not kitschy uh and and it is easy to slip into Hawaiian kitsch and there is a place for Hawaiian kitsch when i was giving the speech at doko momo the hotel i stayed at uh worked off of Hawaiian kitsch but with uh some very carefully curated Hawaiian kitsch that made all the sense in the world uh it wasn't luxurious but it was contextual in a different way i don't think that sort of kitsch is appropriate for a luxury hotel but it was not only appropriate but it was fun and it really added to uh the experience of my room which had a terrific view of the pink palace off in the distance and so there's my idea of what my properly elegant room would be like not you know not a reiteration of what the original room was like although there are many features i like i treasure the sliding louvered wood doors which was the idea of the interior designer and not me times change taste change as i said before sometimes materials aren't available anymore but tropical elegance i declare is possible i've seen it i've lived in it i've been in places that successfully promoted it and not to have the tropical elegance in a luxury room diminishes a hotel guest's experience and i don't understand that and i don't know why you would pay a lot of money for an expensive renovation when the end result is the ammunition of a hotel guest expectations for their very expensive vacation totally understood wrong and we will visit also the hotel you said we made you stay which is the lay low we will touch on that one briefly in the following of this show here and i would say um you know our exotic escapism expert Susanna was uh who is the one who reminded us of the seven to ten years intervals of renovation we're saying in seven to ten years we want to see everything you talked about become reality and then she was also the one giving me a hard time when she was getting overly excited about Vera Wang that you had introduced the audience and us too and i looked very stupid and she said you don't know her you know and so she gave me a whole lecture on that one so i want to see you bringing her back and then also um you know the ceiling fan we were talking before the show one of the most awful kind of blends or a hybrid creatures of of lighting and ceiling fans are are these but i can see and unfortunately she's not with us anymore wrong you said Leslie wheeled your lighting designer but if she would have taken this on to make this hybrid of a ceiling fan and lighting that would have been awesome so really you make us hungry and hopefully the hotel management hopefully peter shamblin we want to send the show to you as we did all of the the recent ones it's going to be uh in you know enlightening for you so um and i have just that would give me a reason to live for another seven to ten years as currently an 80 year old 80 year young we say not 80 year y'all you got something wrong there so now we have about just about enough left uh i think to show one more slide but there's too much to say about so we can't just we can only scratch the surface and so get the the last slide and it's it's an appetizer for you to come back to us next week and look about that one because this is also again in the sort of bitter sweet notion of uh of the show sequence here where we show a lot of tragedies happening and one of them is that one of your dear colleagues that's just recently passed the way that we will introduce to you who we see at the very bottom right but on a on a sweet note Ron uh we show the the contest of hotels that you've been sharing in what we see at the second from the top left from the early 90s where you guys have been hitting the four top ones of the hotels of the tropical resorts and within the same literature you basically hit it again and sort of even better you surpassed yourself because not your Holly Kalani came in first but you're what we still continue to stubbornly call the Waikiki Park Hotel and why we insist to call to prefer to call it like that you will hear from us next week because I must say that I had the happy opportunity to provide the schematic designed for the original Waikiki Park and to work with a very skillful interior designer and I have to say in advance of next week that a gentrification a renovation that I think is also without tropical elegance has occurred indeed and why you think and we want to discuss that you have to see us next week again sorry for that but we look forward to that and we we're sure you do too so with that until then please stay as perfectly pragmatically poetic and poetically pragmatic as you Ron and see you next week happy Thanksgiving yeah happy Thanksgiving


Kraft presents the Great Gilder Sleeve. The Kraft Cheese Company, makers of parquet margarine and a complete line of famous quality food products, present Harold Perry as the Great Gilder Sleeve. Kraft brings you the Great Gilder Sleeve every week at this time, written by John Whedon and Sam Moore with music by Claude Sweeten. We'll hear from the Great Gilder Sleeve in just a moment. One of the biggest problems any mother has is to serve foods that make a hit with the children.  Parquet is a big favorite with children everywhere because it's the spread that tastes so good. And parquet adds good nourishment, too. Parquet is a top-notch energy food, and it's fortified by Kraft with 9,000 units of important vitamin A in every single pound. So treat your youngsters and the whole family to this nourishing spread that makes so many foods taste so much better. By the delicious spread, millions prefer to any other brand. P-A-R-K-A-Y, parquet margarine made by Kraft. Now let's see how things are going with the Great Gilder Sleeve. Well, it's a matter of public record. In the want-had section of the Summerfield Indicator on May 26th appeared this item. Wanted secretary must be experienced and need-appearing, able to take dictation through typing, filing, bookkeeping, bring references, apply water department between 9 and 10 a.m. From the Summerfield Indicator of May 30th. Wanted secretary at water department, no experience necessary. From the Summerfield Indicator of May 31st. Girl wanted at water department $25 a week in car fare. From the Summerfield Indicator of June 1st. Girls, make big money this easy way. Personal assistant to important executive in essential industry. Big future, generous salary, Saturday's off, two hours for lunch, vacation with pay. Apply now and get in on the water department picnic June 16th. Prizes for all, don't miss it. Throckmorton P. Gilder Sleeve, Summerfield 2371, phone day or night. How long before dinner? I'm gonna have to go back to the office and work tonight. Won't be for a few minutes, I'm just finishing setting the table here. Yeah, I'm gonna have to work late tonight. Until all hours I'm afraid. Where are the dickens? You'll find a meaning paper right beside your chair then. Oh. I'll probably work till one or two o'clock in the morning. Maybe three. You'll be wanting coffee with your dinner then. Buckets of it. How about you go and get Miss Marjorie to help you down at the office, Mr. Gilder Sleeve? Well, that didn't work out. Where is Marjorie? She's upstairs doing her homework. Homework? Oh, where's Lee Roy? He's doing his homework too. Both of them doing their homework? Yeah, so that's right. Must have gotten their report cards today. I guess you should come and sit down now, Mr. Gilder Sleeve. Things are just about ready. Good, Bertie. Thank you. Marjorie, Lee Roy! What do you want? Dinner! It's that bullied kid. I'm afraid not, Craig. It's Lee Roy's dinner time. Must be your dinner time too. I've had my dinner. Oh. Well, Lee Roy hasn't had his yet, so... I want Lee Roy to play with me. Well, Lee Roy would be very glad to play with you, I'm sure. But it just so happens that we're just sitting down to dinner. So, perhaps some other time. I wanted to play with me. Look here, you're letting in the flies. Either come in or stay out. I'll come in. All right, but I warn you, we're sitting down to dinner. Lee Roy, come here a minute, my boy. See if you can find a way to get him to go home, will you? Go home! Your mother's looking for you, I'm afraid. No, she's not. My mother's not home. Oh. Well, your father is then. Your father's looking for you? No, he's not. He's looking for my mother. What was that? Horrible. Have to go back tonight. Oh. Hello, Craigie. They've come for Craig, maybe. For my kid brother, is he here? I'll say. Hello, Marshall. Oh, hello, Marjorie. Gosh. Yeah, good evening, my boy. Oh, good evening, sir. Gee, Marge, I haven't seen you in two or three days, it seems like. Yes, yes. I know, I've been busy. I saw you after Jim yesterday, but you didn't see me. Yes, yes. Oh! Yeah, right away, Birdie. So you've come for your little brother, eh, Marshall? Well, Craig? Oh, yes. Get your things, punk, we're going home. Say, Marge, what are you going to be doing after? Oh, I don't know, nothing particular. What are you going to be doing? Nothing particular. Yes, yes. We could do our history together, Marge. Well, I've done my history, but I guess I could go over it again. Marshall, come on, I want to go home. You're sure, Don. I'll tell you what we could do. Miss Kidd! Spare ribs? You'll leave it right where it is, Birdie.  You'll pardon me, Marshall, if I partake of my supper, which has now been cooling on the table for some 15 or 20 minutes. What's that? Oh, yeah, go right ahead. Thank you very much. Those are the finest spare ribs I ever set tooth to. Well, I'm glad you enjoyed them. They're kind of hard to get these days.  Spare ribs and coffee. You'd make a fortune. Oh, go on. I mean it. Wouldn't she, LeRoy? Uh-huh.  You better bring LeRoy a tub.  It's so hard to get any meat. Well, if you weren't afraid to pick them up in your fingers. But they're so greasy. It's the only way to eat them, my dear. Oh, Chris, look at me. I'm not afraid. You don't have to rub it in your hair. Now, children, there's something I want to speak to you about both of you. Garbell. And that's it. No more of your friends calling at mealtime.  No more. LeRoy sits still. But there's somebody at the door. Birdie is quite capable of answering it. Birdie? I'm telling you. If that's a friend of LeRoy's, Birdie, just tell him to go away. Yes, sir. I'll not have our meals made as shambles by these constant interruptions. Your friends haven't manners enough not to call at dinnertime, yes, Birdie? Yes, sir. Excuse me, my dear. Well, just this once. I showed into the parlor, Mr. Gilsey. Oh, thank you, Birdie. Well, Leela. I was just finishing dinner after hurry down to the office. This evening? Yeah, 2,000 bills to get out. No secretary. Oh, dear. I was hoping we could have a nice long talk. Well, I'll tell you about it quickly then. I have the most wonderful idea. Oh, what's that? I'm thinking of going into the antique business. Antiques? Yes. You see, I've got that big old high boy over there that belonged to my grandmother Beecham. It's no use to me in the world, and it's just in the way. And I thought, well, now, why don't I just sell it? But Leela, you'd need more than one high boy, one sale, and you'd be out of business. Well, it wouldn't just be antiques. I could do interior decorating, too. People have always told me I had a natural color sense and a knack for making things home like if I do say so myself. Oh, you have, definitely. But starting a business. Oh, this wouldn't be like a business, exactly. But I do think women should do something these days, don't you? After all, with a wand. So I thought if I could open this antique shop and at the same time be helping the war effort. Help the war effort? I don't get the connection. Well, gracious, if you're going to do nothing but discourage me. Leela, I'm not trying to discourage you. If you want to do something, that's great. But say, why don't you come to work for me? Work for you. What kind of work, Throckmorton? At the water department. You'd be my personal secretary, secretary to the water commissioner. How would you like that? Will you do it, Leela? Well, I don't know, Throckmorton. I kind of had my heart shed on an antique shop. After all, there's my grandmother Beecham's high boy there. Just for a week. Try it for a week and if you don't like it, we'll call it quits. What? All you have to do is address the bills. Address bills? And be my private secretary. Well, all right, Throckmorton. I'll do it. Maybe this is a good way to start. Sure. But you'll have to pay me, understand? I'm terribly expensive. Yeah. Sure, we can come to terms, Leela. See you at the office then tomorrow morning at nine o'clock. Nine o'clock? Nine-fifteen then. Nine-thirty? Well, if I can make it. Great, nine-thirty. There's just one trouble about all this, Throckmorton. What's that? Doesn't solve a thing about my grandmother Beecham's high boy. Oh, but I'm keeping you from your dinner. We'll worry about that later. I'll be running along now. See you at ten. Huh? Oh, oh yeah, see you at ten, yeah. Gee, I gotta get going. I'll have my dessert now, Bertie. Coming right up, excuse me. I'll go quarter to eight this very minute. Pass the cream, will you mind? Leroy, pass it. Wait a minute, wait a minute. Well? What am I hurrying for? I just hired a secretary. The Great Gilder Sleeve will be with us again in just a few seconds. Now that warm weather is here, you ladies will be serving more sandwiches and snacks. And a way to make them taste extra good and to make them extra nourishing too is to spread bread or cracker treats with delicious parquet margarine. Parquet gives a real lift to summertime meals because parquet's flavor is so fresh, so delicate, so satisfying. Parquet also helps provide food energy, something that's especially important in your family's summer diet when so many other foods you eat are low in energy value. Parquet margarine is a top-notch energy food, one of the very best, and it's fortified by craft so that every pound contains 9,000 units of vitamin A. So for real flavor enjoyment, for extra energy, for vitamin A, serve delicious nourishing parquet, P-A-R-K-A-Y parquet margarine made by craft. Remember, millions prefer parquet to any other brand. Now let's get back to the Great Gilder Sleeve who, having engaged a secretary, feels like a real executive for the first time in a week. At least he did feel like an executive. Now, however, it's 11 o'clock in the morning and Lila has not yet arrived at the office. Water Department, good morning. You want your water disconnected? You bet. What's your name, please? Delahanti. D-E-L. Pardon me, there's a call on the other line. Water Department, good morning. Once your water turned on, certainly. What if you'd mind holding a line for just a minute? Thank you. Now, hello, Mrs. Delahanti. Oh, Mr. Delahanti. Pardon me. Sorry to keep you waiting, but I... Lila, where have you been? I brought you some flowers. Yes, just a minute, Mr. Delahanti. Lila, take this call while I handle the other one. But I don't know what it's about. Just take it, will you, please?  Hello? Was that name McCutcheon? Well, what is it you want, please? McCutcheon, yeah, and the address, please. Well, you didn't tell me what you wanted. Yeah, 279 Lakeside, yes, sir. Well, I'm sure there's someone here who can help you, madam. He's a man, Lila. You bet, Mr. McCutcheon. We'll have somebody over there this afternoon, yes, sir. Just a minute. I think Mr. Gildersleeve may be able to help you if you... Lila? Well, you may be a customer, but you're no gentleman. Lila, give me the phone. Give me the phone. Just started this morning. You know how that is. Why? Yes, sir. This is 16 Valley Road. Yeah, I'll take care of it this afternoon. Sure, Mr. Delihani, you bet. I'm going to like it here, Throckmorton. Why not? Well, if you're going to be rude to me... Me? Now, how have I been rude? You haven't even said good morning. You never thanked me for the flowers. I haven't had a chance, Lila. I've been on the phone ever since you came in. I think the flowers are lovely. There's 2,000 bills over there that should have gone out last week. Throckmorton, you haven't said a word about my dress. I bought it specially for the office. Cute. Do you really like it? I should say I do. Now, about the bills. I thought I should get something not too dressy so that people who came in would know I was tending strictly to business. But at the same time... I wanted something feminine so you could feel proud of me when you take me to lunch. Lunch? Well, it's a little early, but if you're hungry, let's go. What can I do for you this fine day? Just a sandwich and a glass of milk, please. Yes, sir. Seeing as Friday, how about a nice tuna sandwich? What else have you got? That's all. All right, tuna. And a glass of milk.  Ill? No. Here's your sandwich and your milk. I guess it's just that you haven't been in for several days. Well, I've been lunching at the Summerfield Grill. Noisy, please. Yes, it is a little noisy.  It runs into money, though. It's 40 cents a day. I've been going Alucard, PB. You don't change. Yeah, Alucard for two. Lady, I'll take it. Well, my secretary. Yes, she's a lady. But this is purely a business arrangement, PB. Oh, naturally. Well, it is. Well, I've engaged Mrs. Ransom as my secretary for the time being. Oh. I didn't realize Mrs. Ransom had secretarial training. She hasn't. No shorthand? No. She doesn't operate a typewriter, though. No, she doesn't operate a typewriter. Understand both keeping? No! But nevertheless, and notwithstanding, it's purely a business arrangement. Aren't you going to finish your sandwich, Mr. Kelly? No, I'm going to the Somerfield Grill for the businessman's blue plate. The only place in town where a man can eat in peace and quiet. Don't say it! Ye gods, PB! Fat man shouldn't get excited like that. Oh, well, it's his blood pressure. My name was your engineer at the reservoir, but I just know you wouldn't have a man like that working for you. Did he say his name was Uncle Charlie? No, he didn't say. He was just a nice-to-old man with nice-to-old gray whiskers, and he used a type of language to which I'm hardly accustomed. Yeah, that's Uncle Charlie, all right. He frightened me, Throckmorton. I gave him a quad and told him to go on about his business. Uncle Charlie wouldn't like that, Leela. Well, I guess he'll be back. Anything else? Some tool salesman called. I told him you weren't interested. Tool salesman? That sounds like the name. Oh, my goodness, Leela. I've been after that man for a month. We need a new snifter valve out at the reservoir. What kind of valve? Snift never mind, Leela. Oh, well, back to the old grind. Oh, you work awfully hard, Throckmorton. I had no idea you worked so hard. Well, that's a man's life, Leela. Shoulder to the wheel, nose to the grindstone. I suppose so. You know something. I was a little nervous when I first came down here to work for you. Nervous? What about? Well, you see, I happen to know what goes on between the average businessman and his secretary. Where do people get these ideas? That's a lot of nonsense, Leela. That kind of thing only goes on in the movies. Where there's smoke, there's fire, Throckmorton. Well, there may be an occasional case. But if a man ever gets mixed up with a secretary, he'll never get any work done. Absolutely. Anyhow, I decided I'd just let you know right off at the start that as far as I'm concerned, our relations will be strictly business. Okay. Well, I guess I better call the tri-state tool, people. Oh, you really should relax for a few minutes after lunch, Throckmorton.  Yeah, but I gotta get after that sniffer valve, Leela. Oh, I'll call the man for you. I like doing things for you. Well, I wish you'd finish up those bills. After all, that's the main reason I got you in here. Oh, but look at all the other ways I'm being useful. I sharpened all your pencils this morning, did you notice? Where are my pencils, Leela? I couldn't find them. Oh, I'll put them right here in your desk drawer. Oh, that's funny. I don't see them. I must have left them out there by the pencil shop now. Thanks anyway. I think I'm going to like being your secretary, Throckmorton. Well, that's good. I've always been afraid to work before because I was just sure some man would try to take advantage of a business relationship. Well, there's nothing to be afraid of. Probably isn't one businessman and some will feel to do a thing like that. Well, I happen to know that's not true. You know that office building across the street from Dr. Peck, the dentist? What about it? Well, the last time I went to Dr. Peck, there was some man kissing his secretary in the office across the way. I wonder who has that office. I don't know, but I got so interested I forgot to ask for an overcane.  Really? I think I'll take advantage of our business relationship. Throckmorton, don't you dare. Oh, just one little kiss. What harm can be done?  Come on, now, Leela.  What's the idea of walking in here without knocking? Knocking? I heard the dad and butchers rummage going on in here and I thought maybe somebody was robbing the place. Oh, how humiliating. Don't worry, Leela. Charlie won't say anything about this.  What's that, sister? I'm not your sister. Excuse me, Mr. Gilder-Sleeve. I shall continue with my regular duties. Confound it, Charlie. You ought to have more brains than to come fussing in here like that. I thought you'd reach the age of sense, Commissioner. I have not. Who's addicted to that woman, anyway? She happens to be my secretary, Charlie.  Well, I thought the last one was bad, but this one takes the cake. Did she tell you that I was in to see you a while ago? She said something about it, yes. She treated me as if I were some kind of a dad-busted bum. And that ain't all.  Well, that's not true. She just... Well, she's just trying to postpone Val. Pospone him?  But a woman like that's got no place in the water department. Now, Charlie, it's very hard to get help these days. You're not fooling me a bit, Mr. Gilder-Sleeve. If I hadn't happened to walk in, catch your head handed, that'd be different. Well, Charlie... Just get rid of this over-aged blonde and hire a woman that can tend to business. You're talking a little loud, Charlie. You'd better get another girl. But I don't know where to find anybody else. Then I'll ask you one more question. Do you know where to find another engineer? Well, I could probably... Charlie, you wouldn't be... The heck I wouldn't! You think it over, Commissioner? You turn... Yeah, the question is how? Huh? Don't forget to lock the office. Oh, wait a minute. Uh, Leela. What is it? I'm sorry I forgot myself this afternoon. I'd prefer not to discuss it if you don't mind. Goodbye. You're not thinking of quitting, are you? No. I've made a bargain and I'll stick to it. Oh. Providing you can remember to be a gentleman. No, I guess not. Uh, you know, you're developing into a darn good businesswoman, Leela. Hmm, you think so? Oh, one of the best. I never would have thought that. Well, you know. Oh, yeah, just like all the rest.  Well, I was wrong. In fact, I was so wrong, I think maybe I'm being a little selfish in keeping you just as the secretary. It seems awfully sudden for promotions, Rock Martin. But if you have confidence... You know, it isn't exactly that, Leela, but I've been thinking about that antique business you mentioned the other day. I think you could make a go of that, Leela. Oh, I'm sure I could. Oh, why don't you try it? Perhaps I will someday. Oh, not someday. Now, strike now while the iron is hot. Open up a business. Make yourself some real money. Get a few more pieces of furniture into your house, Leela, and stuff you can sell, of course. Then have a grand opening. Send out engraved invitations. Hire a caterer and some music. That's it. But you've got to get organized now, Leela. Time is of the essence. Of course, there's one problem. What? That grand opening and all might cost quite a bit of money. Oh, $75 or $80 to take care of the whole thing. Would he? Sure. Oh, Rock Martin, you're so smart. You just know everything. Well, pretty near anyway. I'll bet you can even think of a way for me to raise that $75, can't you? Yeah, I'll bet I can. Look at these things. Balancing my checkbook, $18, $25, $31. I was thinking about what you said the other day. Oh? I talked to my friend about it, and he knows where I can get it, please. Please? Yes, sir. He thinks I could rent it for $25 a month. $25? What are you talking about, Birdie? About what you said the other day. Don't you remember? You said I should open up a place and sell sparrows. Birdie, you want to keep working here, don't you? Oh, yes, sir. Then don't ever pay any attention to anything I say. Good night, Birdie. Good night, everybody. This week on this program was directed by Claude Sweet. This is Byrne Smith speaking for the Craft Cheese Company, makers of latte margarine and a complete line of famous quality food products. Craft invites you to listen in again next week for the further adventures of the Great Builders League. And now here's another craft quality food product that's sure to add flavor zip to your mealtime lunchtime menus. It's craft salad mustard, a tangy golden salad mustard, prepared to craft's own special recipe. It's a creamy smooth blend of choice mustard seed, fragrant spices, and mellowed aromatic vinegar. And you can use this delicious salad mustard in foods and on them with taste-tingling results. Craft salad mustard adds a delightful flavor tang to salad dressings. Perks up those cream sauces you pour over hot-cooked vegetables and fish gives an appetizing lift to egg and cheese dishes. Craft salad mustard is a real flavor treat on sausages and cold cuts, too. And say, there's also another zestful variety, craft mustard with nippy horseradish added. Your dealer has both kinds. They're both delicious. Ask for craft horseradish mustard and the tangy golden craft salad mustard. This is the National Broadcasting Company.