Personal notice, danger's my stock and trade. If the job's too tough for you to handle, you got a job for me, George Valentine. Write full details. Standard Oil Company of California, on behalf of independent Chevron gas stations and standard stations throughout the West, invites you to let George do it. The Brothers Macintosh, another adventure of George Valentine. Dear Mr. Valentine, I am a butler in a very fancy house, though perhaps I ain't the usual type for butling. My bosses are two brothers. The brothers Macintosh. I've been with them ever since I was a busboy in the first café they ever owned. What a joint that was. But now they're a success so big it hurts your eyes. Bill Macintosh used to be a cook and it must have given us our stomach because there's a guy that hates everybody. But I mean everybody. And it's plenty mutual. Bill's brother, the sweetest guy in the world. This move in Macintosh is a prince, a real gentleman with good words and a wide open pocketbook for everybody. Friends, I tell you Mr. Valentine, there's nobody who ain't. Except that is a course whoever is that wants to kill him. But how can you ever get a man to admit he's in danger? When he's so big hearted he'd slap the devil himself on the back and say have a cigar. That's my problem and I need your help, yours most sincerely and it's signed Jasper Butler to the Brothers Macintosh. Sounds like he thinks one of these guys is going to kill the other one, doesn't it? Sounds like he's crazy or punch drunk. Jasper, Butler to the Brothers Macintosh. What's the matter, Brooksy? George, the postmark on the letter is Harbour Town. Oh, that's important. Well, there's been something about Harbour Town lately. Something? Maybe this letter isn't crazy at all. I remember now it's something Lieutenant Riley was talking about. He's out of town, Valentine, but I checked up for you. Thanks, Devon. There's some kind of an investigation going on down there on the QT. Small-time rackets of some kind. Nothing to do with us here in Harbour Town. A racket investigation? I thought that happened years ago in Harbour Town. It did. They blew the lid off the place about five years back. Send a big shot named Fillory to the path. Fillory? Oh, sure, I remember. Well, how about the name Macintosh? That mean anything? Café owners. The biggest roadhouse owners in the state, at least more than is. Our Apple Brother, I guess, kind of got pushed out of the business. You know, that's what I don't understand. What do you mean, Devon? Well, these Macintosh boys got their start at the same time Fillory went broke. Same time he was... Well, come on, come on. Hey, wake up. Hey, Devon, come back to the party. I'm doodling on the morning traffic report. 3.30 a.m. Sugar Canyon Road. 1949 convertible went over embankment. Now explainable reason for accident. Single occupant... No, that's his brother. What are you talking about? You got a letter said this guy Macintosh might be killed. Here, listen. Listen to this. Car rolled over five times, completely demolished. Single occupant only hears what I mean. Bill Macintosh. Oh, I get it. Wrong guess. And guess what, Valentine? He lived through it. I don't want to see you. I don't want to see anyone. Get out of here. Lie still. Will you please, Mr. Macintosh? That goes for you too, Doc. I don't need all them bandages. Emergency hospital already slapped enough on me. Well, Mr. Macintosh, we don't mean to intrude, but your butler here, Jasper, tells me I can't see Mervin unless I first see you. So you want to see Mervin? Well, that was the original reason for coming here, but... We don't like to bother you when you've just been an accident. I'm all right. I just got scratched up a little. Doc, you're all finished. You're poked around enough. I'm going. I'm going. You too, Jasper. Go on. Go on. Yes, sir. I'll show you to the door, Doc. Friend of my brother's. Sucker won't even send us a bill. Your brother seems to have lots of friends. Maybe. But you're not one of them. Maybe. I know all about you, Valentine. Jasper told me about that letter he wrote you.  Yeah, well, he's worried about your brother.  Anybody who ties strings around people or lets other people tie strings around them... Mr. McIntosh, maybe the doctor shouldn't have left. Nothing wrong with me driving alone, car flipped over. I was thrown clear. Scratches and bruises, that's all. I want to see you. I want to see anybody who hasn't been given a glad hand or a free cigar or a slap in the back. Jasper out there is worried. But he hasn't caught on yet. You don't know what I'm talking about, eh? Well, Jasper. Jasper thinks my brother Mervin is just sleeping like today. What are you talking about? Look, last night I answered the phone. And then Mervin came home and went out. And then afterwards I drove and I drove and I looked and I looked. I got more and more scared at what I'd done. Mervin keeps a cabin cruiser down in the harbor, but she was anchored in the same old spot with no lights. I looked every place. From the railroad station to Sugarcane. Hey, wait a minute. Calm down. Well, you get back to that part. You got more scared at what you'd done. What had you done? Do you understand a man having enough to drink and being scared enough that when he sees a sharp turn coming, he just plain doesn't make the turn, just lets the car go over? You're an accident.  I mean I've always hated my loud mouth, brother. No, I was just excited and I had some drinks and I was scared and I... Maybe I did. He is my brother. Abel and Cain, that's us. You better clear this up pretty fast, Buster. Know how to take dictation, miss. What? Oh, yes, I do. Oh, go ahead. A confession. Yeah, it's a confession. The keeping quiet when I could have spoken and prevented my own brother's death. His death? Yes. My brother, the great Mervyn McIntosh, friend everybody. Well, he seems to have one enemy. A man named Fillory lost his shirt when we came to this town and apparently it wasn't just because Mervyn glad handed him out of the nightclub business. Then, Fillory went to prison. Why? Who knows? Mervyn is honest, not a squealer, but for some reason, Fillory is threatened to kill Mervyn not once, but 50 times. Fillory, eh?  Well, Fillory was released from prison yesterday. Last night, a... a wire came to the house from a friend telling us about it and that's where I fit in. While I'm sitting here reading that wire, the phone rings and a little polite voice says he'd like to see Mervyn out in a lonely place about some business, the voice says. And then it happens. Mervyn comes home. I give him the message, but I don't show him the telegram. He lades. I don't tell him that that phony voice was really the voice of Fillory waiting to murder him. I don't know why I do it. A couple hours I just sit there and wait and sweat, but then I can't stand it any longer so I go out and look at him and I find the meeting's already taken place. Then all I can find out is that Mervyn's green sedan has been seen leaving the place with Fillory in it alone. Don't you see? I let my brother walk into a trap. I let my own brother be murdered. Take a week to find Mervyn's party in all those woods. Yeah, it'll take you a lot longer than that to find Fillory. Brooksea, Fillory did come in on the train and we confirmed the part about his making the phone call. And afterwards, the kid in the service station was pretty sure of the description. He's driving away quickly up this road. George, certainly the police... We got a head start on the police. We might as well use it. George, I wonder why that butler Jasper wasn't at home last night so that... Sure, sure. We'll ask him sometime. Hey, notice how the traffic funnels through just a few roads here. Boy, what a town this must be when there's a parade. No, Fillory's had such a head start and the highway patrol's already looking for him in the city and beyond. Yeah, so suppose you hop on a bus and tell the rest of it to Lieutenant Devlin. Every guy in a green car is supposedly running like mad across the country, only the trail dies in every direction. So maybe I got an idea. I'm going to take a little drive right around here, up the country road right by the beach. Oyster Cove. And the green sedan parked right in the pier. What's your trouble, brother? Nothing, I was just wandering around. How's the fishing? I don't know. I'm looking at boats. Yeah, sure. Some pretty ones, all right. Say, you didn't happen to see anybody getting in or out of that car over there, the green one. Yeah, it's blood. As a matter of fact, I did. Me. You? Me. Is that all right? I was talking to a guy named Bill McIntosh a little earlier and he said... That's all. Never happened to me, commandant. Now, just slow down, Buster. You're Fillory, aren't you? Is there a law against it? Whatever rotten branch of the law you spring from, but I assure you, my parole papers are quite in order. Not so fast. Let go of my arm. Let go of it, I said. Get away from those steps. What's going on, Fillory? Stop that. Cut it out, both of you. Why, you got a crew, huh? No, no. Just Tony, young fella that helps me out. He's out there now, getting the boat warmed up. Who are you, Chum? What's your name? I think we can do without names on a hot day like this. I suppose you just run along, young man. Sure, sure. You guys aren't interested in murder. In what? Murder. Well, if that's the case, perhaps I'd better. My name is Mervyn McIntosh.  So you are Mervyn McIntosh, and you are alive. But how did Fellerie get your car? Because I loaned it to him last night. I had to see about the boat. My crew's are out there. He doesn't need to know that. Oh, now, take it easy, Fillory. He's not a reporter. He doesn't need to know any of it. Cool off, Buster. Fillory, please. Show you how I cool off. Now, look what you did. You was a nice young fellow. No need to do anything. I'm in a hurry, McIntosh. I came to talk business. Remember? Relax, will you? We'd like to find somebody to look after the boy. Leave him there. Business, I said. Oh, people should be friendly. Fix the boy comfortable.  We're going to be friends, aren't we? Here, have a cigar. Where have you been? Oh, don't even ask me, Bruxy. We're all good suckers, go, I guess. But, darling, it's practically midnight and the police have been... I don't care what's been happening. Besides a nice pack, all I care about is getting my hands on that Bill McIntosh. That crazy, hooked-up story of his about his brother being in danger, being dead. But, George, listen to me. The police have been calling. Bill McIntosh was right. What did you say? The Coast Guard up near Oyster Cove. They just fished out the body of an urban McIntosh. 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And this warranty is honored on the spot by 38,000 dealers from coast to coast, many of whom are open 24 hours a day. Friends, why gamble with your own safety? Ask about new Atlas tires tomorrow. Ask at your independent chevron gas station or standard station where they say and mean, we take better care of your car. And now back to tonight's adventure of George Valentine. His brother's Macintosh. One of them no one likes, and the other one called everybody in the world his friend. The only trouble is Big Jovial Mervin, whom you talk to only this afternoon, now is dead. Dead just as his brother Bill expected him to be.  Still, if your name is George Valentine, the case has not worked out in exactly the way you anticipated. As you return to examine the body with Lieutenant Devlin, you're convinced that nothing makes sense. Yeah, same guy I saw, all right. Stuck over the side of the head, huh? Yeah, Coast Guard found him floating in the water of the bay. As I figured Valentine, Fillory got chipped out of his roadhouses and maybe his little rackets by the glad-hander here. Yeah. Yeah, there might have been holes in this friendship stuff. Of course there are. Nobody was ever as popular as this bird supposed to have been or as nice to everybody. Fillory gets out of prison and kills Mervin. Yeah, after the big boy manages to stall Fillory at their first meeting, and so suckers himself into being bumped off in an even more secluded spot. What about the boat? Well, it's just a drift out there someplace. All this fog and so many little bays along the coast, it'll take us a little time. Why a drift? What makes you think Fillory isn't still aboard? You haven't looked back at the road at the end of the pier, have you? Why, what do you mean? What's the... Oh, no. Oh, yes. The green sedan isn't there. That's what happened to Fillory. He's got away again. Well, have they checked in Arizona? They used Carlot and maybe... Valentine, stop blaming yourself for this case. I got over that two days ago. I only asked you these things. It's a police case now. Even if we haven't done any better than you did, oh, hello, Miss Brooks. Carl. Oh, George, about the steamer Guadalupe. The what?  As far as they come, three miles out, and you're as safe as a seal. The freighters, so no questions asked. When's she leaving? This afternoon, four o'clock, pier 73. That's the other side of Harbor Town, so there's plenty of time to know. Will somebody please tell me... Wait a minute, wait a minute. Fillory's the kingpin in this case. That's all, Devlin. What? If he'd really planned on killing Mervin, then he's also smart enough to have planned how to get away. How never did he plot. Okay. Tell me the rest. Fillory had already booked passage a couple of days ago to sail on the Guadalupe this afternoon. Well, come on, come on. What are we waiting for? Not so fast, Devlin, not so fast. Get men down there just before four o'clock. But in the meantime, lay off. Stay away from the place. Yeah. Yeah, maybe you're right. Angel, you and I have to go pay a social call on the poor guy that nobody likes. Harbor Town. Great. Bottleneck streets, bottleneck murder case. But they'll certainly be able to make Fillory talk when he shows up at the boat. What'd you say? I said no, they won't. Bruxy, this is the right street, isn't it, for Macintoshes? Well, yeah, just up the block. Angel, hey, look, look. Just parking in front of the house there. My nemesis, the wild goose I chased. George. And let us park right behind them. Good, that's it, Bruxy. Yeah, the green sedan, the special job. No, no, George, be careful. Never mind. You stay behind me. But you'll see you first. I don't care. Let him. It's a 50-50 chance, Angel, from where I sit that's good enough. Well, hello there. Oh, you're looking for me, mister? Maybe I am. You had the car, didn't you? Well, yeah, sure, but I... George, what on earth is... The wild goose, Angel. I finally remembered something Mervin said about a one-man crew. About a boy who was out warming up his boat. Well, that was you, wasn't it, Buster?  Yeah, yeah, I'm Tony. Look, I've always worked on that porn, only, well, I didn't even know anything was wrong until I just read yesterday's newspaper and Mr. Mervin loaned me his car. You mean you stole it, Tony? Hello, Collins. No, no, I didn't. Honest, Mr. McIntosh. Your brother said that I could... This kid's been in trouble before you... Come on, kid, you tell it. Well, a couple of days ago, Mervin came down to the boat at night. He'd had a meeting with some guy giving him the car. Hillary? Well, I didn't know who it was then, just somebody who didn't want to be seen coming through the public pier at the yacht club, I figured. Anyway, Mervin had slept on board that night in it. Why didn't he call the house? That blasted inconsiderate... Look, I didn't think he wanted anybody to know where it was or what he was doing. Next morning, he told me to pull out and we went up the coast to Oyster Cove, where it's quiet to pick up the same guy. It was, Hillary. Yeah, yeah. They were going to go out fishing for a day or two, fishing and talking, I guess. Only they didn't want me along, so Mervin, he said I could take the car for the weekend. Gee, he was like that. You know, always giving you everything. It's like I used to be in trouble, see, until he hired me. Kid, kid, the police of 10 states have been looking for that green car for two days. Where'd you take it that they couldn't find it? It was in a garage, mister. My...my girlfriend's garage. Gosh, it's a first weekend we've had off together in a year. I want to see Miss Brooks and the kid Valentine and we have plenty of time now that our little party at the freighter's been canceled. What are you talking about, Devlin?  Yeah. Well, something must have backfired with the jail bird's plan because the coast guard had finally located that cruiser. Come on, makes sense, will you? It was dynamite. The cruiser had blown up. That's what killed Mervin when something hit him and knocked him overboard. And guess what else, Valentine? You got another body aboard the boat. Yeah. At first I thought it might have been a dead can. Well, now you'll have to check the fingerprints and find out... We already have. It's him all right. It's Fillory. The guy whose plan to blow up Mervin blew right up in his own face. So there you are, Valentine. Well, Bill, Fillory's dead. Thing lost, that is. Of course I never met the man. I wonder if your brother had him out on that boat trying to make a friend of him. He'd have offered the devil himself a cigar. It doesn't pay, though. Sooner or later you'll reach out to pat a dog and it bites your hand. Yeah, I know, I know. You don't like anybody. I'm not apologizing. I was wondering if you really did try to commit suicide that night. What's that? Well, it would have been so easy to push your car over the cliff and give yourself a few scratches and bruises and pretend that you're done it. Wait a minute, Valentine. No, you don't, Buster. And don't argue with a gun. Why, you... I wouldn't trust you any further than I could throw a piano. You're not going to shoot at me.  Stand still. You are soft in my heart like Mervin was. I told you to stand still. Hey, Jasper, get up here, Jasper. Oh! You see, I've got a gun, too. And now you have. What's the matter? Heard your arm? What do you think? I suppose when Jasper gets here, you'll just... The house is empty, Valentine. You sent Miss Brooks and the kid away. And Jasper, he's a sentimentalist. He's changed his shirt by now and gone to my brother's funeral. All right, sour pussy. Now you were saying something, weren't you? No, it's the things you say. Like just now, you said that you never met Fillory. I wouldn't have even noticed it if he hadn't told me exactly the same thing about you. Never met the man, he said. So maybe it's true. Well... Well, it doesn't quite fit with something you said and that ridiculous confession of yours. That you recognized the voice on the telephone the other night as being the voice of Fillory.  So that guilty remorse of yours was all fake, wasn't it? It's a pretty good guess. You bet it is, Buster. And I'll keep on guessing, too. You knew why Fillory got sent to prison? Maybe even planned it, sure. Sure, you were trying to duck out before Fillory and your happy-go-lucky brother ever got together to check notes. But they got together on that boat. Where you knew they'd be. Yeah, you're the one who made sure that boat had blow up the minute they were on board. And then you cooked up the cock-and-bull confession stuff. Just on the off chance, the murder might be blamed on Fillory.  Why? You planned to pull that trigger anyway, aren't you? Get rid of me and still try to get away with it. Fillory had a getaway plan, remember? Well, who do you think really made that plan, using his name? And who do you think they're expecting to board that freighter at four o'clock? And now there's no welcoming committee either. I want to know. Get every possibility covered, haven't you? Except maybe the clock. It's only ten after three, and Pier 73 is only just the other side of Hobbiton. I'll make it all right. How? You wrecked your car. In your car, sucker. I haven't admitted anything, have I? I told you, I'm not crazy. There won't be any evidence. And you didn't pull the trigger on me, so I won't pull it on you.  Valentine, I've never done anything in this world for anyone else. And I haven't asked anyone to do anything for me. My brother loved the whole town, and by his verse, and where is he? And where am I? Center on it. That's it. It shows how much friends can do for you. No! Now you know what a guy like me can do. Just keep the useless strings of you when you can get all the way to China. Get your thumb out of that horn, buddy. I'm sorry, officer. But what's the matter with that man up there? He won't move. And I won't let him move. Can't you see there's a funeral going on? Keep your shirt on.  My boat sells at four o'clock. I'll miss the boat. I said, cut it out.  Hey, Joe, Joe, what's the matter?  Ha! Ever see such a crowd? You'll keep on all day. That Mervyn McIntosh was quite a guy. How do you like that? Bill gets caught. Because he can't get by his brother's funeral. George, are you sure you're all right? The doctor's dead. I don't let the bandages scare you. Valentine, I don't want to say anything, but... But what? Well, a guy who lets himself get beat up, knocked down, dragged. Well, look, you got your man. You even got a screaming confession out of him. What difference does it make how he was caught? I'll take it easy. I didn't mean to. You want me to say I had him corralled. All I would have had to do was shoot. Why didn't I do it? Sure, I know I'm some hero. Darling, now please. Well, maybe it's the kind of guy I want to be, Devlin. Not a hero. Just a sucker. Valentine, all I started out to remark was fearless fuzz-dick may stop a lot of people from eating beans, but me? Well, me? I wouldn't have shot either. Good for you, darling. Hey, what is this? She's kissing me. If your car drags along as though you were driving on a sandy beach most of the time, it may be the fault of gummy gasoline, which is robbing your car of power. A sure way to get that new car feeling is to use Chevron Supreme gasoline. Most raw gasoline contains impurities that form power-robbing gum. Chevron Supreme is the gasoline that's super-refined to remove engine-sticking gum. So to get and keep that new car feeling, ask for this premium-quality gasoline. See how it gives your car new power and full mileage in the kind of driving you do. Ask for super-refined Chevron Supreme gasoline tomorrow at independent Chevron gas stations and standard stations, where they say, and mean, we take better care of your car. Tonight's adventure of George Valentine has been brought to you by Standard of California on behalf of independent Chevron gas stations and standard stations throughout the West. Robert Bailey is stars of the United States and Robert Bailey is starred as George. Let George Do It is written by David Victor and Jackson Gillis and directed by Don Clark. Virginia Gregg appeared as Bruxy. Ted D'Corsair was heard as Bill. Larry Dobkin as Fillory. Ed Begley as Mervin. Ed Fields as Jasper. Pat McGeehan as Lieutenant Devlin. And Anthony Barrett as the Kid. The music was composed and presented by Eddie Dunstetter, your announcer, John Heaston. Listen again next week, same time, to Let George Do It. This is the Mutual Don Lee Broadcasting System.


Hi, I'm Professor Stephen Nesheva, and I want to tell you a little bit about how to integrate the Clapeyron equation along the liquid vapor phase boundary. So here we have a phase diagram here, and the regions of the phase diagram are solid, liquid, and and a gas over here, and these lines are the phase boundary lines of lines of equilibrium, and in this case we're focusing on the liquid gas equilibrium. Sort of our anchor point in this is the triple point, which has a temperature we're calling T3, and a pressure we're calling P3, and what we have is the Clapeyron equation, which is this right here, and the Clapeyron equation relates the, it tells us about the slope of a phase boundary, and so the idea is, along this phase boundary, there's a certain slope, dP dt, and and here's what it's given by, a small change in the temperature as I move off to the right from the triple point, will result in a change in pressure multiplied by, by that factor. So because we're dealing with a liquid vapor phase diagram, that delta H down upstairs there would be the enthalpy of vaporization, which we're going to consider constant for this, for this derivation, but the change in volume, which would be delta V of vaporization, well by definition that's the volume of the gas minus the volume of the liquid, but at room temperature and pressure the volume of the gas might be 22, you know, one mole of the gas is 20, 20 some liters, and the volume of the liquid, the condensed phase, is much, much smaller, just on the order of, you know, 20 millimeters or so. So what we can say is that the volume of the gas is, to minus the liquid, is just about the same as the volume of the gas, and because when we go to integrate this, we are going to need to separate variables, we need to have this in terms of pressure and temperature, we're going to write that volume of the gas using the ideal gas law, which says for one mole, the volume of the gas is RT over, over the pressure. So, when we substitute those in this, in this Clapperon equation here, there's the delta H still, the delta V, which is the volume of the gas downstairs, I've turned it around so that we have the pressure upstairs now, and divided by RT 1 over T. So this will be the equation that we want to integrate, but a problem as it stands is that there's some pressure dependence on the right-hand side, and we need to get that to the left-hand side so that we can actually carry out the integration. Well, that's easy. We're just going to divide both sides by the pressure, and on the right-hand side that leaves delta H divided by R and the temperature squared in the denominator. So taking these, a piece at a time, if we integrate Dp over T, that's going to turn into a log of the pressure, and when we evaluate at the limits, which I'm going to say the upper limit is going to, we're just going to call it p star of the liquid vapor curve. The lower limit is just p3, so that leads to this term here, after we integrate the left-hand side, p star of the liquid vapor over p3 as the argument of the log. What about the right-hand side with the integral of a constant times 1 over T squared Dt? Just turns into 1 over T, which this is again evaluated at the limits from T3 up to some arbitrary temperature. So that's what that leads to, and when we can equate those, of course, according to the Clapeyron equation, but it's more convenient often to just solve for the pressure itself instead of the log of the pressure, so what I've done is taken the exponent of both of those sides. So when I take the exponent of the log, I just get the argument there, and on the right-hand side I get e to all of this, and just for economy of notation, we're just going to call that the symbol chi, so e to the minus chi. So this is the, what's called the Clausius-Clapeyron equation, which again, describes a phase boundary between liquid and gas, and it's all rooted on, in reference to the triple point in this case. What often happens is that one might want to multiply both sides of this by p3, so that you just have the phase boundary expression in terms of p3 and t3, and so that's pretty much that derivation. One more note here is that if we wanted to get that part of the curve, which is the solid vapor phase boundary, you'll notice that all these considerations work pretty much the same. The only, the only real difference is that, and for talking about that part of the curve, we would be talking about the enthalpy of sublimation, and we're talking about delta v would be the volume of the gas minus the volume of the solid, and which in any case, that second, the volume of the solid, is also small compared to the volume of the gas. So, so those approximations are as valid as what we just derived. Okay.


or as chief executive offer rather for rather for that time and Here to discuss auto stocks and much more like today's Dow intraday high as our friend the CEO of the stocks Who's Melissa Armel Melissa welcome? We haven't seen you in a couple of weeks. We're so pleased to have you back What do you make of the market moves today? It just breached over that 27,000 right? Well, we got up close to it. We didn't get over we almost touched it We didn't quite get there we got so close though and it looks like we're gonna get there But I will tell you really quickly we closed off of that high So there the interest rates I think spoke the market later in the afternoon bond rates touched around three point one four percent intraday and so because of that the market sold off a little bit after two o'clock this afternoon But all in all we did get close to 27,000 in the Dow We broke new records today and the market overall is very bullish going into the fall period here now It's a first week of October earning season starts next week the big banks report next week So it's gonna be a very exciting time to to watch the market which which are the big ones You'll be looking for next week Melissa JPMorgan Chase is one of the big ones out next week and of course Wells Fargo City These are those are all the big banks to watch in Goldman Sachs although. I don't sure if Goldman reports next week I have to check the date the biggest though earnings week to watch is not coming up until the end of the month It's when Apple reports in Amazon and Google and Amazon Reports in the 25th so that last week of October first week in November is the busiest when you have the tech companies But it starts next week So next week is a launch of the earning season with the big banks and you should see some movement So again with interest rates rising you have the bank stocks rallying and that is one of the reasons also Why you've had the lift in the market and we'll also have I guess we'll have on Friday the jobs report too So we'll also be looking toward that see if that has any Impact, I guess if it's just about the same a couple hundred thousand jobs not much But maybe there's an outlier there that could move markets Melissa. Let's move to Auto stocks in particular You know, it's not that big a deal I guess that the car sales were down in September if it is in fact as the analysts say due to The surge in people going out because their cars had flooded in Louisiana and in Texas because of a hurricane Harvey But GM GM GM motors was the one that took the largest loss Give us a little bit about their stock. What do they've been doing lately? Honestly, that stock does not look good at all. I would not say it's a buy right now That stock has been dropping that stock General Motors isn't a downtrend I don't know what's going to turn that around right now And it's the same thing with Tesla Tesla stock doesn't look that great either even though it had a big jump up on that news that you discussed With Elon Musk it bumped up 50 points from that But it's still hanging and that stock dropped today and when you have the market at new highs And you have these these auto companies like General Motors and Tesla that are trading lower. That doesn't that doesn't look good I wouldn't say that I buy either one of those stocks right now Yes, it might there is a decline definitely from the last quarter records But typically the best time to buy a car isn't into the end of the year winter period That's when you get the best deals So there we may have some different numbers come the end of the season here Let me ask you a little bit more on Tesla and you know look they were He was sort of the you know the golden child and he has been he's got SpaceX He's got all the things going on and and but he was constantly upset by the Shorts by the guys going short on the guys and gals going short on Tesla saying that it wasn't going to make it And then he issued that tweet saying that the funding was secured Which it you know the sec found there was no of funding secured which is why they they went after him But had that not happened Melissa You know they had the production problems, but now that they've overcome that Do you think had that not happened and he wasn't you know? Smoking something to Ferris on TV not long ago Wouldn't that have really put Tesla stock in for lack of a better phrase the driver seat Right they had this huge production number over 80,000 cars of this is the news that came out that created the bump up in the stock I think if he hadn't said what he did or tweeted what he did then maybe the stock would have held on it could have been back up at The highs even today the way it straight is nowhere near the highs the previous high in Tesla Which it retested after that tweet before they realized you really didn't have the funding was around 387 So that's we're far off the highs today. So yes We this the stock itself would have performed better I believe had he not had this tweet and had he not had these issues and clearly it cost him personal money and it cost This the company money too because they had to pay the fine Hopefully this is the end of it and it's over and done with it They can just move forward to continue with production and and have a good quarterly earnings report at the end of this year, too And real quickly Melissa when are we gonna I thought we had gone over? The the 27,000 I was looking earlier and it was so close But what's your prediction gonna happen tomorrow the next day next week? What do you think? Well, here's the thing and this is you were talking about the ACON that's coming out on Friday morning. Don't forget the political stuff Bart This is a big couple of days here for politics in the United States and with everything It's happening with the Kavanaugh hearing So I think it's there's a two-fold the numbers that are coming out on Friday The market retesting the highs are going over the highs in the down retesting the highs at the SMP And plus you have all this political hubbub that's going on So anything could happen the next two days Thursday and Friday in the UMS markets could be a very volatile period Meaning we could have a big move up or we could drop off here after this big move up because I don't really know the outcome of the Numbers Friday, and I don't know if they're gonna confirm Kavanaugh or even have the vote by Friday Which they're planning on doing but who knows if it'll happen The always informative and entertaining Melissa Armo to see all the stocks which thanks Melissa. Good to see you Good to see you


Okay, so now I open the floor for questions. Thank you, thank you for a very interesting discussion. Okay, so my question is that, you know, I mean, I'm hanging down with the World Bank, right? And, okay, we work a lot with microdata and we understand that, you know, there can be like inconsistency, right, for the same country over time. For example, South Africa, for Vietnam, we also have a lot of inconsistencies over time, right? And of course, I mean, when we look at across-country analysis, then of course, we also see that as Carlo mentioned, right, some countries, we have a lot of consumption, maybe mostly for lower-income countries, but then we come to lack, then we have mostly income data, right?  We have here, we have new database, and then we have some, even some companions, I mean, to it, as you said, and then the Paris School of Economics, right? I mean, top income inequality database, and then the revised database, the World Bank, the PIP database. So, my question is that, what do you think, say, for example, when we look at some countries and then we see some inconsistency, right? For example, if we look at Ghana or if we look at China, right, we see only different estimates from the different databases, which one should we show? Or do we have to make a decision that if we use one main database, then we have to stick with it and we just ignore, you know, the other databases? So, yeah, any advice, I mean, guidance on that would be very much appreciated. Thank you. Maybe we take a couple of questions and then you answer. Any other questions? So maybe you can start answering. That's above my pay grade. Any of you want to take the first break? I think his question was about the fact that if you look at all the different databases that we have, there are differences. Which one do we choose? Basically, he's asking for advice, right, on which one to use. And I honestly wouldn't be able to give that advice. My suggestion would be that, you know, as economists, when you're doing all these analysis, you would want to check the robustness of your results, right? So I, if I'm doing any inequality research and, you know, there are so many databases, I would definitely use all of them and then, you know, put in a caveat or maybe try to understand how, you know, the different databases actually measure different things. So if you look at the case of Ghana, for instance, and if we compare the income inequality that is reported by the companion and what we have with our national database, we can clearly understand from the methodology that they used, we can provide a reason, right, for why there's that difference. Because Ghana was never part of that database. So it's more like using a regression to predict what Ghana would be, given that, you know, it's a country from sub-Saharan Africa, right? But then we know that countries in the region are very different, right? So in that case, that would be the reason for this difference. So I think the key here would be to understand how the different databases measure these different, you know, the same income, you know, measures so that that would help you to explain the differences. Other than that, I wouldn't be able to, I would think, I cannot sit here and tell you, okay, use the UNU wider database and forget the, you know, the World Bank database. I wouldn't be able to do that. But this is my advice or my suggestion. Thanks. Yeah, so maybe to mention also, I think one thing is to look at the inconsistency. For example, when you talk of Kenya, when you look at the three, for example, the three measurements that we have, that is, for example, Asia and also the, the, the, the, our, maybe the, the, the, the, the, the original. You find that those two later, those two are more like trading together. But then you want to look at how it was with the companion actually constructed. And in here, you'll find that you want to go into your data and see whether do you have those kind of particulars that perhaps were considered in there. And for example, in our case, we found that most of the information that we missed could have been partly what could have caused that kind of a scaling effect that we saw. But in terms of the trading, you see it's like the, the, the, the same, the same measurements actually giving the same trading. So in a way then perhaps as mentioned by Monica here also, the robustness of the, of the data that you have does it really speak to the, to the kind of issues that, to the kind of differences that you are observing there. But again, I think I don't have that. I can't really say for sure that you need to choose one, but I think it's important that you look at those which are more, which are looking more consistent in terms of the measure in terms of the trading. Thanks. I think that one's being asked to make a judgment call as well, right? So it's like a wood from the trees issue. So in South Africa, for example, we've got no database says we, that we've, that we don't have a high inequality that's off the charts so high that, that everything that people worry about, about inequality will, will permeate that society. That's the level sort of issue, right? The inequality doesn't change that quickly. And so what's the big picture then? The big picture of the trends is that it stayed high. It stayed high over a very important part of our, of our history. An important, of our sort of democratic era. It's remained high. That doesn't mean it stays the same, but that's our job to, to make sure that the, you know, that the two points are in the mix here. One that, that inequality hasn't, hasn't declined. And for a while that was a, a site of struggle with our government. They weren't very comfortable at all with us measures saying that. But, but come 2011 or so they wrote it into the national development plan as a fact. And then said, okay, what are we going to do about that? Now that's our job, right? I think, but you've got to get that big picture level right. And then, then it turns to the texture. Because if you're going to then give further advice about, okay, what are we going to do about this? You, you've got to bring an understanding. So I guess that's, that's my answer. One of our roles perhaps is to prevent people, you know, so if there's a, if somebody's favorite database exhibits some quick, some quick change in inequality and either down or up, somebody's going to be happy with that. Now, is that really true? And should that be fed in as the main point of the narrative? That's a very important role, I think for, for all of us. And it squares with the whole texture of the inequality. Okay, thank you. Finnta from the University of Copenhagen. I cannot simply resist not, not to try to add in a little bit here because I have had some experiences with sort of these types of complications that arise when you're sitting there with different databases and so on. And the first point is that there simply is no substitute for getting to understand what are the underlying assumptions, what are the potential reasons that particular databases have been put together in particular ways. And then maybe you do want to, when you have defined what your specific purpose is, then do look around and see and for example discover, ah, Professor Steven Jenkins from London, who is one of the most informed, bright, absolutely on top of this, has actually written a paper that's published on comparing the different databases where he actually gives advice on what you should use and what you should not use. So, I mean, now, unfortunately, this is older versions and, but I mean, there's still some quite deep insights in that. And I mean, just to give you one provocative example, I mean, one of the things that we, and this is now a while back and things have evolved, but I mean, some of us could really worry it when researchers started using the so-called SALT version, the so-called SWID, of the WID database. Why? Because they had basically plugged in numbers, the missing values had just been plugged in from an algorithm. So that in built patterns in the data, which then actually affected the results. And this actually was the database that the IMF then used when they did a number of quite influential studies that have been published of our journals and have been very influential and have certainly been changing the policy debates, but the question is whether we as researchers are happy with using what is clearly, what would I say, a dataset where you have inbuilt through an algorithm connections in the data which may not be there in reality. So I mean, the trick here is to get to understand what has actually been done to understand what might be the particular institutional interest that might lie behind a particular dataset, and then really get to understand that. And Stephen Dengler's paper is still very worthwhile reading to come on top of these issues. Sorry, this got a bit long. Thank you. But there are other people. Thanks Carlos. Thanks. Yeah, what Finn was talking about these comparison of databases, the paper by Stephen that you're talking about was in this special issue that Nora and I edited, and I think it was an interesting attempt to compare these compilations. And I just wanted to take this opportunity to say that I think WID, particularly under Carlos' leadership here, has done an amazing job in reacting to some of the critiques that were made in Stephen's papers. And I won't even comment on SWIT. I completely agree with Finn. But my real question to you guys is just to tell you a little bit about the Latin American example and then ask you whether that's the plan for Acer. And maybe I should know that already. I apologize. But what happened in Latin America was that there were all these different national statistical institutes producing the surveys, much as you have everywhere else. And then this one university in La Plata, Argentina, right? Sadness. Well, the University of La Plata. A couple of people there created this little center with a small seed grant from the World Bank where what they did is they had a lot of PhD students and they worked on the data collected in Latin America doing a soft harmonization. Not quite at the least level where variables are harmonized consistently, but at least some kind of harmonization on the income side. And they put it out as a comparable thing. I think you referred to this earlier. And they had a deal with the World Bank, which means that Povkaunets, which is one of the series here and one of the series in WID, uses the Settlers data. This meant that what Settlers did effectively means that what the data they get and treat is the Latin American data that predominates over the international discussion. SEPAL still has its different ones and so on. So as I listen to you guys, the question is, and again, I'm sorry, maybe I should know this already, but is this exactly what you're doing? Is this what you're planning to do? Is getting these deals with all these national statistical institutions, bring them in and harmonize them in this way and create... That's the plan, right? Because if that is the plan and also I wouldn't minimize the importance of as a former staff member, we have Hayan here who's a current staff member, but as a former staff member of the bank, if you get the bank's experts, which are serious people in the poverty global practice looking at this stuff, if you get them to look at it with you and say, okay, we're going to take the Povkaun data for Africa from these guys, then you are going to be in the Settlers position and you're going to be basically in business. Sorry. Hi, thanks. I'm Marcus Yanti from Stockholm University and this is a question which is directed to any of the panelists. Do you have a question, then, kind of follow-up comment? Do you make use of national accounts data in kind of standardizing the series across time? It strikes me that, for instance, one of the uses for that after-suitable kind of weeding out of different pieces would be to, for instance, the growth incidence curves that you get for Africa that should essentially coincide with household sector income growth across these countries. So I'm not suggesting kind of trying to replicate any distributional national accounts and also not suggesting that you think of national accounts as being God's final truth on income growth, but there is, at least in some kind of... There are pieces of information that can be sifted out which can be helpful in figuring out if your standardized survey results are being consistent with the national accounts numbers. So the question here is, do you make any use of the national accounts in doing the standardizing? And if you don't, then I'm kind of suggesting you do. Well, I just have a one additional comment, maybe also another question. You know, it's great that on the discussion from Fin, right, and from Chico, and from Makazanti, very, very helpful. Also from the panel, right. But then my follow-up question is that in that case, so let us say, you know, coming from the ground, right, from the local viewpoint, well, I guess you will know the most about South Africa than on the bus, then of course you can benchmark the data for South Africa, you can put your finger on whether the data makes sense, the chance makes sense, right. But then, you know, but then from an international viewpoint, from an across-country viewpoint, maybe what makes a lot of sense, right, the theory makes a lot of sense for a particular country, but maybe in terms of cross-country comparability, you know, it may not be so, right. So I wonder, you know, maybe can you comment a bit on the chat, you know, between like nationality, I mean of the data in a way, and then, you know, the internationality of the data, right. So that we have, you know, we can bring it to you guys for more comparison. Yeah, thank you. Okay, thank you. A lot of questions. Very short time. Who wants to answer? Maybe. Yeah, so maybe to reflect a bit on the national accounts, perhaps, of course, we've not used the national accounts, but we have used something very close to that in the use of what we call CEQ, where you use, of course, some national account numbers and also survey data, and we are, in that case, it's like we come up with an income concept which is comparable to some extent with a companion. To this extent, maybe we are able to compare that with a companion, and to some extent, then you could say that the CEQ was, which is of course an income kind of measurement, was very close. So to say, with the original video which has been using a consumption per capita data. Okay. Yeah, so I'll start with Chico, and I mean that's the dream, right? And it was written into the original proposal when ASAP proposed itself to the African Research Universities Alliance as the centre of excellence on African inequality and poverty. And that, yeah, that is still the aspiration. And so under who's funded our sort of, AFD funded our first few years of work and with a strong commitment to exactly that, it's, yeah, maybe we need some lessons in political economy as well from you because it's, I don't know how that came together, but in the African context it sounds almost miraculous. Why we proposed it was because there is a data centre at the University of Cape Town called Data First. That's where Taquanisa worked for a long, long time. And that's been doing exactly that for South Africa and like getting harmonised weights so that you can do comparisons over time, et cetera, et cetera. And it has the aspiration of doing that into the continent. But, yeah, so we need to find, yeah, I think your point about needing to integrate in with the World Bank and things, maybe that's the way to push forward a bit. We have that aspiration and this particular project actually was extremely helpful to us as well because people don't naturally dive into these issues of data quality. They just don't. And so I think Acer did quite well in that regard, but you can always do better. And I think this project has pushed us to do better. It's in our genes at the University of Cape Town. But we do, we run surveys and stuff. That's not uniformly true. And so you need some vehicle to set up the institutional capacity. I guess what you're talking about is a much stronger central role and I think that is the way to go. Actually, we spent a long time building the capacity in each of the nodes and I think that's incredibly valuable. But somebody's got to run a project like this. So that's a quick, yeah, that's our dream. So yes, thank you for reminding us. There is some work. We have done some work in the distributed national accounts sort of framework, but not a lot actually. And some of it, obviously there was a bit of an allergic reaction in a sense because at some stage, there was all this using in the growth, cross-country growth equation literature. There was use of household surveys for the distribution, but then some sort of reweighting around some national accounts means that was doing a lot of violence to what was going on. So that wasn't a good start on the continent. But your point is extremely well taken that we need to use the data that's available in the sort of triangulation. I think it's an excellent point. And we'll have to answer your point later, I think. But yeah, thank you very, very much. Okay, thank you very much to all the presenters.


Hey everybody, welcome back to the first summer haul edition of A Week in Gitem. Unfortunately, a ton of packages are missing, so I will do a part two to this video, but technically it does count for the haul of June 2020. That was a very long intro. I don't know why I did that. Welcome back everybody to another exciting episode of A Week in Gitem. Gio here, and today we're going to be going over all the cool stuff I acquired in the month of June 2020. Like I said at the intro, I am missing a bunch of packages, some really cool items, some semi-grails, personal grails I should say. It was a really crazy month, so hopefully you do stick around in this channel to see part two which should be at the end of July or maybe at the start of August. I don't know, but just stay tuned for that. Thank you everybody for tuning in. If you would like for me to review any of the products that you're about to see, let me know in the comments section down below and I'll add them to my infinite Q-list of things. But yeah, what that usually means is that I'll place a priority on it and I will get to it as soon as humanly possible. Let's start with anime. I've got Fire Force Season 1 Part 1 here. I love the manga, made a video on it on this channel, and the anime was just really awesome and one of my favorites from 2019. I can't believe we're already on Season 2 this year, but yeah, this hollow foil slip cover is really awesome. I do like it a lot and I cannot wait for part two with the chipboard box and the extras and all that stuff because I love me a good art box. So there is Fire Force, David Production just killing it with that series. Tokyo Godfathers is the next one from Satoshi Kahn. I love Satoshi Kahn and to finally be able to own almost everything in Blu-ray is exciting. We're missing the memories, short films that is coming out soon from Disco Tech if I remember correctly, so I'm very excited to own that piece for my Kahn collection and of course Paranoia Agent, which you know that Funimation recently acquired the rights and they're streaming and airing it on Toonami if I remember correctly. So I'm very excited at the idea that that will get a Blu-ray release soon and I'll have almost everything Kahn related, so really excited about that. But regardless, Tokyo Godfathers is an amazing wonderful movie that I cannot recommend enough. One of my favorite holiday films of all time. Moving away from anime, we go into regular animation. I am sad to see this line go although they're still going to be pumping out more DC animated original movies, but still the animated movie universe ends with this film just as a dark apocalypse war and I used to review these movies on the channel. I stopped doing it because I focused the channel more on anime, manga, and graphic novels, but if you want me to take a crack at this then I'll give it a go. Maybe I'll do one big video with all the movies combined. Next up, live action wise, I got the 4k edition of Parasite, one of the best movies from last year, and I got the steelbook edition of Birds of Prey on 4k I should say. It doesn't have the label, but it is the 4k edition and that is it for Blu-ray movies. I do have some video games actually. I picked up for the Switch Clubhouse Games 51 worldwide classics. I've been loving this ever since it was announced for the Switch. I've been eagerly awaiting it and I've been having a blast playing all the games. They're classics for a reason and to be able to play them digitally or on your console if you will. It sort of breeds new life into these classic games and playing with another person or with the computer, it doesn't matter. You're still going to have a fun time. For the PlayStation 4, I got Persona 5 Royal. This is the steelbook edition and this is a really nice steelbook. I love this so much. I am really enjoying this game. I'm currently playing it. I think I'm like 20 something hours in and it's been really fun. I enjoyed going through this anime simulator if you will. Finally, a lot of you have seen this before but I'm going to highlight it anyways for Xbox One. I got The Wolf Among Us from Telltale Games because I'm doing Fable Fridays and reviewing all the Fable Oversize Heart Covers. I kind of want to end that series if you will with a review of the video game. Maybe highlight some gameplay while I'm talking. I don't know. I'm still figuring things out but I do plan on making a video about this to complement the Fable series. Manga. I was supposed to highlight a bunch of manga but this is the only book I have with me at the time of the recording. This is the final volume of Ran and the Grey World of Volume 7. It's a thick one which is always great in this house. So yeah, I'm really excited to finish off this wonderful series and make a review, a series review on Ran and the Grey World. So here is Volume 7. Let's go into graphic novels or comics. This is a long time coming. I've always wanted to own the Heart Cover Edition but it is extremely out of print and pricey online so I got to the next best thing. This is the Battle Chasers Anthology. All nine issues if I remember correctly. Yeah, nine issues plus the Prelude and Battle Chasers portion of Frank Fazzetta's Fantasy Illustrated issue 2 cannot recommend enough if you like Joe Madd and if you like just boisterous, fantastical action stories from the 90s. You're going to have a fun time with this. So yeah, lots of definitely a lot of manga influences in this but I'm excited to go through this because I've never actually read the whole thing. I think I've only read like one issue back in the day and that was it. So I'm really excited about that. A few, I think a year ago I got Skyward Volume 1 from Image Comics and I sort of forgot to get the rest of the series so I remade that and got Skyward Volume 2 right here and Skyward Volume 3. Next up, a book that I had previously in my collection and I foolishly sold it for some unknown reason. Now I decided I kind of want it back and at the same time collect the entire thing and it is from one of my favorite fighting games of all time from Udon. We've got Street Fighter Classic Volume 1 Hadoken and yeah this thing is pretty freaking badass. I sold this hardcover a long time ago and I believe this is the only one out of the whole line that's somewhat just a tiny little bit out of print. You can still find it. It's not that difficult to track but you know you always want those nice discounts on websites like Instock Trades etc etc but I'm really excited about this and I already went ahead and picked up the rest of the classics and I'm moving on to the other series and yeah I cannot wait to highlight those in a video and talk a little bit more in depth about it because this is a really cool comic book adaptation of a beloved video game franchise and last but not least this is the third oversized hardcover for Black Science from Rick Premender. This is the DCDS variant so it doesn't have the logo and everything but you can see it here on the spine. All right let me flip it around. There we go. Perfect. A brief moment of clarity. I'd love this. I cannot speak highly enough of Black Science, one of my favorite image series and I cannot wait to read this and talk a little bit more about the ending and the wonderful Matos Galera art. Everything about this is just really badass to me. Think lost in space but instead of space it's the multiverse or the onionverse if you will. You know you've got a group of characters that get stuck and they have to find their way out and it's a whole bunch of stuff that happens in this series but I do want to make a video eventually on Black Science. So that is it guys that is the first part of the summer haul 2020. I was missing more books, more movies, anime, manga, more of everything basically so I hope you stick around on this channel not only for another haul video but for the content I make whether it's comic, anime, manga, reviews. I always try and put out something every week for you guys so hopefully you stick around for that. Thank you so much for tuning in. Thank you for liking, commenting, subscribing and being a part of a wiki geek them. It truly does mean a lot. Subscribe if you can and hit the bell icon so you know when new videos pop up. There's a merch store linked down below and if I remember correctly as of this video stay tuned for this upcoming Friday for my next installment of Fable Fridays where we're going to talk about Fable's oversized hardcover volume three on a live stream so stay tuned for that. That's going to be Friday at 9 p.m. Eastern Standard Time so hope to see you then. Thank you everybody for tuning in. I've got to go. I will catch all of you on our next episode.


I'm sure you've all seen the simple parallax effect you can do like this where the text is moving but the background isn't. Now it looks all right but it has been done before. So why not step things up with just a little bit more CSS and create something where the background is moving but the text is fixed and then hides away in a really fun way. You want to learn how to do this then that's what we're going to be covering in this video. Hello my friend and friends thank you so much for coming back for yet another video and just in case you're new here my name is Kevin and here at my channel I help you fall madly deeply in love with CSS and one way I think we can do that is by making fun and cool things so let's dive right into it and take a look at the code that we're starting with which is very very simple and not very much where I have a header with a class on it and then my header inside of there my h1 right there now this does not need to be a header with whatever you just need to have like your parent and then the text inside of there but right now we don't have very much going on with that so in my styles really quickly we can add in some styling just to make this a little bit bigger basically I'm using a clamp just to give it a really big font size that is responsive I have a text transform on there font weight 900 we just need some big text then on the parent of that we need to add the background image that we want to be using so background image however you want position it if you feel like you need to position it and I added a min height and some padding just to give it sort of the space that it needs to live the one thing that's kind of important for this if you're doing it is to make sure you have like a space underneath like whether this is buildings whether it's trees whatever it is you need to have like the room for the text above it generally so the five rem of padding but then that min height just does build in a little bit of an extra space there if ever we're on a smaller screen the text is wrapping the space can grow to accommodate and that is the basis of what we need to get started with this ideally for your image you're going to have something that does have like a foreground and background and the cleaner the lines are in the foreground the easier this is going to be because we do need to create an svg mask for this so I went and used figma to be able to do this and we're just going to fast forward myself creating this mask right here now before creating the mask itself in my preferences I am setting things up to be turning off the snapping behavior because that just really makes it hard to do for this type of thing you probably want to turn it back on when you're done though if you do use figma regularly and then basically I traced the shape that I want to have I did make a mistake along the way because I should have traced the sky because the important thing here is we need a mask or we need to like draw a shape that is the area that will be visible where we will see the text and not where we won't be seeing the text the other thing that's really important is in figma you want to make sure that your entire canvas area for your svg fills the original size of the image that you're going to be using and that's just to be able to get things to line up and everything so because I chose the wrong area it was a little bit more work but basically you want to have the top area being full and then the bottom area being completely transparent you can use like their pathfinder tools to make these different layers which I did here I did some copying and pasting just to have one section that's my sky and one section that's my mountains that's basically what you need one top section one bottom section and then the bottom section you just make it fully transparent at least that's how I figured the best way to do it is take the two of them group them together and then you can export that as your svg in this case my mountain was also very bumpy and that made it a lot more work because I really had to zoom in and be very careful with my path the straighter the lines the simpler it is the easier this is going to be and if you do need something that's actually like faded out like I don't know you're doing something fluffy or soft edged then you'll actually need to do this probably with a raster software like photoshop or maybe gimp but you can be used masking to do it and then you can export as a png instead with transparency but of course that makes for a much heavier file and then what do we do with it well it's not that bad we just come in and we need to wrap this in what is going to contain our mask so here I've given my site hit our mask and then I have my site title inside of there and we just you just need to have that layering on there so the first thing we can do then is to apply this mask or actually before we add the mask in on the site title here let's just come and give this a position of fixed and if we do position fixed you can see it does shift a little bit and it's going to scroll and move with the site and this is very important this is sort of the key to everything working here so we have my position fixed and then I'm just going to do a width back to 100 which is going to let my text align center work once again and there we go this is scrolling with my site and again that is sort of the key for what we want now let's come in here and we're going to add our site header mask and on the site header mask let's let's just start by doing we're going to give it a position of absolute and I want it to be positioned within my header here so on the header I'm also going to add a position of relative just so this becomes the containing block and then here I have my mask that's going to be in there now I'm going to give this an inset of zero which is a top bottom left and right of zero it's a shorthand for that and then just for now I'm adding this background on here so we can see that it's overlaying exactly and here if I just change this to like a 2 rem you can see it sort of shrinks it in so by doing a zero there it's filling up the entire space that my site header was which is filled up with that background image just a really quick aside here I did cover masks in more detail in another video and when I was researching that I found this effect by the channel red stapler I don't know if he's still making content it's been a little while but I'll link to his original video down in the description below as well as his channel just because he did inspire this video that we were watching right now and now to add the mask in it's nice and simple we can just write mask and put in the url that we want and it's not really going to work right away if you're following along but don't worry there's a very easy solution and this is just like a background image so I'm going to go to my images and I had the mask that I saved so that was my mountain mask dot svg and when I save nothing happens and that's because I am running chrome here and the chromium browsers are awesome and we still need to prefix it and web kit when you're prefixing you might not see it too much these days always use the first one the prefix version of the top and then the regular one at the bottom now because my image is really big we might actually see that this is going to be you don't see a difference but look it's actually disappearing when we get to here now so that's you see the magic of what's this is sort of the idea of what we want to do but I need to make sure that my mask is lining up with my image and basically all we have to do is add this mass position and this mass size here which are the same as my background size and my background position that are here as long as those two values match these two values you're perfectly fine you could create a custom property there I guess to to set that up for each if you'd prefer and of course I'm using chrome so I do need to get these so let's just copy this so you know for it to actually work we need to prefix it so we can come on both of those and just add the webkit prefix and there we go you can see the red has disappeared from there and now if I scroll down the magic happens and it hides behind my mountains so it looks pretty good my mask is a little bit rough around the edges in a few spots the one thing I will say is if you're when you're creating your mask if you're having trouble with it or if you're not sure stay a little bit like on the darker side instead of the lighter side if you have a color difference because it's going to make it less noticeable when it's like if you have a little bit of a bad section in your selection that you created and the nice thing here is obviously I have this red on here I could turn the red off completely the only issue is then like sometimes your text might be a little bit hard to read but we have this natural overlay that we could use here so I could just put this to zero to be black or if my text was black I can make this white and now if I save it darkens my image and if I want it darker just make the opacity higher and I can control sort of that type of thing and I can get this really fun cool effect going on right there now if you'd like to know more about image mask I did cover it in a bit more detail and look at more things that you could do with it that are not parallax related in this video that is right here for your viewing pleasure and with that I would like to thank my enablers of awesome Jan, Johnny, Michael, Mr. Dave, Patrick, Simon and Tim as well as all my other patrons for their monthly support and of course until next time don't forget to make your call on the internet just a little bit more awesome