Dwi'n meddwl. O gwrdd, mae'n meddwl o'r llwyddon arall o'r clwb yma. Mae'n meddwl o'r gwleidio. Felly mae'n meddwl o'r cyffredinol o'r 2022 o'r brand o'r cyffredinol sy'n mynd i'r llwyddon. Rwy'n meddwl o'r cyffredinol o'r cyffredinol yma o'r llwyddon o'r clwb ymlaen. Mae'n meddwl o'r cyffredinol o'r cyffredinol o'r cyffredinol o'r plan i hefyd. mmh, mae'n meidio i chi i mor eisiau unrhywitiaeth o bobl dda. ac yn caelael gwneud i cerif sefydl hyn годаeth llawer fel rhaid i wasbann yma i gwneud eich as могли heith gwrdd. o'r blaen Pliser o'r llwyddon a'i capo amngïEm i'rchteinid y rhywbeth Rhalein gan hefyd neu wedi cael ei ch schooling Cael y cael rhoi hyffordd, amdano ar gyfodol gyda'r phi awdurdod o'r fregyn amdano ddim gael ar gyfer yn ddur Roeddwn i'n waith i'r gennym iawn. Ond rwy'n deall fod wedi'i cyfaint o'r ddigon i chi'w ddechrau yn sylwr gyda hyffordd Wrtho'r populartiau a ddim ynddo i mewn gwirio i'r cyfartiau a dwi'n cael ei wneud, mae'n dwľodrachol amser o'r ddigon i'r ddechrau. A fawr i'n hefyd, mae chi'n cull i gyda'r cyfanydau newid ar gyfer hyn oedd yn cyfaint, o'r ffordd o'r cyfnod, y penllun cyfnod o'r ffordd o'r ffordd o mi yr ydynt? A dyna'n dwi'n meddwl bod yn ei gael y ffordd o'r ffordd, ac mae'n gweithio'n gwybod i'r ffordd o'r ffordd. Nawr, mae'n meddwl hwnnw'n gweithio'r ffordd o'r ffordd o'r ffordd o'r ffordd o'r ffordd, ond mae'n meddwl y ceisio ymddangos yw'r cyfrannu cyffredinol y mae'r gweithio'r ffordd o'r ffordd. oes wrth y tro fl rail. Sut y oedd voly defens sy'n clwb hyffaith yn ni will이 a s Jo o'r digwyddau – a peth ti pethau roi gyllug hydol. Aberth gynnwys gwy modal noble llwsfynwyd o un o'r clwb, ac mae hyn i'r cy sorcerỹ cafys Sportir require fel Cymru, byddwn neidaf pho Ewf yn blaid, os rwyf wedi eu chyd gol shopri ag fyddwch гynllwch, a eu chy brom yn can compañi hwn. option ydy, ac mae'n ameswn. Yna'r clwb hynny o'r maesol. Mae'n meddwl yn clwb o gael 55 o fwy o'r llwyddo yn oed, ac mae'n cael 3 o'r fwy o'r moddau sydd ychydig. Y ddechrau'n gwybod i fi, mae gennym ni'n gwybod fel yma, mae'n gwybod, ond mae'n gwybod fel yna gwybod fel yna gwybod, ac mae'n gwybod, yn ymddangos, oherwydd mae'n gwybod o'r cyflau, mae'n gwybod eich gwybod fel yma. yna, yna efallai hynny. Yn y bwysig yw'n gweithio cyngor yn cyfnod gyda'r llif ac o'r llif yn ychydig ychydig yw'r llif ymlaen ei fod yn cael ei gynhyrchu llwys. Mae'r bwysig yw'r problem yw'r bobl yw'n ei wneud gyda'r hynny'n gwybod y gallwn y bach. Yna'n gwybodaeth ychydig yw'r gwirdol fath o hollwgol, ti'n gallu gweld yn agon o'r fath o'r unigol, ac yn ni'n gwybedd ychydig yw'r gwybodaeth. mae'n ddysgu'r dŵr yna yn ei gynnwys llyfr ac yn ysgol. Felly mae'n 30 oed a'r 55 oed yn piadau mae'r yn yma, mae'r cipau maesol. Felly mae'n gwneud yn cyhoeddiol ar gŵn yma a yw'n amser o'r tynnu cynnafod yma ac mae'n gweithio'n gweithio ar gyfer yma, dyna'r gweithio'r gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio. If that kicks on, that could be quite good. In fact, it's very good. That's some better than I could probably do with any other wedge in the bag. What I like about it, it even grabbed a little bit, but we got exactly the kind of ball fly we were looking for, 20 yards worth of carry. Now arguably the first thing I've got is by having that minimal loft, I don't even know whether I can clear the lip of this grass bunker in front of me. But we've still got another hollow, another 10 yards further on. So we're going to set this one a little bit wider and see what happens. By doing that, we avoided the obstacles in the way and to be honest with you, I probably take that and more than happy we're on the green. I still think both of them are real good options, but you see where the limitations of that stronger loft in the ping chipper starts to cause you some possible problems. Now, one other thing I've really picked up in today's video is something that I actually touched upon in the first review of the chipper. And that was the idea of getting familiar with one particular wedge in your bag. So learning how to play this from a number of different yardages, just getting used to that same address position time and time again. And in trying to execute two different shots from the same place on many occasions with these two different chippers today, I've noticed that I'm struggling to switch between the two. So in other words, the lower ball flight on the ping chipper doesn't need quite as much of a swing. It's very much fires off the face a little bit different than what the macell does in popping it up. And I'll try not to demonstrate that now. A little difficult one and a bit of right to left. So we have to take quite a bit off the length of swing with the chipper. Is that enough? Now even that's fired on a bit. It's one of the things that you've got to get used to with the chipper. It's got quite a lively face to say the least. And it does need a little bit of work just to get. I am in playing it for a few rounds and already I need to get back into that swing of things. But you'll notice again, slightly different length of swing. And you'll see how the ball pops up totally different and I've now pulled up short. So switching between two of these. So that says to me that I wouldn't want two chippers in the bag. Even though we've said macell offer this club in four different loft options. I'm not sure I'd want four. I wouldn't want three, two. I just want one of them and I want to get really familiar with it. I'd want to get used to it in terms of that length of swing and make sure I get consistent. We're just one of these clubs in the bag. Now versatility is key in this department to be quite honest with you. I think that if you're going to put, we've already said about putting the ping chipper in the bag. You're effectively taking one other club out. I want to make sure that you can use this in as many different scenarios as possible. And ping sort of limited on their website suggesting 40 yards in. We're 70 yards out right now and we're going to see how this thing performs. Because we did give it a go on the initial review video at a longer distance. And to be honest with you, it performed a lot different than I thought it would. But then how does it compare to when we switch over to the 55 degrees in the macell? That's a pull. But in terms of a distance. Well that's certainly gone to the back end and flew that just a little bit far. But like I said, a pull with the swing itself. But you can still see it's a fairly flat trajectory as you would expect from that loft. And that would have had to been pitched up quite a way short for it to stop on the green. Let's try it with a macell 55 degrees. That's just a different thing altogether when you start to look at the longest shot. That even had a little bit of spin check if you've just seen on that on the green. So again, different ball flight altogether. And you start to see why I initially said that for me ping perhaps need to start looking at adding additional lofts in that chipper range. Now what's interesting is I'm playing a little separate video today which is a bit of a match with some irons. And the ping chipper is in that selection of irons to choose from. And also there's multiple wedges in that bag as well. But interestingly enough I find myself in a position like this. And it's still the ping chipper that I would actually reach for. Would that be a bad move?  And that's why I just cannot seem to do things terribly wrong with this ping chipper. Yeah, it's never going to be that good or not always going to be that good. But it just seems to me that more often than not it manages to produce a better shot than I possibly could with an array of wedges that's available to me. Right, well the big noticeable differences and one thing that we picked up on the ping at the time when we did the review was just how it sits at a dress. It's got a very interesting sort of triangle I suppose you call it. And it's very upright and almost gave you the kind of sensation of a putting motion. So when you address the ball it's very much like I said a putting stroke that you look to emulate. Now what I've tried to do is lay the two clubs flat side by side. And you'll see the macell has got a sort of a forward lean if you like. So again it adopts a different sort of position more like what you'd expect from one of your wedges. So that's kind of for me what we talked about in the initial review where it was a simplicity of the ping. And a lot of people said oh well why not use your wedge in 9-9, your 8-9 or wherever it is to produce the same shot. And arguably yes you could. But I think the shaft angle and lean was very much similar to what you're seeing in the macell. And the noticeable difference was how you addressed the ball with that ping chipper. And I think that was a real positive as well because it put you in the position every single time. And that continuity of doing exactly the same thing, being in the same position, was totally different than that of where you would address the ball with your 8-9-9. And it's also very different than how you address the macell product as well. I don't know if it's a positive or a negative but for me I really like the way that ping chipper sits when you're right behind the ball and you feel like you're in a very very comfortable position at address. So how do they differ visually? Well first of all the interesting thing is they've both got a similar sort of height of face and very much not like what you would see on a full wedge. The sole is very different on the ping in that it's narrow just like a standard iron where you've got that wide almost square rectangular shape if you like in terms of the width of sole on the macell. And from the back end they're very much a cavity back with some different kind of insert. I think it's fair to say and I mentioned it very briefly that when you pay £150 wherever the ping product is you can see you've got a quality build and a quality product. It's not so good in the macell but it's again very passable, there's no doubt about it. It's okay but there are noticeable difference in that sense. Then from a sort of feel perspective it's interesting because I feel like the ping's just got a little bit of zip out the face and it feels and sounds very good but it does fire out there a little bit and that's both good and bad in that like I said it's a bit almost helpful if you don't quite get it right but what you need to do is make sure you get used to that. Almost like when you're chipping with it, if you've ever chipped with a hybrid from around the green and you feel that little bit of pop off it, when you get used to it it's nice but in the first instance you've just got to familiarise yourself with it. So without doubt the quality build is definitely within the ping whether or not it's £100 worth of quality difference, well that's up for you to decide. Right so that's it, we'll call it a day. I think I've given you enough information as I possibly can and don't forget the idea of this channel is always to bring you this kind of thing which is options. We've got two very different price brackets here and one that some will be comfortable with, others will not. So what we like to do is provide you with some kind of choice. The macell product I said is a possible solution to the problems or potential problems that ping has. And they're not problems as such because I think what will happen is I think ping will further develop that chipper based on how sort of popular this first version of it has been because I think next year the likelihood is you'll see a ping chipper with a number of different loft variables and I think that'll probably be a good move because I do think it's a little bit one-dimensional and I do like the fact that macell offer the four different choices in terms of loft and I think it boils down to how you like to spend your money to be quite honest with you. There's a great value product in the macell. There's a very good quality build in that ping and ultimately I think you've got to not forget the whole purpose of both of the products is to make the chipping game a little bit easier and I think they do that without fail. And one last thing to mention, I think it's actually improved my chipping game when we've gone back to reviewing wedges that have been released of late it's actually given me more consistent and more confident strike of my wedges as well so it's almost like a training aid getting you back in a more confident rhythm to actually play wedges again. So that's my thoughts on it anyway. I know some of you have got both of the products in the bag so stick your comments down below, help your fellow golfer and give some feedback and opinion and let them know what you think. And as for me, I'm all done. Thank you for watching and I'll see you all very soon.


Hey everyone, welcome to Echo Calypso. You might be wondering what are the best buys for the store using your own money. Okay, so let's go through the store. I'm gonna be pointing out only a few because I'm setting this video up for the light spenders. Obviously, the whales can just spend anything, but for the light spenders that don't want to spend that much, but would like to at least boost their account to start. So I'll evaluate all of the things that we can, you know, we can purchase in the gold mall. This is a lot of money, guys. So first and foremost, I'll be starting with, I'm not gonna start with the hot one. So let's start with this one. These, of course, can be purchased with your own summon currency, but at this point, I am highly discouraging you to purchase anything except for the elementium to save your summon currency for your elementium, this one. So save it for your elementium. Your elementium is actually the one that you are using for summoning. Don't use it for any at this point because I'm sure you don't have enough. Save for your summons, save for the best or the cases that you need to save for that point right now. Do not save for anything else. Next is the outfits, tricky. The outfits are a big decision because number one, they don't come with anything else. It doesn't come with other freebies, aside from outfits, okay? So this one, I'm gonna say it's gonna be your choice, whether you're into the outfits of our waifus or you're not. So again, how badly do you need? How badly do you need these, these, what do you call these, these outfits, these skins? How badly do you want them? It's really up to you. It's kind of expensive, it's more than $10. It's around roughly 12, no not even 12, it's around $14 or $16 US. So again, I would suggest that you use the skin or you buy only the skin that is applicable to your case so that you can use it frequently. If you're not using a specific case, I suggest you don't buy it. But again, Zawa's costume or skin or uniform or whatever is nice. Audrey, not so much. I like Kiki, Veebies, not Kiki, it's Veevie. So Veevie also has one of the best skins that I've ever seen here. So both Zawa and Kiki actually, you can probably reconsider if you want to buy. So at this point, skins, it's your option. For the commercial contracts, I'm not recommending these. These are expensive, although some of them are, let's say for example this one. But it's not of great value. I'm saying basic contracts don't get, it's not great value for your special contracts as well, although you get a lot of stuff. But eventually, you can get these as you progress further. I wouldn't get these guys, they're too expensive and you can eventually mine these as you move along in the content. These ones guys, my tip for these is if you are in need of getting your summoning currency now because the batter that you want is available only now, you may get these. But definitely just get them when it's a first time double. Don't get them if they're not first time double anymore unless you have a lot to spend. This is my tip for these. Again, these are great value as long as it's first time double. And the last one that I think you guys should concentrate on getting is this one, the mining agreement. So you'll be getting daily rewards or daily items for these. So your basic one, you'll be getting 300 of these, your summoning currency right away. And your daily is 200, okay? So this is basically the lowest one that I am encouraging that you get. It's only around five dollars, more or less. But the one that I'm actually getting is this one. The expansion agreement. So you'll be getting 680, then you'll be getting 400 daily plus energy, two energy every day. So this really helps you in your progress. Okay guys, so we're moving on to the event tab. So we have the event tab is actually here. It's beside the hot tab that we actually just visited. So this one, you also have some buys here. So daily supplies definitely, you're getting that expansion. The daily deal, these are not of great value because you're gonna be spending this much or a little bit more on your monthly subscription. So let's regard this. Okay for the subscribe, I am not really endorsing this or I'm not really encouraging you guys to get this. These are just basic functions that should be available in the game, but they're letting us pay for it. So again, especially this one, the basic, the quick battle function, don't need this. I'd rather you guys spend this one on the monthly pack that I mentioned a while ago because this is also a 30 day subscription. So spend this on the monthly pack for your summons. The permission funds, again, okay, just a disclaimer, I got the permission funds, but this one would really depend on your budget. So I'm finished with tier one. Tier two is another spend at 840, that's a Philippine peso. So that's roughly around what $16 again. So this is if you are really, really ahead. So permission level, this permission level unlocking, and you want a big bulk of the summoning currency, then this can be for you. Again, it really depends guys on how willing or how far you're going to be spending. But this one, it's good value, but again, you'll be purchasing a lot, especially if they divide this between tier one and tier two. Combat zone, this one is also okay. I think this is also 840 pesos, but around $16 US. So this one again is good. It has great value, but again, it's a big spend. And the best funds as well is also great value, but again, it's a big spend. So those are, I think the last things that you should be worry about because again, these items are good, but require a lot of your own personal money. Be responsible guys, know your limit, know up until when you can spend and how much. And I think everything will be okay. I'll just leave it up to you. I'm just giving you my own opinion and why I got these. So more or less guys, that is it. So hopefully I have given you at least some of the tips on what to get and how much to or what are the best values in the store. And also for the event. So thank you guys for staying this far. Be responsible. Take care. Stay safe. This is The Warden and I'm out of here.


at the My Moodle page. Let's first log in as a student. My Moodle is a personalized page that can be served up to non-admins upon log in to the learning management system. You can see here for this student, this is their personalized page. It displays courses that they're enrolled in and anything of a time-sensitive nature. Okay, and then essentially a lot of things become a click away. So it's a very useful way to serve up self-learning management system to end users. To configure this, log out as that student and we'll come back in as the administrator. So via the front page, settings block, site administration, appearance, navigation, just ensure that the default home page for users is set to My Moodle. Bear in mind that this is not the default setting. So when you're done there, you would save and that will take effect.


Don't share your information with the narcissist. Don't share your thoughts about anything. Don't share your objectives. Don't share your accomplishments. Don't share your location. You should always avoid sharing any of this information with a narcissist. It can become very harmful or damaging to you and it's given the narcissist the capacity to gain an accurate and deep understanding of you and what you are trying to do. Then they can try to interrupt what you are trying to do by causing a disturbance or problem or they will try to intervene and prevent a process or activity from continuing or being carried out probably. If it has anything to do with your progression or development they will try to cause some kind of disturbance or problem to sabotage what you are trying to accomplish. You have to be very cautious around the narcissist. You have to keep things secret. You cannot reveal certain information about yourself or about what you are trying to accomplish. You might want to share it to get validation from the narcissist but they are not going to feel any pride for you. They are not going to feel any satisfaction as a result of your achievements, qualities or possessions. It's only going to make them more envious and jealous.  When you're sharing your thoughts and ideas with the narcissist they might treat it in a way that is apparently kind or helpful at first but really they are treating you condescendingly. They're seeing it as though they are above your thoughts and ideas as though they are superior to you. They don't really believe that you're going to accomplish anything. They don't believe in themselves so they don't believe in you. They act grandiose. They act impressive and imposing in appearance or style but this is only because they feel deficient or inadequate. That is why they are so arrogant. That is why they have such an exaggerated sense of their own abilities or importance. They have to act as though they are more than what they actually are. They have to create this alternate reality where everything works in their favour. Where however they want to perceive something is superior to anything real which might then be unfavourable to them.  Creating this alternate reality or fake world provides them with a false sense of control. Then everything can play out in the way that they would like rather than how it may play out naturally in the real world. They have to do this. They cannot be satisfied without having full control over you and everything that you are doing. They cannot be satisfied without having the power to influence and direct your behaviour at the course of events even if it's something that might be favourable to them. It has to be under their conditions. They are obsessed with control. They have to control everything so that it then produces an outcome that is more favourable for them. They don't care about being fair or treating people equally so when you share something with them that is favourable to you something that is helping you to progress or develop If they cannot have an effect on it or make a difference to it in some way they will end the existence of it. They will tear it down because they had no control over its progression or development and they had no control over the outcome or result. They need to have control over everything. If they feel as though they are left out or completely abandon you they will seize the support or lock after you or they will treat you with contempt or disrespect when you share this information with a narcissist they will either be envious jealous or full of rage or they will be completely detached they will act completely dispassionate they don't feel comfortable with anything that they don't have control over it causes some severe mental suffering they are so terrified of not having control that it makes them feel powerless and helpless this is why they manipulate you this is why they try to change your behaviour or perception through indirect, deceptive or underhanded tactics this is why they give you a mistaken impression or deliberately cause you to believe something that is not true or fail to admit to you that something is true they are always trying to find some secret or underhand plan of action designed to gain an advantage over you they are always trying to gain control over whatever you are wanting to do when you reveal any secret or private information to them they may act as though they are playing close attention or as though they are very concerned but underneath that they are mocking you they just see it as a joke or they are trying to figure out a way to divert your attention or prevent you from concentrating on whatever you are focused on which might be favourable to your progression or development they don't care about anything that does not include them they don't care about anything that they do not have control of and when you bring anything like this to their attention you are just reminding them that they are not as powerful as they think they are which then results in them becoming an envious, jealous and full of rage and trying to destroy whatever it is that you are trying to develop this is why you should not reveal this information to the narcissist thank you for watching I hope this video resonated with you please like comment, share and subscribe click the bell icon to receive notifications for my future videos if you would like to donate my PayPal links in the video description coaching inquiries you can email me at gmail.com thank you for watching and I will talk to you soon


Good morning. Good morning. I've been working large on the executive director of the Museum of African American History in Boston and in Tuckett, and I want to welcome you to the African Meeting House. This is a wonderful event to have here for several reasons, not the least of which is the cultural community coming together to help our leadership understand the importance of this sector and the work that we do within it and beyond. Amen. Yes. The significance of our creative impact, of our impact in preserving the past and moving forward into an incredible future depends upon the work that we do. When I look at the space that we are in, I can only think of the meetings that occurred here that were firsts. It is where the New England Anti-Slavery Society was formed by Lloyd Boyd Garrison and his anti-slavery friends. Because it is an African Meeting House, you might imagine that they were black and we think they were. The first 12 who formed that society here created a space in which they determined that they would end slavery in the nation. I think that they could end slavery in the nation. We can certainly have Boston live up to its cultural history and history. A place of worship, but gathering places and meeting houses were places for all kinds of activities. A school existed here that began in 1798. This building was built in 1806 after an organizing black community determined that they needed their own place to gather, not only for that church work and educational work, but I don't know to present Mozart, set to be the best concert of the year in Boston, held here with an all-black group of musicians and voices to go a long way. It also was a place in which several musical groups, colleges, women's activist groups came here together to be able to work together for a shared goal. As we know, we have come together over many years with a shared goal, and that is to have leaders who share our interests and will look after our institutions, artists, the children who need those institutions so much. So we welcome Mass Creative here today. We welcome Canada while here today and hope that you will return often. We love to partner. And now it is my pleasure to introduce to you the executive director of the Celebrity Series, Gary Dunnett. I just want to take a few moments to talk a little bit about Mass Creative. I'm very proud of the Celebrity Series, the Department of Mass Creative, and create the vote. I think it's an incredibly exciting time to be in the art scene in Boston. I think it creates a vote, and it's just one of the reasons. Celebrity Series is celebrating its 75th anniversary this year, and we kicked that off with the first project of Street Canals in Boston. So, frankly, we showed in Boston, and frankly, we showed ourselves what can be accomplished when people work together and when groups work together. It took over 75 individual visual artists and over 80 different cultural arts and community visual organizations to make Street Canals a reality. Now, over the course of the festival, I was powerfully reminded of how much the arts matter in Boston. From all neighborhoods, from all backgrounds, of all ages. Over a half million people stopped at one of our 75 pianos to play, to listen, and to share music with their fellow citizens. Now, one of the things in preparing for that festival, obviously, there were a lot of meetings and a lot of permits that we went through. And the refrain I kept hearing was very much concerned about the panel. What about the animals? What about the animals? And in another side of how much Bostonians value art, we documented three cases of animals. All three were taking a breaking box on the keyboard so they could spend more time playing music. We showed off their connection between the network Street Canals in Boston and this gathering here today. Mass Creative is a statewide data civilization that exists to generate support for the creative, cultural, and arts community across our country. We do so because we believe, in fact, we know that cultural prowess is essential for a vibrant economy, an effective education system, and a healthy community. And we also believe that collective action and genuine collaboration, like the climate we sell off Street Canals, is essential for creating a stronger cultural sector. Now, Creative the Goat was established to ensure that arts and culture, its people, its institutions, and its issues are not ignored in the coming elections. In this case, the elections for the mayor of Boston. It's clearly a unique opportunity and a long-awaited one to engage candidates to listen and learn and assess their position. Creative the Goat sent around a questionnaire called the candidates and received thoughtful responses across a wide range of issues. We then met individually with each candidate with over 20 of our colleagues from various institutions representing individuals and organizations across the city. So I think at this point that the candidates weren't certain that we were deeply interested in building a working collaborative relationship with the next mayor of Boston. Well, Creative the Goat's mayoral candidate arts forum certainly made the point. We had over 700 people in packed apparently, and we left a hundred at the door trying to get in because we had no other space. I think it was a great opportunity to listen to all the candidates and hear their positions and hear their case from why we should be the next mayor. So now, we progress, and we're down to the final two candidates. Congratulations to the candidates. I'd like to turn the podium over to Joyce Goldhaven, an arts and media award-winning arts and entertainment critic, president of the Boston Theatre Critics Association, and founder of Joyce's Choices. Oh, you know, I easily can breathe the arts as you all do in this room.  We are all so thrilled that we have two candidates for mayor, Marty Walsh and John Connolly, who have already raised the bar, what we can expect in this city in terms of its commitment to arts, culture, and creativity and this community. Today, the work of the Great Brook Coalition has earned unprecedented commitments from these candidates to do the following. Appoint a cabinet-level position for the city of Boston dedicated to arts and culture. To integrate arts and cultural policy plans into city planning and city development. To invest in arts and cultural institutions. To develop a city-wide strategic cultural policy. To lead, by example, by convening community leaders and attending events. And we are having this forum here so that we can dig a little deeper into the pit, talk specifics, and we can find out more of the candidates about how they plan to turn their ideas into concrete reality. And there can be a huge gap there. So, we're going to try to find out what some of the bridge work is. We want to thank Marty Walsh so much for being here today. Our state representative and candidate for mayor of Boston. We know this must be the first of the 20 events you've got today. So, we're very grateful that you've taken time. Isn't that right? Amazing. Thanks for taking the time. It takes incredible determination and tenacity to pursue elected office in this town. Thank you to the folks of the Rockworth the African Meeting House for making this historic and their beautiful space a bit older to the arts and cultural. And then we're going to open this up for conversation. Don't hold back. If Marty has an answer, just grill it. He's ready. He's ready to go. Marty. Thank you very much. I'm sorry to be too delicious for a minute. So, you have a few notes here that I want on that one. Not that one, but just let me say something. Oh, this is great. This building is magnificent. I was here earlier in the campaign. And the history and everything of this building is just incredible. I'm fortunate enough and blessed to work up the street with the Golden Dawn in this whole area, the history of this area. It's just unbelievable. First of all, I want to thank National Creative and the forum that you had is incredible. The amount of people, I actually stuck a few people in it. They were walking up the stairs, and they said, well, I can't get in. And I said, well, you're with me. And they weren't even from Boston. And they walked in with me into the forum. And it was really incredible, the amount of people. So I want to thank you for that. I also want to thank National Creative. The first time that we had a meeting, and I've said it a couple of times, I went into the meeting and we talked about some of the issues of where I stand on my policy. That's what I call my policy for now. And, you know, I said it's a work of progress for learning. And as the campaign has gone on, really I've had the chance to, every discussion that I have in this campaign, when I talk about acts, heads nod. When I'm in the meeting talking about youth violence, we talk about bringing acts back and working with it to take care of violence, heads nod. When I'm talking to senior citizens, I've had a coffee out and talking about bringing acts back to the schools, heads nod. When I'm talking to the business community about creating a building in Boston and talking about having public art and more acts facing, heads nod. Wherever I go on this campaign, when I talk about the acts, it's the only issue that you get a reaction out of somebody in the room when you bring up a different issue. It's the only issue. And it was incredible. And that says a lot to where we are. Under my administration, I want to make sure we have an actual innocence to the Boston. It's extremely important now. Justal Haywood, who I just love being a watch on TV forever, I love when you're doing this stuff, it's unbelievable. You know, I know what Justal Haywood does today. And she mentioned today a few things about, in my campaign, we were the first candidate to talk about creating a capital-level position for the exhibition. And when I said that, it was the right thing to say. And I had a lot of people pushing me that way. When I say that today, it has a whole different meaning to me. It has a whole different meaning to me. Because yesterday, we had to build a Boston Economic Development Plan for the future of our city. And when I decided that this campaign could talk, I talked about arts and tourism. You know, we're going to create it. It's straight from the arts and tourism, arts and tourism, arts and tourism. And then as we wanted this campaign, I understood there's a huge difference.  And I can't stand up here today and tell you the same thing. But I certainly do recognize there's a big difference. And what we did yesterday, as we're creating this new Economic Development Office, we're putting tourism in there. Tourism belongs in there because it's an economic engine for the city of Boston. And we're going to partner the arts commissioner with this capital-level Economic Development so they can work together. And we can be able to tell a story to the arts through developments. We can tell a story to the arts through my kids commissioner and clan, how do we deal with crime on the street? How do we deal with the addiction industry? How do we deal with the issue of our senior tech programs? How do we deal to make sure that our wonderful institutions in the city are able to thrive and move on? How are we going to be able to access our institutions that we have in the city to make sure that it's free for young people to get into those museums? You know, I understand that in Boston, in every major city in the world, for every young investor, we get six back. So when I was asked the question three or four months ago, when we sat down in the office and said, you're willing to invest in putting the arts in the line item in the budget, I said, well, we ought to look at it. And when you're looking at this now, and you're saying, we're getting six dollars back for every job, the commitment is there for me. I am going to make sure that there is a line item in the city budget for the arts in the city of Boston. We also want to make sure that arts are accessible in all communities and in the neighborhood. When I started this campaign, the very first place that I took my campaign office was the Strand Theater. And I believe it was open three or four days a week maybe. We need to open that building more and we need to take our institutions like that and open it up so we can really allow young people and elderly people and middle-aged people to express themselves. So my commitment is when I become like, when I go out to the United States, Boston, you know, I know we have the program in the Strand now, but I want to utilize the Strand and try and make that building open 18 hours a day. And you're not just a Strand for other babies in our neighborhoods. I want to look at schools. I want to open a school space at night to make sure that we can use the schools for our programs. And some of those, some of the schools we do have theaters, but we have a plan in my campaign to build new schools in the city of Boston and use the meals tax and use the school building authority in the state to be able to create new schools in Boston. And as we create those new schools in Boston, design them so we can design theaters in those schools. So when we talk about having a true program in our schools for the kids and for the community, there's those programs are there. And those are things that we, as we're moving forward here in the Washington administration, we're going to start to begin to focus and make sure that's part of that. I also think it's important when we talk about arts in schools, we talk about dancing. Bringing dancing into our schools. Because it's physical education. It's an opportunity, it's an opportunity for us to make sure that our kids can get physical education while they're also trusting themselves while they're also learning things about their culture and arts and things like that. It's an important piece of that. The arts is an economic engine for Boston. They're one of the big three. Billion dollar industry here in Boston. And one of the candidates who was running for mayor who is supporting me, John Byros, in his restaurant, he is live music in his restaurant. And when you look around the city of Boston, I believe there are maybe three venues today, maybe four, that have live music. We should look at that and bring that back to our neighborhoods. Again, another way for the young artists to inspire people to express themselves. Housing co-ops. We have a plan on the housing. That is, the four-point channel residents that met with them. We went down and talked about years ago how we all knew this. There was not a plan, but there was a pretty decent amount of our space in our city, as far as housing. We don't have that today. We have to be creative. We have to be creative on how we're going to be able to do this. So we have a plan about co-ops and housing co-ops and being able to turn some of our buildings in Boston that are empty now that are sitting there, how can we turn to living space and work space. And actually, we expanded that into start-up incubator space for venture capital companies. We talk about that, how do we create, taking that idea that the arts community has and turn it into using the individual's community. And that's what we want to do, share the ideas. Mass cultural grants. The thing that I knew about the most as far as why I started this campaign, I know about it the most because the Mass Cultural Society would come into my office all the time and say, you have to file a amendment to get more money, so I knew that. I knew how that works. But we need to make sure that only how it works, we're going to make sure that the city is stepping up to the plate to match the grants and the more money that we can get in, we've got to try to push mass cultural. That's a different issue for a different day and we have to fight it up in the snow. And we will as the economy turns around, we will fight that. I want to meet you. Just a couple of things that I don't need to read off and I just want to tell you a couple of things that we're talking about in our office.  The office is going to provide services for artists and art institutions in many forms. The office is going to work closely with the City of Boston economic development authority which will house tourism, creative economy in Boston's film office. So that's what we talked about yesterday created. The new PRA will go on creating. We're going to change the structure of it. The arts community is going to be working with that office to be able to enhance the arts in our city of Boston. And when they say the arts, they're talking in all forms. We will hire a chief development officer to seek, support brands and sponsorship opportunities. We want to be able to create an opportunity in the City of Boston where right now they're working sidewalls where people are going for brands. Each 80's if the police goes to their own brands and different folks go to their own brands we want to be able to put a centralized office in it so we can continue to go for brands and also provide assistance for nonprofits that need help with getting grants because some nonprofits don't have grant writers. And that's how you get your money and that's the way we're able to do that. The Ken Manchin Center Authority of Boston gives away small brands. $5,000 sometimes. Some programs take advantage of it. I know medicine will take advantage of it. Some other churches like programs take advantage of it. That's small money, but it's big money. $5,000 grant for some programs is huge money. So we want to be able to assist the different programs around the City of Boston. We also want either to mention necessarily we want to make sure there are robust visa programs in the city, in schools. That's an important piece. I talk about medicine all the time because of the kids. That's my connection to medicine. I know Michael as well, Michael's here. But it's the kids. I'm in recovery. Oftentimes, when these young people are in recovery and they go to medicine well and they're doing different things they made a book for me about their feelings, expressed themselves about when they first got sober they did it specifically for me because they knew I was in the program and when they were doing it they talked about the feelings they had when they entered the program desperation, sadness thoughts that aren't normal thoughts and as they went to a book the book was talking about recovery and they talked about forgiveness and understanding and duality and then at the end of the book they talked about happiness being able to achieve whatever they want and this is pride. That's telling a story. That's what I know about the arts community the most is what I watch those young people go through that when you put a needle in their eye or shoot a camera in their eye and then after they get into the program get into recovery, get into the program that needle thought is not there anymore and if it is there they think about accomplishments they've made and when I started this campaign that was my thought process as far as knowing the arts completely and learning to open up and that's why we're pushing I think such a great plan together we're going to support the Washington Youth Fund and arts and cultural organizations to offer teens some employment during this campaign I got a chance to go to the Wayne Theater and tour the land and went downstairs and I saw the kids downstairs at the Wayne Theater, kids from Georgia from Roxbury that part not a pan it was about 35 or 40 kids in the program and you know what they were doing they were expressing themselves that might have been the only time some of those kids have ever walked into the Wayne Theater I told the story of walking into the Wayne Theater at the mass creative meeting and I think people thought I was crazy I went to the theater, it was great I went to see Jersey Boys and I went to see Lion King, they were nice people it was great, you really are a good out guy I found out afterwards but I went downstairs and I saw the kids expressing themselves being able to dance, they can't dance in the street corner I couldn't dance in the street corner I grew up in Georgia but we didn't dance in the street corner we didn't sing, you know we didn't express ourselves we were paying on the corner and it's important for us to be able to allow those opportunities I'll be done in a second so anyone can answer your questions we want to create an artist person issue to address artist occupational health needs professional development affordable artist space fair trade in case you haven't heard every now and then references the fact that I might have been part of the union or point ok so so I'm going away on my own in here I'm going to ensure that the city abides by fair labor standards that artists receive fair compensation for the work and services when engaging the city all the papers that can train me is a person fighting for benefits for work class people there's one I'm sorry about that a couple more quick things elder affairs we need to make sure we collaborate with elder affairs we need to make sure that particularly for folks in mid and late life careers in the arts we need to be able to add that construction to that program I know that elder affairs does date today we need to continue that the new office that we're going to create we're going to partner with the cultural affairs to prioritize the role of the Boston film sector one area in the city of Boston there's a federal legislature that allowed to bring more films into Boston and in the film industry coming into my office the state are saying this is great but we can't get a primary to close the street down and blow up power so if something was to blow up power we'd be in another movie let's do it but we've got to be more open simply having it is fine but we need to make sure we push back that's the way of selling our city we're going to conduct a needs assessment of cultural assets and that's very important because that doesn't happen enough in Boston we're going to support dynamic public arts in the around program in the parks we're going to take parks and recreation we're going to put recreation back in the parks that's where it belongs and now the city has a program called Arts in the Park and I believe it's a traveling truck that goes to different parks and that's the arts so they're going to have a park for a night I want to be able to say how can we make sure we have arts in every park in our city some of you better than others but we need to make sure we promote that and push that because that tells the story of my neighborhoods I don't want to say a couple of things give me one more second I want to establish strong relationships with our sister cities and I think that's extremely important you know at the farm they ask you give me a city in the country give me a city that you would look at to possibly sell some ideas and Mike Ross was sitting to my right and Mike actually said he felt bad for me so he was going to use both of his things to me and give me something I swear to God and I said Montreal and he looked at me and he says what the hell did you come up with that and I said build my home run and you know the other important is that we have great people like Mike Ross in this race who truly understand that it was a champion for a lot of people and that's important as well but we're able to work on it and take each other's ideas of work and talk about how we move our city forward and make sure I get it all I'm sure I'll be asked one thing that I think Mike knows about one other thing that I just want to mention here for a minute is in this race when it started there's a lot of discussion about the opportunities in the city of Boston and certain neighborhoods get more opportunity than other neighborhoods but we need to make sure when we talk about our policy and talk about future artists that we include the entire city of Boston not just some parts of Boston we need to make sure that in the communities of color that the opportunities are the same as everywhere else whether you want to say that is because as this campaign has gone on we understand that the disparity between people between neighborhoods and yesterday I was at the Chamber of Commerce breakfast and I was asked the question about what's the diversity of my office going to look like what's the diversity of my office going on and of course the answer is my cabinet is going to be made out of 50% people of color because that's the city of Boston and then we talk about what's my administration underneath in the city of Boston we have 64 positions right now of management 4 people of color in those 64 positions so we are going to make changes I don't know how to achieve diversity in the city of Boston to force me to push me not force me to make sure that we make those changes but yesterday I'm at the Chamber of Commerce and somebody asked me a question they were really concerned about the diversity of the city so they said what are you going to do with diversity in the workforce in the city and I said well not only am I going to change the diversity of the workforce in the city I'm going to change the diversity of the workforce in the business community and there was a lot of people and he said I've seen a lot I've joked some people might have been there and I don't want to but you know truly we have to make sure that this city is open for business because the arts are open to culture I'm getting the opportunity right here we're going to take some questions and I know you'll be happy for a short time just to begin you mentioned creating an office of arts and culture a commission for arts and culture can you be more specific about the timeline you had in mind when that happened within the first six months how do you see some of these specifics rolling out the way this is going to happen is I'm intending on getting elected Mayor of Boston on the 5th November 6 after the day after the primary I was at the station at 5.30 in the morning because they wanted to film me for TV so that was the day after the election this day I'm going to get elected hopefully November 5th the next day I will not be at the station at 5.30 in the morning I'll be there later on but I intend on after I get elected putting together my transition team timeline within the first 30 days of taking over this mayor's office particularly the cabinet having people in place so we can keep the ground running through the transition we'll talk about how we're going to move into different areas and how we're going to merge different departments but that will be done from the 6th of November through the January 6th and then we'll be working on getting the ground running day one and do the cabinet position for arts and culture to work questions Ron if you could be a little more specific about this commissioner and let's say what would be the top 3 tasks that the commissioner would be having to undertake as soon as he or she gets involved and where is that specifically to get and I understand well the commissioner would be at the cabinet level so we're going to have cabinet meetings every week they're going to be sitting in the mayor's office talking about other people meaning the police commissioner, fight commissioner whatever the cabinet looks like so they're going to be sitting on the meeting specifically the first thing that the commissioner is going to be responsible for doing is beginning and working on the budget the budget is going to be in April so we're going to be able to have to create the new budget as we're putting this budget together whatever the number is going to be for the arts I added in the budget we're going to begin working on that on a small scale as far as how we're going to the city is going to set up a partnership with the community and how that can work meaning access to the mayor's office creating some type of council where the arts community in Boston will have a meeting with the commissioner to build that relationship so that there's a direct line into the mayor's office that's the second piece as far as specifically who's going to be on it it's going to be opened up one of the things that people are concerned about here is how to process and not having to see the table this is going to actually make the see the table so there's discussions on putting the budget together and how we're going to implement some of the programming in the high schools in the schools and how we're going to carry that stuff out and the third piece is the commissioner is going to be an ambassador to Boston so that person I'm expecting that person to tour around the country to work and take best practices and take some ideas on how we can best capitalize and work our arts community together so that person is actually going to have real concrete this isn't a figurehead this is a capital level position just like mayor and art development the officer is going to be responsible for going on and attracting new businesses to Boston this person is going to be going on to work on our program bringing arts, different arts programs to Boston, different cultures and everything that we want to do next question I'm reporter for second director Boston I'd like to know if you can keep Boston thriving and growing in the area of Boston I represent a lot of independent artists in small companies and there's been a concern amongst them about joining that search for the smallest amount of money thank you, yesterday we had a new plan for the we know the BRA so we have the BRA in Boston we're going to change that BRA we're going to call the Boston Economic Development Authority we are going to take D&D and put it under this agency we're going to take the BRA and the EVIC merged it together into one agency they're going to all be under this director so all of our development and planning in the city of Boston any type of construction is going to be housed under this project we're going to put arts tourism is going to be under this so any development any type of economic engine for Boston is going to be put under this department arts and culture is one second it's an own separate independent agency the only relationship between the two is the capital level positions so the cabinet we're going to have the same type of authority the capital level folks are going to be sitting in rooms together talking about how they can work off each other how they can feed off each other as we're doing developments in the city of Boston we'll just use public art for a second as we're doing developments the Economic Development Agency director with the staff on it will be talking about arts how do we allow more space for public art but they're going to be working with the arts they're very different, they're separate they're not together and in order to do what we want to accomplish what you have to do is down it won't happen as quickly as the capital level position is going to happen immediately it won't happen as quickly because we have to go to a legislative process to change we're also going to put tournaments on the boards of the Economic Development two or five year tournaments that's it and then we bring in new people it's a clean break, it's a good break it's the right break he's a great man but it's like he's in a situation he's in a situation for three more months he won't be in a situation you know, I think one of the we're not really creating the whole agency we have the agency there we're looking at and the discussion has been preliminary before I actually take over the manager the figure that people have been asking is one percent of the budget so we're going to look at that one percent of the budget depending on the number we have to, I can't tell you that today I think the budget this year was $2.4 billion, $2.5 billion so one percent of that or depending on assuming revenue is going to go up so it can be a little higher than that we're looking at actually really creating that I know that the office today can't do anything because they have to depend upon grants and people paying for things and I understand that today it has to be different than that that money that they'll get will allow the office commission to actually build an office and that's what we're talking about going back and reaching out to people today because you only want for a simple two people you're able to do that with satisfaction and you're able to bring people in to really impact what you're saying so we're going to look at that also there's going to be ways in which we'll leverage other money in the city whether it's through linkage or partnerships I think when I mentioned this I made a mistake I think the day that the cultural when I talked about you know what's happened to our museums here in Boston there are plenty of philanthropists in city of Boston who want to invest in the arts and I think when people see that Boston is truly investing in the arts we say our partnerships for the project one of the things we'd love to see is how all the candidates started to feed on each other's ideas and that sort of really exciting arts vision started to come out but now I'm wondering how do you differentiate yourself from John Connolly because what you're both saying is very exciting and interesting I don't know what John's saying I mean when I'm out on the game nature wherever I go I talk about that I don't always hear something he's out there talking I guess about it I really don't know how it's different I certainly know that when I talk about what I've talked about today I haven't heard any other candidate talk about on the campaign trail maybe when you're in a room more than me saying some of the similar things but it's going to be about the human being I know on my campaign John Barros supported my campaign to say John is very involved in making sure I'm talking about the art community that they've joined the campaign because they believe in the mission what we're talking about I really can't comment on what John is doing all I know is that I'm making my commitment I'm a person who keeps his word somebody backs up what he does and you know I do talk about this record of accomplishment my record of accomplishment in the art community is fighting for mass control but it's a sort of an ass to do as a mass city Boston understanding what the art community is about I'm talking about taking Boston into the 21st century I know what in the 21st century but I'm talking about taking Boston into the 21st century there's a lot of ways to do it so I'm sorry my words are so inspiring see that's the difference right there we're going to take one more yeah sure so that art can transform communities now the key is specifically how are you going to create an expanded vision for the arts and how arts can be present in the community so art isn't just about the other thing it's about the African community the art just isn't about I mean in case at this point we lost our community clearly it is and I've stated that by the capital level position I mean I'm going to depend upon my capital level position person who I hope I know who it is who's going to take that those ideas that work with the community to be able to expand I mean when I talk about vision I'm going to appoint a police commissioner I don't know how to be a police officer so I'm going to allow that person and be the police commissioner superintendent of schools I'm not a teacher I'm going to make sure that superintendent of schools is taking my vision and what the vision of improving every school in the city of Austin and take that I'm not a developer so my economic development officer the capital level position is going to take that the same for the arts that the vision is big


Suddenly, my eyes were open and I realized that I was the bad guy. So I just started a new business. I just got married and we were looking for our first house. And suddenly the housing market crashed. I didn't understand why. And I had other questions like, if the government has a funding problem, why can't they just print more money to solve it? Or does the government really need to intervene every time there's a problem? How does it work when they just leave things alone? Nothing that I've been taught in school equipped me to answer these questions. I started talking to my dad and he told me something that changed my life and that was that the money that's in my pocket was only worth anything because people accept it. It wasn't intrinsically valuable. And these are things that I never even thought about before. I was googling some of these questions and saw Mises.org where I found a book called Economics in One Lesson. This totally cleared up so many questions that I had about our government and our monetary system. I learned about sound money and how to look at current events through the principles of liberty. I became fascinated about the ideas of economic freedom. I began to devour everything I could from hazlet to Mises to Hayek. I attended liberty events and met like-minded people where we had all kinds of great discussions. And I started to see things differently. Suddenly I realized that I had been the bad guy. The way I voted in the past actually violated other people's rights and my moral principles. I started seeing the world clearly and rather than repeating what I've been fed on the news I thought for myself and was able to connect the dots. By learning fundamental principles of economic freedom and individual liberty I'm now able to keep my political beliefs in step with my moral beliefs. Most of us know that we don't live in a truly free society. We know something's off but we're not sure what it is. The problem is that our minds have been bound by everything from our educational system to our news outlets and it's easy to feel overwhelmed. But because the government is a constant drain on our liberties complacency is the enemy of our freedom. Your ideas and beliefs make up who you are and they affect the way you treat others and their property. Shouldn't they be carefully developed and rooted in truth? Fast forward ten years later and I'm just as excited and inspired by these ideas and I'm showing the world to my children through the lens of freedom and I'm grateful to have the Mises Institute and Mises.org as a beacon of light and a sea of confusion so that I can help the next generation know what they need to know in order to make wise decisions. To start your journey visit Mises.org.


of China takes Japanese air raids as usual. Under the guidance of Madame Chiang Kai-shek and her sisters, the Chinese are continually rebuilding the city. Modern structures of brick and masonry replace the old. Here is proof that a city is as strong as its people. Old China, serene, grim, determined, fights on. Chiang Kai-shek at the helm. In Washington, the chief of the Army Air Corps decorates a hero of the war in the South Pacific. Colonel Sweeney, a fighting pilot of Marines, wins the Distinguished Service Cross for unusual heroism under fire. The Colonel flew with those famous flying fortresses in the United States victory at Midway.  Another hero comes home. Lieutenant Moore, first Marine back from the Solomon Islands, is welcomed by his wife. A proud family congratulates the Lieutenant who survived wounds received fighting in the Pacific. Today, homecoming is the event of their lives, for there's an addition to the family he's never seen. A boy, two and a half weeks old, and just like his father. Two Lieutenant Moore, decorated for heroism, dive bombing a Jap carrier in the Solomon Islands, blasting the enemy at Midway, was a mild thrill compared with his homecoming. His largest oil tanker is ready for launching. The christening takes place at one of the great Henry Kaiser shipyards, and down the way she goes. A 22,000 ton giant, more than 500 feet long. Joining the huge fleet of United Nations supply ships, she'll sail the seven seas. Arlington National Cemetery, Turkish journalists, headed by the well-known Hussein Yalcin, deputy to the Grand National Assembly, marked the 19th anniversary of the Turkish Republic, with a simple tribute to America's war dead. Every memberance finds American soldiers again fighting to preserve the democratic way of life, that free men may live in peace. San Francisco's Chinatown celebrates the capture of a two-man Japanese submarine, returned here as a trophy of war.  Crackers complete the job as American Chinese end a day of real celebration. Cinema idol of millions, bronzed and tough, is now an officer in the United States Army Air Corps. This is the graduating parade of his classmates. Enlisting as a private, working up from the ranks, Gable won his commission by hard work, and with it the admiration of the entire nation. Congratulations from the general in command. Today, as Lieutenant Gable, he plays his greatest role of all time, an officer in the air force of his country. First, Brazilian troop convoy of the war puts to sea under sealed orders. Vigilance is maintained. Look out, search the horizon for lurking enemy submarines. Brazilian and United States warships patrol the route. At an unnamed Brazilian port, they prepare to disembark. Every ship and every soldier accounted for. Men to reinforce garrison standing guard along Brazil's 5,000 miles of coastline. Men prepared and ready to resist any attack. Brazil, staunch ally of the United Nations, is on the alert in South America. Five little suitcases of Canada's famous Five Little Girls are going to the big city to help the Dominion's victory loan drive. Yes, the Dion Quintuplets are off to Toronto. Though they're celebrities, dining in a railway car is a rare and thrilling experience. Eight and a half years old, they've left home only once before, and then to meet the king and queen. All route, with a net at the organ, they rehearse songs they'll sing when they make their first appearance on the stage. Leave the train early to avoid crowds waiting at the station. Meeting Ontario's new premier, Little Emily promptly sells her first bond. Five Little Daughters of Canada, all doing their bit to help win the war. General Douglas MacArthur, United Nations Commander in the Southwest Pacific, arrives by bomber to inspect positions in New Guinea. With Australian General Sir Thomas Blamey, Chief of Allied Land Forces, he goes by scout car to the front. The roads a winding jungle trail through native Papuan villages. Stopping for lunch in the field kitchen of an Australian outpost, the general gets a first-hand picture of the wild terrain over which his men are fighting. Exceptional service, he honors a wounded Associated Press newsman, who was given up for lost, deeper into the jungle, speeding over roads literally hacked out of the wilderness, on toward advanced positions in the Owen Stanley Mountains, past native carriers who volunteer to bring fighting supplies to his men. This is MacArthur at the front. Hero of Baton, now sworn to roll back the Japs.