Oh, look at this guy. What do you think? You're better than us? Ooh, nice jacket. Why are you so dressed up? If you have just decided to make a change and start dressing well, I bet that you have heard one of or maybe all of those things from a colleague, a friend, or maybe even a family member. Those sorts of comments, whether we want to admit it or not, affect our confidence and can be real impediments to following through with the positive changes that we want to make. So in this video, we're going to go over 10 effective strategies for dealing with the haters. But first, you're watching He Spoke Style. I'm Brian Sakawa. If you're new here at He Spoke Style, we are dedicated to giving you all the tips, knowledge, and inspiration you need to help you dress well, feel more confident, and unlock your potential.  Yeah, I'm looking at you two people who always thumbs down my videos right when they're posted. Yep, you think I didn't notice? But unfortunately, if you're trying to improve something, especially if you are starting to dress well and you're making noticeable progress and succeeding at it, haters just always seem to appear. They're the armchair critics. They're the naysayers. They're going to try to discourage you, but what you need to do is to stay focused, stay motivated, and ignore the booze because those are coming from the chief seats. However, it's not always easy, and I know. And that's why I've put together these 10 strategies to help you deal with the haters. Number one, use that criticism as fuel.  You can either let it drag you down, which is what the person who said that to you wants, or you can let it light a fire underneath you. But what you need to remember is that when someone puts you down, it says more about them than it does about you. In fact, it reveals who they are, their insecurities, and honestly, that they feel threatened by you. And if that's the case, you're on to something. Recognize that and let it fuel you. Number two, take it as a compliment. I know you kind of have to do a little mental jujitsu to kind of process a put down as a compliment, but think of it this way. If you are inspiring criticism and envy, you are on the right path, and you will be successful. They don't want you to dress well because they don't, and they know that you are on your way to making them look bad. Number three, try hitting back. Now, in this situation, you've kind of got to know the room and the people you are talking with. If they're colleagues or friends you've known for a long time and have a history with, and you are someone who is good at really kind of thinking on your feet, this is a great opportunity to throw it back at them. Maybe give them a little dig of your own. It shows that you have some humility. You're not taking yourself too seriously, and really kind of changes the conversation. And the irony is that if you use this strategy effectively and you're not defensive, the person who lobbed that initial insult at you will probably have more respect for you for standing up to them. I know it's messed up, but that's how some people are. Number four is to kill them with kindness. Now, this is a proven strategy that works all the time and really makes the person who is insulting you feel like a total jackass. Remember, they want to upset you. They want to throw you off your game. If you're able to pivot to something positive, it shows a lot of character on your part, and it reveals much about them. Number five is just something to remember, and that's that successful people do not need to put others down. In fact, successful people don't have time to put others down because they're too busy being successful and thinking about what they need to do to get where they want to go. They don't have time to think about what other people think. It's an easy trap to fall into though. I do it myself from time to time, and I'm always infinitely more successful when I am not worrying about the opinions of others. Number six, remember that when someone criticizes you, that it's not about you, it's really about them. And what that could mean is that maybe they're going through a tough time, maybe there's something going on at home that you don't know about, maybe they're dealing with something at work, you don't know. Use this as an opportunity to check in on them and show them that you care. Number seven, don't react. Don't give them the satisfaction. Don't let them see that it bothers you.  If you don't give them the reaction they're looking for, they will stop. Number eight is to reflect. Now, maybe there's something you can learn from what they're saying. For example, if you've just started to make this change in how you dress and you show up in a bright red suit with a black vest, a paisley bow tie and spectator shoes, maybe you do need to tone it down a little bit. Trying too hard is a mistake that all of us will make on this journey. In fact, I believe it's a mistake that you can't avoid. So in this case, maybe the person who's hating on you is legitimately trying to help. Now, a lot of these strategies involve actively engaging and in some cases, putting up a wall and some checks on what you might want to say. But for number nine, it's okay to acknowledge your feelings, no matter how well you deal with the haters, it still hurts on some level. Even if you don't show it outwardly. That's why it's important to have people you can trust that you can go to who understand you, who listen to you. For example, the community here at He Spoke Style because talking about how you're feeling definitely makes you feel better. Number 10 is to stick to your convictions. You're making the effort to dress well for a reason, for confidence, for self-respect, to show the people around you that you care and you put effort into whatever you do. You're doing something positive and you need to keep that energy going because it will be infectious. And when you succeed, other people will take note and I bet they will start asking you questions. Like, what are some really easy ways that I can start to up my game? Now, you already know and it's simple. You don't need a lot, you just need a few great basics and know how to put them together. Like this playlist will show you how to do. Click there and brush up so you can help your friends out when they ask for your advice.


My mother, she knows so many things. Mum can find information in things as tiny and numerous as the dots in the night sky. Mum checks everything down to the last detail. Nothing gets by her. That's her way of protecting people. My dad is a real superhero. He told me there were people selling fake drugs to make money. But these fake drugs are very dangerous. So my father is making sure that these people are arrested so that everybody can get proper drugs. I love it when my grandmother tells me stories from the past, especially about my great-granddad. Grandma tells me that sounds and beats were used to send messages, just like in old movies. The ways people investigate have really changed. They go so much faster to catch bad guys today. It's like going from black and white to colour. Every day my dad works to protect the planet. And thanks to him, I can imagine a world where people take care of nature, animals, and protect forests and oceans. Helping people do this is my dad's job.


Welcome to Monet Cafe. I'm artist Susan Jenkins and in this lesson we're continuing with cloud painting. It is cloud painting month. I love painting clouds for their atmospheric beauty, life and color. In today's tutorial you'll learn what I'm calling the three color method for painting glorious clouds.  Hello friends and followers. I'm artist Susan Jenkins of Monet Cafe. I'm happy you're here during the month of July which is cloud month. We've been having fun on my Patreon page and in the Facebook group creating cloud paintings. Your work is just beautiful, but today I'd like to bring another cloud painting tutorial to you explaining color in clouds. Often we think clouds are gray or maybe a little bit of purple, but value is really within a gray scale and clouds have so much color. Oh here comes my little Jackson. Come on Jackson. It's okay. You can come in. So come on join the fun. I am excited to bring you this lesson and I think you're gonna learn a lot. All right guys here we go. Would you take a moment to bless this channel by liking this video, commenting once you've seen it and subscribing. Also click that little bell icon to be notified of future videos. And a big shout out to my patrons from my Patreon page. Their support is what keeps these free videos coming to hungry artists all over the world. Plus you get extra content all for only $5 a month. The surface I'll be using for the three color demonstration of painting clouds is Canson Métonce. It's an unsanded pastel paper. This is the gray tones pad. So when creating grays in clouds rather than using the standard what we consider a gray, very void of color, very neutral. I mean these are all very nice but they lack life. And in nature there are so many different colors combining to make that appearance of gray. Light is just reflecting off of so many things. Clouds have way more color than we imagine when we try to paint them. And yes you can mix colors in pastels because of the beautiful ability to layer. Now what we can do, the typical way to make a neutral color is by mixing compliments. Now you could totally do this. We could go with a blue violet and a yellow orange or a blue and an orange and they will definitely neutralize each other. And then you can add white to lighten it up. Let's do a little example of that. So let's just get this purple that I have here. And I'm just going to layer down some color like we've got the underside of a cloud. And I'm going to go and get the opposite. It's not exactly the same. It's in this kind of color family here. And I'm going to go with more kind of a yellowy orange. And we want to try to find a value that is similar to this value. And that just means the lightness or the darkness. I'm going to pick out a orange type of color, orangey yellowy color.  It's really pretty easy. Lay out some value choices, take a photo and then convert your photo. Sorry for the reflection of my ring light above. Convert it to black and white or just take all the saturation away. And then by taking the color away, you're easily able to see the value differences. And I can see the two on the outside, the purple and the darker orange are actually closer in value than that middle orangey yellow color. And they don't have to be exact values, but just something close. I found this one, which was kind of in between the other two orange values. And I thought it worked well. This is a way that we can mix and create our own grays. And sometimes you do have to add a few layers to get them actually starting to blend together. But you'll see, let me put the actual color here and you'll see that we gradually start to get a more grayed out cloud. And as they start to blend, they will gray out even more, much more interesting. Now, if we wanted to lighten that up in any area, we can simply get a lighter value and lighten it up a little bit. I'm going to use some of this right here. Let's say this cloud is a rain cloud and we know the heavy parts are going to be underneath and let's say we've got a little bit of light kind of on some of the top parts of these clouds. So that is way more interesting than perhaps doing it like this. Here, I'm just using the selection of grays that are in the set, different values going from dark to light. And you can see how dull and boring that looks. Now I'm just doing a few more of these with the same technique. This one is kind of a cool green and the opposite color for this would be more in the pinkish red family. So once again, checking the values again, green and red are compliments. And it gives a really warm kind of cloud feel.  Now I'm going to do one with the compliments of orange and blue. And I really like this combination. And sometimes they take a little while to blend. And I suggest you just play around with this two color method for creating your own grays. Now let's talk about another way to make grays that are even more interesting and exciting. I learned this little trick from artist Deborah Seacour. She is an amazing artist. I know it was the Lord's blessing meeting her early in my pastel art career. She is just outstanding. Her heart to give is so great that she created an entire PDF book that is free. I will provide the link to her book in the description of this video. And she is so just expressive about her faith in the Lord. And I know the Lord has blessed her with so many of her gifts and talents. And of course her generous heart to help others. So thank you Deborah Seacour for your knowledge about painting clouds. So what she suggests to do is rather than just going with the two compliments, blue and yellow, orange, for example, she suggests using three colors. It's called a triad on the color wheel. When you make a triangle, you can do that with the primary colors, which what are the primary colors? We've learned this from school blue, yellow and red in pigment in light. It's actually different. But in pigment, we know that if we mix blue and red together, we get purple blue and yellow. We get green red and yellow. We get orange. You see how it just shows you that the color wheel is really so easy. Yep, right there in the middle. So that could actually mix together to make a neutral color, those three colors, but these are the primary colors, meaning you can't mix anything to get these colors. They are just inherent to that color. Whereas secondary colors, secondary means you have to mix two to get to it. OK, so this is a secondary color. These purples, it can be mixed with two other colors. OK, so let's keep that in mind. I'm going to show you two different examples to mix clouds using a triad arrangement or choices. All right, so let's first just do the one with the primary colors. All right, so these colors will produce a neutral. Let's take a look at that. So let's say we have a cloud here. I say it's one of those just pretty kind of stormy clouds. It's really big down here. OK, we've got a cloud here, and I'm going to mix these three primaries together to get a neutral. You can see this is all red. Let's put the colors over here. I'm speeding this up because it's the same process, just gradually layering. And it takes a few times for it to neutralize. And I ended this more on a red note. It could have been more blue if I had added one more blue layer. So the three primaries are already non-mixed colors. OK, they are pure, if you want to think they're primary. However, if you go with your secondary colors and make a triad, make a triangle, we're already leaning more towards neutral colors because these are a mixture of two colors themselves. So the secondary colors of violet, green and orange make a beautiful gray because they are already neutralized a bit themselves. If you can understand that concept there. So let's go with a violet. I don't have that many nice violets in this set. So let me see if I can find and I find that with a lot of sets of pastel that there aren't many great purples in it. So I often will order some purples myself. Let me go find a good violet. All right, this is the quickest one I could find. But it's kind of already a little bit of a medium value purple. So let's go with that one. And we're going to go with a orange and a green. All right, OK, and then let's go with a green kind of like that. All right, you see how those are the triangle purple, orange and green. This is kind of a neutral purple already, but it works if your purple is is pretty intense too. All right, let me explain a little as I'm working here. Basically, what's happening when you're using the secondary colors is you're getting more of all of the colors of the rainbow because purple is red and blue. Orange is yellow and red. Green is blue and yellow. So you're getting a great neutral because you're using all of those colors in essence. That may seem weird to use green, but it really does work well to neutralize things.  Can you see how things are beginning to gray out quite nicely and also to you don't have to always use these exact colors. I would let your scene determine how you lean towards certain colors. If it's a scene that has a lot of teals in it, you can still go with teals and make a triangle on your color wheel, a tetrad basically, and use those colors so you don't have to stay stuck into these particular triad colors on the color wheel. But I happen to like these colors a lot. Now, if it's a stormy cloud, I'm putting in some deeper purple underneath to give that feeling of rain, heavy rain underneath the cloud. And you can just kind of continue to work it, letting the pastels blend themselves. Sometimes I'll use my fingers just to kind of knock some things down a little bit. But I really like, especially after you've worked a bit, to let the pastels do the blending work. Now you can see how nice that's starting to look. Also, too, I could go back to this one on the top. Notice how I mentioned I had it a little leaning on the red side. I can add some more blue to it. And also, too, you want to make sure that whatever you're doing with the clouds is going to be harmonious with the scene. You often want your colors in your clouds to echo down on the land because color has an influence everywhere. It's always bouncing off of things. So that's a good way to make sure your painting has a sense of unity and congruency. I feel like you could even add a little bit of magenta in this cloud. Look how fun that is. Isn't that beautiful? So pretty. And now let's put some of these principles to work. I'm going to use this combination to get my grays in a little four by four painting that's part of this cloud painting series. So let's go for it.  I love the surface. The reference image is from this is an album I have exclusively for my patrons that has lots of my cloud photos in it. Oh, and I had to throw in a picture of my mama or two in there. But anyway, I am definitely a sky watcher and I love taking photos of clouds. And the one that I'm using for this particular Oh, this is one that's coming soon. I'm going to show you how to do this sky and those lights on the back of that truck. But the one that I'm using right now, you know, I'm really pretty confident I took this photo, but someone already recreated from it and said thanks to someone else for that photo. So, you know, photo management is kind of hard. So if I'm mistaken and this is someone else's photo, please shout out to me so I can give you credit. I never save them unless they are photos from our groups where people say, hey, feel free to paint from this. But I'm pretty sure it's my photo. So I obviously sped up the sketch a little bit and you don't need a lot. It's just the general gesture of the clouds. And I put down a dark base for the foreground there. And now I'm adding a really pretty purple. OK, remember, this is part of that three secondary color system that I'm going to be using. I am adding a little bit of dark. You want to keep in mind that your clouds should never be darker than your foreground. The sky is always lighter. Even when it's dark, stormy clouds at night, they're just going to be lighter. But I'm going to be layering other colors over this. There's still going to be, you know, a little kind of dark. This is a dramatic sky. But it will lighten up as I add other colors. All right. So there you have it. And again, I'm just speeding this up so we can get through this. I wanted to give you the lesson to begin with. But you still should be able to follow along. And here I am adding a little bit of blue to it. I mean, like I said, you can tweak these things a little bit. It's just kind of toning down that purple a little bit. We're still working with cooler, bluish-purple colors here. And I'm adding some of this to the sky. Skies are typically darker in the heavens and get lighter as you go down to the horizon line. Now here's where I'm adding a little bit of that green. Now I chose, this is my second secondary color, you could say. I chose a green that was already a little neutral. I'm using a set of pastels that's literally just sitting next to me, and I'm just trying to work with what I have. Now this particular pastel, oh, these are Schminke pastels, by the way. It just had, it was textural. If you ever do that, you grab a certain pastel in it. Just feels gritty. Well, that's how that orange one was. But that's once again, those three secondary colors that are already a little bit neutral because they're a combination of two colors. And it really does make just a nice neutral feel for clouds. I know I'm speeding this up a bit, but the painting in real lifetime actually took about 30 minutes or so. And I also too, I got a brag on this surface, the pastel matte surface that I'm using. It's a sanded surface, considered a sanded surface, but it doesn't feel sanded like UART or Fisher or Sennelier, LeCart pastel card. And if you're brand new to soft pastels, gosh, I totally remember when I was new, I was like, what the heck is a sanded paper? And it's literally a surface that has a texture to it. And it allows your pastels to get layering. If you were to use pastels on just a flat piece of paper, a copy paper, you wouldn't be able to layer, it would fall right off. But pastel matte is unique in that it doesn't feel gritty, but it allows for a lot of layers. So at this point, I've gotten in a few of my major cloud shapes and some of that sky and I'm blending with just a piece of tissue paper here. This works great with pastel matte, but not so great with other surfaces that are a little too sanded. So this is just what's called the blocking in stage, getting most of the painting surface covered and you take it easy at this stage.  And as you can see here now, I'm just putting in that tree line in the distance. It is really far away. So I'm just getting some little tree shapes in there. They don't have to be exactly like what you see in the photo, but I like to keep in mind what would make a nice focal point. And I felt like that main diagonal cloud shape, that's one of the main focal points is it's just pulling you into the painting. And so I know I want, I move, you'll see when I add my light underneath the cloud, I put that in a position that I think is going to be a good focal point. And that's why I wanted that one little darker tree area kind of to work well with that cloud to complement, in other words. I'm adding a few of the other smaller cloud shapes. I'm going to talk a little bit more about that in a minute, but I wanted to share that now I'm starting to go in and I don't keep everything exact to the photo. Parts of it is at the upper right. Some of it is sky showing through, some of it's clouds. And I kind of zone out and just think about the shapes and the values first. Now here's what I was talking about with echoing of color. The cloud colors that I have will, or the painting in general, feel very disjointed if I don't have some of the same colors of the cloud reflecting down into the land. And it doesn't have to be anything dramatic, just little hints of those colors, perhaps in strategic areas in your field. All right, now I'm doing a little bit more of those clouds. Clouds in general, when they get into the distance, they're going to lighten up and they're going to get closer together just like things do in, on the earth. Like I talk about flowers. Your flowers up close are going to be larger. They're going to be bolder in color. They're going to be typically darker in value. They're going to flatten out and lighten up, get more neutral and get smaller in the distance. Well, that's the same thing that happens with clouds. If you turned your painting upside down, you would see it works exactly the same as things on the land. And here you can see I've been adding some of the general warm tones to where the sunset is happening. And keep in mind your light source. When your sun is setting in a scene, you're going to have, of course, warmer value, warmer colors and lighter values around that area where the sun is. I usually resist the urge in these situations to go with a white. I would have done that early in my art career. I would have just grabbed a white and say, oh, that's white, but it's not. It's really just bright, light color.  So just work with what you have. But colors are gonna gradually get a little cooler as they move away from the sun. What happens when you move away from the sun? You're gonna get cooler, colors get cooler. So keep that in mind. That's why I chose some of those pinks as I moved further away from the sun. So also too, your sunset is going to have some influence on some of the clouds above it and on the earth below it. So often when I have the sunset right over the trees, now I'm just darkening this up a bit. But before I'm done with the painting, I'm gonna add a little bit of warmth to those trees, that little tree line. That's kinda like my focal point right there. I got the clouds zooming into it. I've got a few of the trees beneath it and I've got that beautiful sunset there, which is a high contrast area, making a nice focal point. And here I'm just adding in some of these other lighter areas, kind of the sky in between the clouds. And as I paint here a bit, I wanna reiterate the point of this lesson. That main cloud and the other kinda smaller cloud to the right of it, right above where I'm painting there, were created with the three secondary color system using those, a triad of colors using the secondary colors. And it really does bring life to that cloud. Think of some of these clouds. If I had just used the grays that I used at the beginning of this demonstration, it would have just been lack of character and life and beauty. So I really do love combining three colors when making clouds. I don't always do it. Sometimes I'll just use two complementary colors. Sometimes I'll just let the scene dictate what I grab, but I really feel it adds some energy and life to beautiful cloud paintings. And I am using some of these blues here to create some of the other highlights on some of the clouds. And as I said before, I don't really feel like I'm painting every little individual cloud. I sort of zone out, squint my eyes a lot and I look at the values. If you squint your eyes and look at my painting and then look at the reference image above, you can see that the values are similar. And here you can see I added just before this some of that pink down into the land, some of those warm tones. And I'm keeping them consistent with what's above. It's kind of like I say when creating reflections, you're taking what's above and you're reflecting it down below. You're doing the same thing with some of the colors in these clouds onto the land. I am gonna be darkening the foreground a little bit more. You can see how the clouds have lightened up a bit. And I'm also gonna be adding some more of those pinks. Here we go right here. I found this pink too was kind of like that orange that I used earlier in the demonstration. It was a little textured and gritty. Now I'm using this particular color that is a little warmer than the previous kind of pinkish color. Why would I do that? I'm getting closer to the source of light, the sun. So I just made it a tad warmer. Now I darkened up the foreground a little bit. If you squint your eyes, you can see the foreground is darker than the clouds and I'm pretty much finishing up at this point. But this I would say is more of a study. Here's where I'm warming up some of those trees in the distance. Ah, I really like that final touch. So do some studies like this. Even do some practice cloud color combinations like I did at the beginning of this video. The more you do, the better you'll get. If you're a patron of mine, you are going to get my actual reference image. I'll be including in your Patreon post. If you're not a patron of mine, I would love it if you would consider becoming one. It really does support this channel. Only $5 a month, you can cancel it anytime. And you get extra content and I get to see your work. So here's the final. It was fun, definitely impressionistic, which is my style anyway. Hope you guys learned something in this lesson. Also, if you did, please leave me a comment. I love to hear from you. There are more cloud painting tutorials on the way. I gotta get busy. I have the footage. I just have to edit it. God bless you all.  And if you'd like to find more of my work and follow me and all of these places that are on this end screen, please do so and happy painting.


The following is a presentation of TFNN The Trader's Edge with Steve Rhodes Free at 1-877-927-6648 or internationally at<PHONE_NUMBER> The Trader's Edge Now Steve Rhodes Good morning folks. This is Steve Rhodes coming to you live at 8.06 in the morning. So if you're listening in at the normal show hour, I'll take care of the first 30 minutes. So between now and 8.30, then Tommy Jr. He'll go ahead and pick it up from 8.30 to 9 or really 1.30 to 2. I know you'll enjoy that segment as well. So let's go ahead and get started in these markets out here. We don't have a lot of time together so we'll try to make this as pertinent for the afternoon show as well as those that happen to be listening in live. So right now as we take a look at the markets, I'll just really take you through the process that I go through each morning to help me understand what the markets are communicating to us at this stage here. We're looking at the U.S. equity futures there at the top portion of the screen so we can see the Dow. Futures are up 98 points, about 4.10 for Nasdaq is up 10 points now. That had been trading lower about 10 minutes ago, I believe. It's up 10 points, trading at 11.133. There's a new profile we'll take a look at for the NQ that is attempting to form out there. That way we've got some real clear resistance level. The S&P is up 3. The Russell is up 6 points. And then what I like to do is take a look at what's going on overseas. So looking at the core markets over here, so we've got the Shanghai was up 26 points last night. Hengseng was down 154. The Nikkei was off 88. The S&P 200 in Australia was up nearly 2%, 105 points out there. And right now the DAX up 19. The FTSE is up 14. So I like to really understand, hey, what's going on overseas? Now the reason why I like to take a look at what's going on overseas, well, here's the first reason. Here's the primary reason. If we take a look at global markets. So now you can do this on your screens at home as well. So in this case here, we're taking a look at the ETF structures for nine core markets. For the US, I'm using the Dow. And that's by the diamonds in the upper left-hand corner. The next to that we've got the UK. The next to that we've got Australia. Again, these are the ETFs. And down below we've got Canada, China, and India. And then below that we've got Germany, Japan, and then just simply emerging markets overall. Now if you take a look at those red diagonal lines, you're going to see that globally, generally speaking, markets have been in a downtrend. In some cases going back, what's the 2011? If you take a look at Canada, here's Canada. I'm not even going all the way back to its highs back in 2007. But yeah, that's the Canadian index out here. So you can see all these now. The indices or the, yeah, the indices in essence that are not trading in those descending trend lines. And you also see I've got notated out here the 2019 high. No market is ever considered to be breaking out unless it's trading above the prior year high out here. So you can see there's very few of them. Those that are would be China. That's trading above it. And Germany just slightly. That's it. The Dow diamonds are not Nasdaq. Each market is totally separate here. But it's important to understand, hey, what's going on across the globe? Well, in addition to that, we can take a look at the five core charts out here. Here's the Nikkei. Inside the Nikkei for Japan, you'll see that this has a sell the D point to 1 to 1.272 A to B equal CD. So at the present time, this has a topping pattern and signal that's in place out here. We take a look at the Hang Seng. The Hang Seng topped with a Gertle sell pattern several weeks ago. Price trade below Stevie's green line. Inside the Hang Seng, price is targeting support. Support is $22,779. Again, it's just important to really understand what's going on around the world because we are all connected. If we take a look at the Shanghai here, this topped with the TD9 count. In last evening's trading price got up, tested a rejected Stevie's green line at $33.59. So this is still in total retracement mode out here if we take a look at what's going on inside the FTSE. So the FTSE's pattern is very interesting. This formed a TD9 count bottom last week, about five trading sessions ago. But you'll also see that Stevie's green line has turned red. Now, I'm not referring to the horizontal lines, I'm referring to the squiggly line. That's the oscillator on change line out here. Now, when it changes colors, what we usually see over a period of sessions, I never know how many sessions, we see price and it catch up to each other. When price on a red line, when price catches up to it and then deflects lower, it's really a bearish, it's giving us a bearish indication out here. Very bearish because what it's indicating to you and I is that there is a falling price oscillator below zero. Price oscillator being the difference that I'm using between the 19 to 39 day exponential moving average. However, not so fast just yet because what we also need to see is price close below that solid horizontal red line. $59.9328 is the breakout level for the FTSE. So if we do see it close, well, the real key now is if the FTSE closes below, oops, I'm going to do that, I'm going to do this, closes below the session, the lows from August 4th, August 4th, the low by the way there is $58.5706. If it does that, close below $58.5706. Then that's going to signal that the FTSE is ready to get back to the March lows out there. So the FTSE may be the entity that gives us the early signal that that's what's in play. If we take a look at the German DAX out here, you're going to see erosment and indicator topping pattern out here. Again, it's key level of support is $12.535. Resistance for the DAX is at the $12.832. Okay, so what we know here, and this is really important to get our heads wrapped around what's going on around the globe. We can now see what is exactly going on around the globe. Okay, good, we got that out of the way, but it's an important thing. Now let's take a look at what's going on inside the U.S. markets out here. Well, as I had mentioned, the NQ is in the process of attempting, attempting is the key word here to form a new profile. Attempting because I'm using Stevie's advanced Doppler tool. So we won't know until this evening about 6.01 to be exact whether or not. Well, maybe I might know earlier, but at this stage here, I really won't know I have a confirmation on this profile until today's trading has taken place. However, what we do know and this is cool. So this gives you an advantage that others don't have right now. And the advantage is we understand with inside the and it's only the NQ. If you take a look at the ES many, that's in the very left hand side. The Russell, that's the very right hand side. The next to the Russell to the left is the Dow. The only one with a new potential daily profile is the NQ. Now, what that profile is telling us is where buyers and sellers have taken their steaks in the sand, so to speak, steaks in the sand. Steak and lobster, it's not steaks in the sand. But the steak, the line in the sand out here would be at 11205. That is resistance inside the NQ. If price is trading above that, you then at least know that the NQ is powered through where the sellers had set themselves up for the day. Support would be 10971. Now, we were taking a look at the international indices out here and we were looking at the TD9 breakout level inside the FTSE. Well, we would get a change in trend signal if we see the NQ close below 10971 and 10971 stands as its DAS market profile. And so for some of you out there, you won't know that until tomorrow at around one o'clock in the afternoon when I do the live show out there. Newsletter subscribers will know otherwise. So that's an important piece out here. If you take a look at the message coming from the ES, the Dow and the Russell 2000, first price is trading above Friday's highs. That is bullish, period. There are no new market profiles out here. And so they suggest that they want to move to higher price. We come back from this breakout here. We're going to go look at Stevie's opening range charts. We're going to get the intraday signals. What we've looked at so far today have just been daily signals. So let me give you the early signals of what the markets are communicating to you and I for the equity futures. Steve Rhodes coming to you live at 814 in the morning. We'll be right back. If you're not currently using the TAS Profile Scanner when looking at setting up your trading opportunities, then your arsenal is short a mighty weapon. The TAS Profile Scanner is a standalone piece of software that instantly filters over 2,500 global financial markets such as stocks, ETFs, commodity futures and forex. Heated by Steve Dahl, TAS understands that in today's technological world, the use of top flight software applications and technical analysis expertise is essential to successful trading in today's market. You also gain access to the webinar that Steve Dahl and Tom O'Brien just hosted, the best way to use the TAS Profile Scanner to profit. This webinar archive is available for all subscribers immediately upon signing up. All new subscriptions also come with a 30-day money-back guarantee so you have nothing to risk. Start your subscription by visiting the front page of TFNN.com today and you'll find the TAS Profile Scanner under the Services tab. Sign up today! From the price you should be paying per square foot in certain up and coming areas to the type of cash flow investment properties are capable of creating, Tiger Real Estate can help you make the best decision when it comes to all areas of the market. Before you make one of the biggest decisions of your financial future, call Tiger Real Estate LLC today at<PHONE_NUMBER> or email us at tiger at TFNN.com. That's<PHONE_NUMBER>. Call us today! Many of our new listeners have heard about the Tiger's Den. The Tiger's Den is a lively community where professional traders and investors can meet, exchange ideas and information in a comfortable moderated atmosphere. Hear all of the TFNN shows plus see all of the charts as they happen live and have access to archives of all of those charts. You can test drive the Tiger's Den absolutely free for 30 days and greatly enrich your knowledge of these markets and how to make your money work for you. Details on the Tiger's Den are on the front page of TFNN.com. You can even have new pricing in six months and yearly options. Check out the new TFNN.com now and experience all the upgrades. TFNN.com educating investors. Call now toll free at 1-877-927-6648 internationally at<PHONE_NUMBER>. Welcome back folks. Let's take a look at the 30 minute E.S. Mini chart out here. It's 8.18 in the morning for those of you listening at 1.18. Thanks so much for doing so. We'll be back to regular programming tomorrow. But here's what we know as of 8.18 in the morning. This is the E.S. Mini. You can see that this has formed a really two topping signals out here. You've got wave number seven. That's letter G. You can see that the topping screen and this generated rogment and indicator top out here. That's what took place that took place by the way at about it won't be about I'll tell you exactly when that was at 2.30 this morning. We've got the confirmation of both of those patterns. Now in this case here price is not pushed its way all the way back to support. The real support level would be 3340 and 3340 is the breakout area for its TD nine count pattern out here. So that is in play. You'll see other horizontal lines out here. You'll see blue black and red. This is representing the opening range the 30 minute opening range levels for the E.S. Mini. When the U.S. opens that was Sunday evening between 6 and 6 30 then we had the Asian open cash open and then the European open. And so always mark those. Now what's really cool is that these levels here giving you another secret. So don't don't tell anybody about this. OK. Just please keep this just to yourself. All right. The little secret here. You'll give you an edge. If you're not interested in an edge and then don't listen to what I'm about to share with you. But if you take a look at these opening range levels if you do the same thing what they do is they help us to understand where other levels of support or resistance are or is today a breakout to the upside or the downside. One thing I can guarantee you there's going to be a breakout to the upside price has a trade above all opening range levels or those three that we looked at that would be thirty three fifty four fifty that is the European opening range. Likewise support is the U.S. opening range. That was last evening and that took us down to thirty three thirty five. So price right now is just consolidating. We've got a topping signal but no support has been taken out. No resistance has been taken out. It's just really consolidating. So then I go take a look at the market breath. What's the market breath for the E.S. Mini. Now here's the thirty minute market breath. Market breath by the way folks what I'm referring to is when I take a look at this market breath indicator. This is our task market profiles for the thirty minute timeframe for each of the instruments inside the S. and P. five hundred. And this tells us at this stage as of eight twenty the morning how many instruments are trading above the top of the profile that would be breaking out above resistance. Two hundred ninety three versus trading below the bottom of the profile that would be sixty so this is very market breath positive. So at this stage here at eight twenty the morning I would not be anticipating that price going to make its way down to thirty three forty even though we've got that valid topping signal. Market breath is just simply too positive. Now I don't know whether price will be able to take out resistance out here. But as we speak at eight twenty one in the morning be very difficult even with that short term topping pattern to have a real significant short bias out here. Nothing has been broken. Here's the larger time frame. Well let me get to the actual larger time frame for the S. and P. five hundred is your weekly daily. You're looking in the upper right hand corner.  A bit lessons tells the same piece of information. But everything is in the bullish setting out here. They're in the green setting so that is strong and long for each of those time frame. But really just support say we've got a little topping signal took place. Last evening as Europe was beginning it's in Europe's cash market was beginning its trading out here but has not broken the back of of anything inside the ES many OK let's not stop there. Let's go take a look at the other three because each one is giving us a different signal. Remember how we just took a look at a topping pattern inside of the ES if we go take a look at the end queue as an example out here. Now we didn't get a bottoming signal or anything we don't have any kind of bottoming signal it took place but what we do have are the opening range levels out here. And as we take a look at them you want to write this down on a pad of paper if prices trading above eleven one fifty six fifty it's indicating that price wants to make its way up to eleven two sixty four. How the heck can you say that Stevo. Well I just did. The reason that I would say that is eleven one fifty six fifty is the top of the European opening range. If price get above that then price will want to try to make its way up to its breakdown level where to price last breakdown at well that was an eleven two sixty four. It's a little green dash line that you see across my screen out here likewise if price trades below eleven oh seventy three well then that says hey we're going to go try to take out the lows from Friday out there but let's go do the same exact thing let's take a look at the thirty minute time frame I can only do this for the ES and the end queue out here the S&P five hundred the NDX one hundred out here. Let's put our short term our thirty minute time frame what you're going to see out here. Is that this too is in bullish mode what I mean about that there's forty four instruments trading above the top of their thirty minute profile for the end. One hundred and eighteen below the bottom so this has a bias bullish that's using the thirty minute time frame if we take a look at the other four time frames out here let's pull these up on our screen here's what we're going to see for the end we're going to see that they too many weekly daily the two forty and the sixty minute are all set to bullish mode out here with regard to its market price so for the end queue. The levels you're going to watch today is eleven one fifty six fifty it's going to be more pertinent about an hour from now as the cash market opens and eleven oh seventy three for support out there and then you'll know that the end queue will want to make that run to eleven two sixty four if it can take out that resistance level here's the deal. Right now at eight twenty three in the morning all the signals are pointing to that's what wants to take place but there are those topping signals that we looked at inside the yes many so you're going to want to watch that resistance area as well if we take a look at the Dow equity future contract out here. All I've got is a wave number seven. Topping a signal out here prices trading with inside its opening range resistance twenty seven four seventy one you'll watch that that's the top of the European opening range. Support well lessons there's two levels that I would give you the opening range for the U. S. market twenty seven two sixty and then twenty seven two ninety three just above that that is the TD nine count breakout levels as there's close below twenty seven two sixty inside the Y. M. The price is going to go target twenty seven one twenty five isn't nice we can be precise we know exactly where buyers and sellers were support resistances because this is just simply a numbers game. That's really all it is we're going to boil this down to numbers not emotional not not nothing that's emotional out here not I think this or I think that is where our buyers and sellers where a support resistance if you open up a chart I don't care what chart it is and you can't find support or resistance. Then go sign up for mastering probability and do it now don't do it tomorrow don't do it ten minutes from now do it now because I will teach you I will show you tools that you can use they are objective. These numbers that I'm sharing with you there's nothing subjective to them they just use a standard set of rules nothing is so they're so helpful take a look at the Russell two thousand out here take a look at the Russell two thousand this also like the E. S. Top with roads with the indicator tool if you don't know what that is you I will teach you that very specifically out here very cool tool out here support inside the Russell two thousand is in between fifteen sixty one fifty. And fifteen sixty two seventy so you know the game plan the Russell close below that to close below that on thirty minute time frame fifteen thirty five forty will be the number resistance out here today fifteen seventy five eighty. Price can get above that well it wants to run higher so that's what's going on on the thirty minute time frame for the equity future contracts out here back to the daily real quickly here before we get to a break today should be bar number nine of a T. Nine count tops conform on bars eight nine of the bar following nine so we could see a top inside the markets at least a short term top could be longer than that over the course of the next couple of days out here price also moving higher less relative energy that is never good for an instrument if we take a look at the N. Q. the N. Q. you know may form bar number nine today. Friday's candle session was bar number eight so that would qualify as the high out there so you're going to want to watch that support level again inside the N. Q. ten nine seventy one oh five close below that says a change in trend would be in place folks have a terrific Monday and I look forward to seeing a terrific Tuesday take care folks.


This is stock number 10081. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used heavy-duty truck and RAM headquarters. Today we are checking out this super clean 2016 Ram 2500 crew cab, short box, Laramie Sport. From this HD video you will be able to tell that this truck is extremely clean all the way around. No dents or dings on the front bumper has the front bumper parking sensors. Granite crystal is the color. We shoot all of our videos in 1080p so if you have HD capabilities on your computer, tablet, or smartphone device turn them on right now because it's like you're right here looking at the truck with me. And definitely your best way to check out the vehicle before actually getting here. Very clean down that side it has the factory painted step bars. Comes with the 20-inch painted alloy rims, Falcon Wild Peak AT tires, and these are 35x12.5 R20LTs. They have probably about I'd say 70% to 80% of the tread left. Frame and underbody on this truck is in excellent shape. It does have a leveling kit right here. I didn't see any dents or dings on that front fender. It comes with the projector lamp headlamps, LED running lights, factory fog lights, the blacked out ram emblem, the blacked out grille. I didn't see any dents or dings on the hood. Passenger side fender is in excellent shape as well. You get the blacked out Cummins logo, blacked out ram 2500. And the passenger rim is in excellent shape. No scuffs or scrapes on that. As you go down this side of the truck you can see just how clean the body is, how reflective and mirror like that paint is. We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down but you're still interested in purchasing the truck, you can still see the truck, hear the truck, and have confidence in the vehicle that you're looking at before you even get here. Cab is in excellent shape. It has the cargo cam. You can always tell because it's a little bit different. And on this side of the truck I didn't see any dents, didn't see any dings. Lower rockers all look really good and that step bar is in excellent condition as well. Back rim, really nice shape too. And the back tires have just as much tread as the front tires. You can see lots of tread left on those tires. Frame and underbody is very clean as well. It has all the remaining factory exhaust and it is very clean underneath here. We want to make sure you get the most accurate representation of the vehicle as possible so when you get here there's absolutely no surprises. Rear bumper, no dents, no dings on there. Has the backup parking sensors. Maybe one little scuff probably could be buffed off there. Tailgate's in excellent shape. Locking tailgate, backup camera, get the blacked out emblem, blacked out 4x4. Has a spree in bed liner. Also has a receiver hitch reducer back here. And it has the LED bed lighting. I didn't see any major dents or dings back here. Very nice and clean. And that tailgate shuts nice and solidly. You can really see the metal flake in that granite crystal. And as you go down this side of the truck just as clean as that passenger side. I didn't see any dents or dings. And for full disclosure, this back rim, no scuffs or scrapes on that. Comes with the mud flaps which keeps your lower rockers looking good in the back and in the front. Probably why this truck is so clean on the lower end of the truck. Didn't see any dents or dings on those doors. It has the fold out tow mirrors. They are heated. They have built in directional signals. They also fold in. You have the enter and go system. Power windows, power locks, power mirrors. And they are power folded mirrors. See that one folds in nicely. As does that one over there. Weather tech floor mats. You get the leather wrapped or I'm sorry, black leather seats. Memory driver seat. Driver side bumper. Auto head lamps. As you hop inside the truck here you can see that this one has 61,762 miles. You get the 7-inch TFT display with the digital display. You can configure all these corners to be different things. This says range to empty, time, outside temp, your trailer brake, gain. You can change all those. Has the heated leather wrapped steering wheel. Cruise controls on the right. Bluetooth and information center controls on the left. Audio controls on the back of the steering wheel. Has the six-speed automatic transmission. This one has the 8.4 3C radio with the factory navigation. This is also where you can do your heated seats and cooled seat buttons. You can check out your backup cam. You can also check out that cargo cam which shows you what's going on in the bed even while you're driving. Has AM FM and Sirius XM radio capabilities. Turned out four-wheel drive. Dual climate control. Has your factory brake controller. You can also do your heated and cooled seats right here. And your factory exhaust brake is right there. Stability control.  Has 115 volt, 150 watt plug-in. Passenger seat is very clean as well. No rips or tears on that. And it does have the power sunroof. Power slide and rear window. Home like buttons for your garage door security systems and lighting systems. Has the 911 assist buttons in the mirror. And finally it has the Alpine sound system which gives you the subwoofer and the speakers in the ceiling. We'll take a quick look at the back seats and then we'll check out under the hood. Very clean up front. And the back seats are much of the same. Looks like these have never even been sat in. Has the latch child safety system. Power sliding rear window. Seats are like new back here. Weathertech floor mat as well. And it has two in-floor storage bins which come out for easy cleaning. Underneath here we have the load floor which is nice. If you got pets you can put both sides down. They have a nice flat place to lay. Or if you got muddy boots or tools you're not going to wreck your nice leather seats. Also these back outboard seats are heated as well. And we'll take a quick look under the hood. I would personally like to thank you for checking out the video today. Hopefully from this HD video you'll have been able to tell just how clean this truck is all the way around inside and out. Under the hood we have the 6.7 liter Cummins diesel. Everything under here is stock. And it's very clean, runs very smooth. This truck has been fully safety and inspected by our service shop. Has a fresh oil and filter change. All the fluids have been checked and topped off. And this truck is 100% ready to go. To see more pictures of this truck or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, halftones, recorder tons, one tons, you name it we got to go to our website www.summitauto.com. Full pictures and descriptions of every single vehicle from both of our locations all at summitauto.com. And if you'd like to check out more HD videos you can go to youtube.com slash summitauto. Remember to like, subscribe, and share on this video and all the videos that you see there. In fact in a second you'll see a link to subscribe to our YouTube channel on your left. A link to more heavy duty truck videos like this one on your right. If you have not been to our website on the bottom link to this vehicle on our website click those check us out and we really look forward to helping you with this super clean 2016 Ram 2500 crew cab short box Laramie Sport. Thanks again.


Hello, I'm Rob Hirschfeld. I am a member of the OpenStack Foundation Board and CEO and co-founder of RAC-N, a company that specializes in scale physical deployment automation. Thank you for being on Rob. Thanks again. Obviously you're well known in the community for the work you've been doing around Defcore. But lately you've also been talking about something called OpenStack deployment fidelity. What is that and why is it important? Deployment fidelity has been really exciting. It's sort of this challenge I'm trying to take up post-Defcore. I feel like we've made a lot of progress on that front. And from that you start thinking through what is going to make, we know what the core is, we know what we need to install, but how do we make it so that we can really get those installs to work. And our experience has been that developers doing development work do things very differently than people who do testing. They do things differently from somebody installing a proof of concept, and then that's incredibly different from doing a production deployment. And so that's what we call fidelity gaps. So every time we're working on a deployment, every time there's a transition of how that work is done, that creates these gaps. And then that slows things down, it makes it much harder, and that creates communication issues back and forth throughout the community. So the classic example with this is a developer working on DevStack. I think it was Dreamhost made some shirts. It worked in DevStack, classic. And we want developers to be productive and fast, but if they work on something that only works on their desktop, and then they hand it over to somebody else who installs and uses the code a different way, those gaps cause us to have a lot of expensive rework and miscommunications, and it really slows down the overall process. And that's been a focus area for me. Great. So talk about what are the challenges to deployment fidelity? Why isn't it something that's typical in a DevStack deployment? That's been a question I've been asking for a long time, and I appreciate the chance to think through it. What happens is that a developer who wants to work really quickly wants to have a very small environment. They don't want to deal with a lot of networking issues. They don't want to spend time. Time is really the biggest challenge. Dealing with all of the other infrastructure that you need to do production, and then when you get to the end of the journey at production scale, then you've got DevOps and controls and hardware and networking topologies, and you've got rules and guidelines where somebody says, well, you have to name the servers this or the IPs that. You have a lot of rules. Developers aren't prone to want to incorporate those rules into their workflows. And so what happens is that at the expense of fidelity, we have taken out all those rules that you have going in. And then that in turn translates into, oh, my DevOps scripts that worked in my test lab don't work in my POC lab, and those don't work in my production lab. And we've seen this in community, where people do a POC for OpenStack, and then they go to do production, and they find it's much harder to do it. Go ahead. So how do we address that gap you're talking about, and where does Def Core play a part in that? So we've been working to address that at my company, Rack N, with a project that we had in community for a long time. Now it's called Digital Rebar. In the past, it was Crowbar, and this is actually a third generation of where crowbars come. The way that we see addressing it is a couple of ways. One is we add abstractions that allow you to say, well, the networking for my physical environment and my desktop environment are totally different. But they are similar in the fact that we know we need a public network and a storage network. So instead of actually hard-wiring in ETH0 or EN6 or whatever that networking is, what we do is we actually treat DevOps as much more composable and functional, and then you inject in, okay, in this environment, use this interface, in that environment, use that interface, and then you take that same approach all over your deployment, and it allows you to then sort of have these generic deployments, describe things generically, and then apply that logic forward. And then you can use that first chef, poppet, salt, ansible, homemade scripts. It doesn't matter. The idea here is that once you've built the environment in a consistent way and you have these abstractions, then those scripts, when they run, they can take advantage of whatever the environment is. That's really how we've been trying to build those things up. The relationship with Defcore is that we really want to say, here is the core, right? That has to be stable and reliable and repeatable. And one of the big lessons from Defcore is that implementation matters, right? Defcore, people are like, oh, it's the APIs, it's the APIs, the APIs. We've known from the very beginning that it's the APIs and the implementation. And if you don't have a consistent implementation, you don't have a way for people to share, they built it this way, oh, okay, I can learn from that. Then what you see exactly what we've seen in the community, which is 1,000, I don't want to use the phrase, 1,000 snowflakes, where those little differences in how you did deployments, they make the systems incompatible. And we have to be able to provide a consistent way to say, all right, I can operate, you can operate, we're going to share, actually do some shared lessons learned. So the next step for Defcore is say, all right, we're going to test everybody and get them in compliance, and then they're looking at each other saying, well, I built that OpenStack my way, you built it your way, how do I reconcile the building process? And it's a significant challenge, right? A lot of vendors have a lot of installs, and we need ways to start rationalizing those things, allowing people to share operational tips, build common infrastructures. In my expectation, the reason we did Defcore is we want to accelerate adoption around OpenStack to really grow. That will happen to the extent to which we make these installs consistent, repeatable, reliable, and interoperable. Thank you. Thank you, Rob. That was great. I appreciate you being on. Appreciate the time. Thank you very much.