Acest cookies produce a drawing in the 1830s, where he contrasted the Gothic architecture he was supporting and promoting, comparing it with the classical architecture of his own time. But there is something about this drawing, I think, which is worth working on, and that is that both refer to architecture Mae ymddwyr cyfrannu gyda'i gweld yn cyfrannu bod yw'r cyfrannu cyfrannu, ac mae'r cyfrannu ar y cyfrannu cyfrannu yn ymddwyr, am hynny, mae'r cyfrannu cyfrannu cyfrannu oherwydd, oherwydd mae'r cyfrannu cyfrannu cyfrannu cyfrannu cyfrannu, sy'n meddwl am y cyfrannu cyfrannu. Mae'r rhywbeth yn gweithio'r cyfnod o'r cyfnod o'r cyd-dweithio'r cyfnod o'r cyfnod o'r cyfnod. If you go to the average English cathedral first, you'll see that many periods coexist at the behedle, classical with Gothic, Elizabethan, Jacqueline, Cleir, Queen Anne, Jordan, Victorian, arts and crafts. The one thing which jazz is the aberrant architecture defying gravity, so I adopted this drawing and changed it showing the state of affairs today. We'll have a pile of sandwiches without any visible support. Billions which create a sense of unease, which do not respond in any way to gravity at all. If you look at any street, as it was up until, say, 1945 onwards, you'll see that the dominant emphasis is on that character, and that verticality depends on a humane architecture that also responds to gravity. When you get a geometry that cuts completely against it, that's the same street as it is today, with aggressive horizontal lines, with a scale of a building which completely destroys that which exists, you get visual disruption. It is that kind of thing which has occurred everywhere which causes me to worry about matters. Something's gone wrong. The modernists demand a tabula rasa, an empty tale. At the same time, they attempted to make connections with the past, and so we have falsehoods of fake history masquerading as architectural history. We are told, for example, that our new verb really begins in the 1880s, but it doesn't. It begins a lot earlier than that. It comes from the Gothic revival. If you look at those peers supporting the old Blackfriars River Ribs, they date from the 1860s, so do the capitals of the urban violent in Farringdon. I read many a student essay when I came across the same statement that there is absolutely no historical reference whatsoever in glass school of art. Well, you've got a canton very from the English vernacular architecture drawn in the consuls in the 1880s. You have Arniveau, you have tall blinded windows derived from Sir Edward Luton's House in Britain, which had been published only a couple of years before. So there are all sorts of references here. Where does it come from? It comes from that book, that tradition book, pioneers of the modern movement, from William Morris to Walter Grobius. That gives the whole thing away, creating that spurious connection between the arts and crafts movement and Walter Grobius. Similarly, those apologists for modernism try to persuade us that the hall at Blackwell by Billy Scott, of the beginning of the 20th century, is really the same thing as Corbusier's artist's studio in Paris of the 1920s, which you see on the right. I don't think there's any truth in that whatsoever. This is a spurious connection. And when we read that the bay windows at Broughton's, on bonus, on Windermere, come amazingly close to the 20th century concrete in Glass Street, one begins to wonder about one's sanity. All about the fact that people are continuously looking with their ears. That is simply the truth. At the conference of the International Congress for Modern Architecture in the 1920s in Switzerland, the great Dutch architect Henric Petros Melaha refused to have his photograph taken with the groups who demanded strip windows, who demanded black roofs, who demanded and issued manifested demanding. Everything that Melaha hated, they tried to root him in as a pioneer of modernism. He said, I have faced all my work on long, tried tradition. You are destroying my life's work. I refuse to have anything to do with you.  The holy, unholy trinity of modernism. Walter Gropius, as an officer in the cavalry regiment of Imperial Germany. Ludwig Mies, looking while I'm comfortable in his new suit. And the great Lord Corbusier Charles-Edward January descending from the skies, talking a lot of nonsense about the partner on which he clearly didn't understand. In the years before the First World War, there were numerous designs being produced by people like Gropius and Ludwig Mies for monuments to, say, Bismarck. Now, Gropius couldn't draw. Gropius always had to have somebody as his evaluances. All the work attributed to Gropius was drawn by somebody else. If you look at those two designs for monuments to Bismarck, one by Mies, one by Gropius et al, it's actually Adolf Maier, who collaborated with him on many things. You see the long square columns from King Hatschetson's Temple in Dair al-Bahari in Egypt. Drawing on ancient Egyptian architecture on stripped neoclassicism on elementary geometry. In other words, there is a strong historical reference. It's no surprise that there was an exhibition of Ptolemy architecture in Berlin a year or two before these designs appeared. And if you look at the designs by Wilhelm Kreis for monuments to the heroic German army after it has conquered the world, you will see that the language of 1941 and 1943 is no different at all. In other words, that trend continued. It was there in the office of Peter Vairans, where both Gropius and Ludwig Mies worked the long square columns from ancient Egypt, the simplified elements drawing on stripped neoclassicism. And nowhere can you find that better expressed than in the former Imperial German Embassy in St Petersburg. There it is as it is today, minus its sculpture at the top. Now those elongated columns, again, were very much the official architecture of the Third Reich. This is, of course, 1913. The job architect was Ludwig Mies. Ludwig Mies, also on his own account, produced numerous designs. He came from a craft background in Aachen, in North West Germany. He produced designs drawing on the stripped architecture of Schinkel, on ancient Egyptian architecture, and indeed on that simplified neoclassicism that Schinkel used in numerous rivers in and around Berlin. And just before the First World War, in Breslau, which is now the watch office in Poland, there was a great exhibition of 1913 to celebrate the centenary of the Wars of Liberation and the Great Defeat of Napoleon at the Battle of Leipzig, when the forces of Poland, the various German states, and Russia, defeated Napoleon and righted the army's power. Those exhibition buildings include works by Panziposi, which you will see at the top right. You will see it's in fact a concrete version of Greek architecture. And at the same time, he was designed office blocks, all in country, but with simple means of support between the floors. Those buildings are actually contemporary. And it's extraordinary that in Poland, in a city that was absolutely devastated in the latter days of the war, as the Red Army advanced, the restoration of the old city has been carried out particularly. And at the Church of Saint Elizabeth, which is crammed full of filerary monuments to German families, has been meticulously restored with all the inscriptions done in gold. That says something about civilization, and it's about civilization that I am concerned. Also, just before the First World War, there was an exhibition by a cologne designed, one of the buildings in Model Factory was designed by a legend, by a grubbys, but mostly by Adolf Meyer. And if you look at the plan and compare it with a Ptolemaic Temple, you will see that there are strong similarities. There are also, I think, in the office block elements from the work of the American architect Frank Lloyd Wright, whose work had just been published by Vasselord in Berlin in a beautiful folio edition. The defeat of Germany and the collapse of the monarchical system left Germany not only ruined, but a basket case. Germany swung to the left, and various architects, including Ludwig Mies and Gropius, allied themselves with what they saw as a kind of Soviet of architecture. Ludwig Mies attempted to exhibit some of his works, Gropius refused on the grounds that it was reactionary. So we have a transformation. Mies, in German, means something that sounds shabby about a nasty. He changed his name to Mies by adding a bioresis on the E, so Mies means nothing, and added Van der Roa, which sounds vaguely grand, that's being reassuringly Dutch. The transformation then was complete. He became a modelist and rejected all the work he'd done in the past. Through the influence of Henry van der Belver, the Belgian architect, Gropius had been appointed head of the Grand Dupal School of Art, Environmental Art, and when the monarchical system collapsed, he was able to accept the appointment under the Republican government, but changed the amalgamation of all their schools of art in Weimar and called it the Bauhaus. He claimed that it would be uniting all the arts. He claimed that it would be like a cathedral workshop, a building workshop, a large, if you like, and of course it was nothing of the sort. He also said it would be based on science, and he appointed people like this who must have looked very reassuringly scientific. Johannes Itten, who followed cult based on ancient Zoroastrianism, who shaped his head, wore a strange garment, insisted that all his students had an enema first reading in the morning, and fed them garlic paste. He also pointed Gustav Nagel, who insisted that capital letters were elitist, and so that's why his name is spelled with the word case. Now, this is very difficult in Germany because all minds have capital letters. This is hardly a scientific rationalism, is it? And if you look at virtually everything Gropius wrote, the opposite of what he said is the truth. In fact, what Gropius created, and at least now it's arguably created a cult, and a dangerous cult can be defined as a kind of false religion. The adoption of a system of belief based on mere assertions with no factual foundations, or an excessive almost idolatrous aberration of a person, a person's or an idea, or even a fact. And the adoration given to Luc Corbusier, as he called himself like all the potatoes, is one example. A cult is destructive, it isolates its believers, it claims superior, but spurious knowledge, and gravity demands subservience, conformity of regions. It's adaptive brainwashing, it imposes assertions as dogma, it will not countenance any descent, it's self-referential, and its tame intellectuals are brought on board to construct branding narratives tailored to suit the story. To create a bogus history to convince the den. And it invets its own arcane language, incomprehensible to outside, and so that is exactly what has happened in architectural education.  I'm saying to tomorrow, who realised what they had been taught was nonsense. So we get Ludwig Mies, a scholar in our course himself, designing an office block with a series of elements, aggressive horizontal bands, the structures hidden inside, the structures that collect, the centres that collect, heavy weights on glass, don't look right. The same thing happened at the past time, perhaps, where Eric Mendelsen did the same. That kind of language has become ubiquitous. For the first time in the history of architecture, something had happened that was aberrant. It was obvious, pious, he said, he would keep politics out of things. So he had designed a monument to the workers who had been shot during the cut-litage pooch. It was denounced by the Dutch as a cheaper idea. Ludwig Mies van de Rua also designed a monument to the murdered communists Carl Lee, and it goes, I look so bad whose body was found in the Lundberg canal, shot by the Freikor. Now, if you have publicly identified itself with this sort of thing, it's very difficult to embrace yourself with another crowd of thugs doing the same thing. Gropius and Coe moved to Dessau, where they created masterpieces of workers' housing. You can see how well they're worn from the picture on the top, right. That kind of dystopian environment of leaks, hideousness, lack of humanity became endemic throughout Europe and America. The Bauhaus has been held up as a model of teaching. Well, the embrace of large areas of curtain walling glass made the rooms behind the glass uninhabitable. You couldn't work in them unless you had blinds so much for function. So in fact, a lot of this kind of thing is about imagery and packaging. It's not about function at all. And when Corbusier proposes to demolish the whole of Paris from Notre Dame North to Montmartre, replacing it with telebox, one begins to understand what the future might be. You'll notice that the drawing on the right shows the ground completely given over to the motor cars.  The reality, as Louis Hellman showed, was slightly different.  Aeroplanes, while they're almost in a cry at your telebox, and all the rest of it. Crying, vandalism, uninhabitable, disturbious. This is the world we have been given. And all the publications produced by the modernists, light, Corbusier, for example, held up grain sizes as a model of the kind of architecture he was going to create. But he shaved off the pitch roofs. The top picture shows the building as it actually was, a Corbusier doctor picture to show it had to have the obligatory flat roof. It's like those pictures of the polyp mural of which undesirable figures have been illuminated. He also based his aesthetic on ocean boat ships of the Titanic vintage, and on bombers of 1919, making the whole thing look incredibly dated now. It's like this sort of thing that's vaguely nautical, upper works. This kind of image, raising buildings on the stills, long strip windows, fake nautical connections, this became the language that was used in the period of the 1920s to the, I think it's already, the 1960s. It became known as international modernism, and it was such an aspect in the exhibition, the Weisenhoff exhibition in Stuttgart in 1927, which was organised by Ludwig Miers van der Roa, and various people, Groddus, Maier, Le Corbusier and others contributed. We had the language, therefore, that was to be adapted, not just adapted, but became compulsory throughout Europe and America by a series of curious quirks. By not everybody was convinced, a lot of people didn't like the coercive aspects of this, the demands, the assistance, the totality and disregard of everything else, including, I'm very glad to say, people in Britain. People like Stephen Tennant, the Simwells, Cecil Beaton. It was called by those Baroque, but I don't see very much Baroque in it. It was a kind of, I suppose, cinematic lavishness covered in gold leaf, langua and humour. The point is it's found, and there's no found in the humourous work of people like Groddus, Miers van der Roa, or Ludwig Miers van der Roa. Osbeth Lancaster got it absolutely right. What's the difference? What's the difference? Except that in the Soviet example, capitals have been astued on the ideological ground. But the architecture on the right is expressive of its purpose, unencumbered with cripples of degrade bourgeois taste. Quite so. We're also told that Gropius, Miers van der Roa and all these people fled as refugees in nothing of a sort. They, on the other hand, entered designs for the Reichstag competition that they sponsored by Adolf Hitler. The barhouse, which by this time had moved to Berlin, was not closed by the Nazis. It was closed by Miers van der Roa. He wanted to ingratiate himself with the new regime. And if you look at the architecture produced in the Third Reich, you're told it's all stripped neoclassical. It isn't. Look at the aircraft factory up above. Straight from modernism. In fact, there was no official style in the Third Reich. That kind of modernism was acceptable for industrial buildings. And that included that concentration camps. For more official buildings, such as the government buildings, or the great Olympic stadium of 1936 by Darren and Mark, it stripped cacicism was the order of the day. What's the difference between that language and the kind of work produced by Ludwig Wies and Gropius and Maier in 1911? None. We're also told that under Hitler there was no modernism. There's a petrol station. You couldn't get anything more modern than that, could you? Nor that factory building. You see all this has been expunged. It's been brushed out in histories that are not histories. They're propaganda. It's much fair, in itself, designed some workers' houses for the Duremberg rallies. And Bruno Tart, who is one of modernism's deities, also designed that block of flat to see bottom right, but it lost a pitch roof on it this time because it was built on the Third Reich. And I would suggest that the worker, including the hammer, as an example of public art, does not necessarily assume its right wing. Now, in a country that is going hell for leather for arms, re-arming, and for world war, having blossomed your copy book by designing buildings in the memory of communism, you're not going to get an awful lot of work. Gropius, who was absolutely worshiped by the modernist English architectural establishment, was invited to London, where he was set up in practice with Maxwell Fry. And this is a portrait of Gropius by the German painter Max Ost, which I think sums Gropius up and two designs by Gropius and Fry overlooking Windsor Castle. They told the world was not ready for it. I don't think George V was either. So what happened? I mean, what is extraordinary what happened? Well, America happened. The Museum of Modern Art. Philip Johnson, who, hugely a marketer, went on the, accompanied the German army on its invasion of Poland, and sent the country so gay for these beautiful hats and chaps in great new uniforms. And they set up an exhibition called Modern Architecture of the International Style, accompanied by a book written with Henry Russell Hitchcock. This, again, promoted the kind of architecture that would be erected in Stuttgart. And it's very interesting that when the symbol of the Holy Gnod should be part of the Barthas, set up by the wife of Russell, the Holy Gnod said it's quite extraordinary because Hitler shook the tree and the poisoned fruit fell to the ground, and the seeds were picked up and taken to America where they flourished. Meanwhile, Nies van der Roer is busy signing with others a document of the National Socialist Party magazine supporting the seizure of absolute power by Adolf Hitler. You'll see that he did not leave Germany until 1937 when, of course, he had a well-paying job in America to go to. You'll see that he was, as he resigned from the Prussian Academy of Sciences, he ends his letter high at Hitler, and there you'll see at the top of his note paper it's Nies van der Roer. So what happened? Well, the war was again lost by Germany, and suddenly General Motors solved possibilities in the bottom of the stock. Hitler got it, in fact, embraced by the legislature of the United States enabling whole swathes of times to be demolished, and this, again, was promoted by Le Corbusier, who during the war, of course, had flirted with the French Vichy regime and had invented a new sort of person finding ordinary human beings not worthy to fit in his buildings. So, de Peirweil, our darling, is just what we've always wanted in his Unite de Tassan with its inviting internal seats. And this kind of thing is copied, it's copied in London. One absurd commentator said that this was an example of the picturesque. Well, to compare 18th century follies, Chinese follies, Greek temples and so on, set in a beautifully contrived landscape, compare that with this is, again, an example of twisted logic, looking with your ears. That's a drawing of the one of Brie, a florae is by me. I carefully avoided the detritus lying all over the ground below. Osbeth Lancaster, again, hit the nail on the head. He saw what this would lead to, the complete obliteration of the urban fabric, the fact that here we have workers' flats on Piloti, the workers would have to put up in the air or driven on the ground. The whole of the earth would be given up to motorcars and that would be that. The poor over Paris church is left there, is a kind of national monument of the empty, and in the middle of the traffic round of that is a medieval gateway to what had been the last area. I think that's astoundingly accurate. It's also not known, or not generally recognised, that in Coventry, in 1939, it's proposed to demolish Coventry and replace it with a modernist paradise. It must have been a terrific relief when we looked about it in the job of demolition for and we had this instead. We are told that the spire of St Magnus Church, later I've come to the table, was an untold boon and therefore the tower block built at the other end of the precinct was a modern example of a vested element to offset all the area down. Everywhere we have seen the same thing adopted in Glasgow, tower blocks and flats, most of which have had to be demolished. We have also taken from the Bauhaus, quite happy to work for the East German regime, the Deutsche Democrats for the public, which people like Alder Ross, the new-speated Berlin, said it's actually really rather vain. It's rather more convincing than the kind of thing that was going up in West Berlin, which was supposed to be democratic. In fact, what happened was we had a kind of travesty of the truth in that anything classical, traditional, was regarded as fascist and anything modern was regarded as democratic, which of course is an absolute nonsense. So we have disasters like the cruel ego, the state by Minoru Yamazaki, which was only up for a few years. The lefts were you are in search of pisswires. Nothing could be done. It had to be blown up. And it's also not really realized that the same architect's twin towers were attacked in 911. The leader was a graduate of Hamburg School of Architecture who hated what modernists were doing to a level in some of those 11-times cities. And when the Gauleiters got to work in Manchester, they moved people out of their perfectly-restorable houses into this. And these human crescents were called Nash Crescent, Barrier Crescent, and so on. The newspapers wrote about modern Georgian evidence because the modernists said they were blamed after great art did. Within a few years this was the most dysfunctional type of state in Europe. Mushrooms played out of the walls, violent crime, muggings on the high level walkways. Again, it had to be abolished. Now, when you look at marooned buildings, such a top right there in Wolverhampton, look at the reality of what happens with that museum tower locked just behind it, all the detritus, the ruins. That's what it could look like on the left. It's certainly a joke, but somebody asked me what's that monument to move. I said it's a monument of fact-giving for for getting rid of models. Now, let's go back to Germany. 1936 to 8. The Haigpro Factory. Bottom, the Hudson High School in Norfolk. Those citizens who, of course, cribbed from near Sfand-au-Roy. This was illustrated in all the architectural magazines and pasted skies. It was designed as a vast piece of optimism, but unfortunately it wasn't designed for children who froze from there from the winter and baked in the summer. And because it was framed such as not properly designed, the heat made the ceiling span and so on, the glass cracked. The major problems have been horrific. Even in the recent edition of Norfolk in the period of Inver, it admits that the maintenance problem is huge. We also lost the city of Terminus at Helen Cannonsley to that thing on the right by the infamous John Polson who greased the barns of everybody who could find that he could build his chief modelism. And the Smithsons, again gurus of modelism, produced the Robin Hood Gardens which again showed terrible signs of stress. If you look at the staining on the right and the problems of sound proofing itself, these too have had to be the models. What kind of sense does that make? We have put something out of that and have to demolish it almost immediately. And when Stanley Kubrick produced his clockwork model which he didn't need to get anybody to design the sets, the Greater London Council Architects Department have done it for him. High level walkways, all the cliches, all those worn out cliches which we know don't work. There they are. And now we're not happy. We have a complete denial of reality. We have so-called star architects or stock architects. We have graphically denied. We have that building on the right almost gobbling up the other building and it leaks like a sieve. It is almost impossible to use. What is the sense in this at all? None. It's all about packaging. Here you have it again, enormously expensive. And there's something that only can be done with computers to actually draw stuff like this. I think really Helman got it right. This is the big underpants as it's called. An office block in China by Kulhaas. And Helman, I think, will often hit the nail, pathing on the head, since Swindor's Lane, revolutionary architect, Ram Kikas has designed a landmark signature building in the city. I've mentioned how a certain Bauhaus architects went on to work perfectly happily for different regimes. The Bauhaus was not designed by Goebbels at all. It was designed by Figa and Reifat. Reifat went on to rise to a certain distinction in the Third Reich under Albert Speer and another graduate of the Bauhaus went on to design that model of existence minimum with one latrine for 7,000 people the crematorium at Auschwil's Birchenau. I think that drawing on the right by Charlie sums it up because we've got the very line running through the reassuring farm that will be stretched at a smaller cost the burnt offering in the crematorium in the middle based on a supposedly constructed at the Temple of Solomon from the 17th century to a very ten image. Now triumphs of models and I see there's another fire yesterday. We've had tower blocks collapsing systems building which were held up to be models of rationalism traditional building and didn't work and we have the Grenfell Tower within the Temple of Kevin and what we've got it's rather like a TV evangelist and they're a little bit crazy about it but he's telling us about something we know is not true and finally I didn't warn you thank you very much.


China exiting its Whole Foods sake. Yeah, well, you know it turned out obviously there was no other bidder That was willing to pay higher there may have been other bidders Congratulations to Janet a really really good call. They've had some winners and smoothers There's something interesting Sears launching Kenmore products on Amazon really hurting Home Depot because people always felt that you could not And you couldn't be Amazon if your Home Depot because large appliances cannot be expo logistics Which has been on mad money a number of times big secondary today I really think it's still a buy even if you didn't get an expo has been last-mile provider for large products So it can happen. I think it's way overdone again, but Home Depot is now part of the Quotient of stocks that have too high a multiple if you think that Amazon is going to go against them I remain steadfast at Home Depot will be great, but you know what like I said, I haven't liked retail in a long time I'm not going to budge today


Embedded World is a perfect opportunity to catch up with all the latest news on the STM32 Cube ecosystem and who better to guide me through it than T-Len Biolet here. So come on then T-Len, what are the latest headlines? Hello Chris. Yeah, the latest one is that together with Microsoft we introduced Microsoft Visual Studio Code, the solid ID that is gaining the popularity also now in embedded development. Microsoft, that's a great partner to have. Is this an ST initiative? Well, when number one microcontroller provider meets with number one tool provider, right, the co-development must happen. Together we decided to make a Visual Studio Code extension that is used today by more than 40 million developers and it's more and more looking forward towards embedded development as well. It's a match made in heaven. Okay, in simple terms, talk me through how it works. Sure, so every developer, every STM32 developer today knows STM32 CubeMix or STM32 CubeID, our code configurator and code development slash debugger tool. But we want to bring something more, so we want to bring Visual Studio Code support that allows the customers to migrate from the CubeMix to the Visual Studio Code very seamlessly and easily to use. In order to be able to do that, we also released the STM32 Cube CLT, which is a command line tool that brings essential command line tools necessary for development. So the customers receive the compiler, the debugger and the program. All this back together for our customers. So let's develop that a little bit further. What are the benefits of VS Code? Sure, so the VS Code has been used by 40 million people, it also has availability of more than 40,000 extensions. It can be very personalized so every developer can make it their own way. And this is what developers like. On top of that, there is an IntelliSense code engine behind. We are also using the CMake, another popular tool by the developers, and Ninja for the building. All this back together and here it is, the result. Okay, come on then. Let's talk money. How much? It's free of charge. Yes. It's available today.  You download free of charge. STM32 Cube always on the move. Lovely to see you again. Who knows what we'll get next year. Thank you.


The Kraft Foods Company presents Harold Perry as the Great Gilder Sleeve. The Great Gilder Sleeve is brought to you by the Kraft Foods Company, makers of Parquet Margarine.  To market, to market, to get some parquet. Home again, home again, try it today. You like it, you love it, like millions who say their favorite margarine is. T-A-R-K-A-Y Parquet Margarine made by Kraft. Well, it's the afternoon of a typical working day in Summerfield and the little town is teaming with activity. Everywhere you can hear the busy hum of industry in the sawmill, in the railroad yard, in the factories, and in the office of the Great Gilder Sleeve water commissioner. What time is it, Bessie? It's four o'clock, Mr. Gilder Sleeve. Huh? Is that all? Well, just one more hour to five o'clock. Yes, sir. Did you want to do some work, Mr. Gilder Sleeve? Well, let's know you starting now, Bessie. Can't get much done in an hour. Yes, sir. But I'll go ahead and read my magazine. I guess I'd better take my feet off the desk. Blood's going to my head. Mr. Gilder Sleeve, maybe we better get out that monthly water report. Yes, must do that. Tomorrow. The mayor will be calling for it one of these days.  He did? Bessie, why didn't you tell me? Well, you weren't here, Mr. Gilder Sleeve. You were down getting a soda. Oh. And then he called again this afternoon. What? Why didn't you tell me then? You were down getting another soda. Well, I was pretty thirsty today. Had ham for breakfast. Mr. Gilder Sleeve, are we getting some new furniture? Getting some new furniture? What do you mean? Well, the last time the mayor called, he said there were going to be some changes made around here. Oh, I guess he meant, he got. See, he means us, Bessie. Oh, he does? I bet we're going to be fired. Fired? He's probably making out the dismissal slips right now. Oh, Mr. Gilder Sleeve. It's our own fault, Bessie. We fiddled while Rome burned. This is the straw that broke the camel's back. What are we going to do, Mr. Gilder Sleeve? Nothing we can do. It's too late. Fired at my age, and I haven't saved a cent. Me either.  You'll probably have to sell papers. Hope he gets a good corner. Oh, of course you will, Bessie. No! Bessie, don't cry, Bessie. Maybe the mayor will... Bessie, you want to answer it? Oh, no. You answer it, please. Gilder Sleeve? Oh, hello, Mr. Mayor. I didn't expect you to call. Gilder Sleeve, I want to see you in my office. Mr. Mayor, I can explain it... Right now. But... Bessie, this is it. Goodbye, Bessie. Goodbye, Mr. Gilder Sleeve. Miss Hopper, you can finish that letter in the outer office. I'd like to speak to Mr. Gilder Sleeve alone. Yes, sir. Nice day, isn't it? Grab your coat and get your... Gilder Sleeve? I suppose you're wondering why I called you in here. I don't like to do a thing like this, but... Well, I have to leave town for a few days on official business. And I'm afraid you'll have to act as mayor while I'm gone. Huh? What was that? I said I wanted you to act as mayor. Me, mayor? Frankly, the only reason I've chosen you is that the other department heads are too busy. You seem to have a lot of extra time on your hands, getting sodas and things. Oh, well, you see, I had ham for breakfast. Now, my secretary, Miss Hopper, will really run the office. All I need is some official linear design letters. I guess you can do that all right. Oh, yes. You start the first thing in the morning. Well, thank you, Mr. Mayor, for the honor. And I assure you... Hopper will be all Gilder Sleeve. Yes, and thanks for not firing me. What's that? Nothing. Good day. Mayor Gilder Sleeve. I think I'll go down and get another soda. Pants pressed yet? Mr. Gilder Sleeve, this is Saturday morning. I've got lots of things to do. I know it. I'll get them pants pressed as fast as I can. Okay, Bertie, but I'm in kind of a hurry. I'll do this fast as I can. I ain't no centipede. All I got is two hands. Mayor? Yes. It's 10 o'clock, Mr. Mayor.  I can't go down in this old bathrobe. Bertie's pressing my frock coat and striped pants. Oh, no, not that. Well, if I'm going to do that, I might as well dress like one. You haven't worn those since you almost married Eve Goodwin. We won't go into that, my dear. I hope you took the mothballs out of the pocket. Yes, I did. I wonder where my silk hat is. Hey, look, I tied that sign to your car. What sign is that? Well, and... The one I made for Uncle. It says, official car. His honor, the mayor, coming through. Oh, for heaven's sake. Well, and that... See, in case I have to go someplace and hurry, a fire or something. Can I ride downtown? I can make a swell noise like a siren. Yeah, that won't be necessary, Leroy. Children, I can't find my silk hat. Has anybody seen it? Your silk hat? Leroy, you know darn well where it is.  What's this, Leroy? Well, if you don't tell Uncle, I will. Leroy, where is that hat? Well, you see, me and Piggy have been using it for our magic act. Oh, my goodness. And yesterday we were practicing the air. Air trick? Young man, I want that hat, and right now. Well, I don't think it's dry yet. What? You see, one of the eggs broke. In my hat? Yeah, but don't worry, Uncle. We washed it out. Leroy, that boy. Uncle, why don't you get started? You're going to be awfully late. Your first morning as mayor. I'll handle my own affairs, young lady. Birdie? What is it now, Mr. Gil, please? Birdie, aren't my pants ready yet? No, sir. Well, come, come. You're keeping the mayor waiting. Mr. Gil, please, I'm pressing them pants just as fast as I can. All I got is two hands. Yes, Birdie. Two hands is all I got. Just two hands. I know that. I ain't got four hands. I ain't got any. I'm sorry, Birdie. No, sir. Mr. Gil, please. Do you know how many hands I got? Yes. That's right. Two hands. That's all I got. A big mayor. Mr. Gil, please. You don't mind my saying so. You certainly presented a naughty appearance. Thank you, Peavey. I'm glad you think so. Spats and striped trousers, frock coat, high hat. What's the matter? Isn't that hat a little bit small for you?  Well, I guess it shrunk a little. I just got it off the clothesline. How's that? Nothing, Peavey. You may not know it, but you're talking to the mayor. Oh? The mayor to Wilger went away for a few days, and he asked me to take his place. Well, that's nice. Well, not so much. I guess he just thought I was the best man for the job. Well, my congratulations. Is it difficult work? I don't know. I haven't been down to the office yet.  Oh, yes. You know, seeing you in that outfit takes me back to the time when I was a young man going to musical shows. It does? Yes, the chorus boys used to dress like that. Strapid pants and spat. Peavey, I'm no chorus boy. Oh, I didn't say you were, Mr. Gilderfield. You'd be too plump. They're usually more the willow-y type. Look, Peavey, I don't want to be a chorus boy. I think that's a very wise decision. I understand there's not much future in it. Peavey. Besides, you were a little old to be jumping around on the stage. I have no intention of jumping around on any stage. That's good. I understand it's very hard on your arches. Oh, for us. Of course, the theatrical life has its good side. All those women in tights. You know, I'll never forget those Florida door girls. Oh, tell me pretty maiden, are there any more at home like you? Peavey! For heaven's sake, Peavey, there are things more important than women in tights. I wouldn't say that. Chorus boy. I'm the mayor. I know that. I should think you'd have some respect for the dignity of my office. Oh, I meant no offense, Mr. Garrison. I'm not a dancer in some old musical show. Well, I wouldn't scoff at the old musical shows. They had some very, very nice tunes. Here's one I used to enjoy. Ta-ra-la-boong-dee-e Ta-ra-la-boong-dee Peavey. Ta-ra-la-boong-dee Peavey. Ta-ra-la-boong-dee Peavey. Ta-ra-la-boong-dee Peavey. Oh, excuse. Ta-ra-la-boong-dee Guildersleeve. Well, what's there for the mayor to do this morning? The morning's almost gone, Mr. Guildersleeve. Yes, I was delayed a little. Well, don't you worry, Miss Harper. We'll clean things up in a jiffy. We'll just sit down at the desk here. Nice, easy chair. Miss Harper, didn't the mayor have a box of cigars on his desk? Yes, but before he left, he locked them in his drawer. Well, let's get down to business. What shall we do first? There's nothing for you to do, Mr. Gildersleeve. I've taken care of everything. Oh, you have? You might sign those letters on your desk. They should have gone out before now. Oh, letters, of course. Sign them immediately. No time like the present. Mr. Gildersleeve. Yes? Aren't you going to take your hat off? Hat? Oh, yes. Take it off right now. Stuck on my head. Must have shrunk some more. What's the matter with this? Gildersleeve. I mean, Mayor Gildersleeve. I've been looking for you all morning. Hello, Judge. Can't get your hat off? No, I can't. It's a matter, Gildersleeve. Got the big hat already. You old goat. Want any hat? No, I can't. No, I can't. No, I can't. No, I can't. No, I can't. No, I can't. You old goat. Want any help? No, I can do it. There. Gildersleeve. Is that egg on your forehead? Huh? What do you do? Lick the plate this morning? I'll wipe it off. That Leroy. Look, Judge, I'm a busy man. What do you want to see me about? Well, since you're the Mayor, Pro Tem Gildersleeve, I have a little matter to discuss with you. What's that? As official historian of Summerfield, I am presenting the city with a portrait of one of our founders. My great-grandfather, Jeremiah Hooker. Very interesting, Judge. I'd like to hear about it sometime. Some other time. But, Gildersleeve. See me later, Judge. I'm very busy right now. But we've got to make plans. It's 12 o'clock already, and the presentation is scheduled for this afternoon. Oh, it is? Yes. Right there on the Mayor's calendar. See it? Hmm. Presentation of picture, four o'clock. And you're supposed to follow the Mayor's calendar, Gildersleeve. That's right, Mr. Gildersleeve. Oh? Well, let me see that calendar. 10 o'clock? 11 o'clock? 12 o'clock? Yeah. See you later, Horace. Where are you going, Gildersleeve? Lunch. Must follow the Mayor's calendar. While the great Gildersleeve is thinking about food, let's do the same for a minute. You know, I stopped in the police station to see Chief Gates the other day. He was on the phone. Yes, dear. Brand potatoes. Okay. What about Parquet margarine? Two pounds of Parquet margarine? Good hazel. I'll get them. So long. Hello, Chief. Getting instructions from the Misses? Yep. Gotta bring home the bacon. Ho, ho, ho, ho. And the Parquet margarine? I suppose Parquet is a favorite spread at your house. You bet. Use it all the time. Well, millions of families do. It's perfect for rolls, muffins, pancakes, and waffles, as well as bread. And the price of Parquet escape being held up by that hoodlum inflation. Right. Parquet margarine, the margarine of craft quality, actually costs less today than it did a year ago. And that makes a lot of budget-bound housewives mighty happy. Yes, sir, delicious. Parquet margarine, the margarine made from only the choice products of American farms, the margarine with a fine, fresh flavor, the margarine that's as nourishing as it is good, is more than ever the best buy for both bread and budget. Add Parquet margarine to your shopping list. You'll like it because it tastes so good. That's P-A-R-K-A-Y Parquet margarine made by craft. And now let's see how the great Gilder Sleeve is getting along on his first day as mayor. He had a busy morning doing nothing. And now, after lunch, he's back at his desk doing nothing. Wish the mayor hadn't locked the cigars in his drawer if I could open it with a hairpin. No, that wouldn't be right. Besides, you might get caught. Now, better get to work. Guess I'll sign these letters. Mr. Gilder Sleeve. Yes, Miss Harper? I'm still waiting for those letters. Oh, yes, just getting to them. I'll sign them right away. Oh, and there's someone waiting to see you. A barber. Oh, that's Floyd. I just called him. Send him right in. Yes, sir. And I don't want to be disturbed for a while. I'll be getting a haircut. A haircut? Here in the office? Naturally. All busy executives do it. Time is money, Miss Harper. The mayor can't waste his time running around to barbershops. But Mr. Gilder Sleeve. That will be all, Miss Harper. Send him in. Very well. You'd think she was the mayor. Hi, Commiss. I mean mayor. How do you do, Floyd? Hey, quite a layout here. Big desk, two phones, just like a bookie's office. Floyd. You got anything good in the third-race commission? Let's not be disrespectful, Floyd. I'm a busy man. Let's get on with the haircut. Yes, Your Honor. I just wait till I unwrap my tools here. I got them in this barber's sheet. Oh, look out, Floyd. You're scratching the desk. Sorry, Your Honor. Now, we'll just tuck this sheet under your chin. Now, just one thing before I begin. You understand when I make a house call like this, it costs you a buck extra. Yes, yes. You see, it means I got to close up the shop, and there's transportation expenses, gas, and oil. Floyd, I agree to that on the telephone. Just cut my hair. Okay. Just so long as we got an understanding. Besides, you can charge it up to the city, you know, Commiss. Look, Floyd. Well, maybe I could put it down on my expense account. Sure. Let the taxpayers worry. Well, I'll give you an executive-type haircut, Commiss. Mr. Gilderslee. Yes, Miss Harper. Judge Hooker would like to see you immediately. I can't see him now. Tell him I'm in conference. Floyd, watch my ears. Sorry, Your Honor. But Mr. Gilderslee, the ceremony is at four o'clock. You'll have to make plans for it. The judge is very upset. The judge will just have to wait. Yes, sir. I never thought I'd be working in a barber shop. Hey, what's the judge in a stew about, Commiss?  He wants to make a big fuss about it. Oh. I'm supposed to accept it as mayor. Who wants to listen to one of Hooker's long-winded speeches? I think I'll stall the old goat when Mayor Tawilagir gets back. That's the smart way to handle it. You think so, Commiss? Sure. Well, I guess that's all right. If you want Mayor Tawilagir to cash in on all that publicity, it's steady you. Publicity? Sure. Pictures in the paper and everything. A ceremony like this is front-page stuff. It is? Certainly. Now, just suppose that the next election, you decided to run for mayor. A little publicity like this wouldn't hurt, would it? No, I guess not. Opportunity knocks but once, Commiss, if I was you, I'd get up and answer the door. Huh? And you'll listen a little floyd-y. While Mayor Tawilagir's away, that's the time to toot your own horn. That's politics. Well, uh... You think that would be fair to Tawilagir? Look, Commiss, does Dewey worry about Taft? No, I guess you're right, Floyd. Gilday, I've waited long enough... Well, getting your haircut on the taxpayers' time. Hello, Horace, old friend. Don't you old friend me, a fine mayor you turned out to be? Hello, Floyd. Hi, Judge. Sit down, Horace, old pal. We'll talk over the plans for the presentation this afternoon. You needn't bother. What? I've decided to postpone the whole thing until the real mayor gets back. You can't give me the run-around, Gilday. Good day. Judge, wait a minute. Nothing more to be said. Judge, you can't double-cross me like this. And that is after all the plans I've made? Plans for what? For the ceremony. I was going to invite a lot of people, have the newspapers, take pictures. Pictures? Sure, you'll be on the front page, Horace. Well, I do photograph rather well. Especially from the right side. You're another Francis R. Bushman, Judge. Why, thank you, Floyd. Gilday, this is very nice of you going to all this trouble for me. Not at all, Judge, old friend. Francis X. Bushman. Oh. It's a pleasure. Fortunately, I have prepared a little speech for the ceremony, tracing the history of the Hooker family from 1836 down through the years, year by year, to the present date. Oh, brother. What's that? I wouldn't miss it, Judge. Oh, Judge? Yes?  Oh. Well, I guess a haircut would improve my appearance if you had the time, Floyd. Just have a chair there, Judge. You're next. Hello. This is the office of the mayor. Send a reporter and a photographer over here at 4 o'clock. And hold your presses. We've got a front-page story. Scoutmaster Platt? Yes? Scoutmaster, I want a boy scout band down at the mayor's office at 4 o'clock, ready to play. But, sir, the scouts are out on a hike. On a hike? Well, go out and round them up. Mayor's orders. Bertie, I'm having my picture taken a little while. I wonder if you could press up a fresh shirt for me right away. What's that? Press a shirt? Yes, Bertie. Mr. Gilsey, right now, I'm cleaning the house. Yes. Then I got to wash the windows. Oh. Then I got to cook the dinner. Cook the dinner. And all I got is two hands. I know, Bertie. I ain't got four hands. Yes, Bertie, I know. That's right, Noritory. But as official historian... Judge, don't you think you've rehearsed that speech enough? Well, Gelda, I want to get it. Let it perfect. I've got to rehearse my speech, too, you know. It's almost time for the ceremony. Go right ahead. You won't bother me. It is with the greatest pleasure that I, as mayor, pro tem, accept this gift on the... I'm not one to indulge in all this. On behalf of my constituents of Summerfield, it gives me great pleasure to... Yes, Miss Harper? There's a Boy Scout band out there. They're all over the hallway. Oh, good. Tell them we'll start in just a few minutes. And some other people are out there, too. Reporters, photographers. Sacrifice. I've never been through such a day. You may go, Miss Harper. I'll let you know when we're ready. Oh, dear. My face, Judge. But as official historian, I would like... Gelda, how can I rehearse my speech? It isn't time for him to play anyway. Why don't you stop him? Keep your shirt on, Judge. I'll speak to them off the whole door here. I'll come to the door and give you a signal when I want you to play. Thank you, fellas. It's going to be an historic occasion. It's almost four o'clock. We better get started. All right, I'll unwrap the picture. I'm sure the mayor will be very proud to have this hanging on his wall. Oh? There he is, my great-grandfather, Jeremiah Hooker. Handsome, isn't he? Oh, my goodness. What's the matter? He looks like one of the Smith Brothers. Is that so? This happens to be a very fine painting. Leroy can paint better than that. I'll have you know this is a real antique. Oh, the picture of your great-grandfather. He looks like an old goat, too.  Judge, I didn't... Let go of my picture. Now, I'm going home. You can't go. The photographer's out there. I don't care. Give me my picture back. Indian givers. Tattie face. Oh. Let go of my picture. I won't. I can pull as long as you can. Gelda, you wrecked my grandfather in two. He looks better that way. Going on in my office. Oh, are you back? Fortunately, yes. I'm glad my trip was cut short another day and I wouldn't have had any office left. And he ruined Jeremiah. Oh, Gelda, I should have known better than to leave you in charge. I've never seen such a mess. Well, you see... And what's all that hair doing on the floor? Hair? I don't know. There's so much of it all. I got was a trim. What? The gray stuff belongs to the judge. Hair cuts in my office. The hall full of people. Is everybody going crazy around here? No, I can explain. Never mind. And get that boy scout band out of the hall. Yes, sir. Right away, sir. Oh, boy scouts. Boy scouts. The Great Gilder Slave will be right back. Remember this, you wise and frifty shoppers. Parquet margarine, the margarine of craft quality, makes good bread taste better. It's a better buy for bread as well as budget. Delicious nourishing parquet margarine now costs less than it did a year ago. This tasty smooth spread is made from only the choice products of American farms and each delicious pound is fortified with 15,000 units of important vitamin A. Ask your grocer for parquet, a favorite spread for America's bread. Try it on rolls, muffins, pancakes, waffles. Treat yourself and your family to parquet margarine. That's P-A-R-K-A-Y parquet margarine made by craft. Well, Bessie, this has been quite a day. It certainly has, Mr. Gilder Slave. Kind of nice to get back at my desk as water commissioner. Was the mayor very angry with you? Angry? No. As a matter of fact, he thanked me. He did? Sure.  Now he doesn't have to have that awful thing hanging in his office. Uh-oh, Bessie. Yes, sir? I want you to take a letter. But, Mr. Gilder Slave, it's almost five o'clock. I know, but this is one thing we're not going to put off. Ready? Who's it to, Mr. Gilder Slave? It's to everybody. Huh? Just take it down, Bessie. Subject, winter driving. According to the National Safety Council, the winter months bring a 50% increase in traffic accidents. It's up to every one of us to prevent these accidents in every way we can. Here's how you can help. Drive slowly and carefully over slippery streets. Keep your windshields and windows clean for good visibility. And be very sure your brakes are in good working order.  And it might be yours. That's all, Bessie. Yes, sir. And by the way, Bessie, when you go home tonight, be careful how you cross the streets. Pedestrians have to do their part, too. I will. Good night, Mr. Gilder Slave. Good night, Bessie. Good night, folks. The Great Gilder Slave is played by Harold Curry. It was written by Gene Stone and Jack Robinson with music by Jack Meakin. Included in the cast are Walter Tetley, Louise Erickson, Lillian Randolph, Earl Ross, and Richard Legrand. This is John Wald saying good night for the Kraft Foods Company, makers of the famous line of Kraft quality food products. Tomorrow night, Ed Gardner will be Al Jolson's guest on the Kraft Music Hall, heard over most of these NBC stations. Don't miss it. I won't. Remember, tomorrow night, for exact time, see your local paper. And be sure to listen in next Wednesday and every Wednesday for the further adventures of the Great Gilder Slave. For hurry-up main dishes, get Kraft Dinner from your food store. Each package of Kraft Dinner contains a special quick-cooking macaroni that cooks fluffy light and tender in just seven minutes. Then you stir in the golden Kraft, grated for grand cheddar cheese flavor, and you have marvelous macaroni and cheese enough for four generous servings. Serve this quick, easy main dish often. The whole family will like it, and you'll like the way it saves you time and money. Remember the name. It's Kraft Dinner. This is NBC, The National Br...


How many people smile at today in this city? How many people vote colorful clouds today in my city? Why my city is so sad? What can I do for my city? What if there were some happy spots in my city while I was, while I'm coming back to home from work? What can I do for my grey city? What is my job? What is my task to do for this grey city that already has 5,000 blank grey empty walls? How can I give this city back the beautiful scar line that once possessed? How can I give the harmony back to this city? This is the city of Bam in Kerman that destroyed almost completely in the earthquake about 12 years ago. It has harmony, it has perfect urban plan designing. How can I give back these kind of lovely colors back to my city and cityscapes? During World War II, many cities, especially from third world countries, became victims of rapid westernization in the Middle East. Tehran is one of them. A very famous architect who was famous because of gigantic shopping malls. He designed for buildings and cities in America, proposed the design for Tehran and called Tehran an ideal city to became an automobile society. But what we have nowadays in Tehran, you can see the city is very polluted. There's no harmony. There's no green public space in Tehran. What can I do for this monster like city as an artist? I am not president nor a mayor. I am artist. What can I do? How can I bring back color, joy and hope to this city? The city that now has no space for pedestrian and even not for cars. Here's my first mural for Tehran. I did 12 years ago this project. I brought the blue sky that were absent in the city.  I decided to paint these green, beautiful public spaces that once animated every corner of Tehran. I decided to paint happy people looking over the city. And here is the picture from another angle and you can see how this mural interacts with people in the middle of Tehran. This is Van Aak Square, one of the most busiest squares in Tehran. And I was thinking, if I can make my city more beautiful, it can be less crime, less unhappy incidents near my walls. This is the detail of the mural. Here you can see another empty, ugly gray building. And this is my plan to give hope and energy to this city. I love these murals because these murals are talking about their interests because I'm originally from Tehran. So I lived in this city for many years and I'm using bus, I'm using public transportation. I know what's the problem in the city and what people are thinking about the city. This is the completed project. I tried to use blue skies as a therapy because of two reasons. First, the sky is beautiful also and there's no more blue sky in Tehran nowadays. And the second one, because of the psychological impact of blue color and people's nerve and people's life, because in a country under sanctions and after a couple of things like revolution, war, they have lots of problems in Tehran also because of mismanagement. So I decided to give more beauty to my city, Tehran. Here you can see another project of mine. I decided to beautify these buildings by using the elements from the architecture of these buildings to create harmony instead of creating something irrelevant to the city. Here's another view of the wall. While I was doing these projects, my statement was this, if I can take 10 seconds of everyone's life in Tehran and interrupt these people who they are thinking about their problems to not think about their problems and see something beautiful, I could save millions of millions of seconds of people's lives. It is the detail of that mural. And even now it's smaller than the real size of the mural. This one was the first one. I decided to do a mural on it and I was thinking that why my city is so ugly? This is my design. This is me on the project. And I decided to push back these walls and have more blue sky in my city as a personal subtle activism against mass construction in Tehran. In a city like Tehran that nowadays even it's worse because of lots of big skyscrapers in the west of Tehran is built and they are blocking the wind. So we have more polluted days in Tehran. Here's the detail of this mural. I tried to use elements from the city, the reflection of the mosque in the windows, some people to give more energy and more life to these kind of paintings. I painted more than 100 murals in Tehran with the help of my friends and my classmates. I designed all of them and one day I think it was 2010 after six years of painting these murals I felt exhausted because I did lots of projects and while I'm working on my mural projects and public art projects in Tehran I'm usually over thinking about problems and what I can do for a people and I'm always worried about the consequences of my image on people's mood. So it's quite challenging for me painting and working in the cityscape. I decided to come back to my studio and do my personal projects. My canvases are a little, I mean, completely different conceptually because they are my personal projects. I'm not worried about people. I don't worry about their mood but my projects and murals in Tehran were almost happy to work like a painkiller in Tehran. While I couldn't change the city completely I tried to give a painkiller pain to city instead of, I mean, do a permanent cure that it was not possible. While I was working on my project, while I was doing exhibitions in different countries I received a call from Boston. They asked me to paint a mural on this wall and this was very important project for the mayor of Boston also. This is the most important wall in Boston, right to the South Station in Boston and they asked artists from all over the world to do projects on this wall every year and they chose me for 2016. Despite the height of this wall that it's about 35 meters height it seems very teeny among these big skyscrapers that mushroomed around this wall during the past two decades. The shape of the dome on top of the building gave me this opportunity to think about our historical buildings all over the country in Iran, especially mosques and buildings from Yaz. Also I was thinking about Oculus in the Pantheon. I like how light and darkness playing in this architecture and also the light and dark in this building gave me this idea to think about dark side of politics between Iran and America. I was thinking about how can I give, how can I give hope to the world. In the same time there were a very refugee crisis everywhere in the Middle East also in the Europe. People who left their countries in the search of the spaces of hope in the search of future also in the America people were worried about their future. It was the right time that I was thinking about what can I do to give hope and peace to the city especially lots of immigrants were worried about their future their children future. Also because of Boston had very hard times during a Boston Marathon bombing I was thinking that Boston needs hail from this tragic memory. As a man from Middle East I wanted to grant them a gift. I wanted to tell them that not everyone from Middle East wants to harm you despite what media says about East and my country and despite political divide between Iran and America. I wanted to give them a present, a hope, a symbol of hope and while I was thinking about how can I manage to pack all my ideas in a single design I remembered the French movie the Red Balloon. This movie was about was talking about hope in European cities after World War II and I found the balloon the symbol of balloon very successful in this movie and it became my inspiration. I asked my family and friends to pose for me in a couple of photographs and one day as I was working in my studio I came to this idea this is me painting the mural the day that I painted this balloon people started to love this painting and I had lots of positive comments on my social media that people like this balloon and I was happy that I was successfully communicate with people through my art and give them hope. This is the main view of the wall. I just gave everyone one balloon as a symbol and here you can see how this mural interacts with people pedestrians and people in queues and these pictures sent by people directly to my social media and shows how people interact with this mural and they are connected with this mural lots of workers around downtown Boston having lunch every day next to this mural and I said people love this mural let me leave you with this comment that it was the biggest gift for me the comment was this my father has alzheimer's every time I walk by this I will be hopeful that the cure is found so we can eliminate this terrible disease it was my share to beautify my world and my city and let's think about how as how we as individuals can help to improve life quality and our planet thank you


Let's do 86 and this is this is a bigger stop and I thought it's gonna be 86 by 50 86 by 50 M. If it hits, I am talking I'm talking and I can't I can't shut out the room now Is Macy's moving hurry hurry quickly somebody tell me Macy's looks like it's stuck. It's not my chart Here here 86 It was stuck here get it get it and get in getting right now I put the stop in at 50. This is gonna go man. That was weird. That was really really bizarre And I don't know what it was, but just take it right here and get the stop in it's not too late It's not too late. You can do it back. Let's just check because this is very spreading. This is gonna go here Let's put it at 55 39 55 give it five more cents take it right here. You can still get it This is gonna drop here 38 50 38 38 dollars. Let's see if we can get it down to 38 dollars today Macy's if you're in it Just check something eight bucks or thirty seven eighty Here here we go and we deserve it Sorry, I'm in the Mike Lado's having trouble looking at something here Macy's but everyone should have got it Everyone should have got it. It was weird there. Thank God. I didn't look away It looked like it was not moving. It really wasn't moving here Macy's well, it's moving now But it didn't look like it was maybe a second ago or a minute ago or whatever.  Let's watch the numbers. What happened to the other one? Oh Kidookies here being Macy's is the only thing the other thing didn't even set up yet. Very expensive Very expensive Macy's Macy's is moving. Let's halted trend trader.  This is it. This is it here Jesse You had time to get it you had time to get it But you really didn't have time to think about it Now it looks like it's open here here now. It's starting to move that was strange wasn't that weird now here It's starting to act normal. That was was weird Here it goes here. It goes Macy's and this is moving fast under the low is 54 Which have your hand of the button here here it goes Macy's we're gonna get it down here great call And today was not easy here Macy's But I can't even pay attention to the market right now Macy's 32 no it did not break 30 yet. He deserved to go in today I told you and we made it happen stick with me people.   I know it looked weird. So I I mean I don't know sometimes he's open late But it had enough volume If you're still in it, I mean it got to the target I don't know why you're still in it. If you still in it. You think it's going to 37. I Mean you could be still in it, but I'd be very tight with it. Don't give any of this back Don't give any of it back at all here. It's trying to break. It's continuing. I'm totally out But this looks amazing. Is anyone still in it? Wow, I mean I am totally done That was just a perfect entry and a perfect exit and a perfect gap here under eight actually wasn't a perfect gap, but My instinct we're honed in today. It's better if I the less I talk the better I do here Macy's Is anyone still here? It's gonna try to break. Oh, hey Let's look at the market. What a great call See we I manifested that for happen to happen for us today. Aren't you lucky that you're with me? How's does that for you people? Who manifests good trades here Macy's It's gonna break if anybody still in it again. I'm not it looks great though It looks like it's even gonna go to 38 and possibly break it here 3808 Tanging on there. Just broke 07 there. I'm a great cheerleader. Yeah, it's broken 92. Oh my gosh This is craziness here. Definitely make sure you get out of this. What a great call I mean, I'm out. That was a huge move for me, but this just broke 38 3775 3880 it hit. I think is anyone still in it. What a great call 87 Dan you did it. Well, there you go Here in a trial and did a trade and made money That should tell you something Here Macy's 87 was the low. I think are 86. What was it? That was 87. I would be out of this. I there's nobody that should still be in this Honestly, it market is trying to hold. I don't know if it does or not. That's the question. Let's look at the other one What did this one do? STZ I meant This was not easy, but it did have a move and Let's see what it did. I mean, this was worth playing You know, this was worth playing the stop was big, but it paid This is still going This could go all the way down to 205 206 205 So I we didn't we didn't do this. I liked Macy's I'm so glad so glad that I stuck on top of that, but this this this you could have done What was the other ones we were looking at J. D. I wasn't crazy about that really didn't do anything What was the other one we're looking at? If I was looking at holy, I think that was the one that was too thin Still looks too thin Too thin and too spreading This just doesn't look tradable. Wow. Look at the first bar here though. This first bar is two dollars plus All right, what are we doing next? Oh PFGC? Was that the other one? I did rate this too This had a move you could have done this one as well here Macy's So everyone should everyone should be up and I think everyone should be out and I can't see any reason why you'd still be in this at all I do think this could continue though But you know It's 940 stock had a huge move. I called a great entry in it. It was weird the way it opened It was not a hundred percent clear here which one to watch out of the gate. I'm so glad I watched this I liked it. Why did it? I held the conviction So if you're still in Macy's you could put a stop maybe at 3840 3845, but that's giving quite a bit back It did break 38 so the likelihood of it continuing down into 3750 37 area could happen I don't think this is going to set up right here again right now after the move it had but If you're still in it, you truly believe it's going to fall off the planet But that was a great trade and we got what we wanted. I got what I wanted Here it goes. It's going to go again Is anyone still in it? Any questions from anyone at all? Great day Just a terrific day Let's see what's out tonight End top Cisco Cisco and tomorrow morning is Walmart. I think tomorrow's gonna be a good day Uh, Kate you came in five minutes late. You missed the whole trade. I did refer you to Kathy. I don't know what happened Um, I will go over the trade Do I think event sets up again? Should you do it? No I don't think you should do it I think if you did the train that I did in here here, this is going right now Holy crap. Look is anyone still in it? There's no proper reentry in here It's just falling if you're still in the original trade be tight with it But if it pushes back you're you're gonna lose a lot of profit I would not retake this here if you want to sit here all day You can do it on a higher time frame. I don't know if that sets up or not, but No, I wouldn't retake it. Why? I mean your job is done. Your job is to do the best you can And that is what we did Therefore you can go home your job is done Your job is not to make as much money and trade all day long and as many trades as you possibly can You hit it hard when you get something good and that is exactly what we did And you are perfect if you can be which I very often am and today I was I was just perfect today I can't say anything other than having to sit in today wasn't wasn't easy I really didn't know there was three things to look at They all worked but not as good as this So I don't see any reason after you have achieved perfection to continue to trade So I why would you do anything else? You might be frustrated and wish that you could take more size and didn't but Doing a second trade isn't going to get you where you need to be It's the consistency of the action Taking it hitting it taking it hitting it being perfect about the pick and the entry and all of that That's the consistency then you up your size. You don't up your size by taking a hundred seven thousand trades a week That's not gonna I I pointed out last week Why you guys had a problem when I was away And I wasn't wrong and I still didn't even get to talk to gyro about it But I'm telling you you looked at way too many symbols last week It's a common mistake. It's it's a common mistake over trading Um, let me just look at Cisco and then we'll go over the macy's trade I don't know what this Cisco does, but this is definitely a watch Um, all right, let's go over macy's for everybody before I go over this. Is anyone still in it? Just an fyi. I'm wondering We're gonna go over the train. Mimi wants to go over a cake completely missed it Kuala bears out. Is everybody out? Yeah, gyro did drop we talked about this on monday tie gray I you know, I don't want to talk about it again. He he did he did well But I think he looked at too many symbols here. This is still going Is anyone still in this? No one's answering. I'm just wondering. I don't think you should be