There's a lot of statistics out there that artists need to pay attention to, but it's hard to keep up with all this information. So today, we're gonna consolidate it for you, make your life a little bit easier, and we're gonna talk about three surprising stats that could change the course of your music career. But first, I'm Brandman Sean. And I'm Cory. And we are back with another episode of No Labels Necessary Podcast. Let's get it. All right, so first and foremost, all of these stats shared today are gonna be courtesy of none other than Wendy Day, because she posted a lot of stats on her page. And when I had the idea for this episode, I said, you know what, let me see what Wendy's posted. And now, matter of fact, I love Wendy. So let me just use stats off her page and shout her out. So shout out to Wendy Day. And this first stat that I think y'all are gonna love to hear or hate to hear based on your genre is the trajectory of earnings per stream depends heavily on your genre. Per stream payouts decline most in Latin and pop and increased in Christian. The boost in Christian is driven by a relative rise in Apple listeners. The big decline in Latin is driven by geographic shift towards lower cost markets that are adopting Spotify and focusing heavily on Latin. Pop's decline is driven by a surge in international YouTube streams. Now, let's expand on all of this because when you just look at the bar, it looks crazy, all right? You got this average that they're working off of and then Latin is negative 21% below the medium they have set. Then you have pop is the second lowest earning per stream. Then you have jazz, then you have dance and electronic, then you have rock, and then you have country. All of these are below the line. Country is negative three. Then again, Latin was negative 21%. Now to get above the line, we'll straddle in ironically with R&B, 0%. And then 2% for hip hop and 8% for Christian. Interesting stats. And I think the cool part about this though is it really does force you to understand the different nuances of what your fan base is consuming, how they consume, and why your money looks different to everybody else's, right? Because like they said, the boost in Christian is driven by a relative rise in Apple listeners. So you might not necessarily do anything different. You just have a lot more people listening on Apple just because that's where your genre happens to listen. I don't know why Christian listeners are tending to use Apple. That's interesting. But the benefit is to the artist. So that's pretty cool. But on the other side, when you have the big decline in Latin, now we have to zoom out. When we say big decline, I think that can be taken the wrong way because we're talking about earnings per stream, but that decline is being driven by, it says a geographic shift towards cross-cost markets that are adopting Spotify and focusing heavily on Latin. I think that geographic shift qualifies as expansion, right? So it's not like they lost whatever the core is. Now you're expanding and there isn't an extremely low cost for a stream that you're getting at these other markets. So now your balance is putting you on a decline, right? Once you average all of that out, at that point it's just a matter of the numbers. If you're all in a emerging market, you know you're not gonna be paid much per stream. That's just the nature of it. But if you're expanding to emerging markets, but you started in a market that pays a pretty solid share, it's nothing to be concerned about. Yeah, exactly. I think that is what stood out to me too is you can really see how the different genres are expanding, right? So Christian music has seen an increase in popularity over the last two years or so I would say, right? So I think you're now starting to see even like a really strong subculture formed within that music genre that I don't think has been as apparent in like older years of Christian artists kind of coming up. You've had a handful of them like breakthrough and like kind of like the delineated other, what am I trying to say?  Christian rap has been building like a really cool space for itself on like TikTok and things. I think what we're starting to see with Christian is like that community is starting to get a lot louder and a lot more active. Cause you know, typically genres like that aren't as interactive in some of these things as genres like hip hop and pop may have been in the past years. And then like we're saying with the other genres, right? Latin and pop being two of the music genres that typically have to expand beyond the US and in other top markets, the quickest, right? Cause those genres are about damn near about global takeover. So it makes sense to like, hey, if I have to go in order to expand my market share I have to now go expand to Indonesia. So I'm picking up more people that may contribute to my overall growth or maybe these other developments or areas of monetization but my streams are going to take a hit because of expansion happened in a country that is a lower tier country when it comes to streaming royalty payouts, right? So it's like on one hand, you could say for streaming that's a bad thing, right? But then in terms of the overall impact on the artists and their global career is obviously a good thing. You know what I'm saying? So like even the new ones between what the numbers might seem to portray on paper and what it may actually signify for the genre in real life is very different. Facts. Facts and that last note about pop decline being driven by a surge in international streams on YouTube, that makes me wonder like just how reliant pop is on YouTube. Just the fact that they said YouTube specifically not reliant on YouTube, but I don't know pointing it out in that way, it makes it seem like oh yeah, their music videos do way better than other music videos, right? So this is where my brain went with it. I could be wrong about this as a peer speculation, right? But for those of you that don't know YouTube views and streams count towards album sales and billboards, right? Now it has to be views and streams from still within the particular country to count towards the billboard or the chart of that country. So it's only so much gaming that can kind of go there. But what that said to me is that they are probably running a lot of YouTube ads to these international markets in an attempt to break them because YouTube is typically the go-to platform for emerging markets, right? A lot of countries will get access to YouTube before they get access to Spotify. India is a great example. India had access to YouTube for a very long time. They just got access to Spotify like three years ago, you know what I'm saying? Three, four years ago. So I feel like it's more of a reflection of where the label and pop artists tend to be 99% major labels driven, like 99%, right?  Or one of the few genres that's like that. So to me, it's a reflection of where the marketing dollars are spent, you know what I'm saying? Like, oh, we're gonna spend a lot of money on YouTube advertisement and partnerships and things that build you in these markets. And because that's where our energy is going, once again, this is where they hit. It's starting to come back in, right, we're getting a lower per stream payout.  They're putting so much money into it. YouTube is definitely a part of going global, right? Yeah, everybody. Damn it, it gotta go through YouTube to go global. Hey, YouTube and TikTok, those are the two that are like must. All right. And by the way, this is by Duwetti. That's the name of the investment company who did this report. Here's another interesting stat. The average indie artist spends 26% of their income on distribution fees. 26% of your income artists on distribution fees. I don't know how y'all feel about that or if y'all thought about it in that way, but it says paying low fixed fees to nearly free services like DistroKid and TuneCore would enable artists with rev share deals to earn 26% more on average. So what are they saying? A platform like TuneCore, DistroKid, you know, you pay this amount per year or whatever, or some of them are free, obviously. Well, there's people who are doing rev share deals and it's 10% for me to go with this company. Why? Because I want access to label services in some sort, right? There's different levels of label services, but the biggest one that we know that people want is what? Playlist them. Playlisting, playlisting, playlisting. All right. As I said, still for many artists, this rev share is the only way to access value at services like Advances and Playlist Pitching. I forgot if I did. Yeah, those are the two. People want money still and they want help getting on Playlist and that's where the labels still, not the labels, the distributors kind of still got things on lock to an extent. I think, what is it called? Oh, Discovery Mode has helped take a lot of that power back there, but they still got money, right? They can still front cash and they're willing to give out those loans without artists having to go through all the things they would have to go through to do it with a traditional bank or a credit union. So I think that's gonna stay a thing. It's hard for me to see a lot of artists not being willing to do those deals for that extra 26% until that 26% becomes such a big number that now you have resources to start thinking about cutting costs like that. You know what I mean?  And more support. It was like, oh, you were only thinking about Spotify and Apple, we can also get you on Amazon and YouTube and now you're like, damn, I ain't even know y'all could do. Yeah. You know what I'm saying? That's what that looks like at that level.  Well, yeah, like that. You should see what's behind this wall. Exactly, exactly like that. You like that Spotify campaign? Wait till you see our title of department.  You know what I'm saying?  Said no one ever, bro. Come on. Like, a quarter of it is- Wait till you see our title of department. Yeah, wait a second. The title of department is crazy. Like, but a quarter of every dollar going towards distribution and fees is interesting because I misread this when we were going through it during pre-production. Now it clicks a lot better for me than I got time to think about it. So it really is speaking more so to the people that are on more of the real-life models than necessarily the whole pie. Cause I don't get it, but if you're paying 999 to put your album out, like it's 999, whether you made 10 or 100. But now I get it. Like, if your artist is going through, I don't know, a wall or like a stream cut or something. And it's like, this is about what you're looking at on average to procure the resources of that type of establishment.  And the fee, the weight of the fee is always going to be determined by how much you want them to do.    So it's, but I've never seen it broken down that way. And I can't believe there isn't more outrage about it, especially considering this is on the tail end of the Spotify thing. And this goes back to that comment that we had when the Spotify numbers came out, bro, like distribution companies always escape. Middle man, man, they the middle man. Just ducking, bro. Them rocks going back and forth. Distros are, they are the beautiful place. An artist say, I want to read this quote at the bottom for those who are just listening. I always do distro deals because I want a little aid on the back end for play listing and stuff like that. But then I end up losing a cut of my streams. And most of the time, they drop the ball. That's a quote by King Shelter. I don't know if that's a band or an artist, but that's the thing. Again, he said, I always, he's like, they always drop the ball, but I always do this for that little bit of hope. And I wonder how many of these deals do they get off of hope, you know? Just knowing they're not going to deliver or do they truly try to deliver? Cause it's not a guarantee. Nobody guarantees that we know we can't go guarantee play listing. Yeah. And it's interesting cause it's like in that, right? The distribution company is basically paying you to have faith that they can do it. The service that like you said is not guaranteed. And it's probably one of the, not the few music industry services that's like that, but it's definitely probably at least top three, you know what I'm saying?  Like it's a lot more that goes into, you know what I'm saying? There's 20 other of us plus the majors also talking to Steve in the editorial department at. You know what I'm saying? Like that's just kind of how it goes. So it's like, and I feel what King Shelter's coming from, but then you think about it from the digital side, they're probably gonna like, man, we spent this money for not to move because we couldn't do it. And in our eyes, that's not that great of an investment. You know what I'm saying?  That's not a good investment on my side. You know what I'm saying? I want the one that's gonna move whether or not, you know what I'm saying?  I don't expect my 100% to be the thing that brings it up to 80% or 90% or whatever. So it's interesting to see, I guess we don't know that's what the distribution company is thinking, but I'd be willing to bet that's what they're thinking. You know what I'm saying? Like that's out of their rebuttals that would be like, well, we were hoping this was just icing on the cake. We didn't expect to bake the whole cake. You know what I'm saying? And my rebuttal, what do you mean this is icing on the cake? Because if I can get distribution and get put on these platforms without the placement, the only difference that this percentage came in for was playlist pitching. Oh, yeah. You gave us an extra 10% for a little bit of- Especially if I didn't get in events, right? Or if I did get in events, and that's I think where they still can like, skirt pass that responsibility as well. It's like, well, we gave you an event. So that was the primary guarantee of this listing isn't a guarantee, which it literally isn't. So that part you can't fault them for is just about, in a lot of times, the artist more so misunderstanding and mismanaging expectations. So this is how I look at it. I'll just tell y'all how I look at this playlisting situation as of today. It's a new year and I know you wanna go to a new level in your music career. And luckily for you, that's what we do here. Help artists grow, get more streams, grow their fan base, do shows, get connected with people who can help them and have direct conversations to help you build out your strategy. These are the type of opportunities that we provide for free at knowlabelsnecessary.com. But the thing is, it's not always open to new people. But at the beginning of every year, we get a little loose. We say, all right, let's go ahead and let a flood of new people in. And once we hit our new registration cap, it gets a lot harder because we gotta slow down on letting people in off of the wait list. So apply now at knowlabelsnecessary.com because the faster you apply, the faster you get in. Absolutely free, back to the video. All right, now if y'all are losing 26% and you're doing a decent amount of streams, the reality of playlisting is, as your Corey said, you have the majors trying to get on these playlists, you have every indie artist trying to get on these playlists and there's a bunch of indie artists who are signed to distributors in these rev shares who are trying to get on these playlists. Every level that you're competing with, the signed major artists, the indie labels, the distributors, then you got the indie indie artists who are trying to find their way on their pitching to Spotify like their tool, right? Once you go into the editorial playlist, you are creating limited shelf space. We go from this infinite to now limited like we're in target, right? We're walking through the store again.  So odds are, you're not gonna be able to get on. Like odds, straightforward.  You said what?  I've seen that where it's like, we got you on a playlist. You want an anti-pop, but we got you on, you know what I'm saying, pop, new hits, you know? So that's a whole nother situation, right? You might not be able to get on it. If you do get on a playlist, it's not a playlist that you want or care about. All right, cool. Once I know that, the odds are very low. Am I willing to give up this 20%? But whatever that number is for me, 15, 10%, whatever that number is that they're trying to make a deal for. Next, the fact that they can't guarantee this. And then I'm looking at Spotify basically confirming that most of their activity comes from algorithmic playlists. The greatest power on Spotify is on algorithmic playlists. And I assume something similar, right? Not exact, cause everybody else isn't as transparent as Spotify is, but something similar to many of the other DSPs also still knowing that Spotify is the biggest one. So the editorials aren't even hitting like that. And it's not necessarily a guarantee that I'll be on the editorial. Matter of fact, it's nowhere near a guarantee. And the things that have the most impact I can get on without being on an editorial. Well, I can get on. I mean, the impact that I want from playlisting, the best playlist and that actually come from not being on an editorial, it just comes from getting the algorithm to move. Release radar is actually massive in terms of impact. And then beyond release radar, how things continue to move throughout the algorithm and getting on the old playlist is massive in terms of impact, right? To the point they've downsized, you know, a little bit on that editorial side, you know? So now is it even worth it for real? For real, because it's not, the odds say I'm not gonna be successful in this thing and I can get a better result from a similar thing and algorithmic playlists versus an editorial playlist. What am I really giving away this money for? And I think that's an important thing you touched on that does, in my opinion, give a little bit of leeway to distribution companies, right? I can only imagine what it's like when the two cores of your primary service, right? Or the things that distribution companies wanted for years is access to these platforms and access to editorials. When it comes to access to these platforms, I mean, it's much easier today than it's ever been. I mean, I feel like I see a new distribution company every month, you know what I'm saying? I have people in my life that I know personally that have started distribution companies, you know what I'm saying? And I'm like, they... Like, bro, we all get these. It's like, bro, you were just... I know you, bro. How you having a... How you putting this song on Amazon, bro? Like, how do you do that? People be starting...  I'm saying, bro, so it's like access is easier, more people can do it. So now it's become a game of capital, which basically has now made us major labels, because that's the major label game is a game of capital resources. So now we in the fight, we didn't even want to be in, and the vast majority of our clientele is fighting for a dying service. Dying in terms of the platform themselves are trying to kill it off. Like you said, Spotify's been on a very aggressive campaign over the last year or two to deep-prioritize the editorial platform. It's like very, very aggressive, you know what I'm saying? And then there are other platforms that never really made it like a thing like that.  And so there it goes. The vast majority of our clientele doesn't know that. They're not keeping up with those reports, they're not. Like you said, who has the data to see that algorithm tellers work better than editorials or distributors does, right? So I can imagine the things that they see the value at how we can get you on Discover Weekly, well, you can't promise, we can get you on, not Discover Weekly, the servers we talk about, the ad servers we get you marquee, these things that to them would be the big value ad, but then the average artist doesn't know about it because they haven't gotten themselves to the point yet to where they get that information. So they don't even know that that's the value, you know what I'm saying? So I can imagine that that's a frustrating position to be in, you know, it's like the- Who could be an artist or a distributor, which one? I don't think it's right, don't get me wrong, man. It's not me capable. I'm saying, I can, there's a little, little pool of compassion in my heart for them when I think about those variables being included in it, but I don't understand, I think you're right. It's like, all of that considered, to me, de-justifies the 26th thing. It's like, when y'all figured that out, the competitive edge and that within your industry, hey, take it, you know what I'm saying? But until y'all figure it out, knock it down. That point, I think it's just like, all right, we're gonna hold it down until the jig is up. All right, like- That's exactly what it's like, but we're gonna ride this ship until this bitch bursts into flames and the last piece of wood is sunk to the bottom of the ocean floor, bro. That's all we can do. Before we transition to this next step, let me please implore y'all to subscribe to this channel. If y'all wanna see more videos like this, casual conversations about stats that can help your creative career. And then we get into all kinds of other cool stuff, but of course, if you wanna hear more of these, subscribe, subscribe, and one more time, subscribe. Now, TikTok, boy. People would like to say TikTok doesn't matter, which, you know, man, now TikTok, I feel bad for it. You talk about distributors, now TikTok, I feel bad for it, because I feel like TikTok is that person in the relationship who has done all this stuff for you, but now they're trying to treat you a little bit normal, right, because they don't have as much time. I got a job now. I can't just do everything for you. All of a sudden people act like TikTok isn't worth it at all. Like just because I'm not giving you the most streams in the world, I'm not giving you a thousand X like what they were doing before, but now I'm still giving you a hundred X, 10X, at least on average, in other platforms.  I ain't nothing now. I'm just cast away. That's what's happening. People really have convinced in their mind that like now IG Reels is better than TikTok for artists. Like there's a lot of artists that have like convinced themselves in that just because, you know, they were frustrated with TikTok for a minute. And then now once IG Reels started moving, they wanted it to happen, right? I didn't want to have to get on TikTok in the first place. And then when Reels started feeding those fake views, then everybody started feeling good. Now Reels is a little bit better. I will give it that. But the truth is TikTok is never gonna be a TikTok's peak again. And Reels is never gonna get to the peak that TikTok was. But, you know, Reels should continue to catch up to where TikTok currently is. It's not there yet. If it was there, I wouldn't talk that way. But it's just not there. With that being said, still we gotta get back to the reason TikTok exists. And it's going to explain why a lot of these stats matter. Because nearly all users on TikTok, right? Use music streaming services. 89% in the US, right? Stream music on DSPs compared to 74% of music listeners overall. Let's get to some other cool stats, right? You're more likely to use pay for music streaming. Why does that matter to the artist if the customer pays for their streaming or not, Corey? Because they get a higher per stream payout. Because the artist gets a higher pay per stream, right? So you're gonna find better customers, quote unquote.  Now it says for those of y'all who are in the UK, 70% of TikTok users are more likely than average to use paid. 79% is a high number. And then 91% more likely in Germany. That's a huge, huge, like who am I looking for? Good luck. Deviation from the standard. So the most important stat that I really wanted to touch on though was this section right here when it came to TikTok. TikTok users are higher spenders over a variety of music purchases. This is what y'all want to hear. Like streaming money is nice, but this is the sauce right here, all right? TikTok users higher purchasing power goes beyond concert tickets and artist merchandise. Compared to the average music listener, TikTok users spend significantly more money per month on music related purchases, including physical music formats, gift cards and premium music subscriptions. In the US, TikTok users on average spend 22% more money on music related purchases compared to the average. So let's get into like what a couple of these things could be for instance, in Germany, they're 58% more likely to spend money on music festivals. In the US, TikTok users are 15% more likely to have purchased vinyl in the past 12 months. In the UK, TikTok users are 18% more likely to have purchased vinyl in the past 12 months, all right? I'm gonna do these last two and then we're just gonna open back up for conversation. In Brazil, users spend nearly twice as much money on music gift cards. It's not so big in the culture here, but twice as much to double the amount. That's a big number. TikTok users in Indonesia spend 37% more on music gift cards. So again, this goes back to, you're trying to find your best customers. I know you're like, what platform shall I use? But you should be thinking about where customers exist. And then what are your best customers exist? Because what happens in a normal business is, all right, yeah, you're trying to get out there, figure stuff out, oh, I've got all these customers. Dang man, it's hard to keep serving all these customers equally all the time. So who are my best customers that I can just super serve? And I know they're gonna love my music. They're not just gonna stream me one time and I'm making a video and doing this crazy dance just for them to like, but they're never gonna swipe past that and stream my music, purchase anything. How do I keep getting to those people specifically? TikTok is starting to lean towards that direction in general for people, but that process can go a lot deeper than TikTok in general. It can apply to a lot of stuff. But this is what I think immediately when I see and hear these type of steps. Yeah, yeah, I agree. I think it also speaks to the maturity of the TikTok audience. Right, a lot of people were very worried that this was gonna stay a platform just for kids and we assume kids don't have any money. So it seemed bleak for people that were viewing it as a real commerce platform. And TikTok has made some, whether you like it or not, some great changes over the last two years or so to really put a lot of monetization power in the hands of artists and creators and to make sure that that bridge from TikTok to music is very strong and very tight. And I think like now we're starting to see a lot of that culture that they built up actually hit the music landscape, you know what I'm saying? And you can feel it across it in a way that like, like I said, you're not really seeing it on other platforms. And you said it earlier in the talk right where it's like, hey, other platforms have in some cases the same chance as a viral moment as TikTok may have from a number standpoint but when you talk about the actual impact of it, right? Like, and we said it for a million views on TikTok looks different in a million views on Instagram which looks different in a million views on like Facebook or YouTube or something like that, right? There's a difference in each of those millions that if you experience them, you can feel it and see the difference. And, you know, and something like that you also get the chance to see the difference and the people that are coming through each of those million views and how they kind of like, you know, not reciprocate, but I guess interact with you and the things you kind of put out for them. And this is something that we've seen for a minute just through back end learning that, you know, we have the big numbers to quantify the same way I did, but you could just feel it. And so now it's interesting to see how I actually put in numbers, you know what I'm saying? But if anything, you know, this would encourage me to want to use TikTok more personally if I was an artist. I think artists need to understand about TikTok. And you said this earlier, right? Is that TikTok is no longer the magic push button that it was in like 2018, 20 or 2019, 2020, right? It's not like this magic go button that can just instantly start a career like it used to be. But it has more than proven itself to be something that's possible of building a career for you over time, which is something that as much as we all liked about the virality aspect of TikTok in the beginning, it didn't seem to do that. Now it's traded it, right? We're no longer the instant gas button, but we've given you a higher chance of longevity through the platform. Yeah, job is a good trade-off if you ask me, you know what I'm saying? How are people actually be able to make it using the platform? I agree, I agree. And it's helping you transition to things beyond the platform in general. So it goes back to kind of like how I thought about the distribution situation and whether I would do a deal or not, right? Whether it makes sense for me to do it or not. Well, when you look at TikTok, doesn't make sense to do it or not. I always like to say TikTok, their actual logo is a music note. They are literally built off of music in their DNA and knowing that they have to serve artists and make it useful for artists one way or another. Otherwise that DNA gets lost. It doesn't mean that they haven't developed far past music as well in some ways. Don't try them too much. However, like it's something that they clearly would like to stay. Also, TikTok's parent company, Bite Dance, owns part of Spotify. So they don't mind pushing you over to streaming, right? Cause that's just my other bucket, man. That's my summer home. Go ahead, all right? So cool. Y'all's incentives are aligned there as well. Great, TikTok. The way TikTok is developing in terms of their shopping experience, if y'all have not seen it, cause I know some of y'all do literally just aren't on there for the people who have seen it. And no, you know, when they start to add the features that are gonna be specific for artists as well, is you're gonna take the fact that people are already more likely to buy from an artist on the platform and then add some artist specific ways to do it. I only imagine those numbers to be through the roof for many artists and with ease because you're doing it all at the same time. As a matter of fact, y'all, it's not like y'all can't do it now.  You can still sell your clothes and all that stuff and a lot of different type of merchant products. But when they create a smoother way to put it under the artist umbrella, it's just gonna make it that more obvious and easy to use for fans and artists alike. And you're gonna have fans going specifically to the platform to buy artist merch, right? Thinking about like, let me just buy a bunch of artists merch today and knowing that I could just go literally look at these artists per pages and find some merch. And then it's gonna become so many artists offering merch, I'm just gonna assume you have merch. And if I'm on your page, you could be brand new almost and you don't have merch for me to buy, I think it's weird because I just might be like, I'll start to say, oh, I like this artist. Let me check out their merch and see if they have something I like. No different than going to a store. I'm not a store, going to like a tour and you know, you see an act and it might be my first time seeing you but I'll go buy your merch. Cause I saw you in person. You're gonna start seeing more culture like that on TikTok cause they've already got people primed to buy stuff on a platform like in a split second, right?  And without losing my TikTok experience, you already got people used to tipping, right? And doing things like that do streaming. It's all there. And the hardest thing you can do is train your consumer to do something, right? So the fact that they're training your consumer for you and the fact that they're based off of music in general and the fact that they're invested in Spotify, they are so ingrained in this music thing, I would have something going on TikTok. Yeah, 100%. Like I don't think we've seen a platform as focused on figuring out monetization details for artists since Bandcamp. So I think it's pretty interesting. Bandcamp is the last platform I can think of that you could feel that they really cared about that and wanted to implement changes to help that.  This is Bandcamp on steroids, you know what I'm saying? It will be for sure. Oh, yeah, it will be, yeah, exactly. So it's like, I don't know, like I think it's, that's why I look at like the trade off as being really interesting because, you know, being the weeds of it, we had discussions before about not being sure where it's going to go because you could see the virality back to dying off. And it was like, oh, how are they going to save themselves if they can't just push start careers every two weeks? And it's like, they figured out a really good work around that and then a really good way to, to your point, cement themselves as an integral part of the artist journey and artist monetization process. And yeah, I don't expect to see it get stronger too. And so like TikTok in 2020, like eight is going to be crazy, you know? Bruh. It is because right now it's like watching the infomercials in the morning. Everybody's pitching me something when I hop on. But people are used to the experience too. Like what can you do? When they can normalize sales, you're winning. That's what TikTok did with music first. They normalize music being in your face and people actually being cool. Before that, like, Bruh, matter of fact, artists need to be thanking TikTok so much, Bruh. I gotta give them a kiss on the cheek, kiss on the forehead. Cause even if you never get on TikTok in your life, do you not realize the benefit you got from the fact that before TikTok, artists were always like, how do I put my music out there when I post on Instagram? I don't want to feel like I'm trying to sell myself just posting, I don't want to have it out there. And then TikTok came and normalized it to the point where people expected to hear music in the content. It almost felt weird to not hear music in content sometimes. So you never have to worry about feeling salesy and pushing yourself out there again, because TikTok came out there and made that a thing. So if anything, please give TikTok that love. But now they're taking that right from we're helping people sell music organically, it feel like a good user experience on the consumer side to then elevating to, we're going to be helping people actually sell things for dollars and it feel like an organic experience. It's just up to you to not make a trash video, but we're going to help them be open to pitch. Oh yeah, I'm looking for something. When my wife goes in a target, she's expecting to buy something, stuff pops up. She didn't know this product existed on the end cap, but man, they set it up beautiful and nice, nice pitch. All that is is a post that I didn't expect. People are going to be on open when they go on a TikTok to buy, find and discover artists. They're going to be open to so many things. All they need to do is see the right end cap and display waiting for their purchase.  Yeah, 100%. 100%. I am curious to see TikTok 2020, man. I thought it was going to be crazy, bro. It's going to be a different beast. For good reasons, I think, though.  Oh man, it was, they were coming so hard on Dame. Shout out to Dame. It was some conversation where it was about like the Spotify stream when they made the royalty changes. I know what you're talking about, yeah. Yeah. And they're acting like he was a tool at the label system. I'm like, yo, this man built his whole career building, you know, a once prolific indie label and everything. And y'all, y'all just, somebody just trying to make one logical argument. All of a sudden, you for the man, you bought.  Hey, that is a fact, sir. And by people, you mean Cat Williams. That's crazy. I ain't said that. If you see this Cat Williams, I ain't said that. Oh man.  I don't know none of those people, but the timing just have to be perfect. Oh, Wendy. No, the last postal that I want to share from Wendy Day's page is YouTube continues to be top platform among teens followed by TikTok, Snapchat and Instagram. Not gonna spend much time on this, but just want to lay it out for y'all really quickly. US teens ages 13 to 17, who say they ever use the following apps or sites. 93% of 13 to 17 said they use YouTube and the second highest is TikTok. And it's only 67%. That says everything you need to know right there.  If you don't put your content on TikTok, but most importantly, YouTube. And now that I think about it, YouTube out of all those platforms is actually the most accessible prior to that age. You got kids using YouTube for kids, right? Watching cartoons and things like that on YouTube. So it probably makes sense that it's a platform they've already been primed for for probably years before this criteria. So Snapchat, eight-year-old shouldn't be using Snapchat, Instagram, Facebook, where we're getting deeper and deeper, WhatsApp, et cetera, et cetera. But YouTube is something that kids are watching other kids play with toys on at like four or five years old on YouTube. So it does make sense. Yeah, and I definitely, because I mean, for a long time, I've looked at YouTube, TikTok, and Instagram as the big three. I think a vast majority of people probably do it, especially in music. Interesting to see Snapchat, isn't that good? Snapchat, if y'all can see it, is slightly above Instagram. And Snapchat for a long time has been a sleeper app ever since it kind of like declined from its peak. A lot of people have discounted it, but we've even heard through the Wheel Works, through just other markers we know in ours running campaigns, they were always telling us, nah, bro, Snapchat kind of lit, like I ain't gonna lie, you know what I'm saying? I know some people that do very well with Snapchat ads and things like that, you know what I'm saying? So it's cool to see that technically, the big four right now is YouTube, TikTok, Snapchat, and Instagram, especially if you want to hit a younger demographic. It's like, you damn near got to be on, of course, at least one of those, but ideally all of them in some capacity. And I think the most interesting thing about this stat to me is that Facebook is top five. The fact that Facebook beats out Twitter, which I guess is a hard beat out when you think about just from a content standpoint, I can't imagine a lot of teenagers that just want to read all day every day. So it's like, even Facebook, Facebook got shorts too, you know what I'm saying? So you can still get on there and do your thing on there and it's more personable. What staff is interested in to see because it's growing, but yeah, I just want to have to expect that Facebook to be like a top five. And this, you know what I'm saying? Is that a hard fall off but still hasn't fallen as far as I thought it would fall off of that demographic? I think the other part about that is the fall off, right? So from 14 to 15, 2014 to 15, they went from 71% of people 13 to 17 being on a platform all the way down to 33% today, which they've actually had a bump from 32 to 33% over the last year, right? So that drop off to me says, generally speaking for Facebook, they're in an age where they're just preserving their relationship with the older audience, right? Those people are stuck on there. We're gonna ride y'all into the wheels, fall off. There's probably not even much expansion into the world that they can do because, I mean, they've hit a lot of different countries. So I mean, they're already over a billion for sure. They've been that for a long time. So yeah, there's not much they can do there. And now we're just saying, hey, we own Instagram mode, right? And we're gonna own and build on other things and think about the future through a different brand and packaging, which, you know, makes sense. Yeah, 100%, I agree. Well, bet y'all, if y'all liked this episode, y'all let us know. This is yet another episode of No Labels Necessary. I'm Brandon Shine. Cory. We out. Peace.


It's time for the Lawn Jean Chronoscope, a television journal of the important issues of the hour brought to you every Monday, Wednesday, and Friday, a presentation of the Lawn Jean Wittner Watch Company, maker of Lawn Jean, the world's most honored watch, and Wittner, distinguished companion to the world-honored Lawn Jean. Good evening. This is Frank Knight. May I introduce our co-editors for this edition of the Lawn Jean Chronoscope? Mr. William Bradford Huey, author and analyst, and Dr. William Peterson, author and economist. Our distinguished guest for this evening is Dr. Daniel A. Polling, editor of the Christian Herald and President of the Armed Services Chaplains Association. Dr. Polling, many of our viewers, of course, know you as one of America's most distinguished churchmen, editor of the Christian Herald magazine, and of course a noted chaplain. Now, sir, I believe that you're also associated with a rather vigorous and partisan viewpoint regarding our policy in Asia. Will you tell our viewers briefly just what your viewpoint is? Thank you, Mr. Huey. I'm glad that you introduced this television program in that fashion because I'm not a cum lately to my position. In 1949, I had an article in one of the important weekly journals of the country which was titled, Wanted to MacArthur Plan to Save China. In other words, I've stood through the years with General MacArthur and now with General Van Fleet and always with Congressman Walter Judt. I've supported that program for the Far East and I have increasing reason for a feeling that in that was... You believe that we should vigorously combat communism in Asia instead of trying to compromise with it, is that correct, sir? I'm very sure that that is the only hope for us and for the world. Well, coming down to today's issue, Dr. Polling, how do you stand on the tapped Ike apparent split where Senator Teft has said that we may have to go it alone? Well, of course, it would be tragedy if we were compelled to go it alone But I think that we must face the possibilities in the situation. I do not believe that there is an indication of a break between Senator Teft and the president of the United States. I think that the senator's speech should be read with very great care, however, because there are implications there that are of very grave importance to us. Well, you, of course, now are an authority on the Far East because you've traveled to the Far East a great deal and you have just returned from the Far East. Now, sir, do you believe that the American people generally will support a strong policy in Asia? I believe that they would support a strong policy in Asia. I believe that they can be convinced, indeed, are now convinced that the present policy or rather that the policy that we have followed thus far has led us toward disaster. Do you think, then, that we have to take a position that we are going to try to prevent the Chinese Communists from consolidating their position in China? By all means, because the consolidation of the position in China means, presently, a firm line formed straight across Asia into India. Well, why does that leave us, sir, in the Korean truce issue? Most Americans, I believe, are anxious to see a truce in Korea. Now, do you support the movement for a truce in Korea? You're all anxious for a true peace. This is a case in hand where the cry of peace, peace is as if the scriptures no peace at all. Well, then I take it, Dr. Poe, that if we do have to pay a price of a seat in the UN for Communist Red China, you would think that's too high a price. Absolutely too high a price. It would be disaster. What about the position of the South Koreans, sir? They are opposing some of the concessions, apparently, that we want to make to the Chinese Communists. Are you generally sympathetic with the South Korean position? Of course, Mr. Huey. We do not know the terms of that truce, but if the terms of the truth are as the South Koreans, apparently, believe them to be, then I am very sure that the South Koreans are fully justified in their position. Well, and in general, then, sir, does your position mean that you think that this country must continue heavily committed militarily against Communist expansion in Asia, truce or no truce? I think so, and I think that if we were to follow the course, and I again go back to the Walter Judd van Fleet, Albert Wedemar position, that if we were to take that position, our commitments from the military standpoint would be measureably less than they are today. We could take advantage of resources available to us that we have not taken advantage of. Do you think that we would be running the risk of that dreaded Third World War by such a strong position against the Red China? There is a calculated risk, but whenever Communism is prepared for all-out World War War, if World War War is indicated, Communism will take that step, because the goal of Communism is steadily out in front, and there is no change in Moscow. Dr. Polling, perhaps you account for the success of Communism because some of the exponents have treated it as a religion. Now, would you say that we have exported the American ideals without any conscious recognition of faith attached to our great money expenditures? Dr. Peterson, it seems to me that we've been exporting the dollar and failing to get across the significance of poor words on that dollar. In God we trust. Do you believe then that we need to emphasize spirituality in our effort to combat Communism? We do. Religion and freedom have risen side by side on this continent, Mr. Huey, and we sometimes forget that. Well, coming back to Asia, sir, it must be very depressing to a churchman like yourself to visit Asia now and to see all the many decades of Christian missionary work being eradicated by the Communists. Of course, I do not believe that it is possible to eradicate the Christian program in Asia, the Christian spirit. In other words, the blood of martyrs is still the seed of the church. And you know one of the most amazing stories I heard in Korea just three weeks ago was the story of 643 Korean prisoners of war who have signed a pledge, who have made a vow that when they are released, if and when, they will complete their preparation and take the places in their faiths, Catholic and Protestant, of the more than 600 clergymen, priests and preachers who are liquidated. Well now, what about the Christian effort in Asia now? Is it continuing with considerable force? It is continuing, and it is continuing with tremendous sacrifice. Of course, the foreign missionary has been practically eliminated, but there is life and dynamic power in the Christian faith in China today. Well, Dr. Pauling, you've spoken a good deal about missionaries and clergymen. Would you as a clergyman kindly tell our viewers how you stand on the position of the current congressional investigations of clergymen? Well, thank you, Dr. Pearson. I'm grateful for that question because I believe that a clergyman or an educator is a first class citizen. I think that clergymen as individual citizens should be investigated if investigation is indicated. If you're going to have investigations, then there should be no preferred class, and I want no special status for myself. Well, sir, coming back, I'm questioning you again as a churchman. It's been said by some critics, like Dr. Toynbee and others, that the Christian ideal and the Western ideal are perhaps losing their dynamism and that we are not as dynamic and, therefore, we're retreating before communism. Do you think that may be true, sir? Well, this is a great test. Please, God, we're not doing that, but there is a great temptation to do it, and some responsible leaders are suggesting policies and programs that would be, as I see it, a retreat. Dr. Pauling, from your recent travels in Korea, you have been with the troops, and you must know at first hand the state of their morale. Can you tell us a word about troop morale in Korea? Well, Dr. Peterson, I was amazed at what I found. It is difficult to believe that the morale is as splendid as it is under the circumstances when men are committed thus far to a war that they cannot even fight to win. In other words, you feel that our men may not know the objectives for which they are fighting? It is difficult for... Well, what are the objectives for which we are fighting? It is a stalemate, is it not? We're being held on the line, as is, unless now there is a breakthrough. But these men who are out there for us in a war they did not choose have magnificent morale. Well, sir, now, do you have a simple policy that you could recommend to our viewers? One, two, three steps that you think we could take in Asia to implement your views? I think, first of all, that we should follow the policy, the program of the men I've indicated, the program to which I committed myself four years ago. That's General MacArthur and Dr. Judd and General Van Sluy. That's right. That's right. I think in the second place that we should discontinue conversations and talks, lest we be talked into slavery, until the communists indicate by their acts, rather than by their protestations, that they are seriously inclined toward peace. I think in the next place that we should definitely refuse to retreat a single step from our pledge with regard to the return of unwilling prisoners. We must keep that vow. Some of our viewers are undoubtedly confused about the importance of that returning of unwilling prisoners. Why is that so important for our side, sir? Because we pledge to them that if they came to our protection, we would never return them against their will. It is a vow that we have made. And then finally, it seems to me that we should give all out support to Chiang Kai-shek and the nationalist government and all out support to Sigmund Ray. We should not consent. We must not consent to the partition of Korea. Well, sir, as a final question now, Dr. Poling, many of our viewers will recall that it was your son who had a part in that heroic incident in the sinking of the troopship in the North Atlantic. And they'll also remember that you have built this wonderful chapel in Philadelphia, the chapel of the Four Chaplains. And as a man who has done that, sir, and a man with that experience, what final comment do you have for our viewers tonight, sir? My comment is American unity, sir. The unity of the Four Chaplains of the Three Fates, they had learned the fine art of living together, and so in death they were not divided.  Unity is the irreducible minimum for American security and for a worthy contribution that we may make toward world security and world peace. Well, I'm sure that our viewers have appreciated these vigorous and forthright statements of yours tonight, sir, and thank you for being with us. Thank you. The opinions that you've heard our speakers express tonight have been entirely their own. The editorial board for this edition of the Laun Jean Chronoscope was Mr. William Bradford Huey and Dr. William Peterson. Our distinguished guest was Dr. Daniel A. Poling, editor of the Christian Herald and president of the Armed Services Chaplains Association. Honor the graduate with the world's most honored watch, Laun Jean. No other graduation watch is so much a symbol of achievement, for no other watch has achieved so much. Now, it's a fact that amongst the finest watches in all the world, Laun Jean watches alone have won so many honors for accuracy and dependability in observatory accuracy trials in sport, aviation and science, and ten World Fair Grand Prizes and twenty-eight gold medals. Now, to help you make a happy selection, Laun Jean with no jeweler agencies are now showing a superb collection of new, exclusive and exciting Laun Jean watches. And you're invited to see them. For the graduate, for an anniversary, for any important gift occasion, the world's most honored gift is Laun Jean, the world's most honored watch. And yet, you know that you may buy and own or proudly give a Laun Jean watch for as little as seventy-one fifty. Laun Jean, the world's most honored watch, the world's most honored gift, premier product of the Laun Jean with no watch company, since 1866, maker of watches of the highest character. We invite you to join us every Monday, Wednesday and Friday evening at this same time for the Laun Jean Chronoscope, a television journal of the important issues of the hour, broadcast on behalf of Laun Jean, the world's most honored watch, and Wittner, distinguished companion to the world honored Laun Jean. This is Frank Knight, reminding you that Laun Jean and Wittner watches are sold and serviced from coast to coast, by more than four thousand leading jewelers who proudly display this emblem, agency for Laun Jean Wittner watches.


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I will bring it up to your notice that what we call test statistic. आँ वे we will define it pretty soon. that actually is a stand alone it is stands by Its self and it does not really need a normal assumption. We will have one such case also in not in this session, but in future sessions. So, let us start with the classical approach of 6 steps quickly, first, we fix a level अवाज़ा क्य़ मेंवाजे़। God is a small value typically chosen at 1% 5% 10% क्य़ मेंवाजे़। 10% क्य़ मेंवाज़। Then we clearly state what is an null hypothesis and what is its alternate hypothesis that is critical region false for what condition is what we have to define. दे उगे से ज़़ा मैं आपका वार चीन के सब दिया ठा है. कि रहाद़ सब गोरूज रहाड लिए मैं एक शीथ करने व्र्टान का वज रहे है। तो तो, तो तो तो तो तो आपका लिए मैं ग़ाद़ के सब उग़िपूना मैं जाग्से नहीं!! then we chose an appropriate estimator for theta. where H naught or the null hypothesis can be rejected. Then we calculate the error probability that the data falls in critical region when actually null hypothesis is true and we fix it to a level alpha. This way we find out exact nature of critical regency. Because we have a nature of critical regency its final point is to make a decision whether the data you have taken, the sample value that you have got falls within the critical region or not. If it does your decision is hypothesis is to be rejected, if it does not then you say that you do not have sufficient evidence to reject the null hypothesis. As I said we are going to take a model case of normal distribution with mean mu variance sigma square and here we are going to assume that sigma square is known. So we have a data which is a sample random sample independent and identically distributed normal mu sigma square sample x1, x2, x3, xn where sigma square is known but mu is unknown and we want to test the hypothesis that mu is a prefixed value or pre decided or known value mu 0 versus a two sided alternative which says that mu is not equal to mu naught. So it could be less than mu naught, it could be larger than mu naught but it is not mu naught. So first we have to fix an alpha so let us say that alpha is fixed. We state the null hypothesis and the alternate hypothesis. In the third step we have to find a test statistic. We are going to perform all the test to test whether the mean is equal to a fixed value mu naught. Therefore mean is our point of focus and therefore we find a test statistic in terms of the sample value x1, x2, x3, xn which is x bar which says that expected value of x bar is mean mu and therefore x bar is a good estimator. Now when we say that we want to reject the null hypothesis if it is not in close vicinity of mu 0 what do we mean by that say this is your mu 0 and you have some normal distribution because that is what we have assumed and some one sigma limit is this much this is one sigma limit this is unknown to you I mean presently it is known to us. Now what I would like to say is that I should once I find an x bar once I find an x bar the question is if my x bar is not exactly mu 0 I cannot expect it to be exactly equal to mu 0 but even if it is in some vicinity of mu 0 I should be happy but if it is way beyond the mu 0 then I can say that my null hypothesis does not seem to be true. So this region where I said that it is way beyond the mu 0 value is called a critical region so that critical region I am defining is that if somewhere here I have x bar and if I take x bar minus mu 0 and I take its absolute value positive or negative it should be larger than some pre-decided value some value not pre-decided but some value C if it is larger than C this is what I have written if my absolute value of x bar minus mu 0 is larger than some value C which says that it is not in vicinity of mu 0 then that should be my critical region. Now what I find is that if I take x bar minus mu 0 and divided by appropriately with sigma divided by square root n remember x bar is distributed as normal with mean 0 and variance sigma square by n. So if I take a z is equal to x bar minus mu 0 divided by sigma over square root n then it is distributed as normal 0 1 if h 0 is 0 that is if mu 0 is mu is equal to mu 0. So if this is the case so then I actually change my test statistic to z because now it is distributed in a area where it neither depends on mu nor depends on sigma square it is a parametric independent distribution that I have got and therefore z is what I choose as my test statistic or x bar minus mu 0 divided by sigma over square root n is what I choose as my test statistic and I move forward. So this step I have just repeated here for the continuity sake. So the next step is that probability that I have to find the type 1 error. So probability that x 1, x 2, x 3, x n is such that z value is greater than c dash because here I have used c I am calling it c dash because it is not exactly the same it should be alpha okay alpha is a pre-decided value. So this is absolute value of z. So I can say you remember that this is now the distribution of z I have shown see here this is the this is the distribution of z okay. So it is mean and its 1 sigma value is here this is 1 sigma limits of it this is 1 sigma limit and its mean value is 0. Now when I say that absolute z has to be greater than c dash it means that I am looking at some c dash here and minus c dash here and the value should lie here and this total should be alpha total value should be alpha. So it means that I am saying that that if you take only this much area which says that it is a z greater than c dash. So this is z greater than c dash this area is going to be alpha by 2. So now it says that your c dash has to be c dash has to be such that probability of z greater than c dash has to be alpha by 2 and therefore c dash is small z 1 minus alpha by 2. Now these are the small z values if I put the values remember z is the capital Z is a random variable small z is the values that it takes. So if I take any value what is the value of c dash well it has to be this has to be alpha by 2 it means that all the area on this side of the curve has to be 1 minus alpha by 2 and remember the z a value is defined as minus infinity 2 z a sorry is defined as z a such that 1 over square root 2 pi exponential minus 1 half x square dx is equal to a. So you have this probability is 1 minus alpha by 2 that also brings you to the value of z sub alpha by 1 minus alpha by 2 and therefore it says that c dash is z 1 minus alpha by 2 and therefore we get the critical region that if x bar minus mu 0 divided by sigma over square root n remember that now this is a number because x bar is known mu 0 is known sigma is known and n is known if this number is larger than 1 minus z 1 minus alpha by 2 then we reject the null hypothesis in this once again I say that the test statistic z x bar not as a value but as an estimator this is called a test statistic as I have mentioned here and small z 1 minus alpha by 2 is called the critical value of the test because that is the value which decides the critical region. So now to understand it better let better let us have go through a example. So here I have an example it is completely a made up example and a row space industry is interested in buying certain super alloy rods from a foundry and the industry has been told that the super alloy would have a yield strength of about 1110 MPa with a standard deviation of 110 MPa. The industry takes the aerospace industry takes a random sample of 100 from the supplied lot now it wants to find out whether this lot whatever the mean it has does it satisfy does it fall in the vicinity of 1110 MPa. So it wants to what it does it finds that actually the average yield strength is 1129 MPa now company has to take a decision whether it should accept the supply. So let us first understand in our terminology what all has been given to us number one mu 0 is what the average company has claimed foundry has claimed. So it is 1110 MPa sigma square variance is known standard deviation is 110 MPa the sample of size 100 is taken so n is equal to 100 and it has found a mean yield strength of 1129 MPa. So let us follow the classical steps let us fix the alpha at 5% so it is alpha is 0.05 null hypothesis is that the mean value should be 1110 MPa and alternate hypothesis is we are taking only one sided alternate and we say that it has to be it is not equal to 1110 MPa because it is 1129 MPa well 10 and 1029 how much difference does it make we do not know the statistic of interest is x bar which takes a value of 1129 MPa I am sorry I forgot to write the unit let us write it down it should be m p a ok it is very important to realize that I just thought that when we say that mu is equal to 1110 MPa what we really mean is that mean lies in the vicinity of 1110 MPa the reason being it has a variance of 110 sorry standard deviation of 110 MPa so it can vary within that range and therefore the question comes whether this is a outside the range or not and that range is what we are trying to find and that is the range which is acceptance region what we are looking for is the rejection region so here we take the next step we say that the test statistic which is x bar minus mu 0 divided by sigma over square root n should be greater than some value z when h 0 is true so we find that this value should be equal to if you take the probability then that is the error if you put mu 0 there you are accepting the null hypothesis but in reality it is not true and therefore this is the rejection region when null hypothesis is true therefore you have written mu is equal to mu 0 that should be alpha which is 0.05 so and z is as we said before it is a parameter less distribution where distributed variable it is distributed as normal 0 1 not even parameter less it is a unit less because we have already divided MPa with MPa so it is a unit less parameter less random variable which has a normal 0 1 it is fully defined random variable so then probability of that z greater than we know that 1 z of small z sub 1 minus alpha by 2 has to be 0.025 this has to be alpha by 2 and if you look into it as we said please this is something which we must remember so I am going to repeat it several times in today's and pre other sessions this and other sessions we are looking for z value here so that this region is alpha but we always calculate z of any a is such that minus infinity to z of a 1 over square root 2 pi exponential minus 1 half x square dx is equal to a so it takes this region as its probability this interval is this region and therefore this value sorry this is alpha by 2 so this side is 1 minus alpha by 2 and therefore z like a it has to be 1 minus alpha by 2 so that we find that if alpha is alpha by 2 is 0.2 0.025 z 0 is 0.975 which is 1.96 if you plug in the value of x bar now we are taking actual values of x bar then this comes to 1.72 which is not greater than 1.96 and therefore we cannot reject the null hypothesis and so the industry should accept the supplied lot this is the decision this is how the six steps are to be followed what is to be remembered is that up to this point you are talking about this value as a random variable and at this point in reality it is actual value maybe we should make a change here we should instead of calling x bar we should call it a small x bar and this x bar may be replaced by small x bar that would make the that would bring more clarity I believe so we find our final decision in this case is that we accept the lot suppose sigma square is not known here I have shown both the cases parallely we have already derived the six steps for the sigma known you will find that they are going absolutely parallely when sigma square is unknown your x1 x2 x3 xn is same sigma square is unknown u is also unknown your null hypothesis and alternate hypothesis is same as what we had before alpha is to be fixed which is same null hypothesis are same third step v is the same that expected value of x bar is mu so x bar is the estimator therefore h naught can be rejected if x bar minus mu is greater than c once again we are saying that x bar has to be in the vicinity of mu naught may not be a bad idea to repeat what we had said before so let us do it that we have this is mu naught and this is the distribution of the population and the variance is sigma sorry standard deviation is sigma and then we are saying that the x bar has to be in some vicinity of mu naught so that we can say that if it is beyond if it is too large it is not acceptable please remember that we we are accepting the fact that it can never be dot mu zero we are never saying that it should be dot mu zero we are saying that it will fall in the vicinity of mu zero and when it is very far away when it is too far away from mu zero that is when we define our rejection region so here we have to define a rejection region that x bar minus mu is greater than some quantity c and therefore now we have a test statistic just as we did what we did we neutralize we remove the units and we brought a test statistic to a level which had a distribution without any unknown parameters so here also what we find is it is a t which is equal to x bar minus mu zero instead of sigma we have a sample standard deviation divided by square root n and we know that under normality this is distributed as t n minus one it is a t distribution with n minus one degrees of freedom when h naught is true and therefore on the similar line instead of a normal table you will be looking into the t table please remember that the t table t distribution is also a symmetric distribution but it has a thicker tails it does not have a thin tail like normal here also the value zero is in the center and therefore here you are looking once again if the t value is defined t of a is defined if this is a then this is the probability defined ta then this is called a probability a we would like to have this to be alpha by two then this has to be one minus alpha by two your a has to be one minus alpha by two so accordingly it is shown here and we say that if your t statistic which is x bar minus mu zero divided by sample standard deviation by square root n is greater than t one minus alpha by two for the n minus one degrees of freedom of t distribution then you reject h zero let us again take an example the same example i am taking now i am not saying that it has a variance of 110 mpa we do not know the variance 100 samples have been taken the mean yield strength is found to be 1129 mpa and the standard deviation is found to be 112 mpa should the company accept the supply so here we have mu zero is equal to 1110 mpa which is what the company has claimed n is 100 x bar is 1129 mpa and sample variance sample standard deviation is 112 mpa so we follow the six steps fix alpha sale 0.05 we have mean is equal to 1110 mpa versus mean mean is not equal to 1110 mpa the statistic of interest or i think i have made a mistake it should have been i don't know why it has come here this should have been 29 it is 1129 next we take the test statistic because sigma square is unknown as a t statistic which is x bar minus mu zero over standard deviation sample standard deviation by square root n and therefore probability of the absolute value of t statistic i call this a t statistic this is equal to t so this is absolute value of t is greater than c should be alpha which is 0.05 then you find again you have to take the value i repeat again because this is very important to understand this is t distribution and generally t of a is defined as when this probability of a so if you have this side probability of alpha by 2 you would like to have a to be 1 minus alpha by 2 and therefore your t a should be t 1 minus alpha by 2 and alpha by 2 is 0.025 if you go to the table you will find that t 99 because 100 is the data point so it is t 99 with alpha by 2 1 minus alpha by 2 it comes to 1.98 and our test statistic value is 1.69 which is not greater than 1.98 so again we cannot reject the hypothesis and therefore we company has to accept industry has to accept the lot so let us summarize it in this session we explained two examples or two methods assuming normal population we followed six steps of classical hypothesis testing process and both the methods where sigma square is known and sigma square is unknown we gave an example to demonstrate what really we have to do the few things to remember is that please follow the six steps one after the other to avoid any kind of confusion second thing please notice that the underlying statistic is actually x bar minus mu 0 over sigma square root n or x bar minus mu 0 over sample standard deviation square root n please remember that these are the two central statistic we are working with and they are very important they do not really require a normal assumption you can deviate from it only the procedure changes thank you