Hello. I think we're still waiting for Daniel to show. Oh, no, Daniel's there. Okay, great. And David, there we go. Hi, everyone. Great to see everybody here. Thanks very much, Brian, for that introduction. So today's format will be, I think, maximally informal. There's no need for us to observe a dusty procedure here. So if we could just start with a general introductory question, which is, given the enormous journalistic and public and financial interest in NFTs over the last half a year or so, how exactly have they impacted your work? Shall I begin? Oh, absolutely, please. Yeah, let's let inspiration dictate the passage of events. Well, I have done this really as an experiment to see what's out there. What does it mean for me as an artist? What could it mean for us in the future as musicians? So I really just, I released a few kind of bundle of them. They went up about three or four weeks ago, and a few of them are sold and a couple of them haven't. It was really insightful just to understand the space and how actually really complex it is and how it's changing every single day and how even I, Imogen Hoop, early, you know, interests in blockchain, still found it really hard to, you know, to sell my NFTs. You know, you really have to be in amongst it and really kind of live and breathe it. But for me, what it's changed is my imagination of how I could create music in the future, not just like song format, but in kind of short form, something kind of more bite-size manageable chunks for me, especially as a mother and kind of doing a lot of things. I'm quite excited about the idea that there is no kind of template right now. It can literally be an idea for a song or a few lyrics here or something over here. It's very undefined and I really like that play space. It doesn't kind of block us even. So that's what's exciting about it for me right now. How about you, Darren? In the last six months, in the last six months, I guess I left my job and started a new business around NFTs. So it's impacted me significantly, so to say. I think it's incredible the way there's this groundswell of enthusiasm and blockchain managed to cross into the public attention in a way it's never actually succeeded in doing so before through NFTs. Blockchain primarily has been used for decentralized finance experimentation and that's a huge market and very exciting, but NFTs represent all things, all assets, all media, all creativity, and that's so much bigger of a market and to see the potential experimentation and creativity that you was talking about unleashed in those various fields. It's been wild and fun. Maybe this would be the point just to get a little bit of context on palm. Would you like to explain the background to the project? Yeah, sure. So my personal background, I spent the last three and a half-ish years leading the Protocol Engineering Group at Consensus and so we're very close to Hyperledger Foundation. For example, we contributed Hyperledger Basu and sort of have a couple of members in my team or former team on the technical steering committee. What I realized is the NFT craze was exploding is that a lot of the technology we had already built with Hyperledger Basu for enterprises like JPMorgan J or UBS or MasterCard could solve a lot of the challenges that NFTs have on main meta theory and so in partnership with some amazing creative partners and Consensus as a technical partner, we decided to launch POM as an NFT optimized chain inside the Ethereum ecosystem that's sort of scalable, low gas, high throughput and really optimized for creators and rewarding creators. The POM NFT studio on top of that is basically they suggest a creative studio to help and partner with creators, brands, content owners and so forth to land in one. Actually on that note of collaboration imaging, is this some given your own personal interest? Have you noticed much collaboration or cooperation between musicians or do you find yourself as sort of a solo point of energy and enthusiasm? No, I found a lot of collaborations in the music space around this. I mean even just on the on my own personal little NFT that I released, it was musicians who were supporting me to do that. There doesn't seem to be competition in the same way. I think there's this feeling that you know there's just so much opportunity and it's fun. This kind of idea of picking each other up against each other just doesn't seem to exist in this space. So actually Don Diablo, he's a very successful musician, DJ and he has done amazingly well with his NFQs and he's spent a whole year creating these amazing pieces. But he bought my first one and there may be a collaboration in that in itself, you know that he takes a little piece of this idea because it's a seven second lute piece of music of an idea of acapella piece. So he's inspired to take that on. So it's kind of interesting to discuss what is the IP in this NFT or was it there at all? So it's quite, it's really exciting to be able to have those discussions openly right now because none of these things are defined. So it's good to work with people and we have to do it because otherwise you know there's going to be this people are going to come in like publishers and labels and they're all going to try and get a piece of it and not really understand. We're not going to have a chance to to let it have its full potential. So I think it's really important that musicians get in even now it's a bit confusing just to explore and kind of have a bit of fun with it. And when it comes to audio in particular what do you what have you found or what do you think might be the most successful marriage of different art forms? Would it be audio with a video loop or audio with a static image? What strikes you as maybe the most promising combination of audio with another form of expression? I mean one of the some of the most beautiful ones I've seen are Holly Herndon's, Holly Herndon and Matt Dryhurst have released some absolutely beautiful in fact on foundation I think. And I mean that just seems like the perfect kind of to me anyway if I I would like to buy them if they've gone up way too much for me. But just the way that all the technology is integrated and the AI and all the projects that they have it just feels like a beautiful kind of it feels like the perfect place. It wouldn't exist if it wasn't for NFTs and it feels like this new art forms are being born like every day. So I don't know I feel like not putting it into a box because it seems like that box is just kind of being already out of shape by just saying one thing. But I really love you know some of the just simple photography is just really beautiful kind of parallax photography of nature or it's what I love about it is it's about these these these energies they feel more like about a moment in time they're like encapsulating a moment which is something that you can contemplate rather than music which on streaming services just feels like this kind of endless kind of stream of noise and you know it's kind of in the background it's not really being paid attention and this is kind of the it feels like the flip of that right now it feels like people are really paying attention to these quite detailed small pieces and I think that's really lovely. And Dan what is what have you found it because obviously you're showcasing the work of multiple artists has there been a particular way in which audio or music has been published? We haven't like palm launched yet we actually have some major milestones today in the coming weeks which I'll let people who announce these things announce something but in terms of what I've seen out there and I think my favorite audio project is the Winner Beats so far I think both the way they experimented on generative music but also experimenting with bonding curves and other crypto-native primitives is really cool really challenging really innovative and I think it sort of speaks to the creativity in the space but I love I think there's such a powerful kernel of truth in what imaging just said about people paying attention to the medium and I think it's because we have a different relationship to content when we feel like we own it or ever say the content the whole rise of streaming has become this one-way flow of content that's really I think made the fan sort of peripheral in that process not a stakeholder not care as much and therefore not as much of a fan NFTs I think reshape the relationship between creator and fan and bring them back in to the process by having an ownership stake and that's really powerful and I think we're just the beginning of what that can actually be. So ultimately when one or multiple art forms are put together one of the appeals of NFTs is that they perhaps become collectibles and that brings us directly to you Brendan because you're in the field of sports collectibles and because I'm rather familiar with some of your work I know very well that you take let's say the traditional static design of what previously on paper or cardboard would have been a card a baseball card or a basketball card but you you join it with a little for example a little video loop so given that you're already doing some of the things that we just talked about in the field of music but in sports how have NFTs changed your very well established world of tangible static collectibles? Well it's been very exciting first of all everyone's talking about them they they kind of dawned on the public consciousness in a really big way in the first quarter of this year Panini launched its NFT product in January of last year and it was difficult because we were having to think out to explain an NFT and then all of a sudden we no longer have to explain an NFT at least with respect to collectibles but certainly lots of questions around what it means to be authentic and what are the actual contractual rights and is it property and is it not and is a token good enough and what all these things mean but you know the athletes the agents the entertainers that we work with they've all been hugely interested and motivated in this direction they see it as a new opportunity there's lots of different emerging points of distribution and of course lots of conversations around royalties and and what it means for the creators and you know the people in the creator communities as a as the largest one of the largest licensees in the world you know we're we're really focused on protecting the first the Panini brand is a 60-year brand and of course we've represented some of the largest licensors in the world and and we're practicing in a 120-year-old collectible category so we've moved deliberately and slowly we're actually using the hyperledger sawtooth technology and we're really excited about the future of the category and what it means for collecting. Since some two of you have already mentioned hyperledger needless to say the issue of or the positive issue of blockchain technology lies behind a lot of what we're discussing so Brendan how has the issue of forgeries been addressed or maybe even just appreciated by your by your client base because when we're talking about let's say for example baseball cards I mean for decades there's been an enormous problem with with forgeries. Sure so you know the this technology has evolved very quickly and in fact it's it's evolved quicker than actual adoption of different decentralized identity solutions for example and establishing authenticity so if you have a major company that's representing what they're doing either on a public or private blockchain network that can be a really strong point of authentication but in the larger world the larger community of creators if anyone on the internet can be a dog well anyone that's creating NFTs can potentially rip off your work and so there's some really important work that's ongoing in terms of how to create public registries and certification process for the creators and the content developers so that you have the strongest authentication possible at the point of creation when it's actually when the when the creator assigns it to a public blockchain it's connected to the the network you know that that that is a strong and perfect bond and you've got the surety that you need that it's actually either officially licensed or created by the person who's representing it. So when it comes to creators actually that brings us directly back to you image and one of the things we haven't we've only been here for 10 minutes but one of the things we haven't yet touched upon is uptake what barriers do you think there have been or what have the greatest obstacles been to public involvement or uptake how hard are these things to make for you and your your peers. Yeah well everyone has a different story because there's so many different routes there's you know different markets there's you can go your own way and kind of bespoke create your plan I mean I really didn't know what I was doing so I worked with somebody called Sam Porter who sorry Sam Parker who does know the space of it and he after a lot of kind of deliberation and chatting to this other guy Tim Exile who we launched it with this company called Endless where I made the little pieces on and we decided to go with cargo to you know put all the information and again they would go to Pernaweb Rweave and so they'd be stored on Rweave and then we would put them up on OpenSea and so we had these three different kind of pieces to it and then it was the the metadata you know we almost and in fact we actually they put it up and then I was like wait we haven't done the metadata yet um they were like oh yeah so we had to take them all down again and then go in and make sure the metadata was perfect because that's a real opportunity that we don't have in digital distribution a lot of the time is to be able to explain where it comes from who did what how much percentage might be going to a charity for example um to be able to exhibit that and be connected to that piece is you know what I've been dreaming about for music to be for so long to be able to see the history and all the people involved that it remains intact so that's exciting um but yeah other musicians do it in their own way um and that's the thing there is no kind of set place there's there's like Hickeckmunk and there's this thing over here and if you're lucky you get onto foundation and you know there's there's so many great places um and I'm sure there's a million there's probably like 20 more since I you know did my research just three weeks ago um so it is a kind of free for all right now um there is a misconception that because we only hear about the big sales uh that if you put if you put you know an NFT up you're going to make tons of money which is kind of what I thought um but um that's not the case you know you still need to work it just like anything else out there and go out and market it and you know um so the people who are successful are there who kind of living and breathing it and they're working the clubhouse rooms um and they're in the community you know and rightly so you can't just swoop in and like suddenly make a bunch of money just like you can't do in the music industry you know you've got to work at it for years and you've got to get to know your people and you've got to do your touring it's not an easy win um but it is a very exciting space and I and I do love to um share the positivity because the future is really exciting um and it will become much easier and there will be services that will take bigger cuts and it will just make it easy for artists to go up and you know put up stuff and they'll curate it and you know so I just hope that there's going to be lots of options um the thing that really does need to happen as Brendan mentioned is the identity layer how do we connect the NFT to the artist or the creator and how do we enable them to be really searchable across different um blockchains across different services um like a massive marketplace of you know every bit of art that could be out there how do we find them um and for things to be you know interoperable and transferable and um so yeah so much still to do but um and and for many artists I would actually say if you don't have lots and lots of time um maybe don't go into it right now but if you're a bit nerdy and you're curious um and you like getting stuck in then go for it because we need you and subject to by identity and metadata that's probably good time to ask you about the creative passport yeah so the creative passport um really came out of hearing about blockchain for the first time or exactly six years ago actually uh in may yeah this year um my friends that were keeping told me about blockchain um because I was lamenting about having to like have this song and then upload it and then none of the data kind of sticks to the song I'd have to go in and make sure everyone's registered you can't be sure whether everyone gets paid um and just on discovering really what blockchain and spot contracts and this kind of that world could look like if it was put in the right directions and the pieces were kind of puzzled together correctly um we could have a really fluid fast sustainable transparent um you know thriving music ecosystem with tons of services you know with songs with all of the data intact on a you know an amazing ledger that can get searched and anything you want to need to know about those songs including who to pay um would be agreed by all parties and be able to be seen um and then the identity layer which I realized was missing um from a lot of the services who're kind of building things actually for the major labels because that's where all the rights are um but not really thinking about how the musicians independently were going to benefit from these features and I kept hearing about all this service I'm like yeah but how do we how do I get a part of that and they're like well yes kind of through the labels we're doing these deals with the labels and they're like no it's happening again we're just recreating old problems in a new amazing possible space so we started to develop the creative passport which is really a digital identity for music makers at the moment it's in beta and it's actually quite static it just is a knowledge store for you know your biography your um your press picture your skill sets your websites and maybe your NFTs um whatever you want to share publicly in one place that you might want to share um kind of like a dashboard like a patch bay of information that's public and privately permissible that you can decide I want this information to be shared with these people and this information not to be shared um so you could have like I want my biography to be freely shared across all music services that come share our APIs and then you would have biography and press image always up to date always exactly as you want it um but equally if somebody wanted to cross-reference some information about you they could find it with your skill sets combined with your passions combined with your interests you know so it's really just um a base layer and at the moment we're just trying to rally together musicians to understand the importance of data um and the value in their data just on its own you know ahead of the music but just get that bit right get yourself organized and we can be prepared to allow those services of the future to to know that we are who we say we are we I am verified image and he and and I can start to plum into these services without them having to do the KYC um so at the moment it's very early stages um but really it's about kind of sharing a vision and trying to get musicians to sign up to actually but there's not really very much there um but it's just together we're going to continue to develop um this platform um because ultimately it could be that our CEO in a couple of years time um would be the DAO you know it'd be a DAO of musicians and we're just already starting to explore you know voting and governance just in a kind of soft way um where we're just about to launch a website where you can just vote basically and suggest changes I got inspired by seeing the Flamingo app uh Flamingo DAO app um page so so it's just very early stages like we don't have a way to do the KYC in terms of the person um so we do need to work with top layer kind of DID um companies um so we've actually been I mean I've done so many of those here's your passport yes I do want this crypto wallet to you know basically all that stuff I've done that so many times um but we know that it's going to become the norm you know we're all going to have a digital identity and then this stuff's going to be way easier but right now you know um as Brendan said we don't have that yet and that is slowing things down because there's this adoption that has to happen just like we did credit cards you know um we now to have that with with digital IDs and we'll have we already have our online banking um you know and we have our wallets but why not have a big identity with all the different stuff and your wallets and your your health and your creative passport and your but you know we do what we can when we can and that's what we're doing right now so I mean Brendan let's say somebody has a has that metadata in place and they got a creative passport set up one of the the less familiar issue will be how to get started and we've just had a question come in from the public through the chat which is uh well verbatim the question is how can an artist digital or freehand get into this what are the first steps so if they came to you and your platform what would you suggest as the um the best way to get going logically you uh with your own help sure so with the um you know most of the major um NFT marketplaces have facilities for creators to mint and create NFTs but that's a little bit different than a turnkey service kind of what Amogen was saying about you know if you have an overall strategy that the people you're going to want to talk to there are smart people in the community and you can reach out to different boards and and communities connected to the NFTs space in both on social media and the marketplaces and they can guide you through it and so right now you probably need a specialist but I know for a fact that there are a lot of initiatives to provide turnkey services to creators and artists so that um and those will be emerging in the next few months there's already some that are out there I can't represent any at this time but they're they're coming and you know in six months certainly this time next year there's going to be some really sophisticated offerings for a whole suite of different NFT products uh on with with established distribution and rates and hopefully um some Adele ownership or stake Amogen is talking about the distributed autonomous organizations because that unleashes the possibility that artists at all skill both those that are world famous like Amogen and then smaller ones can all participate in a network without being captive to the established distribution models and that's kind of the dream absolutely so how about how about you Dan I mean how are you making this process easier how how is palm going to streamline this and maybe help people who are either a bit nervous or maybe not that gifted technically um do what they would like to do with NFTs so we we operated two layers of the stacks so first you know the core more plumbers in many ways we create the infrastructure that enable the tech platforms and the service providers to do what they do and so in that capacity we wouldn't be interacting directly with artists but we also through the creative studio partner with creatives and Damian Hurst will be our first project of the season artists of both quite quite high stature in his world uh class world but there are other small artists we for us what we select partners based on a few criteria obviously financial impact is one of them but we're most excited by artists who have a vision for how to use the technology to push forward there are a lot of people I think just want to take something they're already doing put in an NFT and have itself with millions of dollars and that's not really how the world works there needs to be a reason and a process on what you can do with your art as an NFT that makes it more exciting and compelling as an artistic endeavor and I think we're just at the beginning of that experimentation when it's possible so if I were an artist looking to get into the space I think the first thing is to answer why none of them are in the space I think there's a number of folks who've entered it for purely financial reasons you can be quite successful in that regard but I think just like in most other financial pursuits you need to build your audience that doesn't matter the platform in terms of meeting your NFT as much as building the community engaging in finding your patrons but then there's a whole set of different partners who really want to experiment with new tools, gentlemen art, collaborative art, artwork, new financial relationship to art it's like the project like if this art piece is always on sale or other in those I would love to chat with you and I know lots of people who would love to chat with you or really in this with the creative pursuit. We have time for a couple more questions how optimistic do the three of you feel about this technology as a truly revolutionary potential do you think there's much of a risk that ultimately NFTs might be used to recreate or re-establish the current power imbalances in the media or entertainment space? I am slightly nervous about I have to say that's why it's going to be very hard to do because it's so enormous and fast spreading and there's so many independent people but I am a bit nervous for the music space that there is a history shall we say of the music industry kind of taking a very hard line on things that they don't have control over and that have the potential to you know stop the flow of innovation but there'll always be I mean certainly for anyone who's already signed because they'll be like oh no but this is a new format and therefore we need to have our massive chunk in it so that is you know slightly concerning but there's massive hope you know there's such such hope we're so early on in the time in these days and you know just in a little month of kind of or month or two of exploring this space my mind has been opened up to the possibilities I'm feeling you know really positive about my own creative output and that I am not limited finally to this you know four-minute chunk that there's this whole you know and also the collaboration side of things you know how once we will get our identities kind of sorted out and everything's into linking and nice and smooth which might take five or ten years but the idea that you know these NFTs like kind of go into virtual worlds and out over here and come out of the radio at this point and then go into that person's wallet and they skip over a stepping stone in some other program and then it does this and but everything's everyone's like paid fairly and acknowledged fairly like the all the worlds and all the different mixed media kind of come together mixed yes it's just fluid and awesome so and it just felt like it wasn't really going anywhere right now and then there's all of this explosion of possibility because there's no kind of box yet so you know I'm excited that's oh sorry yeah Brenda I think I can hear your voice please go ahead yes that's the vision I share I think I mentioned got it there there's a lot of possibilities you know everything's built on top of protocols and I think those because they're available to everyone of course there's always going to be advantages that accrue to some people but if anyone's trying to extract inordinate rents or excessive economic value from distribution then that distribution gets to go somewhere else and that's new you know in the past was a captured captive model and so this technology unleashes in my view huge new potentials and and the long tail of creators are I think and I'm very optimistic about it are going to get their due they're going to be able to create their communities and whether they're global superstars or not there's going to be a space for them to get economic returns on their creativity and the audiences that they generate I'm really optimistic about that would you agree Dan yeah I completely agree I think I think what's powerful about blockchain for NFTs for finance across verticals is not necessarily the elimination of middle man the whole sale elimination movement but rather forcing or requiring that the value that the middle man captures is commensurate to the value they create but it's no longer this disproportionate value just because of their privileged position we have open ecosystems and so I don't know a ton about music studios that sound my world but I'm sure they do some valuable things and some extractive things in a blockchain future I hope they continue to do the valuable things and aren't able to do the extractive things just because they no longer have that sort of control I really believe that we need to kind of make this space we need to augment the existing system the existing the existing services and we need to be able to highlight the good work that they do and the fact that's there will become apparent and other things will take their place and there's nothing like when they understand when when certain people understand that then then only good things can happen because if they want to survive then they need to play this fair game so I yeah I I'm very excited about that and when we have this kind of essential core protocol layer where things are able to float between services and everything is kind of clean there's just going to be a blossoming of new ways to interact with art in such a huge way and it's going to be so much easier for the users to be able to flow through them and you know know what they can do with art so hopefully we never any more questions or emails and images I want to play this in my wedding is that okay I'm like yes of course it's okay like people are terrified that they're going to be like hunted down by the police and dragged into jail for playing a piece of music at a wedding so hopefully it will just be a lot more ease of collaboration and genuine kind of yeah goodwill because nobody's worried because everybody's credited I think that often that often stops people from working together because they're just they're why they're not going to get credited or um okay so yeah I'm I'm the same I'm super positive as you can tell just um just to reign on everybody's parade of positivity I think we might be remiss in the last 120 seconds not to mention energy consumption would one of you perhaps like to comment on NFTs and your views about some of the public concern over that issue yeah so if you don't mind I'll take that one yeah please so first this is not a direct answer but I would love someone to do analysis on the energy consumption of the traditional financing the traditional entertainment distribution business with millions of people going into massive towers every day to make those systems work it's it's interesting and hard to compare apples to apples the numbers are certainly scary when it comes to blockchain but we already know that systems exist or continue to roll out that are many many orders of magnitude more efficient than the current proof-of-work standards those are coming to the ethereum ecosystem rather rapidly in ethereum 2.0 palm which will be launching imminently is sort of a million to 10 million times more energy efficient than proof-of-work systems so uh you know the first car in 1914 was massively inefficient they become more efficient over time I think the impetus and particularly the demands from creators are forcing our industry to prioritize this in a way that maybe it hadn't before and the solutions are coming to market very quickly so it's a it's a problem but one one where the technologists have heard and understood the concerns and will will make the requisite changes imminently anybody else 60 seconds or do we concur completely I concur completely yeah I mean it just is every single blockchain out there um needs to be you know completely at zero um in the future to be able to to be able to make it uh with the public you know it's good that there's this massive concern it's forcing people to get to that place quickly um and those that can't or won't are going to fall off quickly listen thank you so much for being so wonderfully accurate with your time usage and uh with that and with the deep bow gratitude to all of our guests I hand you back to the studio and ryan thank you thank you david thank you imaging uh thank you dan I what a terrific panel as you can see from looking across today and looking at our key notes this this entire week our community here at hyper ledger really encompasses not just the big money core infrastructure use cases like supply chains and central bank digital currencies they also touch on issues like the fight against disinformation and reinventing the music industry and so thank you to all of you on the panel for making that that really come to light and it's so great that we can be working on technologies like this so now let me pivot now to the close thank you all thank you yeah


In this episode we'll be talking about the difference between services and experiences. We'll be talking about the end of marketing as we know it. And finally, who is the Chief Experience Officer and why do we need them in the first place? If you're interested in these topics, stay tuned and here's the guest for this episode. Hi, I'm Joe Pine and this is the Service Design Show. If you're trying to design services that have a positive impact on people's lives and are good for business, then you've come to the right place. Hi, my name is Marc Fontijn and welcome to the Service Design Show. My guest in this episode is Joe Pine. Joe is a world-renowned author and management advisor who is spoken at the World Economic Forum, the TED conference and CES. Things he loves in life are golf and cigars and according to Joe, these two things go hand in hand together. In this episode we'll announce how you can win a signed copy of the experience economy and absolute industry classic book co-written by Joe. And in the next 30 minutes, Joe and I will be talking about the differences between services and experiences. We'll be talking about the end of marketing as we know it. And finally, we'll be talking about who's the Chief Experience Officer and why do we need these people in the first place? We post new videos on this channel on a weekly basis so if you don't want to miss anything, be sure to subscribe and click the bell icon to be notified when new videos are out. And if you'd like to learn how to explain what service design is without making it sound like brain surgery, make sure you check out the free course I've got for you. Click the link here or check the description of this episode. So that's all for the introduction and now let's jump straight into the interview with Joe. Welcome to the show, Joe. Thanks, Mark. It's a pleasure to be here. We've met in Amsterdam many, many, many years ago during a completely different conference, the Mobile Monday, Amsterdam. 2007 or something like that? Do you remember? I don't know. Must have been. It was a long time ago. I went to at least two or three of the Mobile Mondays. I remember one at the Red House, the Rode Hoot. Rode Hoot, right. Absolutely. So it's super nice to have you this time in a completely different context here on the Service Design Show and I have so many questions for you. When we were in touch, I already told you that you sort of inspired me to go into this field in the first place. So yeah, it's my honor. I'm already starting to blush here. So let's just move on into the show. That's a very nice face, Mark. Thank you. Joe, you're not a service designer per se, but I'm really curious if you recall your very first memory of service design. When did you hear about the term? Well, I'm not sure we used that exact term, but I'll mention back in 1990, IBM sent me to MIT for a year to get my master's degree. And it's where I started writing my first book on mass customization. I basically did it as my thesis at MIT and then worked it into a full book when I got out. And one of the things that I noticed in that entire class, we had a cohort of about 45 people that spent most of that one year together. So we got a master's degree and a concentrated amount of time. And most all of the examples that the professors talked about were manufacturing examples. And it was just sort of constant, all this manufacturing. And finally, with the head of the program there and given a manufacturing example, I sort of finally got tired of it. I raised my hand and I said, look it. All you do is talk about manufacturing examples when there's so many people here that are in the service business or in my case, in a service part of a manufacturing company, IBM at the time. And I had everybody raise their hands and said, okay, how many people here are actually more concerned about services than manufacturing? And it was over half of the class. It would open up their eyes. And I think that's what at first sort of struck me that we really had shifted from an industrial economy to a service economy. And so therefore we need to think about services and not just industrial design. Makes complete sense. We talked about Amsterdam a second ago. If people are watching this episode in the very first week that it's out, there's also, you'll be in Amsterdam to actually present masterclass, right? What's that about? Really, can you share really briefly what people can expect at this masterclass? Sure, sure. The masterclass will be April 26th in Hofdorf at the Office of Performance Solutions, which is a longtime friend of mine, Andre Veringa. And they do a great job at training companies to stage great experiences, particularly frontline personnel. And Andre wrote this book on reverse thinking a few years ago or maybe a year ago. And also sort of combining our concepts. I'm working on a new concept. I'm going from marketing to customizing, which is really reversing things. So we're calling it reverse customizing.  And I think they really mesh together very well. And then we're going to do a lot of interactions to help people to embrace these ideas and figure out then what they can do about them in their own companies. And I'll put all the relevant links down below in the description of this episode. So if people are fast, they can still hopefully sign up. I hope that there are still tickets left. And maybe if they take one of your books to the master class, you'll be able to sign them for them, right? Absolutely. Always happy to sign a book. And I hope to see people there at the master class. All right. Joe, time is flying by. So let's just dive into the topics that you've sent me. And I have so many questions related to them. You have a stack of questions and I have a stack of topics. Are you ready to start? Absolutely. All right. I would say that the first topic is a classic one. Let's start with this one. It's called services versus experiences. Do you have a question starter that goes along with this topic? Services versus experiences. I think the best one to do is to use your wild card. All right. And to ask the question, what is the difference? Right? What is the difference between services and experiences? And it's a crucial thing for people to understand that, and I'll go back a little further than that, just mentioned that we've gone, I already mentioned industrial and service economy. It really began with the agrarian economy based off commodities as the primary economic offering. Then we shifted into industrial economy based off of goods as the primary economy. Based off of goods is the primary economic offering. The latter half of the 20th century has only shifted into services as the primary economic offering. And today what we're doing is we've shifted into an experience economy, where experiences have become the predominant economic offering that experiences are what consumers and even increasingly businesses are looking for. So therefore, people need to shift from making goods and delivering services to staging experiences. And that's part of the key distinctions between them. Services are intangible activities performed on behalf of an individual person, but experiences are not just intangible, they're memorable. You have to create a memory inside of people. Services are customized, right, done just for that individual person, but experiences are in fact inherently personal. That no two people have the same experience, even if they're in the same place at the same time, because of who they are, because of the experiences that they had before that that primed them for this, because of their mood that day, all of these things means they have a different experience. So you need to reach inside of them and engage them with that memorable experience. Again, creating that memory inside of them. And there are other distinctions we could talk about. And the key one I think today have learned is really about time. It's about time. That services are about time well saved. Let's get in and out. Let's be convenient. Let's save my time. And by the way, people want goods and services both to be commoditized so they can buy them at the lowest possible price, the greatest possible convenience. So that consumers can save their harder-earned money and their harder-earned time to spend them on the experiences that they value. And so experiences are really about time well spent. That people value the time that they spend in there versus just wanting to get in and out. And so therefore the requirements for service design are very different than they are for experience design because experience design is really about designing time, designing the time that your customers spend with you. I hope that a lot of people are watching and listening to this episode already know this framework and are sort of curious. I'm a service designer. Am I sort of becoming obsolete? Or maybe the question that was on my mind when I was thinking about this topic, how does this actually impact me as a practitioner? So I'm a service designer. The distinction between services and experiences, what does that mean for me in practice? Well, first understand that services aren't going away any more than goods and commodities. It's just going to take fewer and fewer people to be able to produce them over time. They'll get more and more automated and jobs and growth and gross domestic product are shifting to experiences. But then also realize that experiences are built on top of services, which are built on top of goods and goods on top of commodities, the raw materials that begin it all. So even when you design an experience, you still need to design services in order to enable that experience. And that's where many techniques of service design can still be appropriate. Think about the Walt Disney Company, for example. You go into a Walt Disney theme park and you have a wonderful experience with all the attractions, but there's still parking services. There's still food services. There's still photographic services. And even to think about waiting in line, the experience of going into an attraction at Walt Disney is about time well spent that I enjoy that ride that I'm going on. But then there's the waiting in line in front of it. That is pure service, just getting from the outside to the inside and getting on that ride. So you can do service design techniques to be able to do that. Or you could also think about, well, how do I turn that service into an experience? Disney first did that by snaking the line so that you could do a lot of people watching and then by turning the waiting into a pre-show for the live experience. But still, that's good for about five minutes. That's not good for 15, 20, 30 minutes. And so they then use more service design techniques to come up with FastPass. FastPass allows you to go off and do something else and not wait in line and then come just five minutes before your time to get on the ride. So you can see how services and experiences can work together. You talk to so many companies. You see so many case studies. What have you found that is the biggest challenge for companies that want to make the cultural mental shift from service thinking to experience thinking?  Well, you actually sort of identified the answer in the question. The biggest challenge is, in fact, mindset. People have the right mindset that they understand what business they're in, in particular, then being in the experienced business is different than being in the service business.  With the experience business, you understand that that's the value that you're in fact bringing, is that they're enjoying that time that they spend with you. Services are, again, about delivering our activities. So it's really focused internally on what we do and the activities that we execute in order to create the value for customers. With experience is the focus is on them. The focus is on the consumer and what I call the guest of the experience. Services that clients' experiences have guests. So how do we host them as a guest?  How do we design time again for each individual guest that we have in there? It all begins with that mindset of what business are we really in. Yeah, I'm making that decision. Are we a service company or are we an experienced company? Exactly. And you can do both, right? If possible, you can both provide your good services and experiences. But at least know for this offering, for this interaction with customers, which one is it? So, sort of the final thing regarding this topic, let's take a really common company like an airline. Do you perceive that as a... How do you perceive an airline? Poorly for the most part. And, you know, they are, they're obviously in the service business of getting people from point A to point B. But, you know, in fact, the very first publication anywhere of the term experience economy, which I discovered, or I coined after discovering it, in late 93 or early 1994. So, we were talking almost 25 years ago. Actually, it was 25 years ago, almost. And there was an article in the Harvard Business Review where they did an interview with Sir Colin Marshall, who was the head of British Airways. And he talked in there about how an airline should not be just a cattle car, should not be just getting people from point A to point B. It should be an experience. And I wrote a letter to the editor that they published where I talked about, yes, that's because we're shifting into an experience economy. You know, but over 20 years later, have airlines really learned? Well, not for the normal traveler. You know, you do have exceptions. You have airlines, and the Emirates Airlines, you know, sort of, particularly for their first class, but even for those in coach, they do uptick that to where it may rise to level experience. So, this first class has always been an experience, but it's, you know, it's hugely expensive, you know, sometimes in order of magnitude more than what you pay in coach. But for most airlines, for most customers, it's just still a cattle car. Okay. Let's leave it with that quote. At the end. And move into the second topic, and the second topic is sort of a preview or maybe looking back, depending on when you're watching this episode on your masterclass, and it's from marketing to customaring. A new topic for me. So, do you have a question starter that goes along with this one? Sure. Well, the question might be, how can we move from marketing to customaring? How can we understand the distinctions between marketing and customaring? Customaring is a new world. So, let's start with that. What is it? Yeah, it's actually a word coined by my partner and co-author of the Experience Economy. And as soon as he mentioned it, I glommed on to it that, and the reason that you think about it is that there are no markets. There are only customers. You know, markets as commonly conceived of in business simply do not exist. They're convenient fiction, masking the fact that we don't know who our customers really are. At an individual level. That's right, on the individual level. But that's my point is that customers are only on the individual level. They are only individuals. They are never a market or a segment or a niche or a generation or a persona or any other agglomeration of anonymous buy-dudes.  And if you're selling to businesses, a customer is an active, corporeal, individual enterprise. And we must therefore ascend to the proposition that every customer is unique. Every customer is undeniably, unremindedly, unalterably unique. And therefore we have to stop marketing and start customer. I think you scare a lot of people by saying this. I think we all try to understand customers on a personal level.  But my question was, customering, how does that scale? Well, it can scale because of technology today. Because we have the technology to interact with millions and billions of customers on an individual basis. Over the internet, through our phones, we can identify who they are. We can understand their individual wants and needs. We can learn from them and therefore do things differently for them. One of the key distinctions with customering and other things you can look at that at least you like targeting. Because people say they want to target individual customers. But they target to better sell what they've already produced. What we actually change our offering in response to what we learned. I'll give you one of the best examples, which is a client of mine, which is Carnival Corporation. And Carnival Corporation, they announced at the Consumer Electronics Show last year, and they've now implemented or ramping it up first in the Princess Cruise brand and then other brands, where when you go online and book a cruise, they want to know you as an individual. So they ask you to upload your passport so they can have your picture, they have your information that they need when you're going through international waters.  And this is an example of an ocean medallion. It's an IOT device. It's about the size of a U.S. quarter.  When you embark onto the ship, you don't have to wait in line and show your passport three times in that.   And so you get on there and you have this in your pocket or on a pendant or on your wrist, then as you walk up your state room it has seven to eight thousand sensors in every ship.  You can pay for anything with it.  They learn about your context. So they'll learn, for example, that when you're in the pool deck with your kids, your favorite drink is an iced tea, when you're in the bar with your buddies it's a mojito, when you're in the restaurant with your wife it's a glass of Shiraz. So same person understand your individual preferences and they basically morph the entire ship around you giving you personal experience invitations. So you create, again, designing time so that you create a mass customized itinerary for each individual person and family and other group on the ship. It's pure customary. You mentioned it, it's like mass customization all over but then on personal level, on our interaction level. Yeah, it is an extension of my original ideas on mass customization which are more operational and product and getting into all the dialogue with customers and understanding them individually and extending that even to how we understand the context of each individual customer that we have. So for me this is a pretty new concept. I can imagine you also have some questions regarding to this. What are the things that you're still trying to figure out relating to customary? That's an interesting question. I'm still trying to figure out how I've got a number of principles and how all the principles interrelate and how much of it do you have to do to really call it customary are some key things. One of the issues is for a long time a lot of it is vocabulary. You really have to change vocabulary. You have to stop talking about marketing and start talking about customer.  Customer are, I guess it would be. There's some issues with vocabulary and how do we really make things parallel and definitions of that. So those are sort of things I'm still trying to figure out. I'm hoping to write it as a full book and have that published in the next year or two. I don't know if that's a preview but at least it's out there right now. A different question I had regarding to this it sort of feels like marketing is what the big corporations do. Smaller businesses, your local coffee shop they're already doing this right? Or are you still there certainly are many small businesses who know the customers by name they walk in, they greet them by name they know what their standard orders are, they know what their practices are and so forth and so yes they do practice customer, it's sort of craft customer and we do need mass customer we do need many companies to do that at scale and again we can know who they are, they carry around a device with them that identifies who they are there are companies like Neiman Marcus the department store for example where if you have the Neiman Marcus app on in your phone when you cross the threshold of the store Bing they identify who you are they can send an alert to your favorite sales associate that's identified in the system, they know your color choices your style choices, they know what you purchased before, they can send you a message say hey I'm over here in the department would love to see you I know exactly what this new dress that we have in would be perfect for you and that sort of thing so now you're providing that to every sales person even though they can't remember the thousands of people going through there whereas a local store can't be able to remember tens or scores or a hundred one of the questions I have regarding to this but we won't get to answer it in this episode is I guess trust is a crucial element in this aspect, sharing all these preferences with sort of big entities who you don't know sure, sure I guess trust is really a key element to actually making this happen I mean Mark Zuckerberg the CEO of Facebook just got grilled in Congress yesterday and I think again today he's getting that because of the issues of them sharing information that really should be private, you know Carnival when they do this they ensure you that your information remain private in fact if you lose this there's actually zero identification on this all it is is a number and that number identifies to you and that's in their ship board cloud that they have so you lose if there's no possibility of there being a data breach based off of that and you've got to guarantee customers that you keep the private information private that you won't sell to others but why does Facebook sell it? Because Facebook has the wrong business model Facebook business model is where their users are the product and they're selling the information about that product, those users to advertisers and when you go marketing the customer and you got to stop advertising you know advertising is just targeting people to sell them stuff you've already done instead you need to get into a conversation with them needs to be a two way conversation where every interaction you have with them is an opportunity to learn and because you learn about them you can better customize your offerings right now again not just the stuff we already have on the shelf but better customize your offerings to them because you do that they're going to benefit because they benefit and interact with you again as you get this very tight learning relationship that grows and deepens with each customer over time and that's how we create brand loyalty that's how we get our customers to want to come back to us whenever they're in the market you know and I think that's an appropriate use of the term market the place where buyers and sellers come together whenever in the market for something that you can provide they're going to come back to you once you've gone through this process on Carnival you're not going to go to another cruise company because Carnival already know so much about you and they're keeping it safe and they're using it to benefit you no one else just you it becomes a pull instead of a push mechanism exactly that's one of the chapters that's one of the principles is go from push to pull right quit pushing your stuff on customers and instead pull information from them final topic for at least this episode it's the topic that has been on the show recently but I'm sure we can say something new about this and this topic is the chief experience officer position the position of the chief experience officer a question started that goes along with this one well that was easy who are chief experience officers anyway who are chief experience officers we need a position that we've been promoting for over a decade because as we shift into the experience economy it's very clear that often companies need that concerted focus on it maybe eventually we get to the point where you don't need one I don't imagine the Walt Disney Company needing a chief experience officer because everybody recognizes that they're in the experience business but for those companies that are shifting into it it's a great way to be able to focus on how do we stage great engaging compelling personal and memorable experiences for each one of our individual customers so in fact we wrote an article for the American Management Association it's quarterly journal excuse me came out this winter and it was on the roles of the chief experience officer so I talked to a number of CXOs many of them are our own certified experience economy experts and about their jobs and what they're doing and we came up with a framework really a 2x2 matrix that identifies the four roles of the CXO and it's based on the operations of the company versus its offerings an internal and external focus and also again on the company and its customers again internal external so the key four roles and I won't outline the whole 2x2 but basically is that you need to be a catalyst internally to change operations and focus on experience staging you need to be a designer so here exactly is service design versus experience design you need to be an experienced designer to help create those offerings that are going to pull together the capabilities of the company you need to be an orchestrator where you basically are taking the operations and orchestrating them out towards the customer helping pull all of the elements together to be able to do that and then you need to be a champion you need to be a champion for the customer inside of the company to say that we need to focus on this customer and we need to create a great experience for each one of these individual ones and then actually so the 2x2 defines these four roles but there's a fifth role that it came to realize was very important and that's that of a guide because if you're changing from a service provider to an experienced stager that's a transformation in and of itself and you need to guide that transformation within the company and it may be that if you've done that so well that experiences are now embedded inside of every facet of the company then you can eliminate your role and say okay I'm done I'll go on to another challenge but until then I think in most companies the role of a chief experience officer is paramount and really shifting into the experienced business I've spoken to a few CXOs and it's really interesting to see where they fit or where they are placed within the organization so what I've been finding is that usually these people struggle somewhere in between operations and sales and the result is that their influence their power their real ability to create change is quite limited what is your take on that because we can talk about roles but how do we empower these chief experience officers whether they need to be in their company well they really need to be at the top they need to be at the same level as other C levels reporting to the CEO or COO maybe your president but they need to have that visibility up there and generally it is one that doesn't have tons of people out there that they are working through influence that they have a center of expertise around experience design for example and these other facets but they really have to work with the rest of the organization in some cases maybe that because it truly is an experience company that they do have operations reporting instead of a chief operations officer it is the chief experience officer because their operations are that would be great where you get to that point as well somebody I don't remember who in one of the previous episodes said that the CEO should be the chief experience officer well if you are a Walt Disney company that is absolutely true the CEO is the chief experience officer and so I like that sentiment because it says basically that we are absolutely an experience company so I have to be the chief experience officer because I am the CEO of an experience business and what have you seen you know what is maybe the biggest mistakes companies can make when they are creating this position of the CXO what is the big pitfall yeah well one pitfall is that they starve it for resources and so they barely have anybody that they can hire they don't have their own resources they are not going to have any influence another big pitfall is that they tell somebody okay you are the chief experience officer but they give them no definition they give them no portfolio that happens so often that is why we wrote this article there is no standard job description you don't know what it is your boss doesn't know what it is so here is a way to think about how you play in each of these roles and it may be that some roles aren't possible right now you focus on one or two of these and shift into the other roles but you know you have got to figure out what the job entails and what it is all about and then you can figure out how you can make that work in your own company chief experience officer if people want to dig further into this topic what are some recommended resources on this well the number one resource of course is our book the experience economy and originally came out in 1999 and we have an updated edition that came out in 2011 maybe we will be able to do a 20th anniversary edition next year as well but it really describes most of what we talked about where things are going what experiences are the distinction between services it mentions the chief experience officer but doesn't get into it so you should look up that article on and the AMA quarterly again American management association but it is on our website we have a sort of thinking tab that gets into what are our latest thoughts and one of those is on the roles of the CXOs if you are retailers I have got an article on there on the year of retail experiences and all the things that are happening in retail with the bankruptcies and so forth that is an industry where you really can see that you have got to be either time well saved or time well spent and if you are time well saved you are competing against the Amazons and the Walmarts and the carefors of the world and so if you have got a physical store you really better be time well spent so you can catch up on our latest ideas there and it also says where I am speaking like at this master class on customing coming up in a couple of weeks in the Netherlands I will make sure all the links are in the description for people who want to dig further into this topic we have two more things in this episode and one of them is like always is there a question you would like to ask us something that we can think about food for thought right so I would ask you like the question I always love asking businesses is what business are you really in I would ask that the same with you what design business are you really in are you really in the service design business or are you in the experience design business and if so you really need to understand those distinctions again you are going to be able to use what you have learned in service design but there are new things you have got to focus on there are new capabilities that you have and there is a wholly different distinct economic offering that you need to create if you are truly in the experience design business but was I supposed to answer the question or just ask it no the question is in which business are you leave a comment on this episode and let us know in which business are you now it's time for drum roll Joe I don't know if you have the book near I was looking here I couldn't find a copy the experience economy we are going to give away a signed copy it's becoming a tradition here on the show it's going to have your autograph maybe an autograph of a second person I don't know but the question is related to the second person so what do people need to answer to win make a chance to win a signed copy of the service of the experience economy you better not edit that out I'll leave everything so what's the question they need to answer the question is what's my co-author on the experience economy I almost said it earlier at the beginning because he actually gave me the term customary so I had to stop that and just say co-author that but who is the co-author in the experience economy I've been coming to the Netherlands for 20 years and I'm usually there 1, 2, 3 times a year for the last 20 years and I've occasionally had people ask me alright it shouldn't be a hard question you've got two weeks guys to leave a comment and we'll draw a random winner from the correct answers and notify you and this is like you're going to get a real cool unique example of the experience economy the only thing left to do for me is to thank you Joe for sharing all this being able to pick your brain there are so many more questions that I have but maybe we'll do a sequel episode number 100 who knows so thanks for being on the show Joe thank you Marc it's a pleasure to see you again even if virtually and to be on the service design show by the 100th episode it will be called the experience design show I'll need to get this URL before somebody else does that's the first thing I'm going to do after this episode alright thanks so what is your biggest insight based on what you've heard in this episode and in which business are you leave a comment down below and if you want to make chance to win a signed copy of the service economy book let us know who's the co-author if you know someone who might benefit from what we've just discussed in this video I'd really appreciate it if you could share this episode with them and don't forget to sign up for my free course on how to explain service design by clicking here or check the description for more details thanks again for watching and I look forward to see you in the next video


For only the third time this season, the BSU men's hockey team is set to play at home. The Beavers return home this weekend for the first time in three weeks to take on Northern Michigan, who they have already swept. 13th ranked BSU is 9-2-1 through their first 12 games, sitting in first place in the WCHA. 12 points ahead of second place Michigan Tech. It's just getting, whether you want to say puck luck at the right time, getting the odd save at the right time, whatever it might be. Hey, somebody missing the net, the line is so fine as we know, and again, for whatever reason we're living right, we're getting those breaks, and again, it's just good to see, and I'm happy for the guys, I'm happy for the fans. The last 12 games are great, but at the end of the day, it's the next two that matter, and if we lose the next 12, no one's going to remember these first 12, so just keep doing things the right way, and hopefully take care of business. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


I was thinking about trash talking him until I watched him fight Conor McGregor that I changed what mine. Because we're Irish, my sons are half Mexican, half Irish. Because we're Irish, one of my sons actually was a Conor McGregor fan until he saw that a Muslim was going to fight him and then he switched sides. And that's proved that Faith Trump's plan and that's one of the powers of our religion is that we give up nationalism for something greater, which is the spirit.


With succession set to return to our TV sets at the end of March, not to mention the recent breaking news that this upcoming season will be its last, I thought now would be the perfect time to take a tour of Logan Roy aka Brian Cox's home life. In these videos, we don't reveal any addresses even though I've done a house tour of my own place, please do not show up at any private residences because it's not safe for anyone. Despite being one of the most talented and highly respected actors in the world, for the most part, Brian has kept most of the inner details of his personal life to himself. A couple of years ago, however, he wrote for the Wall Street Journal and in this, he chronicled his heartbreaking rise out of poverty as a child living in Scotland. For starters, Brian's mother deserted her family when he was just 6 years old. At the time, he and his family were living in Dundee, a coastal city located on the east of Scotland. There, Brian and his family lived out of a 3-story tenement building that featured just two bedrooms for all five kids to sleep in. That's how Brian wound up spending his nights sleeping in the living room, alongside his brother in a bed alcove with a tiny bear bones kitchen right next to them. After his mother left, his family began searching for her and discovered that she had gone off to live with her godmother in Blackpool, England.   Eventually, Brian's father was able to convince his wife to return to her family and move back in with them in Dundee. Once she did, the family made a living by running a small grocery shop in the village. For a little while, everything got back to normal. But then Brian's father was diagnosed with pancreatic cancer when his son was 8. Just three weeks later, he was dead. To make matters worse, prior to his death, Brian's father had foolishly invested a sizable portion of the family's savings in a business venture in which his partners had taken advantage of him. In other words, basically overnight, Brian's family was destitute. Over the next few years, his sisters would help their mom with the grocery store while his mother had to take on an extra job working as a house cleaner to pay the bills. As for Brian, while he discovered his passion for acting as a young boy, performing for the very first time in the comfort of his Dundee living room, where his family had set up an all-cove with thick curtains that served as his stage. It would take many years, but eventually, Brian's talent and skills as an actor would lift his family out of poverty and ensure his own future was very much unlike the story of his past. Having found success as an actor, Brian Cox struggled reconciling the modesty of his past with the glamour of his present. That's probably why he ended up splitting the difference and moving into a gorgeous downtown Brooklyn apartment that, while boasting everything you could possibly need, is by no means the type of home you'd come to expect from Hollywood royalty. Today, Brian Cox lives with his wife, fellow actor Nicole Ansari, alongside their two sons, Orson and Torrin. The German-born Nicole first met Brian in 1989 when she saw him performing as King Lear in the Royal National Theatre in Hamburg. Following that performance, Nicole was in awe of Brian's abilities and in 2002, they got hitched. After living together in Los Angeles for a number of years, they decided to sell their seven-bedroom home in Sherman Oaks, California and head east. Reflecting on their decision to do so, Brian joked to the New York Times, we sort of ran out of farmer's markets. In 2007, Brian Cox was cast in the Broadway production of Tom Stoppard's Rock and Roll. That's when the family moved to the East Coast for the first time, settling into a townhouse in the West Village. A few months later, when the play ended, he and his wife decided to stick around because their sons had settled into a routine at school and Nicole was far fonder of New York than she was LA. But even Nicole's love for Manhattan was tested after the family moved into a tiny, dark, expensive duplex with loud radiators and the world-famous Chelsea neighborhood. No matter how well-loved that part of the city is, the house just didn't suit the Cox family's needs at all. So the search continued. With Brian in England fulfilling multiple commitments to the London Theatre, finding the perfect New York home fell on Nicole's shoulders. Brian's only demand was that wherever they moved next, he wanted to have lots of light. From there, a few more townhouse rentals were considered, but ultimately, from there a few more townhouse rentals were considered, but ultimately dismissed for costing too much money or needing too much work done. That's when Nicole came up with the idea of living in a dormant building, one with a full-service staff on call, something they never had before. Shortly thereafter, she found a rental building where a 51st floor apartment fit their exact bill. Loads of light and three bedrooms. So the Cox family, alongside their cats, princess, and pichy, moved into a new home with a terrace and views of the New York City skyline, including the Statue of Liberty, One World Trade Center, and the Verrazano Bridge to be enjoyed from the top floor of a downtown Brooklyn high-rise. Inside, the heavy dark furniture that once worked so well for the family in sunny Los Angeles proved unsuitable for this new spot. So they made a pit stop at Ikea and bought a boatload of new furniture. With only three bedrooms, Brian and Nicole's sons bunked together in one room. Meanwhile, their parents each claimed a room for their own, and according to them, that's the key to marital bliss. But for those of you concerned, that means Brian and Nicole must not spend that much time together. Worry not, because whenever they do feel like sharing a bed, they head down to a much smaller studio apartment that they rent out of the same building on the 45th floor. Something that might come across even more surprising is that of the two bedrooms they share in the main apartment, Brian's is the one with the massive walk-in closet. His reasons for needing that much space tie into his difficult childhood, as he explained to The New York Times, telling them, I have more clothes than Nicole and the boys put together. I'm a hoarder. When you've grown up in poverty as I did, you can't throw anything away. Speaking of hoarding, why don't we take a closer look at some of these objects Brian has held on to that decorate his home and hold so much meaning to him. As Brian and Nicole headed from Los Angeles to New York, they had to determine which meaningful treasures they'd bring with them, and they settled on a number of unique objects. For instance, one item they selected was a large wooden statue that depicts a young Buddhist priest, which had been given to them as a gift from a friend. They also brought along an armoire decorated with images of Krishna, as they also brought along an armoire decorated with images of Krishna and a wooden boat from Thailand that was cut in half and refashioned as an open cabinet. Another sacred clock's family artifact is a different kind of icon, the former schoolroom desk that once belonged to notable novelist and playwright Norman Mailer. Nicole filled the New York Times in on the backstory, revealing a friend of ours was once engaged to one of Norman's sons, and she sort of stayed in the family. She got the desk and for some reason, she gave it to us. When our sons were younger, they would use it to do their homework. As the elected director of the University of Dundee, Brian was also once gifted a scarf from none other than the Dalai Lama as a traditional Buddhist token of honor and thanks when Brian welcomed the religious leader to campus.  He described the story behind the image to the New York Times. We were at a place called Latham Sting with friends of the family who had a rose-covered cottage. My dad is pinning a rose on my lapel, I was probably for. There's also a cabinet in the narrow hallway leading to the bedroom wink that holds the family's extra plates and dishes that gives the home a feeling of cozy normality that honestly, most celebrity-based homes don't have. But as much of a home as Brian and his family have turned this Brooklyn-based department into, when it comes time for entertaining, there really isn't much in the way of space. That's why the family also owns homes in the Primrose Hill section of London as well as Hillsdale on the Massachusetts border in upstate New York. Unfortunately, we don't know much about those homes or even what they look like, aside for this brief glimpse just outside of Brian's bedroom door at his place upstate where he sat down for a remote interview. However, now that he's about to have a lot more free time on his hands with succession coming to an end, maybe Brian will finally take a much-needed vacation from New York City to share a few images of his two other homes with us in the near future. But for now, that'll bring this latest house tour to a close. Thanks so much for watching. And before you head out, consider answering the following question. If you grew up poor but became wealthy as an adult, would you have a hard time adjusting to your change in fortune? Let me know how you'd reconcile your past with your present in the comments down below. Otherwise, like, subscribe, and turn on your notifications to never miss an episode. My name is Kara, and if you dug this episode looking into one of the most talented leading men from across the pond, then why not check out our recent look into the home of former 007 Pierce Brosnan? Then afterwards, I'll see you all on the next tour. Bye.


Hello friends. I'm Sanjay Gupta. I welcome you on Sanjay Gupta Tech School. In this video, I'm going to explain how you can store some of two 1D arrays into third 1D array. So I will be implementing this solution in C programming so that you can understand how we can solve this problem with the help of C programming. Before start, I want to just tell you one update. So if you go to detail or description of this video, you can find links of various players related to C programming. So you can follow them as well. So now I'm going to write a program that is related to C. So you will see how we can add two 1D arrays and how we can store their sum into third. So let's say if I drop 1, 2, 3, 4, 5, 6, 7, 8. So this is first 1D array whose name will be A. This is second 1D array whose name will be B. And we need to add their elements and we need to store them into third array. So let's say this is third array and its name is C. And for each array, we will be having indexes. So 0, 1, 2, 3, 4, 5, 6, 7, 8. So I'm taking similar size for all three arrays so that we can add corresponding value. So let's say this array is having these values. This is having these values. So first array is having 11 to 20 and second is having 1 to 10. So now how would we need to add? First we need to add these two numbers and we need to store it here. Then we need to add value N2. So 14 will be stored here. So this way corresponding indexes will be added for A and B arrays and the sum will be stored into third array. And as an output, we need to print this third array on output C. So now I'm going to write a program for this. So first I'm going to declare three 1D arrays A, B, C and 1 variable I so that I can iterate loop with that for this variable. Now I'm going to write a printer statement which will say enter 10 numbers. Now to read first 10 numbers for first 1D array, I'm going to repeat a loop which will repeat 10 times. And this will read all 10 numbers with the help of this scanner. So these three statements will be reading 10 numbers and all those 10 different numbers will be stored inside this array A. Now to read second array, again I'm going to write printf. So this will also print enter 10 numbers. Then I'm iterating a loop again. So you can see I'm using same variable for loop repetition because after completion of this loop, this will start. So I can reuse the variable that I used in first loop. So this time scanner will read 10 numbers and those will be stored inside array B. So this way these three statements will be reading 10 numbers and those 10 numbers will be stored inside B array. Now I'm going to write third loop that will be adding elements of A and B putting those addition into C and simultaneously it will be printing that result on output C. So I'm printing a statement third array, right? So this message will be printed on the output screen. Then again I'm repeating a loop. Now inside this loop, I need to write the statements for addition C of i equals to A of i plus B of i. So these two arrays are added and the results are stored inside C array. And after this, I can write printf maxLash n or send D and C of i. So the addition will be immediately printed on output C. So this way this is implemented. Now let's understand this. So let's say value of i is 0. So this will be A0 plus B0. So C value of A0 is 11 and value of B0 is 1. So 11 plus 1 will be 12. That will be stored in C0 position. So C0 position is this. So it will be having 12 and then 12 will be printed on output C. Then i plus plus will be taking this. So I will be 1. Next time A1 will be added with B1 and the result will be stored in C1 position. So this way with same i variable, we are able to access same indexes of different 1D arrays. And this printer is printing the addition that is stored in C variable or you can say Cn. So this way this loop will be 10 times all 10 indexes of A and B are added stored inside C and printed on output C. So this way I hope you understood how we can store some of the 1D arrays into card array. And how we can print those some that is available in third 1D array on output screen. So you can implement this program on your laptop so that you can see whether it is working correctly or not. And if you want to watch more programming related videos, so you can go to playlist on my channel or you can go to the description of this video where you will find various links of playlist related to C programming. So do watch them and I hope you understood whatever I explained in this video. Thank you for watching this video.


Greetings friends, this is Survival Doc. Today I'm going to talk about chili because chili is one of my favorite foods. Everybody seems to like chili. And chili is a food that is very easy to put up for long-term food storage. I'm talking about 25-year shelf life. If you do it right. This is a 25 pound bag of organic red kidney beans that I bought from Whole Foods Market. I'm actually going to be making a three bean chili. So this is just one of the types of beans that I'm using. I'm putting the beans in these Mylar bags which I will seal with the hot iron. Putting five pounds in each bag. And in each bag I will put a desiccant pack and 300cc oxygen absorber. These are the spices that I will be putting away for my chili. Here I have four 18 ounce containers of granulated garlic. I bought these from Costco's and I'll be putting these four in one of my Mylar bags. I'm using one gallon Mylar bags by the way. I will be putting these three containers of chili powder in another bag. And I have five of these containers of chopped dried onions that I will put in another bag. The other spice that I'll be using is cumin. I've already put the cumin in a Mylar bag. And along with my spices and beans and other ingredients for my chili I will be putting away sea salt. Now the sea salt does not require an oxygen absorber. I will put this in a plastic bag along with a desiccant pack. In each of these others I will put a desiccant pack and an oxygen absorber. And I will seal them in a Mylar bag with a hot iron. Giving them a 25-year shelf life. And I will discuss the recipe for my chili a little later on in the video. Here are some of the beans about ready to be sealed in the bags. Now my oxygen absorbers come 20 to a pack and once you open this pack they will start absorbing oxygen so you want to be ready to use all 20 of them very quickly. So you want to get everything ready. I want to get 20 of these bags ready. Here are my kidney beans over here. I have small red beans over here.  I'll be making three bean chili but I'm putting away four different types of beans so that we'll have a little variety and can use different beans at different times. Folks it's time to get serious about long-term food storage. Many people are predicting food shortages within a year. Certainly food prices are going to be going up. We are right around the corner from food hyperinflation which means that food is going to get a lot more expensive. So if you put a food away now when it's cheap you'll be saving money in the long run. But even more important than that if we have food shortages which I am predicting at some point we will have food shortages and famine here in the United States. There will probably be food around but the food will become so expensive that many people won't be able to afford it. Now a lot of middle-class people are going to be spending a lot larger portion of their income. They're going to have less disposable income because they're going to be spending all of their income on food if they can get it. So if you've been procrastinating put away your food storage supplies now. Don't wait. The oxygen absorber contents tends to kind of stick together. It helps to activate it a little bit shaking it up a little bit before you seal it in there. That way just acts a little quicker. A little better. It isn't necessary to turn it over and iron both sides but I do it just so I can check to make sure that I've got a good seal. You don't want to over iron it and you also don't want to use an iron. This is too hot and of course you don't want to use it. That's too cool either. You want your iron just right. Now very smart iron. On mine the setting is three but that will vary depending on your iron. Check this seal. Make sure this is good. Voila. Here's my chili that I put up for 25 year shelf life. Now the ingredients are separated. I put away the spices separately from the freeze-dried tomatoes, separately from the dried beans and the other ingredients. Now before I've talked about mylar bags. This is the mylar bags I use for five gallon and six gallon buckets. These are 20 inch by 30 inch mylar bags. Another way of doing it. I've started recently putting away food in the smaller mylar bags. These are the one gallon size. One thing I like about these is you can open the bag and just use the contents of one bag and leave the other contents sealed and leave the other foods that you have in other bags sealed. You don't have to use such a large amount at a time. Now five gallon buckets are great. You can put these in five or six gallon buckets. You can put about four or five of these depending on how full you have them. So one option you have is to put your one gallon mylar bags in five gallon buckets. Another way to do it is with these four gallon square buckets and I like the four gallon square buckets because they actually because they're square they actually take up less space when you're storing them or in other words they use your space more efficiently because square buckets fit together more tightly than round buckets and these are a perfect size to use for the one gallon mylar bags. Here's something that if you don't have you definitely want to look into if you store food in plastic pelts of any size makes it a lot easier to open your your buckets especially the five gallon buckets which can be very difficult to open but this makes it easy to open your buckets without damaging the bucket or the lid. Now what I like about these four gallon buckets this just salt is you can put several of these one gallon buckets in there. You can see three fit in there perfectly with a little space on top if you want to add something else like you can add a four bucket other ingredients.  Now another thing that you want of course if you have if you sell items in plastic buckets is you want a rubber hammer to seal your buckets and the proper way to sell it not necessarily with these but especially for the five gallon buckets the proper way is to put your knee on the bucket and hit down each of the four corners and then make sure that the lid is on securely. All right in this bucket as you can see I have my chili powder cumin garlic salt dried onions plus some beans. Now one thing I like about chili is chili is a very healthy food it contains some very healthy spices like garlic cumin chili powder these are very healthy spices if you look up the benefits for them they are beneficial for the circulatory system for the immune system and of course they make your food taste great. Chopped onions also chili contains tomatoes another healthy food peppers and chili also contains meat which is very good and beans so in chili you're getting in the one dish you're getting your meat you're getting your carbohydrates you're getting a lot of good spices you can also add if you have freeze dried corn you can add your freeze dried corn to the chili you can vary the recipe what I use is actually a three-bean chili recipe I've put away four different kinds of beans I've put away organic red kidney beans small red beans black beans and white northern beans anytime I make recipe I'll use three or four of these I use a three-bean recipe and I'll use three of these different types of beans now if you'll notice I have my chili box is marked chili fixings A chili fixings B also have a C all right that way if you need to divide up your food say if you're going to take part of your food to your bug out location or to another friend's house or you're going to give some of your food to a family member you can just give them an A bucket give them a B bucket give them a C bucket and give them a D box and they've got all the ingredients that they need in the right proportions to make their chili in my A buckets I put the chili recipe along with the spices chopped onions salt and if I have room additional beans in the B bucket I have nothing but dried beans in this one I have red kidney beans I have black beans and small white beans or northern beans if you're wondering where I get these buckets these four gallon buckets I have a friend who works at Whole Foods Market these are food grade buckets of food comes in them I have a friend who saves these for me so if you have access to a restaurant or a grocery store like Whole Foods Market you might be able to get these buckets I get these for free and if you don't have a source for these four gallon buckets of course you can always use the five gallon buckets here are the other ingredients that I put away for my chili I have this marked C so for a complete set of chili fixings you need an A bucket a B bucket B is just beans or actually probably two B buckets and a couple of C boxes this is just salt again salt is cheap there's no reason not to put away a lot of salt all right these are the freeze dried ingredients that I bought for my chili these are thrive foods my recipe calls for green chili peppers these are freeze dried 25 year shelf life my recipe also calls for tomato powder again freeze dried tomato dices freeze dried and of course the beef now here I have cooked roast beef from thrive you can also get ground beef freeze dried ground beef and of course ground beef is desirable for chili what I don't like about their ground beef though is the ground beef has corn in it ground beef is high in fat and fat is not a food that's easy to put away for long-term food storage because fats go rancid all right so for their ground beef they add some corn ingredients because corn provides an oil all right now they also have cooked roast beef which is actually a little dices of roast beef and the ingredients on this can is simply roast beef and salt so this this roast beef does not contain corn this is what i'm actually preferring to put away for my chili recipes because i don't want the added corn again this is freeze dried this is cooked uh when you make your chili what you want to do is of course you want to soak your beans overnight because that reduces the cook time all right freeze dried foods cook very rapidly once your beans your beans are soaked you can add all of your ingredients together your soaked beans plus all of your freeze dried ingredients according to the recipe and the proper amount of water and bring it to a boil and boil it for a little while until all of the freeze dried foods are completely hydrated and the beans are completely cooked and voila you've got chili but instead of some chili recipes called to have chili call it call for it to be cooked for hours and hours and hours um and the problem is during an emergency you may have be short in energy maybe you've got plenty of wood to burn or whatnot maybe you might not be short in energy but in case you are short in energy and you want to conserve your energy you can reduce the cooking time greatly by soaking your beans overnight first now one thing i like about freeze dried foods is freeze dried foods are they're instant foods most time you can eat right out of the can of course you don't want to eat peppers right out of the can but most of the foods like the fruits and the vegetables you can eat them right out of the can or you can just soak them in water using very little energy even with this beef here this beef is cooked you can actually eat this beef right out of the can what i would do is i would soak it in water a little while freeze dried food are preferred way for long-term food storage for many foods like meat this is survival doc reminding you be prepared or be prepared to be pleased the chili recipe that i have um i got from thrive the maker of these freeze dried foods uh and the reason i use that one of course is because it is a recipe using freeze dried food so it tells you the right amount to use of your freeze dried diced tomatoes and your freeze dried beef and your freeze dried tomato powder etc so it's just a lot easier recipe to use for your freeze dried foods and what i'll do because i know i'll be asked for it is i'll post the recipes that i'm using in the description portion in the description box beneath this video