You just do stuff for free for people, then there's no expectation. And you become reliable, and then all of a sudden, people will start buying into your vision. And then once you have a string of successes and you keep it going, then people will start to listen. And that's kind of the point that I'm at now, where I have a lot of trust from a lot of different musicians, brands, and they'll listen now. But I get it, it's very hard when you're just starting out. Matt, come on, welcome to the show. Thank you for having me. Yeah, obviously we talked a little bit about your age and being a youngin' but having created some videos that have gotten tremendous views, two plus billion views of music videos, et cetera. How did you get started in finding your passion and being a filmmaker? It started pretty early on. Probably when I was around 13 or 14, I picked up a camera for the first time and it was nothing really serious. It was my parents' old little handy cam, like Canon camera. And it's just something that I enjoy doing and kind of just like stuck with it. And here we are. What was your first video, do you remember? Oh my God, it was like this really, really bad skateboard video out in my parents' cul-de-sac in Orange County. It was absolute trash, but. I feel like that's where a lot of us started is filming some sort of activity of ourselves. Skating, sports, friends. Well, I certainly remember the camera that I had to film, our skating bits. And it was probably a little bit larger than the one that you were working with. Probably, yeah. They have a VHS deck in it. Damn straight. And of course, putting together massive projects like that, it takes a certain level of confidence and being able to step into roles that at first can be a little intimidating.  I think practice definitely helps a ton. I live, eat, and breathe film every single day. And I study the craft like no other. So when it comes to actually executing on something, it just feels like another day. Obviously there's pressure depending on how big the project is, but anything you've been doing for a really long time, it kind of, I don't know, not that I'm numb to it, but it's, I don't know, it's like another at-bat if you're a pro baseball player or something. Same thing. Getting your start with skating and music videos is Spike Jon's somebody that you had studied and looked up to, much? Not really, to be completely honest. I know why you would say that though. I look up to people like Christopher Nolan. He's like my number one main inspiration, Scorsese, Spielberg, a lot of those guys. I do like Spike Jonze, I think his work is incredible. And when you're starting out, obviously, doing videos on the side and getting going, it's one thing, but when you're actually asked to shoot a music video, get by and at a young age, what was the most intimidating situation you walked into and how did you deal with it? I would probably say, oh, I worked for GoPro for a while. I was really intimidating to start because I left college and I worked at GoPro for almost three years, like two years and like eight months, to be exact. And that was nerve-wracking because I was 21 and I was on the social team there. Yeah, I don't know, you just have like a blind confidence, I guess, in it that you trust, you know what you're doing it's all like measured risk, so to speak, and take a calculated decision on something and hopefully you don't fail with it. Right. Did you find working for them? I would expect that it would be certainly back then with it and it was a brand new camera and everything about it, how it was gonna be used was all new. So was there a lot of freedom in working for them and everything you guys produced? Not to start for me personally, I came in around Hero 5, so they'd already had a lot of wins under their belt at that point, but when I started, I definitely didn't have the say or the freedom of creativity that I had when I ended up leaving. So with GoPro and obviously landing that gig, walk us through a little bit of how that came to me. So I went to, right before that, I went to film school for four years, I went to Chapman University and I studied film production, emphasized in cinematography, so I already had a film background and schooling and then GoPro was just a company that I always wanted to be a part of. I grew up, like you mentioned, skating, snowboarding, all that stuff, so it was a very good culture fit for me and I actually applied for an internship and didn't get the internship and I applied for a job and actually didn't get the job. It was for like their ski and snowboard department and then kind of a little bit of luck and the universe kind of aligned itself. My resume got on director of social at the time in front of her and she gave me a call and an interview and a month later, I'm working there. That's kind of how that ended up happening. So not giving up is a big part of it? Kind of, yeah. I was actually just talking about this the other day with somebody and I didn't really view them as failures or like it wasn't for me. I kind of just, yeah, I kept trying and it ended up working out and thank God it changed my whole life. Yeah, and coming out of that, what was the first really big exciting project for you? Oh my God, within a week of me leaving, I shot a music video for the Chainsmokers called Everybody Hates Me with a good buddy of mine named Rory. He directed it, a longtime collaborator. So that was probably the most exciting thing and that was like a week or something after GoPro. And how'd you get connected with the Chainsmokers? Through my friend Rory. Rory's another great videographer, filmmaker, director type and he was touring with them way back in like 2014 or 15. I've been a big Chainsmokers fan for a long time and yeah, kind of just through him and now we're all like really good friends. Was that their holiday party last night and it's good. Yeah, he worked with them on a number of projects. Yeah, yeah, yeah. It's had to be exciting, especially with their career trajectory as well. It's been a lot of like right place, right time for me and hopefully that keeps happening because that's like the part that you can't really predict. Well, typically there's a lot of hard work behind that. Yeah, yeah. The doors open and I know and we've asked this before when we've talked to creatives and we are certainly amateur filmmakers as you can see from our stream but how do you deal with that seeking perfection knowing when to release it and not getting hung up and ultimately getting projects out there to get viewed? I struggle with that a lot because I definitely over index on the quality side versus quantity and the system of digital media it doesn't reward that. It's quantity driven business and you always need to be putting something out to stay relevant. But then I just, for me personally, like the quality and to answer your question, I kind of just had like a sense when I know that it's ready to go and then I also am like self aware to know, okay, am I being too much of a perfectionist and like is this 90% of the way there we can get this out and it's just as good and it's just being aware of that fine line and you're always trying to dance on that. Right, you know. And developing that sense, a lot of our audience has thought about creating content, has thought about entrepreneurship or trying things and a lot of times being perfectionists they get in their own way and sabotage. How did you develop that spidey sense? I put out a lot actually to contradict exactly what I just said. I did put out a lot for a while and you kind of just know what ends up working.  You're like, okay, this is... So the audience response has sort of guided you over the years. Kind of, yeah. And especially when you show the film or whatever you're working on to somebody in person, what I find remarkable is people kind of react very similarly to like certain parts within the film or video or whatever it is. So you can kind of gauge it that way too. So you're looking at their response, their body language, what moments are really captivating for them? Of course, yeah.  For some of the stuff that I had seen, this goes over the quantity and quality situation where there was so much time spent on all these beautiful shots, it was more of an art form than shooting a quick video. And certainly in today's day and age, it seems that everything is just so throw away.  And I was all upset.  It took you five minutes to put that together. It was like, but it just, things just fly by so fast. Yeah, I would definitely say I'm an old soul and I do, I care about the craft of it and I don't put out videos just for the sake of blowing up on social media or anything like that. And that's incredibly apparent just through the type of content that I make because what I do doesn't make any practical sense. Things take way too long, cost too much money and anyone who's sensible would be like, this is not worth the time. But for somebody who is an artist and a filmmaker, it is worth the time you just ask yourself like, what do you actually wanna be known for?  And hopefully the fewer things that you do are more impactful when people see it. I think you said the word right there that has the way you view it, right? Which is, first and foremost, you're an artist. That's what you're there to do and there is a part of you that has to be into what you're doing and excited for what you're doing. And at the end of that result, happy about the time and what you've put into it and regardless of who's going to see it, it needed to be done. And I think that's the artist in you that will always need to have that quell before how many people see it on social media. Right, exactly. And that's what's taught the vanity metrics of everything. In one hand it's great because it's self-validating and in another hand it's like, okay, if you do something and it doesn't perform well, that's also hard on an artist too. Absolutely. And of course, working on projects and balancing the creative side and the business side, there are deadlines, there are budgets that you have to hit. How do you find the balance and how have you dealt with it when it's been really high stress, especially at a young age? Just get it done. I don't know, I guess I do have, it is hard to get stuff out in a reasonable time. Like, don't get me wrong, being creative on any deadline is incredibly difficult but then you do have to say to yourself, okay, this is the box that it's put in, just do the best you can. So I kind of just live by that. I'm always trying to just do the best in whatever box, budget, timeline that I'm in. And do you ever feel like there are times, especially when you've had to be now in a leadership role where it's not just a project of you and a camera and a skateboard, there's teams of people, how do you go about getting buy-in on your creative vision and getting people to help you execute it? I'll answer that in two parts because it's different now than it was back then because nobody knows who you are and no one knows. Yeah, on the come up. Yeah, it's really, really difficult. So the easiest way around that is you just do stuff for free for people and there's no expectation. And you become reliable and then all of a sudden, people will start buying into your vision. Once you have a string of successes and you keep it going, then people will start to listen. And that's kind of the point that I'm at now where I have a lot of trust from a lot of different musicians, brands, and they'll listen now. But I get it, it's very hard when you're just started out. So definitely understanding how the system works, essentially, that you gotta put out content first. If no one's watching your content, you're not gonna be able to build those relationships. And it seems like now, a lot of the projects you're working on and opportunities are happening through the network you've built along the way. Oh, of course, of course. It's all relationships, 100%. And what's been your approach to building relationships, like, Steve? To be a good person. Yeah, just be kind to people, be a good person, do what you say you're gonna do, put out good work, and it's really that simple. I think a lot of people try to overcomplicate it. And fortunately, I don't need anything from anybody. If an artist doesn't want to do this this month, I'll just go to another artist, or I'll go take time off for myself, and I'll just go make something on my own. So I guess maybe it's that approach, where I'm never in a position where I need this thing, you know? Because as a filmmaker, there's so many different avenues. You have music videos, you can do short films, you can do YouTube, whatever. So I'm never bored, I guess. Is there a grand plan? In a certain respect, yeah. I would love to be a huge director at some point, like feature films that we're doing well with music videos and things of that nature right now. But I look up to a lot of people that are multi-faceted and multi-talented. So like, the Virgil Abloz of the world, who found it off-white, he's a career director, Lee Vuitton, he DJs in Bradley Cooper. He's an actor, he also directs, he can sing. So I'd love to be a director for feature films. I'd love to maybe career direct a brand, global skill potentially, again, do clothing, who knows, a little bit of everything. So really challenge yourself creatively and I feel like, especially watching your career as it's gone from GoPro onto these other projects, like how do you find that balance of what is your strong suit and then pushing the boundaries of creativity and trying to grow in other areas? That's a really good question. I like to learn a lot. So I just try a bunch of different things and try and get good at everything and understand it. And I study things quite a bit through reading, through watching endless hours of YouTube videos of how things are directed or how companies are started. And that's probably, I guess maybe the secret to the success is you kind of just study what worked with other people and you kind of re-replicate it in your own fashion now, I guess. So just forever being a student sounds like. Of course, of course. And then trying to master the craft. And I think for a lot of creatives, especially now with social media and those vanity metrics, everyone is so worried about becoming viral. How can I have that one smash hit? And what do you say to those creatives who are starting out in search of that one viral video?  It doesn't necessarily work like that unless the only way that happens is unless you already have a pre-established fan base and you're already speaking to millions of people. Yeah, just create good things. Because the quicker you pop off, the quicker you're gonna fall off if it's based on nothing, so to speak, where you look at a lot of people on social now and let's say that they're influencers and they have a big following. Okay, that's great for a little bit, but once you've pumped through brand deals for a year or two, you make some cash, then where do you go from there? You don't really have a transferable skill set. So you kind of die with the platform unless you jump when a lot of the Viners jump to YouTube and jump to Instagram and some of them turn them into fully fledged businesses. Well, to go along what you're saying, any success that comes in a lightning strike when you're really young, as you mentioned, you hadn't had time to develop other skills. So that is only going to last for so long. And it is incredibly hard to transition on that. And as you were making, mentioning, even the transition from Vine to YouTube, how many people, there was certainly some who were able to do that, how many weren't able to make that transition? They went to TikTok. Yeah, there you go, yeah, they waited. They went out vertical, yeah. So we talked a little bit before the show, but I'd love to hear what you're really excited about now. You got a really interesting project you're working on. It's gonna be coming out soon. Yeah, and I have a short film that's coming out that I directed and wrote, and it's about my grandfather who has dementia and it's getting pretty gnarly for him. So I've been working on that super focused since probably July and August of this year, and we're in post-production now, and hopefully it's done by February. So that's kind of been what I've been doing. I've turned down every music video, every brand deal, everything since July to make this. It's quite the passion project. Yeah, yeah. Family's excited. Yeah, they're very excited. But I mean, it's important, because he doesn't have that much longer left and he needs to see it. So once you've kind of run the gamut of, I guess, LA and just film and work and stuff, you say to yourself, okay, it's worth the sacrifice. What am I gonna do from July to the new year? Just crank out three or four more music videos, make some more money, do some more brand deals. Yeah, it's fantastic. But this is one of those things where if I didn't do it now and he passed, I would regret that for the rest of my life.  Have you felt there's been added pressure knowing that it's a family project and it's really personal to you? Yeah, it's been, to be completely honest, been really difficult to make because it's a delicate story. It obviously hits close to home. It's super emotional. And I just want to do it right. So, but we're getting there slowly but surely. And what's the plan to unveil it for him to see? Well, it's impossible to get to move him anywhere, like it's getting really bad. He has to be in a wheelchair and like he doesn't remember much more than, you know, 10 minutes ago. So we'll do a premiere in LA with all the friends and network and whatnot. And then I'm just gonna go down to where he lives in Orange County with a laptop and sit next to him on his bed and show it to him. Right on, yeah. That's gotta be an awesome moment for you. Hopefully, yeah, yeah, yeah. Putting it all together. Of course, it is a mail bag episode. If you guys have questions following along, please do shoot him over. We'd love to ask Matt. We're gonna dig into our mail bag. We have some great questions here. The first one is from Jeremy. He's a fire dancer, object manipulator, multi-staff martial artist. He's been doing this at an amateur level for about five years now. And he's gonna soon be representing his own brand and diving in at a professional level. He asks, how do you think changing the medium changes how stories are told and how people relate to them? In person versus text versus audio. And also visually without any of those things, how much of telling a story is rooted in language? What is your perspective on that, especially diving in to start his own brand now? To tell in stories, yeah, the medium. Well, even all the different platforms that we've been talking about, you know, everyone. They all have a different voice. Exactly. You need to be aware of what that voice is. Twitter is very informal. It's short. It should feel conversational. YouTube's a place where you can tell longer form stories. It can be a vlog. It can be a narrative. Instagram is getting get out. You know, do something flashy and move on to the next thing. So yeah, you do have to adapt for what each platform is. And that's also different for the visuals as well. You know, like for me personally, like the Instagram stuff is very flashy. It's very travel driven because that's what works well there. The YouTube stuff is a lot more slower. It's longer form content. So yeah, I just evaluate that.  Is that what he said? Yeah, fire dancer, object manipulator. Yeah, that's the one I was curious. So I don't even know that. I couldn't manipulate quite a lot of objects. You know, the other thing about it is if each one of those platforms has a different audience. Right, that's true. And understanding of course, that moving from an amateur to a professional, there's certain expectations, right? It's not just hamfisted with the video camera, but it's actually taking some time to edit and think about things a little more thoroughly. Oh my God, yeah. Oh yeah. The pre-production process is probably the most extensive. That production actually shooting the thing is the easiest part of anything, always. It's the pre-production and then it's the post. And he's asking lastly, what is your model or storytelling advice for putting together a project like this? And obviously, as we just talked about, the pre-production, the storyboarding, that's a huge part of the process. So how do you walk into that situation, especially when someone else has contracted you out for their idea? I think you need to figure out what you need to say or want to say or what the client wants to say first and then you work your way backwards and that kind of dictates the visuals, the story within it all. So you always figure out what the angle is. And if you don't know what that is, just ask. Most of the time, the artist, the brand, whatever they are, they know what they want, but they just can't make it, that's why they're hiring you to do it. Right. So starting with the end in mind, working back is a big part of your creative process. Yeah, if you listen to a lot of screenwriters talk, most of them say they start with act three.  It's impossible to get through. But yeah, you mostly start with the end. And have you been in situations where there's been disagreement on the creative side? Oh, of course, all the time. And how do you handle that and manage that, especially at a young age, being persuasive for these big brands who have their own expectations? Well, at the end of the day, they're paying you. So the dollars are coming from them, so whatever they want up into a certain point, you gotta give them that. And it's this weird dichotomy of being completely involved in your craft, and it being your baby, and then also being able to just let it go and be like, this isn't mine. Have you walked out on a project? No, I've definitely been in post and there's been a ton of revisions on something and it's this never-ending thing where the client doesn't know what they want, which means that I can't really make something for them. But now I've never really left anyone hanging. I can understand on the post and how troubling that could be. I was, we were in a shoot for one of my projects. It was a band. And one of the guys in the band had handed the guy who was putting the video together in post and when he was editing, two pages of shots that he wanted to see of him in the video and I was like, oh my God. He's like, he does know this is a three minute song and that's not gonna happen. Yeah. And he just threw them out, but it was just one of those things like, really? And that is just, for me, I can understand there's things that you would hope make it into the cut, sure. But to sit down and write out two pages of shots of yourself that you would like to see in the video. Yeah, yeah, that's obsessive. I don't know if you deal with this, but Wesley asks, how do I stop procrastinating?   Yeah, the why of why you're doing it. And if you really want something bad and I feel just there is no procrastination, you just go and do it. Yeah, the motivation, the willpower all becomes a lot easier. So asking yourself first, if you've identified what you're procrastinating on, asking yourself why, why is this something that's intimidating me or I'm not getting to?  And time management is also a part of it. I think I've certainly struggled with procrastination. It's usually stuff that I'm not good at. So I know it's gonna take a lot more of my time. It's gonna be more frustrating. Right, which I'm the same way sometimes where I feel like if I don't know something super well, sometimes just even the thought of doing it is more intense than just actually doing the thing because I don't know it. Right, it's intimidating. I know for myself when it comes to reading, I don't wanna start a book and not be able to finish it and so that will usually keep me from getting into it. I've now since, as I've gotten orders, like if you just don't like it, just put it down. You don't need to force yourself through this thing. Right, that's true. But yeah, that had always made me procrastinate in the past. Yeah, I think it's also, again, getting to the deeper why there's a level of self-sabotage. Next month we're gonna be talking to Dr. Judy Ho who wrote a book on self-sabotage but in general, especially if you've started something but you can't see it all the way through, there's some self-sabotage going on there of like why do I not wanna get this thing published? Why do I not wanna hit post? Why do I not actually wanna get this out? I think a lot of people are afraid of other people's opinions and you put out something that is you through and through whether it's a book, a song, a film and the thought of someone saying something bad about it is terrifying for a lot of people. How do you deal with that? Because nobody who criticizes me is doing more than I am. See, that's an incredible thing and I hope for the young kids who are listening to us to put that in quotes and write that down somewhere but on top of that, I mean, what is the one thing that you do when you're seeing one of your friends doing things that you wanna be doing? You immediately go to wherever they're creating and hope and you try to vibe with the nasty comments so that you're like, see, I knew he couldn't do it, I knew it wasn't gonna happen but then, if you engage in that sort of behavior, when it comes to your time to raise your hand and put something out there, the only thing you're gonna be thinking about is the negativity that goes along with that because that's what you've engaged in. Right, and you know, most people that are in the ring with you, so to speak and putting stuff out and actually creating, there's a mutual respect for everybody and yeah, you might get a cheap shot from somebody who's also working as well and could just be like a jealousy thing but for the most part, the criticism online just comes from people who probably wish that they were doing whatever they're watching is. Yeah, I think in general it's a lot easier to tear down than it is to build. Of course. And everything that we're talking about here, it takes a team, it takes hours and hours, months and months of work to put together to have that finished product and it's just so easy to pick apart one little thing. Yeah, you just see the tip of the iceberg, so to speak. And a lot of times too, because I'm not, I get negative comments on my stuff, not too much but I definitely do and a lot of times I just say to myself, well, if you can really do it better and you know how to do it, then just show me and do it. Yeah, I'd love to see it. I don't have an ego about always being right or anything like that, always listen if it's a valid point and it's coming from a valid source so just show me why or how I could have done it better. And do you have any sort of comparison envy when you compare with other artists and creatives out there? Of course, yeah, yeah, I deal with that a lot because I work with a lot of incredibly, incredibly successful people all the time. And they're all really young, around my age, maybe a little bit older, 27, 28.  Yeah, I think pushing yourself. And maybe you can speak to this a little bit. Obviously there's no top of the mountain. No, no, it keeps moving.   And that balance, so do you find yourself in situations where that comparison leads to some negative self-talk or some self-doubt and how do you deal with that? Yeah, I would be lying if I said it doesn't affect me or I'm completely immune to negative self-talk. I don't know, we all have our different journeys and paths and they might be in a season of life where they just struck gold and that might be coming for me again in a couple years from now, next week, who knows? So you just tell yourself, okay well, what are the actual variables that you can control and it's how hard you're working, how talented and skillful you are at your craft, it's how well you treat people and then the rest kind of just, you just gotta throw your hands up and be like what's gonna happen is gonna happen. Right, but it's gotta be published, it's gotta be out there for things to happen. Yeah, exactly. That's the most important thing. Doesn't help on a hard drive, just sitting there. Exactly. We got a question here from Luke, he says he was raised in a poor community and my understanding of what is possible personally and professionally is pretty limited. Now that I'm educated and live in a city filled with opportunities, how do I decide what I want and how to get it when I have no frame of reference and obviously as your career has taken off, I'm assuming the big gig in the beginning was GoPro and then you complete that and now it's like, how do you open up yourself to that world of possibility and figure out what's next? I think you just, you do things that excite you because even I don't really necessarily know what's around the corner a year from now. I have a gauge of where I wanna be but I kinda go by the things that fulfill me and excite me doing the film for example is a very fulfilling thing and I kinda just, you know, we were talking about earlier how things just don't make sense, like doing this film makes zero sense, completely self-funded, it's a ton of money, it's a time suck, I'm giving up music videos and directing campaigns for commercials that people would kill to have so it really doesn't make sense. It's what I know is gonna fulfill me and excites me so I do it. So raising that level of self-awareness and really listening to your intuition. And this, I don't know who this person is but this person when they were living in the poor community or wherever they're from, they obviously had aspirations to get out of there and they are out of there now, right? So I would just have them ask themselves when you would daydream about where you wanted to be, what were those things and then just get in tune with that again. And have you had any mentorship along the way? Cause I feel like this is definitely a situation where Luke could use a mentor who has experienced that and has a frame of reference that he could draw from. I talk to my dad a lot. My dad is someone that like look up to a ton. He's a good businessman and just through and through a very level headed with a lot of things. But as far as like a formal mentor in like my industry, no, I haven't had anyone, probably should, but it'd be nice.  I kind of get stuck and start to filter out things that would not be fun enough. This makes the interaction much more awkward and difficult for me. How do you gauge how to initiate a conversation with someone in a social environment and if it's going well? Do you have those situations? Have you struggled at all socially? No, not at all. You're pretty outgoing. I was like, hey, I'm Matt. Yeah, nice to meet you. And they're like, hey, like even if they don't even know who you are, you're in a weird spot and then just get them talking about what they like. Yeah. Sure enough, like they'll talk the whole time. I was like, oh, that was a really good conversation.  Do you find yourself, would you describe yourself as an extrovert or introvert? Both, I guess. I can switch it on or off depending on what it is. I like my alone time and I like creating alone, but then I also like to go out and have fun and be with friends and yeah, both, I guess. Yeah, I think in general, you realize the time and place for both, right? Being creative, you have to retreat, figure it out for yourself, and then also knowing what the career takes to get to the next level, the network you have to be building, you have to be able to be extroverted as well. Right, right. Otherwise, those opportunities are not gonna present themselves. Yeah, I would, awesome. You know, it's through this question, you can see that Damien also is extremely analytical, right, he's stopping himself because he wants to figure out whether or not what he's about to say is gonna be interesting enough or fun enough. And if he continues to think in that manner, he's going to let a lot of things, a lot of opportunities just roll past. So he's going to have to learn to speak up, and of course we talk about this in our workshops all the time and we even put together improv in our workshops for this very thing so that you can let loose of your anxiety of what's going to be fun and what isn't going to be fun because if you're sitting there thinking about it, you don't really know. And this is the same thing about creating. If you're not putting it out there, how do you gonna know what you have and what people are going to enjoy? That's true, that is true. Well, what you were saying earlier, right, hey, I'm at, it's being present. Yeah, it's not being in your head is half the battle here. It's not that something's gonna be funny or not be funny, it's actually being committed to the interaction and being present to allow the conversation to move forward.  Life doesn't work that way, filmmaking doesn't work that way. That's also putting people on a pedestal and the more that you get into just the industry and life in general, you realize everybody's the same and everybody has their insecurities, everybody has some sort of deep-rooted pain that they're trying to sort through every single day. And once you realize that, it kind of takes a sword out of everyone's hand. Yeah, and certainly walking around, feeling that pressure to be fun enough is difficult. And Damien, that's why we run the boot camps. Improv is a great way to plug in and start working on your sense of humor and let go of what you think could be funny and not funny, because you don't know till the audience laughs. And I wanna, just one little point I wanna add to this. You are not broken because you think this way. Every guy on the planet has tried to figure out the best way of getting people to like him or getting girls to engage and like him.  Well, I think, and you mentioned this earlier in a different answer, I think the hard part for a lot of people is they get so wrapped up in other people's opinions, not realizing that that girl you're talking to doesn't know who you are. There's nothing about your backstory and there's nothing about how interesting you are. The only thing they're judging is your approach and that initial conversation and response.  I agree, I agree. I mean, think about like the people that you respect the most or you like strike them as the most confident. They just fully embrace who they are. So a lot of it's just not trying to like put on and be something that you're not, you know? If you're awkward and goofy, like rock with that. Like that's your thing, you know? Yeah, like I have a frickin' 12 year old face. Like I can't barely grow facial hair, you know? Like this is a lot of work right here, right? Months in the making. And it's like that's, you know, I have the boyish charm, that's just what it is.  Like it's just, you know, rock what you got. Yeah, play to your strengths, definitely. Now this is a question, and I'm sure as a youngster who's achieved a lot of success this early in his career, it is a fine line. Dean asks, how do you self assess the difference between arrogance and confidence? I think being confident is knowing that, you know, you're the best, but you don't have to feel the need to tell everybody all the time. And you're humble.  Absolutely. And like it's like LeBron, he doesn't need to go tell everybody he's LeBron, like we know who he is.   And then the other thing, when I see this question, though, the first thing that came to my mind is why are you asking it?  Do you want to share some things that you were excited about that you've accomplished and you don't want to be coming off as arrogant? I mean, that was my first thought. And there is nothing wrong with patting yourself in the back and celebrating your wins as long, but know that those wins are there for those moments and you should be focused on the next challenge. And I think it's confidence is a belief in yourself. Arrogance is the comparison to other people.  Right, arrogance is the judgment of others. Confidence is the belief in yourself. So if you find yourself judging other people's performance, trolling them on Instagram, whatever the case may be, being harshly critical of other people, putting them down to feel better, that's really when we're arrogant. Confidence is a belief in yourself and a belief that things will work out and that you have the experience in the past of it working out. That's where we're building off of. And it's when we're tearing other people down, when we're comparing other people and looking at ways that we are better than them, that's where we start to become arrogant. Right, and you know what's really interesting at least from what I've observed over the last couple of years is that it seems like the people that just came into a little bit of money or just came into a little bit of success tend to be the more arrogant types and they tend to be the ones who are the most flashy, behind the cars or doing all these things. All the people that I know personally in my life that are incredibly successful, incredibly successful for musicians, to real estate moguls, yada, yada, yada, yada, they're all the most down-to-earth, humble, simple, kind human beings. So you just say to yourself, what, that's what it is. Like you get to the top, you don't tear people down. Exactly, humility opens far more doors than arrogance. Of course. And the more flash you are and the more that you are outwardly self-comparing and advertising how much better you are than other people, the less opportunity you're gonna have. Of course, 100%. And here's the thing, you may not realize it, but when you leave the room, as someone who's arrogant, people are talking and word gets out and people don't wanna work with someone who's arrogant, who's willing to tear other people down. And that's really, for me, and I was labeled as it just for being quiet and sometimes when you're introverted and quiet, people assume, oh, he's naturally judging, not realizing that, hey, there's an internal struggle going on and lacking in confidence. So I think as you start to build confidence, you start to realize that the comparison to others is not really relevant. You don't know their backstory. You don't know where they are on the come up or the come down, wherever the case may be. And behind every success story, exactly your point. There's deep pain, there's turmoil, there's struggle, you may not see it. And certainly social media isn't the best place to see it, but it's happening whether you want to believe it or not. The last one for today is from Hans, one of our alums. If most of your friends are in their midlife, looking at you, Johnny, settle down. Do you have any good ideas to spice up the get-together so they're more fun and in an elegant and charming way? And I talked a little bit about this. Certainly a lot of our guys coming through, whether it's relationship that ended, divorce or just a change in their career and now they're in a new position, they find themselves sort of unplugged from their friends and looking for opportunities to make things fun and exciting to get people interested. So what are some ideas that we can give Hans here to help him have some more fun and have his friends get together in a way that maybe allows them to feel more comfortable? Well, you know, ask them what they want to do, what they're interested in. I mean, if they're settling down, there's probably good reasons for that. They have children. Their lives are becoming more structured. They want to make sure that they can engage in their own life to the best of their abilities as they're getting older.  What can we do this week that would make it easy for us to spend some time together would certainly help with that. I think experience-based as well, like doing something new, finding some adventure, exploring a new part of town or even a new board game, something that, talking about spicing up, like everyone, as they get older, exactly that. It gets sort of stuck in a routine. And especially if you have kids, you're balancing work and a family. It's easy to lose touch with the silly, playful, childlike state. So having those opportunities, building experiences that allow people to learn a new skill, try new food, experience something new, see a new part of town. And of course that creates memories too. This last question came from Insta, actually. Charlie asked, last year I went through a pretty major health scare at a young age and it made me realize that I've been wasting my life due to anxiety. So I'm looking to gain confidence in myself and take more risks like starting my own business. We're asking for help from my tutor, from my uni degree. The last few weeks I've been listening to motivational speakers and feel more content with myself, but I was wondering what else a young and raw young man can do to get things moving to start building that confidence.  But there's only so much of that you can do. The best way to learn and to fire yourself up and to gain confidence is to go out and do. And that's certainly what we've been speaking about today, especially as he puts it, young and raw. Yeah, a lot of it is just doing it. And we were talking earlier about just being insecure and intimidating, that's the word you used. And sometimes the intimidation factor of doing something kind of just stops you from doing it and now it becomes this overarching, overbearing thing. So you just chip away, just start small and keep working from there. The other thing about it is I think a lot of people think this idea of being inspired or being motivated is something that you find. And it comes from inside, it's a drive that you are engaged with, that you already have. It's just whether or not you want to spar with it. You don't wait to get motivated to go to the gym. You go to the gym to get motivated. And habits come into play here, right? So looking at building out habits that lead to your goal is more important than trying to find the motivation or hope that confidence strikes. And every single day you go to the gym, you're putting a little more weight on, that's building confidence.   You're watching other people, you're modeling other people and then you're going and trying and doing it yourself. You get some good feedback and you start realizing, hey, things are working, then the confidence starts. It's all baby steps, just break it down to small things. But I get it, you always just want to do a lot quickly. That's the other thing too, is I fortunately have time on my side because I started so young, so I've never been in a place where I'm older in life and being like, oh shit, I wasted it, so yeah, I guess you just put in the time at whatever it is. Obviously, we mentioned some of your projects. Where can our listeners find out more about all the exciting work you've done? Definitely, so it's in a couple different places, but if you just Google YouTube, Twitter, my name, Matt Como, that's my handle for pretty much everything. So yeah, go check out my YouTube, Instagram, and you'll find most of the stuff there. Yeah, and get excited for the premiere. I know, yeah. I gotta finish the film, but we're getting there. Fantastic, thank you for joining us. Yeah, thank you for having me. And you can support with the questions. Of course, of course. Thank you for having me. But I feel alive with you.


Hello there, it's Monica Wahee, Library College statistics lecturer. We're going to circle back now to chapter 2.2 and talk about these other graphs. I'm doing things a little out of order because it makes sense to me. I hope it makes sense to you too. Well, for this lecture, we're going to have these learning objectives. So when you're done with this lecture, you should be able to describe a case in which a time series graph would be appropriate. You should be able to explain the difference between what would be graphed on a bar graph versus a time series graph. You should be able to describe the type of data graphed in a pie chart, and you should also be able to list two considerations to make when choosing what type of chart to develop. Alright, so let's get started here. What I'm going to be doing in this lecture is first I'm going to explain what a time series graph is. Then I'm going to talk about a bar graph. And of course, I'm going to show you roughly how to make these. I'm going to explain a pie chart and how to make that. And then I'm going to go over a review of all the graphs I've talked about for chapter two and just summarize when to use what type of graph. So let's start with the time series graph. And actually, the word time is the key. The time, we're going to talk about this time series graph and what our time series data, right? As you can see by this little example, time is across the x axis, and that's kind of a hint for where we're going. Okay, so then I'll show you roughly how to plot one. And I'll explain why we have these time series graphs. Like how you interpret them and why you even make them. So, of course, I'm an epidemiologist. So what am I into M&M mortality, morbidity. So here's a nice time series graph, wonderful graph of the percentage of visits for influenza like illness, reported by the US outpatient influenza like illness surveillance network, by surveillance week in the And this is October 1, 2006 through May 1, 2010. And you're like, Oh, time. Yeah, that's the deal. Time series data are made of measurements for the same variable for the same individual taken at intervals over a period of time, only in this case, in the example here, the individual is not a person, right? Because remember, individuals are just what you measure what you're measuring variables about. Here, the individuals are actually weeks, right? Because every week, they're making a measurement. So like I said, time series data are made of measurements for the same variable, which is what percentage of visits for influenza like illness. So every week, they went to I don't know who is in like what clinics are in this outpatient influenza like illness surveillance network. But let's just pretend there's like 10 clinics in there. So each week, these clinics have to go in and say, Yeah, I had, for example, 100 visits this week, and 10 of them were for influenza like illness. So then that would be 10% that week for that clinic. Well, they got all the clinics together. And they found out what the percents were. And you can see on the y axis, right? There's a percentage. And then you see on the x axis, all the weeks in the year. So, um, so you've seen these before, right? You especially see it with stock market. Right? You go on Yahoo, and look at your favorite stock, right? You know, we're all so rich, we own so much stock. And so you track your favorite stock that way. Personally, I'm spend more time looking at mortality and morbidity, things like influenza. But hey, after I get some money, I'll be looking at stock market prices. So when we see these time series data, graphed in these time series graphs, it's often about things like influenza rates. Other rates, you'll see life expectancy, rates of heart attack. And that's usually what we see because we're trying to affect those rates and we're trying to see if they're going up or down. So I'm going to just roughly go through how you make one. If you ever wanted to make one, the first thing you need is as a table kind of like the one on the right. I just made up these data, they don't mean anything. But roughly what you need is a column that says, in this case, I put year, the influenza people, they put a week, but you have to put like regular time increments in the first column. And then you have to put that variable measured at that time in the next column.  Well, you're gonna have to reconstruct that data, right, like maybe from your memory or your calendar.  And then it's nice and accurate. Okay, so let's say you did that and you managed to get some time series data together, then how do you plot it? Well, the first thing you do, and I'm using this influenza thing as an example, is you draw a horizontal line and you make that your x axis. Now you gathered your data based on years or weeks or something. So you can label those time periods there because you already know those time periods. And so you just label that x axis. Then you draw the vertical line for your y axis. And again, you've done all your measurements, right? So if you were measuring how many times you went to the gym per week, you know, maybe once a day, you know, that would be seven would be the maximum, right? So you want to make sure your y axis is tall enough to get that seven and if you had a good week there. And so that's really what you're looking for in the y axis, you don't want it too tall, like you see the highest point that they have in 2009 they had an outbreak there. They needed to make sure that the y axis was tall enough so that they could graph that. But other than that, you don't want it too much taller. And then make sure you label it. I'm big on labeling here, because otherwise people get confused. Okay, now we're going on to the next step. Then this is where you get into actually putting in your data. Now, because there were so many weeks, like if you look at like 2007 is only about like the x axis is only about two inches wide and all like 52 weeks of 2007 were plotted in there. So it literally looks like a super smooth line. But honestly, what they did was they went and they put each point in. And so they put each point in separately. And then they connected the dots. And that's why it looks so smooth. If you only have a few points, and you have a wider x axis, it'll be a more choppier. It'll be it'll look a little bit more like those stock market graphs that that go up and down up and down and kind of look like a roller coaster and not so smooth. But if you have a lot of points and you mission together ends up looking really smooth. You also I just wanted to point out can have more than one line on the graph for more than one set of data values like here they're comparing I don't know some sort of book performance how much it was sold in US versus Canada, you just have to make sure that you have a legend. If you do that so people can tell the lines apart. So to summarize time series graphs are useful for understanding trends over time like whether things go up or down like you saw on that on influenza chart we could see when they're apparently was kind of an epidemic or an outbreak. So graphing more than one set of time series data like you saw in that last graph on one graph can help in comparing the differences between the data sets. I worked it for the US Army and there's a lot of problems with people getting injured in the army. And so I made a lot of time series graphs of rates of injury over the years because we were trying to do things to make the rates of injury go down. And then that way we could see if the trend was there that we were actually making them go down. So that's the main goal of these time series graphs. Now I'm going to move on to talk about a bar graph which can display quantitative or qualitative data. And I'm going to first start with the features of the bar graph. Here's just an example on the right here. I'm going to talk about how to make one. And then we're going to talk about what happens when you change the scale, meaning the x axis like how how tall the x axis is on a bar chart because it really changes things. I call it a bar chart sometimes or bar graph. They're really the same thing. I don't know why they chose graph in the book. But then finally there I want to do a little shout out to what Pareto charts are we don't really use them much in health care but I still wanted you to know about them. All right, so let's look at the features of a bar graph. The first thing you want to know is that they the bars can be vertical or horizontal. So don't even though I'm showing you this horizontal exit or this vertical example, don't be thrown off if you see a horizontal example. Regardless of whether they're vertical or horizontal, the bars are supposed to have a uniform with an uniform spacing they can't be wider skinnier and they have to be spaced apart at a uniform rate. I'm going to use like I said this big one here as an example to talk about bar graphs. I just want you to notice what is being graphed here and this is the percentage of people in the US not covered by health insurance and it's split up by race and ethnicity and it's looking at the years 2008 through 2012, which is like bad right like you want people to have health insurance. Okay, um, so item three here says the lengths of the bars represent either the variables frequency or percentage of occurrence. So if we were looking at instead of percent like it's I've circled percentage because that's what we're looking at in this one, we could have looked at, you know, number of visits at a health care clinic and that would be frequency right, but we happen to be looking at percentage here. So I so I just wanted to call that out. So you see then on the Y axis, we have the measurement scale and as long as we write it there and we use that same measurement scale for graphing each of the bars, we will be fulfilling the item for which is the same measurement scale is used for each bar. I don't know why anybody do it any other way, but that's part of the features of the bar graph. Now, this is a feature that really is like my pet peeve, I get so irritated when I find a bar graph or any other graph where things are not labeled, I get totally confused. So you really want to put on a title, you need to put the bar labels, at least on the on the x axis, right, like you have to know, see how it says white alone black alone like you wouldn't even know what those bars were unless somebody put something there, right. And some people also add the actual values for each bar. I'll do that if there's space, like there was space here. If it gets too busy, I don't do that. But because you can kind of see them from the graph.  What is the difference? Well, I started by talking to you about histograms. They're actually a special case of a bar graph, right. So bar graphs are more general in a histogram is a specific type of bar graph. So histograms are bar graphs that must have classes of a quantitative variable on the x axis. So you can already see that the bar graph I'm showing you is not a histogram, because it says, categorical qualitative things, it doesn't have a class, right. Also, histograms must have frequency or relative frequency on the y axis, which as you can see, this has percentage of something so that's not that. So this isn't a histogram. But whenever you make a histogram, you're just making kind of a special bar graph. And I just wanted to point that out. So you weren't confused. Now I said I was going to work with the histograms. histogram. But whenever you make a histogram, you're just making kind of a special bar graph. And I just wanted to point that out so you weren't confused. Now I said I was going to warn you about what goes wrong when you change the scale. And what I mean by changing the scale is when you look at that y axis, notice how it the top of it, the way this person made it is at 35 or 35%. But notice that the highest racial group without health insurance, which is unfortunately those of Hispanic origin, that that's close to 30. But it it's not all the way up to 35. So I'm not exactly sure why they made it so high. So I wanted to see what would happen, what the shape would change of these bars if I actually made the top 30. So I regenerated this, and then you'll see what happens. See, it's the same data. I just made it. And I made the top be 30. And it's kind of subtle, but suddenly, all the bars look bigger. Right. So if I were like some advocate, and running around saying this is terrible, you know, these people don't have insurance, I'd like to look at the one on the left more than the one on the right. But, you know, in a way that's a little misleading, right? It's the same data. So the differences between bars are more dramatic when we change the scale to be shorter, a little bit more dramatic. But let's go the other way. And this is where I see people do things a lot. Let's see what happens. See how that the top of the y axis is 35 right now. Let's double that let's just make it 70. And then let's see what happens. As you can see, the differences between the bars look small, right? Like the difference between that big Hispanic origin one and the lower white and Asian alone ones isn't really that big anymore. So my opponents would rather look at that graph. In fact, everything looks kind of small on that graph, they say, Oh, there's no problems with insurance. And that's, you know, when people talk about lying with statistics, so to speak. I mean, these are the kind of tricks people do to try and change how things appear. The best way to do it is to just do kind of what I suggested is look at the next one up from your tallest one and do that. Use that as their top of your y axis. What I would have to do with the army is I was looking at rate of knee injury and also rate of ankle injury. But knee injury was way more common. And so if I wanted to compare the two, I always use the same scale. Because otherwise, people wouldn't be able to see that the ankle injury was really, really low compared to the knee injury, even though they're both important. With tall with the taller y axis, the differences between the bars look just less dramatic. And also the taller you make your y axis, the less it looks like you have over the bars. So you got to be really careful. I don't think you would do that. But you know, other people do that when they're trying to make their points. So just be careful for that. Also, a term that was mentioned in the book is the term clustered and clustered bar graph. It's not that complicated. It just means more than one bar is graph for each category. You'll see in the in the last one I did, it was just on on one topic. And here, if you look at this one on the right, and of course, I mixed up a little I did the horizontal version. But this is life expectancy at birth. And it's it's separated by you'll see that there's three sets of bars, right? There's both sexes together. And there's a bunch of bars for that. And you see the legend Hispanic non Hispanic black non Hispanic white, and then they mix them all together all races and origin. And then they also have separate set of bars for male and female. And so this would be clustered. And if you do that, you really need a legend so people can tell what's going on. You'll also notice that you know, life expectancy, that's good if it's high, right? You want to live to be 80 90 100. But if you look at the bottom of the slide where we have the x axis, if we made if we started at zero and just made it all long, it would not even fit on the slide. So what they'll do is I'll make these little hash marks or this little squiggle and indicate that they just skipped ahead. But like I said in the first part of this, if they skip ahead on the female one, they have to skip ahead on all of them, right? So everything is skipped ahead there. This is a fair comparison. It's just like we're sort of, it's like we're fast forwarding through the movie up to about 50. And then looking at the differences there because everything's the same up to that. So that's just another thing about scale is notice whether it's clustered, if you've got a legend, and also look for the squiggle. Okay, now I'm going to give you a shout out to a Pareto chart. And you probably already noticed we don't really use these much in health care because this example is about causes of an engine overheating. Well, we don't do that a lot in health care. And you'll see I kind of slapped on a label on the y axis, the word frequency. Okay, so in a Pareto chart, this is you remember how I was saying this histogram is a special bar chart, or bar graph, well, Pareto chart is a different kind of special bar graph. Okay, and in that one, the height of the bar indicates the frequency of an event. Like if you look at these events here, like damage radiator core, that happened 31 times, right? And that happened more often than faulty fans, which only happened 20 times. So what they do is they figure out what happened the most and the second most and least whatever, and they deliberately arrange them in order left to right, according to decreasing height, it's a way of sort of zoning in on what is the most important problem you're finding. So it's really meant to graph frequencies of problems. I actually only saw one Pareto chart I've ever, ever in health care so far, I really looked for one. And what it was about was it was about things that can happen that are bad in a nursing home. And I remember the tallest bar was for falls, right, like people fall in a nursing home. And then there was a smaller bar for medication errors that happens. The reason why we don't, I think the reason why we don't use these a lot in health care is, you know, let's pretend that's what this was of, let's pretend this 31 instead of damage radiator core said 31 falls. Well, the first thing you'd probably ask is, Well, how many people are in that, that nursing home, you know, and how long did you collect data for, right? 31 falls is pretty bad. But it's not bad if you have hundreds of people over 10 years of that, all you get is 31 falls, you're doing pretty well. So I would say that the reason why we don't use Pareto charts a lot in health care is it sort of leaves out some important information about these serious events. And so we like to look at things in different ways. So just to summarize about bar graphs, bar graphs must be made following a few rules. I talked to you about the, you know, the difference with, you know, you have to keep the width the same and, and how you have to label the axis. So we know what you're talking about, because you can visualize both quantitative and qualitative data using a bar chart. So these labels become really important as do scales, right? Like I showed you how you change the scale and you can make things look different. So you want to be careful and be cognizant of that. And also I did a shout out to Pareto charts. And I explained why I think they're not used that much in health care. Now we're going to jump into pie charts. You know, just even the thought of a pie chart makes me hungry. Doesn't make you hungry. So here's what a pie chart is they're also called circle graphs. They're used with counts or frequencies that are mutually exclusive. And that sounds really fancy. But all it means is when every individual can only fall in one category. So I'm going to give you the example on the right, which is actually from a real report you should probably read. It was a survey that was done by the Massachusetts Nursing Association. And they got 339 nurses to fill out the survey. One of the questions was, Do you receive annual bloodborne pathogen training? Now the answer is only going to be yes or no. They can't say yes and no. That is what mutually exclusive is is where you can only answer one answer. So as you can see 234 people said yes, which is good. And 105 said no, which is bad. I'm worried about that. But these pie charts are often made in graphing programs because they're a little difficult to do by hand. And I'll explain to you why. And unlike Pareto charts, these are super common in healthcare. As you can see right there on the slide. So let's look at the features of a pie chart. I actually just made up this fake pie chart. I pretended I had a class where I gave a five point quiz, right. And the reason why I did that is I wanted to show you how to do it with a quantitative variable because remember the last one, it was yes or no. And that's qualitative. Those are the answers that the nurses could give to that survey question. Well, this is a different one. This is where I actually put, you know, fake students into their their points on this quiz into classes, right, like you see zero points, one to two points, three to four points and five points, right. So, regardless of whether you're doing yes, no, you know, qualitative, or, you know, different categories like that, or you're doing classes like this, every individual in your data must be in only one of the categories, only one of the classes kind of like frequency tables and histograms, you everybody gets one vote. And that's really important in a pie chart. Even though it can be used with qualitative or quantitative variables, and you'll see later what I mean by that. And so here is just a fake example I made of how you would then make a pie chart out of a quantitative variable. So I'm just going to briefly go over how you would do this by hand and I'm realizing I've never done this by hand. I always use Excel as you probably recognize that lovely purple color, which comes out of Excel. But if you were going to do it by hand, I guess you'd have to go buy one of those things in the lower left, which is a protractor, because that helps you see the degrees of a circle. Remember, a whole circle has 360 degrees, right? I don't know if you remember all this from like trigonometry. And but then like a half circle would be 180 degrees. And so that's how you figure out like how much of the piece of the pie you need is using this protractor. So if you're going to make a pie chart by hand, you first have to make a table, you'll see we make tables constantly and statistics. And I put class in the first column, because I was doing a one that required class because it's quantitative. If you were doing that one with the nurses saying yes or no, you would put category and you just say yes or no, right, and then total. Then of course, next, you put the frequency. And I always put total to add it up to try and make sure you know my fake class apparently at 37 people in it. So I just want to make sure you know, everything adds up. Then the next step will remind you of relative frequency, it's where you figure out the proportion of the circle that that's going to take up, right? So see the five points, how the seven people who got five points, well, if you divide seven by 37, you're going to get point one nine, well, that's I like percent. So that's 19%. So that would say what proportion of the circle they get, right? And then finally, in the last column, remember how I was telling you the whole circle is 360 degrees, we take that proportion you get, and you multiply it by 360 to figure out how many degrees you're going to make your circle and that's why you need the protractor. And that's also why I always use Excel for this because it makes it so you don't have to worry about those things. All you would need for Excel is actually just the class or the categories and the frequency. And then if you use their automatic PyGraph function, then you can get all this other stuff out very quickly. So I just wanted to make a few notes about pie charts. This is the thing I'm coming back to is this mutually exclusive categories. So I want you to imagine that I do a survey, right? And I ask the question, what is your favorite color? And I give some choices like red, green, blue, whatever. There's only going to be one answer to everybody's question, right? Because you can only have one favorite, right? And that then is eligible to be used in a pie chart, because everybody gets one vote. But a lot of times I'll see people who do a different survey question, they'll say, check off all of the colors you like. So if I get that, I'm like, Oh, I love red, I like orange, I like green, I'm checking off a bunch. There's some people I know who don't really like color, like they just wear gray and black. So they probably wouldn't check off anything. And then there are the people who just check off one or two. Well, as you can see, people can have multiple votes or no votes or whatever. And if you have that situation, like I was telling you where people can say multiple things, you've got to go into bar graph land.  If everybody answers just one answer. And so therefore, everybody's in a mutually exclusive category, then you can use the pie chart. I also wanted to let you know that I find it and I think a lot of people do more informative to put the percentage on the actual chart than the frequency. Some people put both the frequency and the percentage, which is good. It's not so helpful to just put the frequency as you see the the nursing report did on the left. And it's because you really don't know, you know, 234 seems like a lot. But what proportion is that of the circle? That's what you would kind of want to know. Whereas if you look on the right on mine, you can see like, for instance, only 5% got zero points. That's a small amount, right, you know what 5% means. It's just hard to tell, you know, if you look at that one on the left, looks a little like two thirds, which would be 66%. But we don't know what the percent is, right? And so it's really helpful to have that percent. And always include a title and a legend. Because if you're if you're graphing a pie chart, you're going to have more than one category. And so people are going to want to know what that color means. This looks so good, doesn't this look good? I'm pie charts are common in healthcare, and they graph mutually exclusive categories. Okay, so so you'll see this all the time. And like I said, it's easier to make using software, I use Excel, it can come out of other software, but I just like Excel, because you can really put fancy labels on and you can do that squiggle thing. And but choosing a graph requires some consideration, like whether or not you actually want to make a pie chart or a bar chart or whatever, requires some thought. And also, regardless of the chart you make, you should follow these rules, you should always provide a title. Okay, even if it's just for your private use, trust me, I've done this, I go back and I'm like, I don't even know what I graphed.  So you remember what you grab. Also label the axes. Because again, you think you're going to remember, or maybe you think it's obvious, everybody in the audience is going to tell, don't leave anything to be assumed, just be absolutely clear about what's on each axis. Always identify your units of measure. So if you're talking about a rate per 10,000 people or a percentage, or maybe you're talking about an average, or you're talking about a frequency, it doesn't matter. Just make sure you're clear about what you're talking about. In the units of measure usually this ends up on the y axis. So the thought is to make the graph as clear as possible. Thinking font size, thinking number of items graph, you know, I've sometimes seen a bunch of time series graphs, or they put so many lines on there, I can't even see anything. Or they'll have these really tiny font sizes, or they'll just try to put too much on one graph. And it's hard to read. So if you find, if you have trouble reading it, probably everybody else will. So you want to modify it. So I just throw this on the right. Can you tell what's missing from the above graph, the above graph is really missing a lot of information. I mean, we don't even know what it's about. We, we can kind of guess it's a time series graph because of the time at the bottom. But what else, right? So the person who made this really knew what they were talking about, but we don't. And you don't want that to happen to your graph. Okay, so here, what I'm going to do is review all the different graphs I've talked about in chapter two, and talk about the cases where that graph is useful. So you can keep this straight in your heads, what why we have all these graphs, right? So first, there's the frequency histogram, remember that that was only for quantitative data. And that's what you make when you want to see the distribution, right? Remember, the distribution was a shade. And you and a frequency histogram is a particular type of bar graph that is meant for showing these distributions. I also showed you how to make a relative frequency histogram, which is almost the same thing, only it graphs the relative frequency instead of the frequency. And that also will show you the distribution, right? Because a pattern will be the same. But this one's specifically good for comparing to other data. So if you have two sets of data, maybe from two different locations or two different groups, then you want to use the relative frequency histogram, because then it's easier to compare distributions, right? I also showed you how to make a stem and leaf display.  And that's also for quantitative data. And that's also if you want to see the distribution, it's also good for organizing the data. It's a little easier to make by hand than a histogram, because the histogram makes you make a frequency table first and stem and leaf display, you can kind of skip that step. So again, these first three, we're just about trying to take quantitative data and visualize it so you can look at distributions and also look for outliers. Next, we went into the time series graph. And that is really about time, right? That's for graphing a variable that changes over time, and is measured at regular intervals, mainly to see trends like is it going up? Is it going down? Was there an epidemic? And that's what a time series graph is for. A bar graph that now this is the generic bar graph, not the specific histogram. Like I described, but the generic bar graph can be used for qualitative data or for quantitative data. And it can be used for displaying frequency or percentage and we went over some examples. Then I shouted out to the Pareto chart, which is a special bar graph, right? And that special bar graph graphs frequencies of rare events in descending order, usually bad things, you know, rare bad things. And again, we don't really use this much in health care. Finally, I went over the pie graph. And that's for mutually exclusive categories, quantitative or qualitative. And we use those a lot in health care. So in conclusion, in this particular lecture, I first went over the time series graphs and explained how they show changes over time. And then I went over bar graphs and showed you how they can display quantitative and qualitative data, they can be up and down or horizontal. It showed you some different examples. And then we went through pie charts, looking at mutually exclusive categories, which I think are my favorite, like, look at this pie, this looks makes me so hungry. But at the end, it's important to pick the right chart, because you want to have a useful visualization of your data, if you're trying to look for a distribution, choose the right kind of visualizations, the right kind of graphs, if you want to instead look for trends over time, you got to choose the right kind of graph. So I gave you some pointers on how to do that. And now my mouth is watering.


Personal change is not possible without the following four elements, and yes, all four elements. Number one, self-awareness, introspection, getting to know yourself, the good and the bad, the negative and the positive, the advantages and the shortcomings, everything. Honestly, unflinchingly, without any pretension, without any faking, without self-deception. Self-awareness. Condition number one. Condition number two, empathy. Without empathy, there's no personal change. I know that sounds strange. Empathy is about other people, isn't it? No, it's not. It's about you. Empathy is the precondition for fitting into society, and society determines 80% of your personality. And according to some schools in psychology, 100%.  Human beings are relational. They are defined by their relationships. Empathy plays a crucial role in being able to maintain interactions with other people. Number three, motivation to change. If you lack empathy, why would you change?  You see, it's a chain, and there are links in the chain. Without empathy, there's no motivation. Without motivation, there's no change. Now, you can't be motivated to change yourself regardless of other people. That's healthy. That's commendable and recommended. But the truth is, the vast majority of personal changes and transformations are owing or due to the environment. Human environment, physical environment, social environment, and cultural environment. They signal to us the ways in which we should mold and sculpt ourselves, the ways in which we should essentially shape shift. Motivation is crucial. If you don't care about other people, why would you change? And that's precisely at the core of the narcissist's inability to learn and to change. He doesn't care, and he doesn't care because he doesn't have an empathy. And of course, when I say he, it applies to women as well. They don't have empathy, and so they don't have any motivation to change. Additionally, when you lack self-awareness and you lack empathy, you're unable to discern any need for change.  Why would you change? Any change would be for the worse. Now, narcissists are self-aware. They are aware of their actions and the consequences of their actions and the impacts that their actions have on others. And yet, they don't see anything wrong with it because they lack empathy and consequently lack motivation to change. The last and very important condition is emotions. You need to feel, you need to feel things about yourself, about other people. You need to have access to negative emotions such as envy and anger, envy and anger induce change. But you also need to have access to positive emotions such as love. There's no greater force for change than love. Again, in the case of the narcissist and the psychopath, there's no access to emotions or at least in the case of the narcissist, no access to positive emotions. And so, there's no force for change. There's no driving, there's no drive, there's no urge to change. Emotions are forms of cognitions, they're forms of thinking. But emotions are directional.  Emotions are the glue that holds all of us together. They are the scaffolding upon which human relationships unfurl. They are at the core of everything interpersonal and relational. If you don't have emotions, why would you change? Because if you don't have emotions, you don't have emotions as far as others are concerned, and you don't have emotions as far as you are concerned. Narcissists not only lack love, they lack self-love. And so do psychopaths. That's why narcissists and psychopaths take inordinate risks. That's why they are self-destructive, that's why they are reckless. Because they don't care about themselves, they don't love themselves, they don't have empathy for themselves as well. And this is the picture. If you don't have self-awareness, then you don't realize that you need to change. If you don't have empathy, you're not motivated to change in order to benefit your loved ones, your nearest and dearest. If you don't have access to your emotions, you feel nothing about yourself as well. And then there's no motivation. And of course in the absence of motivation, there's no action. And without action, there's no dynamic. And dynamic is just another name for change. The word narcissism, the clinical entity, the mental health disorder, has been debased and corrupted. And now everyone in this dog is either an expert on narcissism or a narcissist. So we are afraid to love ourselves because we are afraid to be labeled as narcissists. Self-love? Narcissism? What's the difference? Well, there's a huge difference. Narcissism happens to be the opposite of self-love. But we're not going to it. Let us define self-love and maybe try to find it. Self-love is a healthy self-regard in the pursuit of one's happiness and favorable outcomes. And self-love rests on four pillars. Pillar number one, self-awareness, an intimate, detailed and compassionate knowledge of oneself. A SWOT analysis, strengths, weaknesses, opportunities and threats. Roles, introspection, becoming your own most intimate person. Self-awareness. Self-awareness is not the same as self-infatuation or self-limerence or entitlement. It is not the same as narcissism. Number two, self-acceptance, the unconditional embrace of one's core identity, personality, character, temperament, relationships, experiences, memories and life circumstances. Embracing everything, mistakes included. Self-acceptance, the good and the bad, the positive and the negative, the advantages and the shortcomings, the frailties and the strengths. Everything is a unity accepted. Number three, self-trust, the conviction that one has one's best interests in mind, that one is watching one's back, that one has agency and autonomy, that one is not controlled by or dependent upon other people in a compromising fashion. In short, the belief that one is one's best friend, that you are your best friend. The last pillar is self-efficacy, the belief gleaned from and honed by experience, that one is capable of setting rational, realistic and self-beneficial goals and possesses the work with them to realize outcomes commensurate with one's aims. The belief that one can extract favorable outcomes and results from one's ever-changing environment, that one can collaborate with other people in a way that will benefit everyone involved. Self-efficacy, the road to bettering oneself, progress, change, self-growth and self-improvement. Self-love is the only reliable compass in life. Experience usually comes too late when its lessons can no longer be implemented because of old age or lost opportunities, change circumstances. Experience is a nice thing in hindsight, it's a rear-view mirror. Experience is also pretty useless, not two people, not two situations are the same. But self-love is a rock, stable, reliable, immovable, immutable, despite the truest of loyal friends whose only concern is your welfare and contentment and possibly happiness. Love yourself by loving others and love yourself to the exclusion of toxic people. This is all the art of self-love, knowing who to introduce into your life and to exclude from it based on knowing yourself, accepting yourself, trusting yourself on your judgement and acting efficaciously in your environment so that you're always growing, always evolving, ever happier.