Good afternoon. So let us continue with our discussion of CVD processes. In the last couple of lectures we have talked about the thermodynamic and transport aspects of CVD film formation and so we will now discuss in some detail aspects about the structure of CVD films and their properties probably in the next couple of lectures and then we will talk about methods of measurements that are used to characterize these properties of CVD films. Before we do that one quick correction I think in the last lecture I was talking about the formula for the boundary layer thickness. I do not know if you caught it or not but I think I made a mistake. The boundary layer thickness is 5 times square root of it should be nu times x divided by nu infinity where nu is the kinematic viscosity and x is the downstream distance and nu infinity is the approach velocity. I believe I had not written it correctly. So just make this correction. Dimensionally it checks out and also you know the thing that bothered me even the other day just at the back of my mind is that as the velocity increases the boundary layer thickness should decrease. So this formula has the right qualitative dependence and so just make this correction in your notes. So talking about CVD films and structures, again there are two ways in which we can classify CVD films. The first is based on their functionality. The second is based on their actual structure. Now based on functionality CVD films can be simply classified as semiconductors, conductors and insulators or dielectrics. All three types of films can be formed on surfaces and the substrate itself again can be conducting or insulating or semiconducting. Now in terms of structure as we have briefly stated earlier the three types of CVD film structures that you can achieve are the amorphous structure, the polycrystalline structure and the crystalline or single crystal structure. Basically as you go from amorphous to polycrystalline to single crystal the order of the structure keeps increasing and you get a very precise crystalline structure when you talk about single crystal films whereas an amorphous film can have very little structure essentially and there are ways in which you can control the CVD process to achieve these films and we will talk about that a little bit. The other aspect of CVD films that we need to be aware of is the actual sequence in which they form. When you deposit a CVD film on a surface it does not immediately form as a smooth continuous uniform film. There are actually four stages in the formation of a CVD film and these are first you have a nucleation step, the second stage is called nuclear growth, the third stage is called island coalescence and the fourth and final stage is where bulk film forms. As the name suggests initially what you form are these isolated nuclei on the substrate which happens essentially because of heterogeneous nucleation as the vapor phase comes in contact with the energized solid substrate. These nuclei are likely to be of the order of a few angstroms or tens of angstroms. As more deposition happens eventually these nuclei start to become larger as they absorb more vapors that are depositing onto the surface. So it is a second stage. It is a transition stage where you still have not really formed a film. These are still isolated locations where the condensate exists. The third stage island coalescence is where a few of these start finding each other as they grow large enough and forming these islands which is still not a continuous film but now you are starting to form clusters of molecules attaching together to form these isolated and very very short films. Finally the bulk film stage is where these islands start to coalesce together and you eventually wind up with a nice continuous, contiguous film. Now if you look at what is happening at each of these stages and what are the barriers. The first stage nucleation is actually pretty much controlled by the vapor phase processes. The transport processes that bring the molecules to the surface as well as the heterogeneous equilibrium at the solid surface. Does the surface promote the formation of these initial nuclei? So that very much depends upon whether the surface is sufficiently energized to promote the formation of the nuclei. If the surface energy conditions are such that the formation of these nuclei is thermodynamically and kinetically favored then these first droplets will start appearing on the surface but at that stage it is not a stable film. These nuclei are just as capable of reversing and re-evaporating. The second stage of nuclei growth happens when there is sustained arrival of vapors onto the substrate. So you need to have a vapor deposition rate that is sufficient and sustained so that the droplets do not re-evaporate and enter the vapor phase but rather more and more material accumulates on the surfaces of the nucleated droplets and the droplets start growing. The third stage actually requires that these droplets kind of find each other. So they have to be sufficiently mobile on the surface so that they can find the nearest neighbor, get attracted to the nearest neighbor and form these so-called islands or clusters. What that requires is that surface diffusion processes must also be promoted by the prevailing conditions of the substrate. Again it is primarily an energy issue. If the molecules are sufficiently energized when they strike the surface they will have a tendency to migrate on the surface and eventually they will find each other and form a continuous film. On the other hand if as the molecules arrive on the surface they are not at a sufficiently high energy state to be able to move around on the surface they may never find the nearest neighbor so the isolated nuclei may stay as isolated nuclei. So at the third stage the propensity of the surface to allow migration becomes important and finally the fourth stage is actually what you see as a product the continuous film. Some of the other properties of substrate that play a role in this are for example surface energy, hydrophobicity, hydrophilicity. Does the surface accommodate the arriving material and allow it to form droplets? For example if you have a very low surface energy surface it will actually repel arriving molecules nothing will stick you know you remember the sticking coefficient we talked about the sticking coefficient is a direct has a direct dependency on surface energy the higher the surface energy the greater will be the sticking coefficient. If you have an extremely low energy surface for example if you try to do CVD on Teflon very difficult to make it happen unless you pre-energize the Teflon by bombarding it with plasma or ions or laser or something but as it is Teflon is an example of a very low surface energy surface which will not easily accommodate arriving vapor molecules. So surface energy, vettability of the surface how easy is it to form a continuous film on the surface or is it going to keep breaking up? So even after you get past stage 3 and you are trying to get to stage 4 is this transition again thermodynamically favored. So a lot of issues that affect each of these steps in the process and you really have to in order to get a nice smooth continuous CVD film on the surface what this points out is that there are several aspects of not only the gas phase but also the solid substrate that must be controlled and optimized in order to make this happen. But suppose we have succeeded in making a CVD film on a surface then we have to start looking at the properties of the CVD film and whether they satisfy our specifications or requirements. So when you talk about CVD film properties you can actually classify them into two categories one is functional and the other is physicochemical of course the physicochemical properties of the film actually deliver its functional properties. So there is a linkage between the two but when you deposit a film as a product what you are really interested in is its functional properties. Does it do the job that it is supposed to do? If you have deposited the CVD film in order to achieve a certain conductivity let us say have you achieved that conductivity or if you have deposited the film to achieve a certain hardness on a surface you know if it is a coating for example have you achieved that hardness. So the functional properties vary depending on the application. For every application that you have there is a specific property or more of the CVD film that is appropriate. So from a producer view point and from a consumer view point these functional measurements are the most relevant because they basically decide the quality of the film that you are receiving. Here in order to achieve that quality in order to achieve that functional value what we do is we try to control these in order that that happens. So our direct controls are on these properties whereas our direct effect is based on the functional properties of the film that we are achieving. So what are some of the physicochemical properties of a film that are important? Obviously the thickness and related to that the deposition rate, uniformity and composition. These are what I would call first order effects. When you are designing a CVD process these are the parameters that you focus on right away and try to set some specifications what is the thickness range that you want to have, what is the rate at which you want the film to be forming, what is your specification on the uniformity, do you need plus or minus 1 nanometer variation or do you need plus or minus 1 micrometer variation over the surface and the composition. What exactly should be the chemical state of the film that you are depositing on the surface. Now if you look at these we will talk in the next few classes about how to measure these things but thickness of the film is obviously related to the deposition rate. Essentially the higher the deposition rate the greater is going to be the thickness. Uniformity on the other hand is not necessarily dependent on the deposition rate. You can have a very high deposition rate but the uniformity may not be very good unless you have tight controls over how the substrate itself is prepared and presented to the CVD process. For example if your substrate has a lot of impurities on it, contaminants on it that can affect the uniformity of your deposition process. So depending on the local level of contamination on the surface you may get a completely different type of film, different thickness, different deposition rate and also it may depend on the features on your substrate. If you have a very flat and plain surface the uniformity may be very good but if you have a rough surface or one that has a lot of contours the uniformity may be more difficult to achieve. So uniformity provides actually a connect between the process of deposition and the process of film formation on the surface. So related to the uniformity is what we would call step coverage. If your substrate has certain features on it particularly steps how well is the CVD film able to follow this step structure and provide uniform coating thickness everywhere. So this step coverage is another important parameter when we are trying to characterize a CVD process. What are some of the other parameters that could be important? And by the way when you talk about composition the reason it is important is obviously because the composition decides the functionality. If you are trying to deposit a semiconductor you want to see a semiconductor silicon. You do not want to see silicon oxide right which is a dielectric. So the controlling the composition is very important but the composition is very sensitive to the process of CVD. For example if you are trying to deposit silicon from silane and if you are using hydrogen as a carrier gas if an excess of hydrogen actually gets absorbed on the silicon then you do not get a crystalline structure of silicon. You start getting amorphous silicon or polycrystalline silicon or in other cases for example if you have some impurity that enters your CVD reactor for example oxygen is frequently an impurity in CVD systems because unless your CVD reactor is hermetically sealed it is very difficult to prevent air from seeping in which is you know mainly O2 and N2. N2 is relatively inert so usually does not bother us but oxygen if it seeps in can certainly affect the composition of your deposit. Another one is water it is very very difficult to get keep moisture out of CVD chambers. So oxygen and H2O are frequently contaminants that will enter your CVD system. Now so what can happen in that case is instead of forming silicon semiconductor films you might start forming silicon oxide right or in case where the nitrogen gets absorbed you can even form silicon nitride type of films which are clearly what you do not want. So the composition is a very important parameter to monitor and maintain records of because it is an indicator of whether your system is performing as it is designed or you are having impurities and contaminants enter the system and even in cases where you are trying to make an oxide film suppose your CVD film is going to be SiO2 even then the amount of gases can play a big role for example you want a stoichiometric SiO2 but if you have an excess of O2 in your system you may form some SiXOY where the ratio of oxygen to silicon is higher than stoichiometric ratio in which case the film that you deposit will not have the properties that you are looking for. So the composition of the film has to be monitored because it will give you a very sensitive indication of the functionality of the film. So composition is one that we need to keep our eye on. So what are some of the other properties? Grain size, particularly when the durability or integrity of the film is a very strict requirement the grain size plays a huge role. You want to in CVD processes achieve as fine a grain size as possible mostly. So you have to have some control over the grain size that you are achieving. Now grain size is also related to the stress level on the film. When a film is subject to compressive or tensile stress it can crack. So the susceptibility of a film to cracking or other types of stress related disorders is very important to characterize as well. Now what controls the stress level again is the grain size. The course of the grain the more likely it is that the film will be affected by various stresses that are present on the surface. A fine grain structure enables a much more robust film to be realized on the surface. Other things that may be of importance are smoothness or roughness of the film. When you do morphology characterization in three dimensions your requirement may be that the third dimension which is a surface roughness profile cannot exceed a certain value. You may have fairly tight standards on how smooth the film should be. In which case we have to use a technique like AFM to understand not only the two dimensional structure but the three dimensional structure of the film and ensure that the film roughness is below the specifications that we need for that particular product. What else? I mean obviously things like hardness, density. Actually another parameter that is frequently measured on CVD films is called the etch rate. So what is done here is take the film and expose it to hydrofluoric acid and you measure the rate at which the film is being etched by hydrofluoric acid of a certain concentration. The rate of etch of the film is a very good indicator of how well integrated the film is on the surface. So essentially the higher the etch rate the less strongly adhered the film is to the surface. So typically for any CVD film depending on the application there will be a specification on the allowable etch rate. So the conditions would be specified what acid to use, what concentration to use it at, how much time to be allowed for the etching and then there will be a value given as to what is the maximum allowable etch rate. So that is another very sensitive parameter of that reflects the quality of the CVD film particularly in terms of surface integrity and so on. And in fact another parameter that we need to look at is purity and integrity. Purity is essentially the level or concentration of impurities in the film. Integrity refers to how that purity changes as a function of the depth of the film. So in other words if you slice the film and you looked at the impurity levels at each cross section the purity typically refers to the outermost layer. Integrity is a reflection of how well the impurities are contained throughout the thickness of the film that is in terms of compositional or chemical integrity. Similarly you can also talk about physical integrity where some of these parameters that we are talking about like hardness and density and so on you can similarly slice the film and ensure that these values are maintained not only at the outermost layer of the surface but throughout the bulk film. So these are just some examples. There are many, many other parameters that you can measure. There is refractive index and in fact the thickness of a CVD film is measured using its refractive properties and so the refractive index is another one that is typically fairly high on the list of parameters that are measured and of course there are many other properties such as the depth and width profiling of the film, its ability to follow corners. So the number of measurements that you can do to characterize the film in terms of physical chemical properties is very large. Now the reason that you want to do that, I mean when we talk about functional properties as I was mentioning these could be simply electrical, mechanical and so on. These measurements are actually much easier usually. I mean all you need to do to measure the conductivity of film is use a conductivity meter and measure its conductivity right. And similarly mechanical properties, if you want to measure its for example its coating strength or whatever you expose the surface with the film to high temperature, high humidity environments and see if corrosion happens. If it does not then your coating is good. So the functional measurements are actually easier to do but the property measurements of physical chemical property measurements are important when you are first designing the process. When you are first setting up the process you have to do the whole battery of test in order to ensure that the process is set up the way it should be. But once the process is stable and running you do not really need to do all these tests on a daily basis. What you would typically do for day to day quality controllers do the functional tests and then some subset of this for example thickness is measured on a daily basis. But deposition rate is not, composition is not because once you have set up a system you do not expect composition to change on a daily basis. You probably will do a check say on a monthly basis just to make sure that some impurity has not entered into your system. But typically if the composition has changed it will show up in your electrical or mechanical measurements. So you do not really worry about it too much. So for all these tests the one that would be done most frequently would be the thickness and the edge rate test and uniformity of course will be looked at as part of the thickness measurement. So essentially when you do the thickness measurement you do not do it at just one place. You randomly select several locations on your substrate and measure the film thickness and that gives you an idea about how uniform the film is okay. So we have taken a brief look at some of the properties of CVD films and as I said in couple of lectures down the road we will talk in more detail about how to measure these properties. Let us switch gears now and again talk about the different types of films particularly the single crystal films versus polycrystalline versus amorphous. We want to really focus on what are the different characteristics of these films, how do they differ and what is common between them. So single crystal films are also known as does anybody know the other name for single crystal films that is actually a Greek name. They are also called epitaxial films. Epitaxial in Greek literally means arranged upon. So basically that is what it is. In an epitaxial film you are taking the arriving material and arranging it on the substrate in such a way that you have a very precise crystalline structure at the end of the process. The most commonly realized film using epitaxial CVD is silicon, epitaxial silicon but others are also used germanium, even compounds like silicon, germanium and so on. The substrate itself can also be of the same material or it can be of a different material. So for example when you put silicon on silicon it is called homo epitaxial process where the substrate and the film material are the same. Why would you want to do that? I mean why would you want to put a silicon film on a silicon substrate? What do you gain? The reason you want to do that is bulk silicon that you can get in large quantities has properties that are very difficult to control. Highly, widely varying in every possible way. The composition could be varying, the crystalline structures could be varying. So you cannot guarantee that the surface of a bulk silicon ingot has certain properties but by depositing a very thin film on top of this silicon you can now have a top layer that has a very precisely controlled crystalline structure that is sitting on top of this epitaxial, I mean on this silicon. So essentially you are depositing epitaxial silicon on top of bulk silicon. Now when we put silicon on silicon if you deliver the silicon molecules to the silicon substrate with sufficient energy such that they move around on the surface and orient themselves according to the crystal structure of the substrate that is when an epitaxial film happens. So for example if you have bulk silicon that has a 111 structure and you deliver these vapor molecules to the surface and as they impinge on the substrate they immediately orient themselves also in the same 111 crystalline configuration then you start building a structure on the substrate which exactly matches the crystalline structure of the substrate that is how you get an epitaxial film right but what happens if you have for example if the silicon itself is not pure silicon but it has been oxidized. So you have a very thin oxide film on the surface then the arriving molecules are not going to see a crystalline silicon structure to attach themselves to right. So instead they will be now trying to replicate the silicon oxide structure that they see on the surface. So if there is a oxygen contamination on the surface which leads to the formation of an SiO2 on top of the silicon layer then the film that results is going to be amorphous in nature because it matches the surface that it is seeing or the other reason why this could happen is if you have again impurities or contaminants on the surface. Here again the vapor molecules that arrives at the substrate is not going to see crystalline silicon it is going to see whatever contaminant is sitting on the surface. So the molecules are going to orient themselves in accordance with the contaminant rather than in accordance with the basic underlying substrate material. So the point is we are trying to make single crystal films very important to have an oxide free surface and it is very important to have an impurity free pristine surface that is the only way that you can make a crystalline film happen. On the other hand if you are trying to make a polycrystalline film or an amorphous film then you can actually do it by allowing selective oxidation of the surface to happen or by changing the composition of the surface in such a way that the arriving molecule will orient itself in an amorphous fashion or a polycrystalline fashion. Now in an epitaxial silicon layer one of the advantages of using CVD to do to form these films is that you can very easily dope the layer with other materials. For example materials like phosphorus and boron are frequently used to lend additional properties to the CVD film. In a CVD system it is very easy to incorporate these external elements into the film simply by introducing them as an additional reactant into the film into the reactor. So by just changing the inlet composition of the feed stream entering the reactor you can achieve either a pure film whether it is silicon or silica or whatever or you can achieve a film which has certain dopants incorporated in it. So a CVD reactor can essentially become a doping reactor in a sense. To make epitaxial silicon the favored precursor is SiCl4 which is typically reacted with H2 to give Si solid plus HCl. The reason that silicon chloride is preferred is because it can be used in a high temperature reactor which essentially means that you can have a high deposition rate and you can get a crystalline structure. Essentially the higher the temperature the more crystalline will be the structure of the film that you make. If on the other hand you use SiH4 and do the pyrolysis reaction this reaction does not require temperatures that are as high as what you need to use for the SiCl4 reactor. This reaction will actually run at temperatures that are about 200 degrees lower than what you require for the SiCl4 reaction. Another possible way of making this is to use SiH2Cl2 which again will go to SiS plus 2HCl. The SiH2Cl2 process to break down into silicon also can be run at a lower temperature. So this reaction is more suited for epitaxial silicon production whereas these reactions lend themselves more to polycrystalline and amorphous structures. The SiCl4 reaction sequence actually has another benefit in that you can actually control the rate of formation of the film through both deposition and etching. It turns out that if you keep increasing the concentration of SiCl4 eventually the deposition process will stop and the silicon tetrachloride will actually start etching the film that is already on the surface. Now that is interesting because it gives you a way of controlling the thickness now using two mechanisms. Instead of trying to control it only using the deposition mechanism you can also now control it by using the etching mechanism. In fact if you plot the film growth rate which is typically in micrometers per minute against the number of SiCl4 molecules as a function of as a fraction of total gas molecules you can actually have a behaviour where the deposition rate goes from positive to negative. In fact the typical behaviour looks like this. So this is minus 1, minus 2, 1, 2, 3. This is somewhere around 0.3. So what this is saying is as you keep increasing the amount of SiCl4 in your system you can actually start etching the pre-existing film on the surface and then as you keep lowering the amount of SiCl4 the deposition rate will turn positive and you will reach a certain maximum growth rate for a certain value of the SiCl4 concentration and then again it will turn negative and finally as the SiCl4 concentration goes to 0 the film growth rate will also go to 0. So this process if you are trying to home in on a certain growth rate we can do it lot more sensitively using this system simply by treating the concentration of SiCl4 as a tunable parameter until you get exactly the growth value that you are looking for. That type of precision control is very difficult to achieve with the SiH4 and SiH2 Cl2 systems. So when you are growing a crystalline film obviously the most critical deliverable for the process is the crystalline structure of the film. So you constantly have to be on the watch out for defects in the crystalline structure. So what are the typical types of defects that you can get when you are trying to grow crystalline C V D films. Again contamination both particular contamination as well as organic contamination or defects to look out for organic contamination is also known as haze. Basically if you look at a C V D film and if it is heavily contaminated with organic materials it will have a hazy appearance. You know you would not see a very sharp image. It is usually an indicator that you have organic vapour species that have been incorporated into the film as impurities and you have to get rid of them. But in terms of the structure the major types of defects to look out for the first is what is known as spikes. When you are trying to grow a film obviously you want an equal growth rate everywhere on the substrate. But what can happen is if you have certain types of impurities present at certain locations on the substrate the growth rate at those locations will be much greater than at other locations. So instead of seeing a nice uniform you know film like this essentially you will see something that looks like that. You will see a sudden jump in the thickness of the film at some location. So the structure may still be crystalline but the uniformity of the film will be affected. So that is the type of defect is known as a spike. The second type of defect is known as pattern shift. A pattern shift happens when the crystallinity itself is affected. For example if your growth rate is too high, if your deposition rate is too large then instead of growing in a single plane like it is supposed to you may start growing a plane at a different angle just to accommodate the extra material that is coming in or you might actually add another plane to your film which is not supposed to be there. So these types of defects essentially lead to a change in the crystalline pattern of the film itself. So these patterns can sometimes result in dislocations, they can result in the formation of an extra layer or extra plane of material and so on. They also have the habit of starting close to the substrate but then propagating with that way through the film. So it is once the, once this type of defect starts it becomes irreversible. So eventually the defect will show up even at the outer surface of the film even though the initial part of the defect formation was close to the substrate. Another type of defect that we see is slip. Slipage can occur between successive layers of the film because when the CVD process happens you are essentially putting down the CVD film one layer at a time, one molecular layer at a time that is a few angstroms are at a time. You are assuming that when the second layer deposits on top of the first layer it is going to you know just settle down and stay right but there may not always be the case. There may actually be slippage between successive sections of the CVD film so that the crystals are laterally shifted from one another so that the uniformity of the structure may be okay in the horizontal direction along the film but in the vertical direction across the thickness of the film you start seeing discontinuities in the crystalline structure. So that is the other type of defect that we see which we call slip defects. All of these defects obviously some of them can be fixed and some of them cannot. For example something like a spike if you see it you can certainly take steps to address it by you know essentially taking the substrate out cleaning it putting it back in usually they will take care of it. Something like a pattern shift or a slip is more difficult to control because that has to do more with the molecular behavior of the film itself and the only way to address issues like this may be to either change your reactive conditions change the species that you are using for the CVD process or in some cases by essentially by introducing a post CVD step which can take care of these defects. For example if you have a condition where the structure is not well aligned you can actually do what is known as a post annealing step which is essentially a high temperature baking but what this does is it will provide sufficient energy to the molecules comprising the film that they will be imparted certain mobility and essentially they will find the proper structure you know they will kind of move around until the film settles down into its optimum form. So annealing is a process which is frequently resorted to in order to improve the crystallinity of the CVD film. You can take a amorphous film or a poric crystalline film and by doing a high temperature annealing process you can turn it into a crystalline film but in addition you can also take a crystalline film and improve its crystallinity and reduce its defects by doing thermal annealing. So in any CVD process you know supplying thermal energy to the substrate is always a good thing to do unless the surface itself is prone to oxidation or other types of failure modes when it is exposed to high temperatures. And that is why if you look at CVD processes particularly for achieving crystalline structures they try to employ as high a temperature as possible because it yields very high deposition rates. Film thicknesses can be achieved in a much shorter time but in addition to all that you can also have better quality of the film. The impurities can be reduced some of these defects that we see can be eliminated and in fact if you have a surface in which some gases have been accidentally adsorbed you know as an impurity H2 gas or O2 gas again a high temperature process will enable you to desorb these gases and get them out of the CVD film quite effectively. So wherever possible if you are trying to achieve an epitaxial film on a substrate try to use A as few chemicals as possible and B as higher temperature as possible so that you get a good structure and you minimize the potential for any impurities to get incorporated into the system. Now in order to minimize impurities essentially what that means is you want a system that is not open to the atmosphere and in fact most CVD systems that are used to get epitaxial materials or closed chambers with a very tightly controlled environment quite expensive and the production rates are typically small but the product that is being made from these processes is also a high value product and so people are willing to make the investment. On the other hand amorphous and polycrystalline films which we will talk about in more detail in the next class are more likely to be laid down using atmospheric pressure and even open environment type of processes because in those cases the impurities and the crystallinity of the film is not such a big factor and mostly what you are looking at is maximizing the number of films that you can make per day and also the cost of the per film that you are trying to minimize. So we will see that the design considerations for making polycrystalline and amorphous films are very different from the design considerations that we talked about today for making epitaxial films. Okay so let us stop at this point. Do you have any questions? Yes. True but see that once you make the CVD film on a surface it will typically get used in the next step of the process within a few hours usually or at the most within a few days. I mean you are not going to make a CVD film and put it on a shelf for months or years at a time. Typically these are used for high production processes. Now there are certain products like CVD coatings which have to have a lifetime of the order of years. So for those films shelf life should not be an issue but for semiconductor films particularly those that are used in microelectronics it can be an issue but essentially as long as you are following first in first out principles and using the CVD surface as soon as possible you should be okay. But that is where the measurements come in you know you have to if you have made a CVD film and you are storing it for subsequent use then you have to periodically go in and reinspect it for its physical as well as chemical properties to make sure that they stay intact. So we will see you on Friday.


Sgt. Preston of the Yukon! A king, hallelujah king! Gold, gold discovered in the Yukon, back to the days of the Gold Rush, and the adventures of Sgt. Preston and his wonder dog, Yukon King, as they meet the challenge of the Yukon in their relentless pursuit of lawbreakers. The Quaker Oats Company, makers of Quaker Pop Wheat and Quaker Pop Rice, the delicious cereal shot from guns, and the mutual broadcasting system present by special recording, Sgt. Preston of the Yukon! Our adventure will begin in just a moment. What do the initials GOC stand for? You'd better know because someday they may save your life. GOC stands for the Ground Observer Corps, the vital civilian arm of our nation's air defense system. Day and night, in thousands of observation posts and air defense building centers, your friends, your neighbors are standing guard, protecting you from a surprise enemy attack that could come at any moment. Our security, our very survival, depends on adequate warning. Our radar network is in constant operation, but only human eyes and ears can fill the gaps in our radar system. Do your part. Serve just a few spare hours a week. One million volunteers are desperately needed. Contact civil defense and join the Ground Observer Corps today. You're really needed. This message is brought to you as a public service. The seamer Amelia arrived in Dawson during the first blizzard of the winter. Ice had already formed on the river, and it was clear that the Amelia would be tied up on the Dawson waterfront until spring. But the crew had been aware of that possibility before they left St. Michael. And so after the cargo had been unloaded, they went ashore to celebrate the beginning of a long vacation. Johnny Donahue, the second mate, returned to the waterfront shortly after midnight. He was humming one of the songs he had heard at the music hall, lifting his face to the refreshing bite of the driven snow. He rounded the corner of the warehouse. The light of the Amelia shone ahead, warm and inviting. And suddenly Johnny fell a rough hand on his shoulder. He was whirled around and he found himself face to face with a brute of a man. Black eyed and black bearded. What's the idea? You know what the idea is. Then Johnny saw the knife in the big man's hand. Don't, Mr. Eye. I haven't got any money. You won't do any good to pretend you don't know anything. I never saw you before in my life. You saw me at the music hall the night. They caught you watching me close. I swear. Oh, lie, Johnny Donahue. What? You remember all right. But you got to tell me one thing. How did you manage to get through it? Through what? The typhoon that wrecked the China Bell. You... You all bent back. You knew that.  And I could see in your face what you were planning to do. Turn me over to the police. No, man. I swear. That's my question. How did you manage to get through the typhoon? The ship broke up. There was a hatch floating close to me. I pulled myself up on it.  You were the only survivor? Except for you and the men you took with you in the might port. They all went overboard when we caught our first sudden land. You? Me. I had the gun. And remember, you and I are the only survivors. That's one too many. No, man. I won't say anything to the police. I give you my word. There's one way to make sure you don't talk. No, man. No. The Northwest-mounted police headquarters wasn't far from the waterfront. And King, the girl in the snow outside waiting for his master to come off duty, heard Johnny scream. He jumped to his feet and then raced toward the dock where the amelior was tied up. There, near the corner of the warehouse, he saw the man lying in the snow and the patch of red growing larger beside him. He turned and ran back to headquarters. He threw himself against the door. A moment later, the sergeant opened it. What's the matter, boy? King ran a few steps toward the waterfront and then turned, clearly asking his master to follow him. All right, King. As soon as I get into my parka, hold the Ford Constable. King's found something he wants me to investigate. Lead the way, boy. When the sergeant reached Johnny, he knelt beside him and made a hurried examination.  We'll get him to the hospital. Crimes of violence were rare in Dawson's, and the miners were indignant over the assault on Johnny Donahue. The bulletins from the hospital became the most important news in town. And when there was a decided improvement in the young mate's condition on the second or third day, there was a real celebration. But it was not until the following morning that Johnny was strong enough to answer any questions. This is Sergeant Preston, Johnny. Hi. We'd like to know who's standing. It was Ben Baxter. The sergeant turned to Constable Downey. Do you know Baxter, Jim? Oh, yes, Sergeant.  Right. Now then, Johnny, I'd like to hear a little more about this. How did it happen and why? It was easy enough. He followed me from the music hall and let me have it when we reached the waterfront. And why? He thought I recognized him. I didn't. I wouldn't have with that beard covering most of his face. And it had been over two years. Since what? Since Ben was the bosson of the China Bell. I was the third mate. We were on our way from Borneo to Manila when the typhoon hit us in the Sulu Sea. The worst storm I ever saw. And after 24 hours, the ship began to break up. There was nothing to do but abandon it. I was at the wheel when the captain went below to get his papers and his money box. He didn't come back. The first mate had been washed overboard. The second mate had been killed when the four mast cracked and hit him as it fell. That made me second in command of the skipper. When he didn't show up, I turned the wheel over to one of the men and went below myself. I found the captain in his cabin, dead with a bullet through his heart. And the ship's papers and the money box were gone. I rushed up to the deck and the seamen Marty Jones was, met me at the shop the companion went. Mr. Donahue, Marty, the captain's been murdered. They must have been back to or did it. What is it? That ain't all. He's still been all the lifeboats but the one in the stern. He's got six men low on that now. Has he gone crazy? He has the captain's money box and the captain's sister. There's no stopping him. He means to take off and leave the rest of us to go down with the ship. It was all true. One of the lifeboats were still then with the exception of the one in the stern. When I got back there, it had already been lowered and six men were in it at yours. I saw Baxter toss the captain's money box down to them. He was going over the rail and down the rope rider when I yelled at him. Baxter, stop! There we are, Mr. Donahue. Every jump of the one I'm holding is what's tossed over for it. That makes me the captain of the ship. This is miltoning. Sure. You can report it when you get to David Jones' lock.  I don't think so. I've got twenty thousand dollars and a pit crew to handle my boat. Rest of your city. Sergeant, the other night just before he stabbed me, Baxter told me he'd killed every one of the men he'd taken with him as soon as they sighted land. And you and the rest of the crew? The ship went down. I managed to call on top of a hatch. By a miracle, I was picked up two days later. I was the only survivor. And the only one who could bring Baxter to justice? I made a full report to the Maritime Commission, but no one ever heard of Baxter again. We thought he never made it to land. He imagined he would safe until he saw you the other night. He would have been safe? I didn't recognize him. I suppose no man with so much guilt on his conscience could ever feel space. Well, too rest easy, Johnny. And you may rest assured the Northwest Mountain Police will capture him. However, in spite of his words, the sergeant felt no certainty that the killer's capture would be easy. And he was fully prepared for comfortable down his report. Go on, sergeant. I thought he might be. He's been staying at the palace. Checked out last night. Anyone see him leave town? Yes, he was driving his dog team heading south. But it's snowed since then. There'd be no tracks to follow. Leave anything in his room?  How about this flannel shirt? Good. That'll give him a scent. You're going after him, sergeant? Yes, I've arranged it with the inspector.  We'll continue our adventure in just a moment. Attention, everyone in the family. First call for the breakfast treat that can't be beat. Quaker Pop Weep. They're the ones shot from guns. They're crisp, tender, full of bang-up flavor because they're loaded up to eight times normal size. Just top with milk and your favorite fruit for a delightful breakfast treat that really waits up appetite.  Well, here's the beauty of Quaker Pop Rice and Quaker Pop Wheat. They're the good natural grains with the sunny natural flavor that old mother nature puts into them. They're not factory sweetened and no sugar is added. Your family can sweeten them the way they like them with just the amount of sugar they like. So for an appetite-waker-upper every morning, let your whole family enjoy the one shot from guns. Delicious nourishing Quaker Pop Rice or Quaker Pop Wheat. To continue, the ice on the Yukon was still too thin for travel. Another blizzard swept down from the north while mountainous drifts all along the banks of the river. They were too large for King to fight his way through and the sergeant was forced to put on snowshoes and walk ahead of the team, packing down the snow so they could follow. Even worse than the slow progress was the thought that with the trail cleared of any scent, they might not even be going in the right direction. Still, the sergeant continued heading south and as Buck Martin's wake-haven at the mouth of Indian Creek, he found his reward. Buck, I'm on the trail of a killer. I hope he's passed this way.  I knew it. When I first caught sight of him, I said this is a tough customer. If he stays the night, you aren't going to close your eyes.  No, the stern had been blowing for two hours the time he got here, early yesterday afternoon. His dogs were floundering, but he said he had to go on. He left his team here and barred a pair of snowshoes for me. That makes you an accessory. Sergeant, I didn't know he was a killer. Sergeant, I wasn't serious. Which way to go? To Indian Creek. That's interesting. South from Dawson and now east. He may be making a wide circle to the north, or he may be trying to cross the divide into the northwest territory. Now, this has been a terrible storm. You may find him dead on the trail. I doubt it, Buck. I have an idea it'll take more than a storm to kill this murder in. Late that afternoon, near the headwaters of Indian Creek, the sergeant found some snowshoe tracks only partially covered by snow. He stopped the sled and let King sniff Ben Baxter's shirt and pointed to the tracks. King took one more sniff and then without hesitation, King started north in the same direction the tracks were heading. Good boy. Must be a long way ahead, but you'll be able to follow his trail from now on. Three days passed. Ben Baxter had avoided most of the wake happens on his route. He had only rested for a few hours when he did stop. Now, as he reached the edge of the black forest at the top of a long slope, he dropped to the ground and looked back at the valley he'd just crossed. There was something moving at the far end. He would quickly pull the spyglass from his knapsack and adjusted it. Such impression. Then he almost had talked. He should have put a bullet instead of using knife. He got to keep moving. He pulled himself promptly to his feet and started on into the fort, with the same players. If he got with him next hour, when he saw the lights of a gun ahead of him, his instinct was a slight movement, but someone healed him. A young trap is waved to him.  Well, yeah. Well, you're welcome, stranger. That partner and I haven't had company for over a month. Are you hungry? Sure am. Suffer should be on the table. Just a second, I think of this firewood. Yeah, I'll give you a hand. No, no, no need for that. Come on. Yeah. This'll be a real treat. Hey, Matt, we have company. Open the door. Yeah, I'll open the door. All right. Thanks. If you want me. The trapper entered the cabin, then dropped the barrel of his revolver down hard, and the trapper slumped to the floor. His partner stared at Ben across the supper table. All right.  Do as I say. I'll put a bullet through you. All right. Instead of turning toward the wall, the second trapper will then ran through the door before he could open it. However, Ben was on top of that. He dropped down his revolver once more. The north way smart, it always helps the helpless. The ledger's good a way to set a man bush as any. He swiftly then bound the two trappers hand and foot. Then he wolfed some food. Afterwards, he crossed the first trapper over his shoulder and left the cabin. He reached the cabin. Wolves were hauling in the forest, not far away. The great lead dog looked back at his master, and the sergeant called the hall. Okay. Double here, King. Who tied you up? Must have been the same hombre who knocked my partner out.  Big man with a blank beard? Yeah. His name's Ben Baxter, wanted for murder. There you are. You may have killed Tom. Your partner? Yeah. I tried to make a break for her, but this big gunman knocked me out, too. When I came to her, I was tied up the way you saw me. The gunman and my partner were gone. Listen, you've taken him out in the forest and left him to the wolves. I'll find him. You'll be too late. Wolves don't haul when they're attacking. I got too out of harness, King. See those tracks and the snow leading away from the cabin? It's a killer track. They're carrying something heavy. Probably your partner. All right, King, go to the trail. Find, boy, find. King plunged into the forest for the sergeant close behind him. But this was one time the great dog couldn't wait for his master. On, he ran deeper and deeper into the forest. Until at last, he reached for small clearing just as the wolf pack was closing in on a still figure of the young trapper. King charged. Wolf pack turned on him and he flashed right and left until he had forced the way through to the trap. There, he stood at bay, but he should defend the fallen land to the death. But the sergeant was close behind him and when he opened fire on the wolves, the pack turned and ran. Then, just as the sergeant was about to kneel beside the trapper, another shot rang out. The sergeant dropped to the ground, clutching his leg. But he rode behind a tree and poured lead in the directions with the shot. It come. There was no answering fire. A few minutes later, the sergeant could hear someone crashing through the underbrush some distance away. No, King, we can't go after him. The bullet caught my leg.   When King returned with the team, the trapper was with him. First, he lifted his partner on the sled and then he helped the sergeant aboard. And they started back to the cabin. I'm playing! I'm playing! The Black Forest trading post was five miles beyond the trapper's cabin. When then back to arrive there, he was desperately tired. But he felt sure the sergeant wouldn't be able to follow him for some time with a bullet in his right leg. Baxter needed rest and he needed the dog team to continue his flight. Both to be obtained at the post. Still, he walked on past it for a good half mile before he circled back through the forest to the rear door. Through the kitchen window, we could see a woman and a boy. Needing sleep, he decided to postpone any violence until it was time for him to leave. Hello. Hello, son. Whether of your part could put me up for the night. My poison here, he's going to be recited. Well, ask you more, then. The part told me I was the man around the post while he was going and... Well, I don't think we can put you up. No, buddy, we've never received a nice lodging to a traveler as long as we've been running the post. Of course, you may strange it, come on in. Well, thank you, ma'am. I'm Martha Haynes and this is Buddy. Pleased to meet you. They call me Smitty. How do you do? Would you like something to eat? No, thanks. Here's some warm place where I might roll up in a blanket. We'll put a cart in the store for you right next to the stone. You'll be real comfortable there. Go get that canvas cart and set it up. All right, Ma. If you say so. And so it happened that Ben slept in the store that night. He didn't bother to undress, simply pulled off his boots. And tired as he was, he slept like a dead man. He scarcely stirred until the sun was streaming through the windows. As soon as he opened his eyes and realized how late it was, he sprang into action. With his boots on, he started for the window to take a look at the trails. On the door of the living quarters, at the rear of the store opened, and Mrs. Haynes and Buddy came in. Well, Mr. Smith, you have a good sleep. How would you like some bread? Well, yeah, I'll have to see on the way fast, though. Say, lose your dogs out here. Nope. Those are out of here now. Somebody's coming down the trail. I'll go see. It could be your father. Nope. Nope, they're coming from the wrong direction. Hey, I know that team. You do? Sure, that's King of the League. It's working loose. Looks to me like he's on the trail of some crook. Either way's enough with it. Let me see. Say, quit pushing. Yes. Sergeant's riding the sled instead of standing up in the back. What do you make of that, Ma? Why, I don't know. What do you open that window for? Get away from me. I'm gonna stop that money once and for all. I told you it was a crook. I told you. And the sergeant's that. I'll fill him for the lead. No, you won't. Wait and see.    Where are they? I see them out in the snow. Go and look for them. I'll break your neck. I'll take your hands off him. I'll attend to him later. You'll have some more ammunition. We'll put this gun where is it? I took it all and hid it in the woods. Try and find it. Let's go of him, let's go of him. No chance. Okay, still have a ride. I'm gonna take this boy out in the kitchen. And the night will be this cold every minute. You get rid of the sergeant. Tell him I hid it north before daylight. If you don't get rid of him, your boy'll die. You understand that?  I wouldn't die. I've wanted for half a dozen murders now. One more won't make any difference. All right, I'll do as you say.    All right, get going out in the kitchen. We'll continue our adventure in just a moment. Get ready, get set for a thrilling announcement. Sergeant President of the UConn goes on TV. Yes, your favorite radio show will be seen for the first time on television. Brought to you by all the Quaker serials. Quaker pockweed and rice, Quaker oats and mother's oats, Moffat shredded wheat, and Quaker pacotin. It's a brand new and different television adventure series for the whole family. Think of the thrills. You'll see Sergeant Preston in hand-to-hand combat with Desperados. You'll see him on his black horse Rex. You'll see the sergeant's great dog, Yukon King. You'll see the magnificent mountain scenery, rushing rapids, terrifying snow slides, avalanches in this coldest country of the north. The first dramatic television show starring Sergeant Preston will be Thursday evening, September 29th, on a coast-to-coast network. Check the time and station in your local newspaper. Everybody, the whole family, get ready, get set to see Sergeant Preston of the UConn on television. Mrs.  But when the door opened, she rose to her feet and tried to compose herself. The sergeant was walking with the help of his rifle and King trotted in beside him. Good morning, Mrs. Haynes. Good morning, Sergeant. Oh, you've been hurt. Yes, I managed to stop a bullet last night as it isn't serious. I see you have a cart set up out here. A traveler last night? Yes, Sergeant.  Yes, his name was Smith. He has other names. Well, he left here some time ago. He took the trail to the north. I saw the tracks. King, of course, knew the man they'd been following was out in the kitchen, and now he growled to attract the sergeant's attention. The sergeant was looking straight into Mrs. Haynes' eyes. They were filled with terror, and the sergeant could guess the possible reasons. The matter of fact, you've been entertaining a fugitive from justice, Mrs. Haynes. You're gonna have to getting after him. Here, boy. Come on. I'll see you later, Mrs. Haynes. You're always welcome, Sergeant. Mrs. Haynes sank down on the cot again as the door closed. The kitchen door opened, and the sergeant drove away. He's gone. Well, let's move along faster. My name is Brut, and keep that knife away from him. Yeah, there he goes around the bend. Now we'll have to move fast. Put some supplies in my left side, Mrs. flour, tea, matches, beans, bacon, and load it up. Hold on. You'll never get away from Sergeant Preck. I don't want that, though. He'll get ya.  But before I go, you're gonna show me where you hid that ammunition. You are able to supply... I'm hurrying as fast as I can. Martha took as long as she could to fill Ben's knapsack with food. But at last, it was impossible to delay any longer. The knapsack was filled. Ben ordered body to take it. Then he pushed the boy ahead of him toward the kitchen door. I just moved and sprouted. First, you find the ammunition. After which, you're coming with me. So you're not taking him with you? Of course I am. You'll make a fine shield to stop bullets. Then he come my way. Open the door, boy. Ah! Well, when the door was opened, body was suddenly pulled from Ben's grasp and pushed aside. Ben found himself face to face with the sergeant. He sliced him with his knife. But the sergeant deflected the stroke with a butt of his rifle and then followed through. The heavy wood stock clashed solidly against Ben's head and the big bands off to the floor. Oh, buddy. Buddy, are you all right yet, Mom? Sergeant. Sergeant, I couldn't say anything. He had buddy out in the kitchen with a knife at his throat. King told me he was out there. But your face told me it would be dangerous to open that kitchen door. We drove down the trail until the trees hit us and circled back through the woods. That was sweet. Boy, is he out cold. Well, do you like to put the handcuffs on him? I sure would. Here you are, son. He said he was wanted for half a dozen months. Is that right, Sergeant? Not me, your con, buddy. Those murders were committed thousands of miles from here. They'll be sent back to stand trial for them. He's traveled a long, long way and he'll travel still farther. He'll find the dust penalty for his crimes waiting at the end of the trail when the judge says this case is closed. We'll return in just a moment for the word about our next exciting adventure. Your musical treat of the day waits for you throughout the week on mutuals. Each Tuesday and Thursday evening, it's time for Eddie Fisher and a session of music as everyone likes it. Young and old delight in Eddie Fisher's wave of the song. And he's joined on every show by Fred Robbins as MC, Alex Storto's orchestra, and outstanding guest stars. Every Saturday, the teenager's favorite, Johnny Desmond, brings phonorama time and a roundup of the newest and best in popular recording. On Sundays, the enchanted hour presents favorite music from the world's best-loved composers. Every weekday also means time for Hawaii calls and authentic melodies of the islands. Music fills mutual there throughout the week. Here, the Eddie Fisher show, Johnny Desmond with phonorama time, enchanted hour and Hawaii calls on mutual throughout the week over most of these sessions. It's natural for Sergeant Preston to dislike capturing for the hangman the individual who saved his life. The Mountie doesn't suspect that he was snatched from the jaws of death only so the rescuer who hated lawmen could send him to a far more painful end. Be sure to hear this next exciting adventure. These Sergeant Preston of the Yukon Adventures are brought to you every Monday through Friday at this time by the Quaker Roads Company, makers of Quaker Pop Weeks and Quaker Pop Rice, the delicious cereal shot from gun by special recording in cooperation with the Mutual Broadcasting System. They are a copyrighted feature of Sergeant Preston of the Yukon Incorporated, created by George W. Trenble, produced by Trenble Campbell Mule Incorporated and directed by Fred Flower Day. The part of Sergeant Preston is played by Paul Sutton. This is Jay Michael wishing you good-bye, good luck, and good health from Quaker Pop Weeks and Quaker Pop Rice. So long. This is Mutual Radio Network for All America.


The internet is a really big place. Have you ever been to a big concert? I have maybe a few times in my life. And in that concert hall, in that concert stadium, there's maybe, I don't know, 10,000 people, let's say, all right? That's like more, there's like more people than I have personally spoken to for years and years, right? Like 10,000 people, it's like so many people. And then let's multiply this, okay? So imagine that giant concert stadium, okay, multiply that by 10. You got 100,000 people. And then multiply those 10 stadiums by 10 again. So now you're multiplying that stadium by 100. That's 10,000, 100,000, a million people. Now multiply that by another thousand. I mean, so it's the internet is mind-bogglingly big. So many people. Internet has, by the way, 4.5 billion people on the internet, all right? And so among all those people, there are probably tens of thousands of people who would love you for just who you are. Now imagine that. Like that's not too many. So let's say, let's get to some real numbers here. And I'm going to actually show you on my screen what that looks like, okay? I'm going to go to Facebook ads. And I'm going to show you how many people you could reach. And this is not going to be a Facebook ads course. This is going to, I'm going to keep it really basic so that I don't lose you here. But I'm going to show you worldwide, okay? Worldwide, on Facebook ads, you can reach 2.1 billion people. Again, this is the people that have seen Facebook ads in the past 30 days. Imagine that. 2.1 billion people have seen some Facebook ad in the last 30 days. So you can reach them 2.1 billion people. That's unbelievably large number of people. Now let's say, well, you're not going to reach 2.1. You're not going to try to please 2.1 billion people. Let's just narrow it down to English speakers, okay? So everyone who speaks English in the world that you can reach through Facebook. That's 1.1 billion people. Now you've narrowed down to half. Now let's go even further and let's say people who are interested in personal growth, spiritual growth, personal growth, let's say personal growth and development, personal development, okay? And then we'll add in a couple more people who are interested in self-awareness, people who are interested in mindfulness, people who are interested in meditation, people who are interested in happiness pretty broad, but emotional intelligence, let's say. Yeah, anyway, I'll just I'll just do it higher consciousness. Great, you know, people who are interested in spirit, soul, that's very broad, but I'm just going to say those things thus far. So people who are interested in one of these things, how many people could we reach? 260 million people, 260 million people worldwide English speakers who are interested in one of these personal growth, spiritual growth type of topics. All right, so I'm just going to ask you this question. In a room, let's say you put a hundred of these people in a room, just a hundred of these random people worldwide English speakers of any age interested in one of these things, put one of them in a room, all right? How many of those hundred people might be interested in your message? Now let's say you work in personal growth, you might work in other things, but let's say you work in personal growth, spiritual growth type of stuff. Maybe 10 out of 100 of these kinds of people might be interested in your message, 10 out of 100. So that's 10%. That's 26 million people. Now let's be really conservative and say one out of 100, one out of 100 spiritually oriented English speakers in the world are interested in your message, one out of 100, that's still 2.6 million people. You can't possibly serve that many people. That's only one out of 100. Now even we narrow down even further, let's say even 200,000, then we narrow down even further. 200,000 now would be one out of a thousand spiritually oriented people in the world are interested in your message. It's pretty specific. Let's get even more specific. One out of 10,000 spiritually oriented people in the world are interested in your message and just the way you are. That's still 20,000 people who just would love you for who you are in the world that you can easily reach through Facebook ads. Do you see why I'm such a fan of Facebook ads? And also why so many people demonize Facebook ads that they've collected all this information on people to sell to advertisers. Guess who the advertisers are? Me. They've collected your information to sell to me. And yes, also the Russian propagandists and also Walmart and everyone from a solopreneur like me all the way to Walmart is buying your information to advertise to you on Facebook. But it allows people like me to reach you. Otherwise a lot of people have found a lot of you have found me because of Facebook ads because of this kind of thing. And the thing is you can also reach all these people thank goodness for Facebook taking all that data and selling it to advertisers like us like you so that you can reach a bunch of people who might be interested in your message. So this video is going in a bit of a different direction than I expected. What I wanted to say really in this video is that because the internet is so big and because you could reach all these right people through for example Facebook ads or Google ads or collaborations or search engine optimization etc. Because you can reach all these of the right people your audience is going to be much bigger than your current audience if you do online marketing. Okay your audience in the future will be much much bigger than your existing fans your existing network people who know you already. Now of the people who know you already how many are your true fans? When I first got when I when I got started in the beginning 10 years ago right 11 years ago now maybe five people were my true fans maybe three people I really as I put stuff out there it's really my friends and family most of them were not interested in what I was doing okay so maybe I got two or three people who were like oh yeah I'm really interested in what you're doing I really like what you're about and I really like who you are just I like your style I like how you how the way you talk I like the way you move your hands I like the way you look your true fans like the way you look they like the way you sound they like the way you move your hands they like the way you talk they like the way you write those are your true fans by definition it's kind of like soulmates except in terms of online marketing you have tens of thousands of soulmates who love your message and who you are just the way you are you can't make any mistake in front of them I mean you can try to make mistakes but they don't care about your mistakes they just really are into you how many people are like that in your current audience I had maybe two or three maybe if I if I was being generous when I first got started but it was through collaborations it was through things like Facebook ads that brought me many of you today who like me for who I am like the way I look like the way I sound like the way I move my hands I mean not everything about me you love but you like me enough to stick around and like my message and buy my courses and buy my books and you know so I now have I don't know how many of you there are in terms of my true fans but at least dozens okay let's say I'll be conservative at least I have at least a couple dozen of you right who just like to just about everything I do and I can't seem to make any mistake in your eyes that at least I haven't made any mistakes that you know I'm not polished you know that you know I'm not polished I started this video thinking of one thing I totally went in a different direction right now I'm back I mean I'm totally all over the place I I I purposely try to be as unpolished as possible so that those of you who are more polished can succeed even greater than me I try to be the lowest common denominator I really do that's why I don't have a nicer background that's why I stopped doing my dog walk videos dog walk videos were more attractive for sure being out in nature making videos is more attractive to all of you I know that but I'm trying to be boring now I'm trying to be boring so that I can be the lowest common denominator so that you can do even greater things than me that's just in case you didn't know that's why I do this stuff that's why my course platform is not fancy that's why I like what george you host your courses on youtube unlisted videos what you use google docs it's not branded it's not beautifully designed what you don't have a course platform that's just super easy I try to do things so minimalist minimalistically that I only have a few dozen true fans but that's all I need I have a six-figure business I haven't let me repeat that I make more than a hundred thousand dollars a year and I've been doing that for 11 years I have a six-figure business I do I do very well financially and I have a couple dozen true fans okay george you're being harsh on yourself you probably have a couple hundred true fans maybe I have a couple hundred true fans I have sure on my facebook page I have 6000 fans but that's not all true fans a percentage of them are true fans people who who really like what I do who like buy multiple things that I that I put out there who who don't mind my unpolishedness my minimalism my mistakes of blah blah blah you can do even greater things because I bet you want to be more polished than me just about everybody who watches this wants to be more polished than george cow like god george is all over the place he doesn't dress up he's boring boring background all the time it's boring like this but that's okay I don't need all of you I just need a few of you to have a hundred thousand dollars a year of business you see so you will do even greater things and what I'm trying to say I guess the real point of this message is that your current fans like I said when I first started 11 years ago I had two or three of of you who actually I'll be honest with you when I first started nobody bought my stuff nobody nobody from my friends and family bought my stuff I had to do my first couple of collaborations before I found a couple of true fans who like who is this george cow guy and I want to buy his courses and they started buying my stuff so really in the beginning no none of my friends and family and colleagues were my true fans none of them none nobody bought my stuff who are my friends and family and and colleagues is only through cold outreach to collaborators that I finally got a few true fans who started buying my courses regularly so you maybe you're lucky you already have some friends and family who buy yourself I don't know but what I'm trying to say is that none almost certainly none of your current friends and family and colleagues are your true fans so why are you so afraid of their judgment that was the punchline I should have started the video like this but like I said I'm all over the place I'm unpolished I'm just yeah I I hesitate to use the word authentic in this case because authentic can be said as bad it's also you know authentic can be defined as unprepared and that's not what I'm trying to go for authentic can also be without guile you know not trying to manipulate not trying to put you into a funnel to to buy stuff or whatever but um in this case I'm I am unprepared I should have been better prepared for this talk but um but that's the point it's like even when I'm unprepared I can have a few true fans because that's the point is that your true fans don't need you to be all that polished your true fans need you to show up as who you are just with with your existing personality yes you'll prepare the material a little bit but you don't have to be polished you don't have to be perfect you don't have to memorize things you can make mistakes on camera live in front of them it's okay you can stutter you can do whatever you want and your true fans will not leave you that's the definition of true fans you have probably like I said 20 000 of them out there on the internet out of 4.5 billion people you have probably 20 000 true fans so what are you going to do to find them what are you going to do for them to find you they're not your current people who cares if you offend your friends your family your colleagues people who is existing who know you they're not your true fans your true fans are in the future they're much bigger than your current audience so why are you so afraid to lose your current people because they're not your true fans so don't be afraid to make content just as you are like I said don't be as unprepared as me but even if you were unprepared like me you can have it's a hundred thousand dollar a year of business would you like that right that's what I mean so it's the internet's just amazing and Facebook ads is amazing and and collaborations are amazing like you just have to make content be yourself you don't even have to know your niche and that's the other thing is I know some of you are just so stuck because you don't know what your message is you don't know what your who your target audiences you don't know what you're supposed to talk about you don't know what you're supposed to offer it doesn't yes of course it helps it helps of course it helps but it even if you didn't know you can still get out there and just be yourself and run Facebook ads and find people who just like who you are that's the the amazing brilliance of the internet and online marketing you just have to get out there now if you don't have money for Facebook ads you don't have money for $200 a month of Facebook ads and what it's okay just do collaborations then collaborations with other people who have an audience right or work on search engine optimization or work on other marketing methods that show be where you can be visible to others who might like your message like I said might and then some of those people who might like your message will really love who you are and just be who you are it doesn't you don't have to be a celebrity they will like you better than like they like Eckhart Tolle they will like you better than they like Brene Brown they will like you better than they like Tony Robbins Marie Forleo you name all the they like you better why because it's just the magic of energy signature it's just the magic of life how some people just like you better than they like anybody else not that they like you better for everything but they like you better for whatever you talk about whatever you want to talk about whatever you're passionate to talk about they like you the best for that so get out there don't be afraid not don't care about your current people don't when you make when you're afraid to make content whose judgmental look are you thinking are you looking at the judgmental look at your mom or the judgmental look of your classmate or the judgmental voice of your aunt or your uncle or your you know acquaintance or who whose judgment are you afraid of whose comment are you going to be like but yes I disagree with you because who whose comment are you afraid of well that person is not your true fan so why are you making content like don't don't care about them let them make their stupid comments let them make their judgmental comments they're just showing themselves to be judgmental people that's all if whoever judges you on content they're judging they're showing the world what an unsupportive person they are that's all they're doing you are just busy making your content for your future true fans who are looking for you who can't wait to find you who can't wait to see you what why are you caring about you what your uncle says or what your friend says what your mom says what your classmate says or whoever says that I'll disagree with you I think you're wrong have you thought about this who cares about them it's you're not making stuff for them you're making content for their your soulmates who are looking for you they they're like when am I going to find that person whose content I love about this topic your topic whatever thing you talk about so make your stuff for them all right I hope this helps and I'll let you make any comments you want below while I go and you know the drill by now be watching my videos I give you a chance to make a comment while I look for the comments of any of the live Facebook live people who are here and so you think I'll just be silent while you make your comment all right so I see the comments here from Heather thank you and Tanya and captain thank you so much I really appreciate your your presence Patricia and Tom and Kim Arturo Tiffany thank you all for being here and Tanya says I love how unpolished you are it gives me the freedom to just be myself don't need a fan yeah that's yes it you know this is just my second bedroom I mean you can be anywhere I mean yes I try to set things up so at least it's a little bit not not as messy you know just clean up just a little bit that's all you need to do right and let's see captain says says it actually helps to see you this way no excuses for us yeah thank you that's exactly it exactly it so that's that's what I that's why I do this stuff I try like like if you know if I were try to be like Marie Forleo or Tony Robbins I would be exhausted I'd be like I can't I can't I don't have a million dollar house with an infinity pool that I can make videos in front of okay I don't have you know I don't have you know like an amazing physique or whatever like I can't be Tony Robbins I can't be Gary Vaynerchuk is traveling around the world showing off his wonderful trips and he's not trying to show off by the way but you know you could I don't have any of that I just you know I make good money but I don't you couldn't tell that I make good money right like you just buy this what I anyway the main point is you can be yourself the true fans are waiting for you I'm going to stop this now so that you can go and make your content to be with your true fans all right I wish you well take care


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Hello friends welcome again to a new session on problem-solving on trigonometry Again in this session. We are going to take up a problem in heights and distances now unlike previous sessions where We have solved problems related to trigonometry and application of trigonometry in one plane. This problem Involves trigonometry in two different planes. In fact, it is a three-dimensional problem So let us try and understand what this problem says and how we will solve this problem So it is given that a man observes that at a point due south of a certain tower Its angle of elevation is 60 degrees So let us first of all try and draw a representative diagram. So let us say this is a trial and This is my ground. Okay This is the ground and let us say this point is Is P and P in this queue, right? So PQ is the tower So PQ is the tower Okay And let us say a point R is due south as it is mentioned and now don't go by the actual positioning of the point so Usually south will be you know in the in the downward direction But now we are you know for the convenience of or to represent it in three-dimension We are taking R and let us say R is south to Q and Its angle of elevation here is given as 60 degrees Okay, so this is 60 degrees now this guy moves 300 feet due west so if this is let us say if this direction so I'm redrawing the directions So let us say for this purpose this particular question if this is direction of south then west is definitely in this direction Isn't it? So hence he moves. What does he do? He moves 300 feet due west So let us say he is moving now. Let us say this is 300 feet Okay, and to Denote it in 3d. Let me draw it in a slant position. So let us say this is 300 feet now don't get confused now I am drawing this angle with black now this angle is 90 degree now the black line is on the ground Okay, and RP is not on the ground RP is in the vertical plane Okay, now from this point the angle of elevation. So hence I if I have to draw this Let us say now P Q and R and this point is let us say S and now SP Okay, now this angle SP. So SQ please remember SQ and RQ R on the same plane R on the ground Okay, R on the ground and if he moves from this and let us say RS is is equal to 300 feet and it's given That now the angle of elevation now the angle of elevation is How much 30 degrees right? So let us say this angle was beta and this is angle 30 degrees and This is alpha which is 60 degrees. Okay, you have to find out Height of the bar that is what is PQ height. So let us say height is capital H So this is unknown. So we have to find H. Okay. I hope the figure is clear So I will do one more thing. I will just shade this Ground surface so that you can You can you know understand that this is the ground surface. So this triangle is on the ground and SP and SP so this is the triangle on the ground is it is lying on the horizontal ground. Okay, and R Q P and SP Q so triangle triangle R Qp and triangle R sorry not our P Triangle PSQ R in R in vertical plane R in vertical plane Okay, so this is the diagram. So now we have to find out again and there are a few more things you can you can mention So this angle is also 90 degrees so angle PQ R is in 90 degrees and also this angle that is Angle PQ S is also 90 degrees now you can imagine, you know, what you can do is take your notebook and along the Middle crease right the the fold where the or the edge on which all the papers are affixed So you can imagine you can you can you can just you know Open the notebook and put it on the table such that The plane of the notebook is perpendicular to the notebook Okay, so when you see there are two folds to two ends of the notebook or two cover pages of the notebook will be having some angle between Then but both of these cover pages are fixed are attached at one particular hinge and both these pages are in the vertical or both these cover pages are in the vertical plane and And so what I'm trying to say is so this is the this is let us say this is your notebook Where this is one of the pages and the other pages Something like that Okay, so this is the same Same scenario here and now you are joining the diagonals in both the both the Pages both the cover pages So this one is one diagonal and another one is this diagonal and these angles are given So this is similar condition and you have to find out This height right so similar to this. I hope you could understand what I'm trying to say now Let us solve this problem now. So basically what is given RS is given and what is RS RS is Let us say this is X so I'm mentioning this as X and X is equal to 300 feet 300 feet 300 feet. Okay. Now we have to find out what edge so obviously we will be using all the information which is which are known and we will try to use the Triangles as the info and and the related information. So hence guys if you see How can we find out it so you you can find out any of these Sides like RQ or RS or QS rather if you know QS, let us say, okay, and Or RS RQ, let us say then I can use any of the two vertical triangles to find out The height edge because the angle of elevations are given now How to approach this problem? So clearly what all information is given? we have been given only one X that is RS and We know that triangle SRQ is a right is a right triangle is a right triangle. Why because SR is perpendicular to RQ because if you remember the guy moved due west from south So due west from south if you see this is this is how it would be So let us say if this was south and he moved due west from south So hence he will make an angle of 90 degrees is it so hence SR is perpendicular to RQ Now and SR is given now Let us try and express SQ in terms of H and RQ in terms of H and then we can use Pythagoras theorem or the information in the triangle RSQ, okay So consider a triangle PQS. Can I write in this PQS? H upon SQ So can I write H upon SQ is equal to tan of beta Isn't it? Tan of beta so hence SQ can be written as H upon tan beta is equal to H upon tan beta is equal to H cot beta I can write that similarly in Triangle see which one PRQ PRQ PRQ again angle Q is 90 degrees.  Sorry is PQ and adjacent is RQ and We know PQ is nothing but H and let us say RQ. So can I not find out RQ from here? So RQ is H upon tan alpha Is equal to H cot Alpha why because one upon tan alpha is cot alpha now in the triangle SQ R what do I know in triangle triangle SQ R? What do I know? Angle R is 90 degrees. Isn't it? Yes, then what can I say SQ square? That is hypotenuse square. So please take care of this SQ square is SR square So I'm writing it here and then I'll take it there SQ square is equal to SR square plus RQ square, right? Why because this angle R is 90 degrees. So SQ square. So SQ square is equal to I'm writing again SR square Plus RQ square Now what is SQ in terms of H? We just found out it is nothing but H cot beta So hence I can write H square cot square beta because it's a square term is equal to SR What is SR? SR is if you see SR in the figure is X So I can write X square plus RQ square. What is RQ? So if you see RQ is H cot alpha So H cot alpha Okay, so hence now. Sorry. This is a square term, right? So hence what do you do rearrange H square and Then it is writing. We are writing cot square beta minus cot square alpha You take this term H square alpha on the left-hand side and take H square is common is equal to X square. So what is H square guys? So H square will be nothing but X square upon cot square beta minus cot square Alpha, is it it? So what is H then? So H will be nothing but under root X square by cot square beta minus cot square alpha, right? What is The value round. Let us calculate X was 300 feet. Isn't it? Let us see. Yes, 300 feet alpha was 60 and beta was 30 So I will write 300 square divided by cot square beta was 30 so 30 degrees minus cot square 60 degrees Okay, and then It is nothing but 300 Will come out of the root and cot 30 is nothing but root 3 So root 3 square minus cot 60 is 1 by root 3. So This so hence answer is 300 divided by 3 minus 1 by 3 Hence it is nothing but 300 by under root 9 minus 1 by 3 which is equal to 300 times root of 3 by 8 if you simplify you'll get 300 into root of 3 by 8 and this if you calculate the value comes out to be 183.71 feet Okay, so this is what is the Height of the tower edge, right? And it was also the second part of the question asked us to find out what the original distance from it Original distance of the man from it that is RQ. This was the original distance, isn't it? So let us find out RQ So what is RQ guys RQ if you see if you see we have calculated RQ is H cot alpha from here if you see this is H cot alpha So H H we just found out H is 183 0.71 cot of alpha is cot of 60 degrees Isn't it? It's and if you calculate this 183.71 into cot 60 is root. Sorry 1 by root 3 1 by root 3. Yes So hence the value will come out to be 106.06 feet This is the calculation now in this question one thing is noteworthy And that is as you are moving away from the point from our point towards the west, right your angle of inclination of the point P is going down, right? So the at point R the angle of inclination was 60 degrees at point S which is let us say some distance away from R in the west direction the Value gets decreased so as you move away So let us say if you keep on walking on this west direction in this west direction Your angle of elevation will keep on dropping dropping right? This is an important learning of on in this problem Okay, so I hope you understood the solution. So hence this problem was a little different because it involved trigonometry in two planes two planes and and but then if you are in command of the figure and if you run in if you have understood the question properly, you will be able to find out the The desired result always keep in mind that the desired result has to be in terms of known so try to You know eliminate all the unknowns and hence eventually you will get the desired result