Hello and welcome to the session. This is Professor Farhad in the session. We would look at bond retirement This topic is covered in introductory accounting course as well as the CPA exam as always I would like to remind you to connect with me only then if you haven't done so YouTube is what you would need to subscribe I have 1,600 plus accounting auditing finance and tax lectures This is a list of all the courses that I cover including CPA questions If you like my lectures, please like them share them put them in playlists if they help you It means they might help other people especially these days with the corona virus out there Many people are relying on online lectures Also on my website farhadlectures.com you will find additional resources that will help you supplement your accounting education Improve your grades and pass the CPA exam. I strongly suggest you check out my website Bond retirement what does it mean bond retirement bond retirement is when the company buys back its own bond It retires the bond now one way to retire the bond is to wait until it mature at maturity What does that mean? It means you wait Until you make all your interest payment at some point the bond mature when the bond mature You will buy back the bond when the bond mature as we learned in the prior session Let me just go back and show you when the bond mature whether it's a premium bond Okay, it matures at par value and whether it's a discount bond. Let me just remind you It's always the par value So a few if we wait until the bond mature we always pay the maturity value Why because by the time it mature all the premium and all the Discount has been amortized. Therefore it will mature at par value So let's start with this simple example then carry on with our illustration. So let's talk about this bond The par value is 100,000. This was a two-year bond issued in 2019 mature in 2021 It doesn't matter whether this bond was issued at a premium or a discount by the time it mature It will be 100,000. Therefore by the time it mature we pay 100,000 We credit cash 100,000 and will debit the bonds payable. Okay Again, whether it's a premium or a discount. It will be fully amortized at maturity Therefore the carrying value equal to 100,000 at this point the bond is paid and we could move on with our life And this is a reminder that if you wait until the bond mature it reaches it reaches the par value Whether it's a premium bond notice it started at 103 But once all the premium is amortized and this is what we looked at in the prior session It goes back to 100,000 and whether it's a discount bond. It will go back again to 100,000 so the bond mature the bond mature Exactly at par value. Now we have certain bonds that are convertible or Collable so we need to understand the difference between convertible or Collable what does it mean convertible convertible means the bond holder the person that person Purchases the bond can convert into stocks. So rather than having the bond you can convert into Stocks so you can convert your bonds into stocks. That's one. That's one type of bonds So you can convert it and when you convert it what's gonna happen the bond is gone You have to remove the bond and replace it with stocks Who does this the bond holder the person that purchased the bond the person that that lend money to the company On the other hand, we have certain bonds that are callable here the corporation. So notice the difference here the corporation The corporation buys back the bond and when they buy back the bond you have no choice You have no choice. You have to give them the bond back Why because when you gave them the money the corporation told you at any point in time We have the right to call it. So the bond was callable. So notice here for callable Remember callable the corporation buys it convertible the individual doesn't have to be an individual It could be a another corporation, but to make it easy for you. It's individual that that convert Individual that convert the bond individual versus corporation. Okay Now, let's let's determine what happened when we convert a bond when a bond is converted before Maturity whether it's callable or whether it's convertible. It means it's it converted before it mature What happened before it mature if the bond is a premium or a discount bond? We have to determine the gain or the loss. So when we buy back the bond We have to determine whether we have a gain or a loss How do we determine a gain or a loss? So listen to me carefully because once you get this right, you know It's it's good to go here. Here's what happened. You have to look at the carrying value of the bond Now, what is the carrying value of the bond? Well, the carrying value, let me go back and show you what the carrying value is The carrying value of the bond we talked about this in the prior session But basically if it's a discount bond if the carrying if the bond is a discount bond, it's the bond face value minus any N amortized Discount and this is gonna give us the CV the carrying value So for example the carrying value of this bond on December 31st 2019 was 100,000 minus 36 equal to 9 so 100,000 minus 3,600 equal to 96,400 Then six months later when we amortize 900, it's 100,000 minus 2,700 equal to 97,300 and when we amortize another 900, it's 100,000 minus 1800 you get the point by the time the bond mature 100,000 minus 0 equal to 100,000. So those are the carrying value Okay, and the carrying value when it mature equal to 100,000. This is for a discounted bond for a premium bond It's the face Value plus un amortized Premium and that's gonna give us the carrying value. So when the bond starts the bond has a face value of 100,000 plus 3,600 equal to 103 600 then six months later we amortize 900. It's 100,000 plus 27 100 equal to 102 700 until We use up all the premium 100 plus 0 equal to 100 So we have to look at the carrying value when we retire the bond then compare the carrying value to how much we paid So if the carrying value is greater than the retirement price simply put if the carrying value is 98,000 and we paid and We paid only 95,000 for this bond. So the bond has a carrying value of 98 and we paid 95 we have a gain of 3,000 if The carrying value is less than the retirement price if the carrying value. Let's assume the carrying value is 106 and we're dealing with a par value 100,000 bond. So keep it simple So the par value is 100,000. So the carrying value is 106 and we paid for the bond 108 108,000 If we paid 108,000 for the bond we paid more retirement price We paid more than the carrying value. We have a loss of 2000 therefore we have to compare two numbers the carrying value to the retirement price What is the retirement price? It's the cash that we paid. How much did we pay if we pay more? We have a loss if we pay less we have a game. So let me put it for you in a different format. So you compare the cash versus the carrying value if the cash paid is more than the carrying value you have a loss if The cash that you paid for this bond is less than the carrying value You have a game. That's not Same as saying this but maybe you can easily understand it from a cash perspective So if you pay more than the carrying value you paying more than what it's worth you have a loss If you paid less you have a game. It's worth on the books, which is the carrying value So let's look at an example to illustrate this concept Assume a hundred thousand dollar bond, which is that's the par value of the bond of callable bond It means the company can buy it will retire it on July 1st after the first interest payment The bond carrying value is 104 500 now they gave you the bond carrying value They gave you the bond carrying value. So see so the bond carrying value Let's put this information here. Now, let's put it here. So the bond carrying value Because it's given sometime. It's not given sometime. You have to compute the bond carrying value equal to 104 104 500 that's the bond carrying value Now we have to determine how much did we pay for this bond? How much did we pay for this bond? Well, we paid a three thousand dollar premium premium means It's the par value plus three thousand and the cash paid and how much cash did we pay? We paid 103 Simply put we told the bond holder at any point in time we can buy the bond For 103 it means we pay three thousand premium if we pay the bond if we purchase the bond at 103 And it has a carrying value of 104 500. We paid less. We paid less than the carrying value Therefore we have a game. So how do we? Journalize this entry. Well, first we have to debit the bond. We have to debit the bond to remove the bond then we have to Debit the premium because the bond has a premium of 4500 how did I know because the carrying value is 104 500 the bond is 100,000 plus D Plus the premium. That's the carrying value. Therefore to get rid of the bond we debit the bond we debit the premium Then we paid 103 we credit we credit cash 103 and we're ready to determine a gain the gain on the bond retirement is a credit just like the gain when we did for the Plant asset is a credit 1500 so here what we did is we is We retire a bond with a callable provision. So we paid for it 103 it has a carrying value of 104 500 the difference is a game Let's take a look at another example where we convert a bond remember the conversion of bonds the stocks Who can convert the bond here? remember, let me just go back here to remind you that Who called the bond? Who called the bond who bought back the bond the corporation is kind of I wanted to kind of I Wanted to revisit this here the corporation the corporation Purchase back the bond now. We're gonna be we're gonna be looking at a conversion who convert the bond the individual It doesn't have to be an individual the reason I say individual to differentiate between the corporation and the individual So the holder of the bond will convert. Okay, why would they convert? Because they think having the stocks of the company is better than having the bond. So on January 1st $100,000 bond of Converse, which is the company with a carrying value of a hundred thousand So they're giving us the carrying value here. The carrying value is 100,000 are converted the 15,000 shares at $2 par value, okay now If we're gonna retire the bond we have to debit the bond so we have to debit the bond 100,000 and this bond is no discount and no premium So when we convert we're not gonna have this count and premium for financial accounting because it's It's beyond the scope of this course. So for the bond conversion first We have to convert the bond then we have to issue stocks So the company took out the debt and replaced the debt with stocks now. How do we How do we issue the stocks now? You don't have to worry about this because we're gonna talk about stocks in the next chapter But simply put the stocks has we're issuing 15,000 shares times $2 So we credit common stock for 30,000 and anything that remaining we credit capital Paid in capital and excess of par value for the entry to balance. Don't worry about this Again, we'll talk about this topic in the next session I just want to show you that this conversion is done by an individual. Let's take a look at another example where You will be responsible for as a student As a student. So let's take a look at this company. We have tea company issued Collable bonds. So notice callable means the company can call it with a par value of 10,000 So this bond has a par value of 10,000 the call option required the tea company to call a premium of 500 It means when they buy back the bond, they have to pay 10,500 in cash. Now, we know the cash amount that they have to pay. Yeah, that's right here on July 1st The tea company exercises the call option exercise means they went ahead and they bought the bond the call option as exercise after the semi Interest is paid The day before on June 30th record the entry to retire the bond under each separate scenario So they're telling you we make an interest payment Then we retire the bond the good news here is they're giving you the carrying value the carrying value of 9,000 So the carrying value of 9 we paid 10,500. Do we have a gain or do we have a loss under the scenario? Well, obviously we have a loss. How much is the loss the difference the difference between how much we paid and the Carrying value and what do we need to do? We need to remove the bond. We need to debit the bond 10,000 We need to credit credit the discount. So the bond The bond and the discount they go hand in hand. How did I know the discount is a thousand because look the carrying value is Is 9,000 it means we have a bond of 10,000 minus a thousand and this is how I know It's a thousand because the carrying value is 9,000. So I have to remove the bond I have to remove the discount. I paid cash 10,500. We already know this and we already computed the loss of 1,500. So then the first scenario The bond is sold is purchased back at a loss Let's take a look at the second scenario the second scenario the carrying value is 11,000 and we paid 10,500 here we have a gain of 500 why because I paid this much 10,500 for a carrying value of this much the carrying value tells me that this bond is a premium bond and I have a premium of a Thousand why because 10,000 plus a thousand of a premium will give me 11,000 of carrying value It means I have a thousand of a premium. I have to remove the bond I debit the bond debit the premium to get root of the bond and the premium Then I have to credit my cash how much I paid then I have to credit my bond Retirement which is five hundred dollars. So this is how I retire a bond. Remember, it's how much cash you paid Versus the carrying value and these are two separate independent scenarios If you like this recording, please click on the like button share them put them in playlist in the next session I would look at long-term notes payable and please take a look at my website for health lectures calm if you're looking to supplement your accounting education and or Spass your CPA exam study hard and stay safe during those corona virus days


A consultation dubbed the People's Parliament held Monday 23rd November 2020 has stoked national enthusiasm for research and innovation in St. Lucia. The events, beheaded by the Global Environment Facility, Jeff Smallground's program, brought together movers and shakers of local society, St. Lucia innovators who have made tremendous impact abroad, and representatives from Microsoft headquarters in Washington to weigh in on how the country can adapt innovative evidence-based solutions to its sectors. Jesse Layers files the first report of our People's Parliament series. The need to reinvent academia in keeping with the new era of research and innovation was a subject prominently featured during the morning segment of the People's Parliament held Monday 23rd November at Parliament building in Castries. American science professor Keto Lawrence, a descendant of St. Lucia and world renowned for his accomplishments in regenerative engineering, shared his vision for the island in building on its tradition of intellectual excellence to advance the medical field. My vision would be to create a clinical research, technology and entrepreneurial institute in St. Lucia that we would create an environment of world-class clinical care, world-class biomedical and medical engineering science and technology. And an entrepreneurial hub, it's important that entrepreneurship is promoted, translating technology to corporate incubators in the area, and also industrial parks for companies in St. Lucia. So I think that I look forward to helping in the knowledge building, I look forward to helping in the technology development and also look forward to working with you in commercialization. Dr. Lawrence is regarded as the father of regenerative engineering, a field that converges advanced material science, stem cell science, physics and developmental biology and clinical translation toward the regeneration of complex tissues, organs or organ systems. As the founder and president of the regenerative engineering society, Professor Kato extends an opportunity for select secondary school students in St. Lucia. My institute will provide two-year memberships for the top 50 high school students in science in St. Lucia, as determined by the St. Lucia government, will provide two-year memberships for the top 50 high school students to get them involved and get them interested in this area of regenerative engineering and these melding of these different areas of science in medicine and to provide opportunities will provide two-year memberships for the students in the regenerative engineering society. St. Lucia Professor Audrey Henry Lee of the University of the West Indies, Mona in Jamaica weighed in on how to cultivate research and innovation in the education sector. We have to completely revamp the education system from early childhood. There's too much regurgitation, not enough critical thinking. We need to develop our critical thinking skills of our young people, reward creativity and ensure that innovation and creativity are important elements of curriculum development. There's so much, there needs to be more emphasis on learning through play because children will learn more relaxed and they are learning through play. Professor Henry Lee further outlined the role of universities in the research and innovation thrust. Role of the university, we need to train and build capacity. The emphasis must be on critical thinking and innovation. We must train the change agents, be change agents ourselves, advocate for change and that's where we can increase the number of think tanks that we have where we respond and evaluate policies and programs. We must be more involved in public education and a simple thing that we can do in terms of helping researchers as ministries to elicit their research need and submit to the relevant departments at the university. We will commit here at Salises and we would encourage our students to carry out the research. The People's Parliament was an event of the Global Environment Facility, Jeff Small Grant's program to jumpstart its seventh operational phase with a focus on research and innovation. The People's Parliament brought together a cadre of luminaries including St. Lucien innovators who have made a tremendous impact abroad. For the Government Information Service, I am Jesse Leon's reporting.


If you enjoy watching Common Ground online, please consider making a tax-deductible donation at lptv.org. Lakeland Public Television presents Common Ground, brought to you by the Minnesota Arts and Cultural Heritage Fund and the citizens of Minnesota. Welcome to Common Ground, I'm your host, Scott Knudson. In this season eight premiere, visit the JQIES Art Center in Aiken, Minnesota to view Mary Pettis's expressive realism. Then listen at Central Lakes College in Brainerd as Professor Terence Hayes reads his contemporary poetry for verse like water. At that time, we kind of felt that the more stuff is in it, the better the painting is, but it really isn't that, that's kind of kindred to saying the more notes in a song, the better the song or the more words in the book, the better the book, but that isn't true at all. It's not how many little things, it's the melody, it's the theme, it's like the drumbeat and the rhythm of a painting and I'm very much in tune with that. I'm Mary Pettis, I'm an artist and I'm at the JQIES Art Center in Aiken, Minnesota. This is my artist reception for a solo exhibition that I have here. I live in Minnesota and I'm from Taylor's Falls living along the beautiful St. Croix River Valley and I was drawn to the river valley several decades ago because of the beauty of it and it reminded me of the Hudson River School and I've done many, many paintings of the river valley and I continue to do that expanding now throughout Minnesota and also around the country. The greatest gift I think of being an artist, particularly painting out of doors or having my roots be an out of door painting and then trying to bring that into the studio is that I go into a zone that kind of transcends my thinking. It feels to me like I'm making a connection with the spiritual aspect of my nature. So when I paint out of doors, I'm connecting with not just the stuff I'm looking at but I truly do feel the roots of the trees and the essence of the sense that I'm standing on the same ground that is nurturing those trees and the moisture in the air is the water that I'm looking at when I'm painting and I feel it on my skin and I become part of it and we become one and it's that profound connection that goes beyond thinking that captivates me and continues to captivate me and I try to bring that into my work that going beyond the surface is I think probably the single most thing, that connection to what lies beyond the surface is probably the most compelling aspect of what I do. So okay, let's take a look at a couple of my favorites here. This painting is called Time Stand Still which is what I named the exhibition after and the painting is of a little corner of a pond that I've painted numerous times but I love this painting particularly because of the way that we travel through the painting. It symbolizes a lot of what I've come to try to capture in my work at this stage of my development and that is using oil paint as a medium, as a way to get us to become more introspective and this painting and to truly appreciate the beauty that surrounds us. As you look deeper in the painting it takes us to deeper levels of relaxation so it's kind of a mandala of sorts and that's why I like this. This painting is called Waiting for the Light and it's inspired from a pond that I painted dozens and dozens of times. I've watched many sunrises over that little pond and there are different things that I love about this painting. I wanted it to be classic in nature. One of the reasons why I bought the place is because of this very classic old soft maple cluster and the oak trees and it is reminiscent of the Hudson River School and George Innis' work which affected me greatly when I was a young artist and so I thought now that I was a better artist I would like to try to put that kind of a feeling in this classic very balanced fulcrum type composition and it's very dark but as the light begins to spread up beyond the clouds there's some backlighting. There's a lot of things that are happening in here but the painting itself is very somber, very relaxing, very slow moving because of the tight values and because of the interplay and then the composition is a very clean, simple composition without a lot of disruption. So there's a little backlighting on here. We're always drawn toward the light which is off of the picture. Evidence of the light here around this edge but yet it's a very gentle edge and so our eye moves very gently in and out of the painting and then here too we come in. Here we wonder, there's a little fog that's lifting which is the evidence of the movement. The clouds are moving but everything is moving very slowly and it's very much like a symphony. It is enveloping and unfolding really slowly which is very relaxing. I also like about this painting that it has a wide variety of surface texture. One of my great teachers, Joe Wang, said why oil paint? He couldn't speak English very well but the first thing he said in the workshop is why oil paint? And I came to think about that a lot and I think that what it is that attracts me to the medium of oil paint is that you can get a heavy impasto and you can get glazes and you can have thick paint and thin paint and show the brushwork and show a lot of emotion in a variety of ways and the more that I paint, the more I come to understand that it's going to take many more decades before I really understand the potentials of this medium. When I am invited to the Maui Planner Invitational and I always tell them I'm from Minnesota and they always feel so sorry for me and I always tell them, no, don't feel sorry for me. I love it. We embrace winter and do you paint in the winter? Oh yeah, I do that, of course. And this is an example of a painting that I started on location. This is Minnehaha Falls in winter and it's interesting. I have a painting in the exhibition that's Minnehaha Falls in early summer as well which is a completely different feeling but it's the same waterfall. This is a prominent waterfall in the Twin Cities area and I loved the light. I tried to get there early in the morning when the sunlight would be bathing the entire basin and it would be in snow but I got there a little bit too late and at first I was disappointed because I thought that, oh shucks, I missed it. I missed the light and I'll have to come back but then I thought, well I'll just begin the painting and as often happens when we begin painting on location the painting tells us how it wants to be painted and the painting has a way of showing us the beauty where we might not have been looking for it which is one of the things that I try to incorporate in all of my work is letting nature speak to us instead of trying to impose our will on it. This is a great example of that because I thought that it would be too dark because all there was were these couple of streaks of light because the sun was too far over to the left and then as I thought about it I thought, oh wow, that's a beautiful design of the sun raking across these icicles and then coming down toward us along the right side. So we move and it's a very dramatic but different painting than I had set out to paint which is one of the joys of painting on location. Well, the Jaquis Art Center is an extraordinary building and they've done an amazing job carrying on the spirit of the era and I'm sure Francis Lee Jaquis as well who is from this area originally. I think one of the main functions of art is and probably the art that I do too that's based in and of the natural world is, I guess the comments here the most is I go by that all the time, I see that all the time but I didn't realize it was so beautiful and an artist's job I think is to render visible what we all see but who show it in a new light and help us to look more closely and deeply at the beauty that surrounds us. Hi, I'm Terrence Hayes and I'm here at Central Lakes College giving a poetry reading. I travel maybe once a month to give poetry readings and I heard from Jeff Johnson in the English department. He invited me out to Minnesota and I was happy to come. I've been reading Terrence Hayes for a number of years now. Since before he won that National Book Award and so what it means for me is the privilege of bringing a great American writer to kind of an unlikely place, the Brainerd Lakes region. We are in the middle of Minnesota and an awful lot of cultural events happen in the Twin Tones. That's also where an awful lot of grant funding goes. So the argument from the beginning four years ago when we started this was to say, you know, we deserve great cultural events here. We deserve beauty here too. And part of it is bringing writers that I know are gonna be great performers. It's also a little bit about bringing people who are not necessarily of Brainerd, right? So we brought Richard Blanco, the first gay Latino ever to read at an inauguration. I brought Naomi Shihab Nive because she's Palestinian and we don't have an awful lot of Palestinians in Brainerd. So it's kind of about bringing and celebrating the other, right? Someone who can help us think differently about ourselves and differently about the world. The deer. Outside Potascola I saw the deer with the soft white belly. The deer with two eyes as blind as holes. I saw a leap from a bush beside the highway as if a moment before it left, it had been a bush beside the highway. And I saw how if I wished it I could be the deer or creature bony as a branch and spring. And when I closed my eyes, I found the scent of muscadine. The berry, my mother plucked Sundays from the roadside where fumes toughened its speckled skin and seed slept suspended in a mucus thick as the sleep of an embryo. It is the ugliest berry along the road, but chewed it reminded me of speed. And I saw when I was the deer that I didn't have to be a deer.  Though it is not like this for the deer, it is not shame because the deer is not human. It is only almost human when it looks on the road and leaps covering at least 30 feet in a blink.   I remember a friend told me how when he was eight and nine, a half naked woman ran to the car window crying her man was after her with a knife. But his mother locked the doors and sped away. Someone tell him his mother was not a coward. That's what he thinks. Tell him it was because he and his little brother were in the car that she would not let the troubled world inside. It was no one's fault. The mind separated from the body. I could almost see the holes of her eyes, the white fuzz on her tongue, the raised buds soft as a bed of pink seeds, the hold of a mouth stretched wide enough to hold a whole baby inside. I could almost see its eyes at the back of her throat. I could definitely hear its cries. So what I'll tell you about that one is that do not ask any questions. So one of the poems I read, which is the second poem in my most recent book, the deer does have a kind of perplexing ending. It begins in a fairly true experience of driving and seeing a deer jump into the traffic on the highway and get hit, but it triggered another kind of memory of a friend telling a story of a woman approaching the car when he was young and his mother not saving the woman. So in anticipation of that poem, I didn't know where it was gonna go. I knew that I'd seen a deer and I thought I would write about it, but then it sort of led surprisingly to this other moment. And then out of that, a third moment arise, which is at the end of the poem, sort of making the woman the deer or sort of the feeling, the horror that would come from like not being able to help the woman or seeing a deer.  So it's sort of a dream image, but I do value those kinds of moments. I'm not so interested in explicating and dissolving the mystery around poems. So those are the poems that I value most. I mean, I work on them so much that at some point I feel like I know exactly how they work, like little machines. And I can appreciate a poem that works like a machine, you know exactly what needs to be tightened. But I also like a poem that's like an animal which has a certain kind of mystery, like why do animals work? Where does the energy come from? Those kinds of questions.  And that always excites me more than a poem that I have totally figured out. What would you put on to attend your daddy's sentencing? What would you put on if you went with your father to work filling a swamp of dirt for a real estate company developing a residential area called Magnolia Plantation? What would you wear to a party thrown under plastic palm trees around a shabby pool with no deep end at a motel called Oceanside? What would you wear to visit your big brother at the hospital after they moved him from the ER to the ICU? What would you wear in a house of mirrors? What would you wear in a house of guide? What would you wear to visit your father in prison? What would you wear if you was in a music video? What would you put on if you was in a shoe store selling nothing but oxfords and penny loafers? What would you put on if you knew the news lady and her cameraman was coming to interview you about a crime you witnessed? What would you put on if your mama let you drive her car to visit your girl across town Saturday night? What would you wear if you drove half a day to see a girl downstate and when you got there it was way past the time her parents said you could visit after they saw what you was wearing but you waited three, four hours until she snuck out the back door so you could walk with her up and down the neighborhood with dogs barking in the moonlight. I would wear the necklace my daddy gave me when he came home after a year locked away. I would put on Tim boots to keep the mud from swallowing all the places I stood. I would roll my pants, legs up and wade in the water and gaze at the parts of me turned blue.  I'd wear a mask of silence and blind you. I'd wear a mask of myself and fit the same mask on you. I'd wear a year of sins around my neck and beg God to loosen the noose. I'd wear my father's disillusionment and fortitude. I'd put on a fitted cap so the shade over my eyes would move as I moved. I would never wear a white man's shoes. I'd put on sunglasses. I would wear a t-shirt that says I am the noose. I would wear a tattoo of my daughter's name above my muscle. I would wear the moonlight like a tattoo. All right. Reading my poems is actually part of my revision process. So I don't think I've ever given a reading where I didn't try at least one new thing. New for me means that I haven't sent it out to be published. So I see it and the audience is hearing it, but I may read it seven, eight, nine, 10, 12 times and it'll still be new because I'm changing it with each one of those processes. So that kind of keeps me humble. It keeps me present for the audience because everything in the book has gone through that process and so I'm pretty confident about the poems when I hold the book. So the only thing that really, the primary thing that excites me when I'm giving a reading is the new stuff to see if it works or if it doesn't work. And sometimes it doesn't and I think that that's okay because I know the bulk of the stuff that I'm reading has already kind of been tried. Well, one of the things I'm trying to do is just put the poem in the air when I read a new poem. I don't think of it as that different than what a musician is doing when you're trying to just playing it and you hit a C where you should have hit a D or you hit an E flat where you shouldn't have. And so for a lot of it, it is just verbalizing and vocalizing the poem and then hearing the way it hits my ear. Sometimes I can tell from an audience, but mostly I'm listening to what it sounds like and sort of like what do I believe? If I believe enough in it to be comfortable reading it for an audience. So sometimes I'll look at a line and I'll say that line shouldn't be there and I'll know it especially when I'm under the spotlight in a way that I might not know it when I'm alone reading the poem and trying to convince myself that maybe it's okay, maybe it's all right. So I do need that process and I do rely on it. And because I travel, maybe I give about a reading a month, sometimes two readings a month, it is always a way to sort of be on top of poems. So if I give a reading and I don't have a new poem or something that I'm still sort of questioning, then I sort of don't even know why I would do it. You know, I mean, I know it's to sell books but that's sort of not really my primary interest as a person who is always trying to be out in front of my own poems, trying to think about like the present moment with my work. I'm Steve Downing. I am an arts producer for Northern Community Radio. And the Verse Like Water Visiting Poets series is one of my favorite assignments. I'm sure everybody takes away something unique, something personal from an event like this. One thing that always sticks with me is how approachable these poets are. No matter how well known they are, how famous they are, they could all be completely full of themselves and they're just not. They're interested in talking with you. They're interested in listening to you. And of course they love sharing their work in an intimate and comfortable setting, which Verse Like Water at Chalberg Theater provides. And I always leave here uplifted and inspired. Communities need projects like this. What do I hope my audience takes with them? I think of it as an exchange. I don't want to like get too heavy with it, but I think it's the same you would say when people go to church on Sunday, what is it?  When you leave the history class, the knowledge that you've required supposedly is useful and it will help you get a job. But you know, when you go to church, it's a sort of kind of like spiritual thing that's being given to you. And to sit and listen, to sort of share in what the preacher's thinking. So I think of it in some ways closer to that. Like we just sort of, it's a shared space where understanding what language is, what language can do. And it's empowering as much as everybody has language. So I hope that that's what people think. I hope that they leave my reading saying, I think I want to try that. I think I want to do that. That's more important than like then buying my books, but some sense of their own creativity being stimulated is probably the best effect that I can have. To me, the thing that is most interesting is to watch what happens to them when they encounter poetry. You know, I didn't do it today, but with Marie Hall this last spring, I had to ask after I got done with the introduction, I had to say, raise your hand if you've never been to a poetry event before. And it was just a flurry of hands in the air. A lot of young people who were attending their very first reading. So the first thing that I marvel over is what happens when they come into that auditorium not knowing what's going to happen to them and inhabit a space with a great writer and find themselves surprised, if not astonished, that they're happy, that they're enjoying themselves. And that maybe an art form that they maybe felt put down by before, maybe an art form that they feel they don't understand is all of a sudden taking a hold of them. And giving them a joy that they probably weren't ready for. Today, I think what happened is we had an awful lot of people surprised by how colorful the poems were, how happy they were to hear language that they're not used to hearing. I think one thing that happens for sure is that they realize that poetry is alive and well. Poetry is not just consigned to these dusty shells, right? Poetry is something that is thriving and available to everyone. Charles Simic, who was here last March, wrote once in a book that in the worst of all centuries, in the crummies countries in the world, poetry will still get written. And I think that they were, their minds were alive, their hearts were open to that idea. I think what something else also happened, they got permission to be confused. They got permission not to get it. We had a lot of community members in there and some faculty and staff, but we had students. And college students want to be smart. They want to be able to understand things and figure things out. And I think what Terrence did today was enable them to say to themselves, okay, maybe you didn't get that line. Maybe that poem confused you. But understanding the thing is not the most important aspect to the experience. Just if they get a line, if they get a phrase, if they get a memory, if they laughed, that is enough. They don't have to figure out every single syllable of it. When I'm at one of these events, I feel affirmed and reaffirmed as a writer, as an arts advocate, as a human being. Poetry is one of our earliest art forms. It predates writing even. And Jeff Johnson's verse like water proves again and again that poetry is still happening, still flourishing. Thank you so much for watching. If you want to hear more poetry by Professor Hayes, please visit lptv.org. Go to local productions and then Common Ground. If you have an idea for a Common Ground piece that pertains to North Central Minnesota, email us at legacy at lptv.org or call us at<PHONE_NUMBER>. To view any episode of Common Ground online, visit us at lptv.org. For episodes or segments of Common Ground, call<PHONE_NUMBER>. Common Ground is brought to you by the Minnesota Arts and Cultural Heritage Fund with money from the vote of the people November 4th, 2008. If you enjoyed this episode of Lakeland Public Television's Common Ground, consider making a contribution at lptv.org.


Hello, I'm Ryan Jebetsky. I'm the founder of Spectre Studios. We are an urban design, architecture, and game development studio based in San Juan, Puerto Rico. I began my career in New York City. I have a master's in urban planning, and I worked for the New York City Department of Transportation in the bike and pedestrian planning group. So I got to be there at a time when we're installing about 50 miles of bike lanes each year. And I got to work on really cool projects, like the closure of Times Square to automobile traffic, and the creation of these really great public plazas and amazing public space. I left the DOT to found social bicycles, which later became jump bikes. And we released dockless bikes and later electric bikes and scooters in cities all over the world until we were acquired by Uber in 2018, where we were able to scale up internationally and integrate our bikes into their app. Through that process, I really learned through both experiences how hard it is to change existing cities, particularly when they look like this, as is the case in the United States, where you have low density single family homes. You have strip malls. You have office parks surrounded by parking and nothing else. And then even when you have downtown towers, often at the street level, you're just confronted by parking garages. These are spaces that are fundamentally built for cars. And we tried to bring bikes to a lot of those places. Atlanta, Phoenix, Orlando, Tampa, Los Angeles, Houston. And it's really, really hard to adapt and introduce new transportation when the land use is so broken. So I spent a lot of time thinking about what would I do if I could build from scratch? What would be the ideal city? What kind of things am I interested in? I spent 20 years thinking about this. And I think it begins with mid-rise mixed-use density. So two to seven-story buildings, residences up above, shops and restaurants on the ground floor, streets that are narrow and really, really great for pedestrians of all ages. Streets like what you'll see here in Amsterdam, which are not only great for pedestrians, but great for bicyclists. That you can actually use it as a primary form of transportation. And it's not just weekend warriors wearing spandex and helmets, that it's really a viable form of transportation for children, for women, and for the elderly. And I love this urban form and I really am inspired by those types of cities, but I also like the introduction of some towers. I don't think like a skyline dominated by towers, but it is a very magical experience where you're walking through a mid-rise neighborhood, you turn a corner and you catch a glimpse of a tower out in the distance. And it gives a sense of scale and ambition that I think adds a lot of value to a city. And the last thing I think about is how do you integrate green space into a city? Not just large parks, but little neighborhood pocket parks, greenways, or something like the High Line in New York City where you're actually given an elevated perspective, you're on the second level, you're weaving in and out of interesting buildings, you're catching views of skyscrapers. So these are the thoughts that have been swirling around in my head for a very long time as I visited different places and was really looking for a place to experiment. And so the idea behind Spectra is a virtual, using virtual reality to test urban design ideas. And we used it to build a concept city that we explored a lot of these types of urban form. And the goal was to actually build a real physical city of a million people. So not just like a small town or a village, but a true city-scale project which will take decades and decades to achieve, but you can actually simulate and test it virtually first. And then importantly, not just creating a top-down vision for that city, but allowing the bottoms-up formation of the city. So really thinking about it block by block and allowing groups of 100 to 200 people to form blocks and then in virtual space, move those blocks around the city. And so that while you're still in the virtual world, you can move things around, you can change it and you can test different ideas. And so we wanted to come up with an architecture that matches that philosophy, that you could have smaller groups of people, 100 to 200 people, take over a block and customize it. So we came up with a simple design concept. It's just an A building and a B building that clip together like Legos. They have a shared interior courtyard that can be customized. It has a ground level that can be changed and customized. It has rooftop gardens, but you have all the building blocks of a great city and one simple, repeatable concept. And the idea is that each block, each group of 100 to 200 people can choose what their courtyard and what their L1 looks like. And so this is the idea of like a sports block where you have basketball court, swimming, climbing wall, but you could also imagine concepts that are organized around young children or food or music or whatever the interest of those blocks are. And so that the residents can choose how much to treat it as amenity space versus commercial and rentable space. And you get a really wide diversity of building types, even using a simple template, by making subtle changes. For an example here, if you drop a corner building unit, now the interior courtyard spills out onto the street. So as you're walking block after block, even if it's sort of a templated city, it feels really different and interesting as you explore it. And you'll also notice here at the street level, there's no cars. The idea is that you can actually build a tunnel network if you're doing it from the very beginning by connecting the basements of all these buildings. So if you're trying to build a tunnel in an existing city, in San Francisco, I think they're about to spend eight billion dollars on a one-mile tunnel. But if you're doing it when you're laying the infrastructure from the beginning, you just connect the basements with small underground tunnels between the streets. And it's much easier to build that out and so you can have your logistics movement, your packages, all of that happening in an autonomous network underground. And finally, having some of these elevated viewpoints, like the High Line, where the courtyard level is connected across each block. And so you can actually explore the entire city in more of like a garden or a parkway, a greenway type of environment. So if the streets are too busy with bicycles and scooters, you could actually kind of escape to a more park-like environment. And so all of these ideas are wrapped up into a kit of parts. So the idea is we release this under a Creative Commons license. Anybody could take these ideas, bring it into their own game environments or do their own urban design experimentation, ideally feedback to this. And we can create a concept city of all of these different components, move it around, get feedback on the idea, and then eventually find a piece of land and build. So since we launched publicly in January, we've hosted over 20 workshops in the virtual city. This is a workshop that we hosted in partnership with the German Research University that has a large European grant to do research in the virtual city. We've hosted some on agriculture, some on bike transportation, a variety of different workshops to get feedback on the concept. And whenever I show up at a conference or event or even just a bar, I break out the laptop and get people to be immersed in the virtual world. Now, I've been thinking about, how do we go beyond just hosting events in the virtual space and how do we introduce some game elements? And so we've come up with a game that we're gonna be releasing next year called Yimbi-Nimbi War. The idea is that everybody here is gonna come across Nimbis when you try to build your project, but not in my backyard people. And so they are possessed by these demons, these bad ideas, and you have to vanquish them and shoot them down and liberate the people. And so... And so just introduce a little bit of light gameplay to get people idea how hard it is to build a city and the things that we have to overcome. Lastly, I'm really excited by the stuff we're doing in the digital world, but I want to undertake a physical project much like we've seen today from Cabinet and Neighborhood and Nomad and all these folks.  We want to turn it into a working organic farm and a hospitality concept for group travel. So something that would be a perfect venue to host these 50 to 100-person meetups and micro-conferences. So it's got a co-working space, a gym, child care facilities, a podcast recording studio. So we've designed these two buildings and put it through the same process of designing virtually, applying it to a piece of land and trying to build a community around that. And so, yeah, we're trying to make a really, the best place for large groups to come together and hang out. It's got these two common buildings, these sort of shared buildings with all the programming. And then we're designing these Balinese-style villas with six bedrooms. So you can actually stay here. At least four of these on the property. So that's 24 bedrooms. So we're at a really good size for hosting these events of like 50 to 100 people. And so that's a, it's one, it's practicing this virtual, the physical process. And two, it's thinking about how do we create this engine of bringing groups of 50, 100, 200 people together that can become the seeds for a city of the future that we might build. And so that's it. So this is a timeline of a little bit about what we've accomplished so far. We plan to, again, release the first game in the first half of next year and submit the designs and site plan for the entitlements and start building the physical site, ideally being construction in early 2025. So thank you so much. And yeah.


My name is Luke Elbers. This is my son William. My company is called Ag Dynamics and we grow hops. We've been at this for about seven years now. We've gradually expanded from under a tenth of an acre to over 14 acres. It's been a challenge learning all about the nuances and the difficulties growing hops in Wisconsin. We've worked with the University Extension on a lot of things. The Downey-Mildew stuff that we've struggled to get ahead of is one of their big projects. The amount of resources and information that they've been able to devote to this is one of the key things that's made this possible. Understanding this crop is a lifetime endeavor and the resources and financial investment that it takes are pretty substantial. So to be able to figure all those things out is key. We are currently expecting to produce somewhere in the order of seven to nine thousand pounds of hops this year. Hopefully double that next year with any luck will be probably one of the biggest three growers in the state of Wisconsin by the end of next year. So it's been a tremendous investment. Learning to understand the market and the marketing process, the regulations that go along with taking a product like this to market and what the brewers and the customers are actually expecting has been a big learning process as well. So it's a challenge and we enjoy it. We're looking forward to the future.


And if I do that, I find these are the seven core areas of the universe. Leavethics. And you find geography has an overlap with these four years. Geography directly with paper one. You have got overlap in IR. You cannot do IR without geographical knowledge about where what lies. The entire geopolitics. Okay. You cannot talk about earthquakes or cyclones. You cannot talk about heat waves or tsunamis for that matter. Lens slides or forest fires. Okay. There's geography. And of course we have a huge amount of geography in the developing economy part. Construction, roads, exports, imports, and so on. And that's the reason why students tell us the whole person, perhaps in more in some ways. Okay. And that was pitching the importance of geography. By the way, I know some of you have chosen otherwise. That's perfectly fine. I can only speak as a geography teacher. Okay. So take it with that sense. Okay. I'm not to say that other subjects don't matter. They do matter. And it's a comfort level. But those who are on the sense, you can't decide on which optional. Those who are unsure about should you go for geography or not. I'm pitching it for them. So and that's the reason why most of environment teachers are teachers. I also in the GS back in my institute and teacher for environment. I also teach IR and also teach topics of development economics. Okay. Yeah. But the city is running. I handle that. You have some questions I need to answer online. Okay. Okay. So.


One, two, hit, let's go, back, back, back. There we go. Switch it, get those knees up and drive them down.  Okay, Valerie Adams is dynamic, David Storrell's dynamic. Ulf Timmerman, one of the greatest ever. Greatest glider ever. Dynamic start, okay? So rhythm is gonna be a big part of it. Okay, everybody get in this position and pay real close attention. If you wanna throw further, this little detail in the glide makes a massive difference. Bring it in, where's your hip? And where's my foot? So here's what I'm seeing from some of you, watch. Okay, see this? All right, now look at what I just showed you. You're gonna trust me, you're gonna be all real happy when we get to the point of throwing and we discover, because what we're gonna do, this is the same principle, then we're gonna split it into dynamic or static. And now you're gonna, you gotta remember, it's load and coil in that order.  Stand, drive and kick. I want your upper body to stay towards me.  This is a modified wheel. Then we do a glide jab, okay? And then we work to like a full glide. Up in the air, yep, yep. Okay, this drill is simply designed to get you to work how to get on top of your right. Wait, wait, wait. Okay, you gotta get over it more, you're too tall. You gotta get over it, you're setting the line, right? They're fast, everybody wants that. Okay, so we're gonna, I call it a glide pop or a glide jab. Kick leg up higher.  Go, no matter what, it's load, right? It's loading, how do we load and push? Full throws, then we're calling it a day.  And the thing that you have to realize is you have to have enough patience to understand that you will throw farther, much faster when you have the discipline to do and work on the right things, each and every practice. You gotta get your pump on, right? It's a muscle tone, so the girls will actually talk to you. Thanks, dad. Thanks, Johnson. This season, let's tell you about all the records we break since coming here. That's right. Today was great. I'm Eric Johnson. Okay, so Houston camp is officially complete. Thought it went really well.  I'm definitely smoked, been on my feet. This is obviously camp two of five. Nope, nope, nope, nope, Bethany. How many times have I told you not to do this funky wind-up thing with your arms? Getting better.  Sunday, about five o'clock. We actually just finished. We had camp went really well. Great day, great turnout. Again, just, Houston was great to us, friendly people. Just again, always great to see a bunch of people post-camp, always get asked a ton of questions. And then we had four people scheduled for an additional, like, private mini-camp. So we went two and a half more hours. So needless to say, 7.30 a.m. to 5.00 p.m. I'm completely smoked. Again, so we get back late tonight, gonna sleep like a baby on the plane. So I'll be able to get home, get about a week, about a week and a half, kind of normal routine, just a lot of coaching. And then it's off to, like I said, Sacramento for USA's. And then we have our Northern California camp. If you're not registered, we still have a handful of spaces left. It's gonna be another great camp. Looking forward to it. The summer tour has been so far so good. People's feedback at the camp has been great. We've had so many stories, great to meet people that have been using the system and meet them in person and hear about how much it's helped them or how some people even just getting tons of improvement off of our YouTube videos. That's our whole mission, right? Airtate Throws Nation is just really dedicated to the coach and the athlete. There's tons of talent out there. We need a great system to help develop people. That's the goal.  So anyway, I hope you've enjoyed checking out the behind the scenes and all that goes on. It's a lot of fun, a lot of work, but I love every minute of it because it's all about how you gotta love the grind and that's what we're doing, man. So we'll see you soon.


There are three major reasons why it was ClickUp. First, it was usability because it's pretty much self-service. Also automation capabilities are really key. So it's almost like a low-code platform which helps us to automate processes, optimize processes, which is great because everybody can do it. Third is the analytical capabilities. There are great ways to digest information, slice it, represent it in different widgets and dashboards. Overall, the benefit we are getting is 40% of higher effectiveness when it comes to go to market planning and execution. And what I found interesting is we also get more efficiency in project management because everybody that works with ClickUp will use it for other projects as well. So overall, there's a big increase in efficiency across different teams.


I always need this reminder and this may help those of you who are also trying to build a true audience. Don't worry about getting tons of reach or views or likes. Instead, focus your efforts on practicing your energy signature, the unique, soulful expression of who you are. Expect only the true fans who resonate with your presence to show up. If you keep practicing your energy signature consistently, it is inevitable. It's inevitable that you're going to get more skillful and your energy signature will be communicated more powerfully than ever before and it will reach more people, more of your true fans by default. So, don't worry, focus on your energy signature, focus on showing up consistently and let the true fans find you.