Hey, hey there do squirt it's not gonna be back yet again We're gonna have a reaction video now today We are supporting boot cocky because we're getting that boot cocky experience we're gonna be reacting to his music video for friends and Yesterday when I recorded my reaction to the full album. I freaking love this song. Okay, this song is a freaking bop I love it to pieces and oh my god I just can't wait for this music video man, and yeah, other than that, let's get straight into this I'm freaking so I hope you guys are too and let's do this Oh, it's the wave man. I love these wave sounds a reminds me of Russian clank Yes, it kind of gave me a fright. Oh My god, oh Here she looks so cool.  This is so awesome.  Oh my god.  Oh my god. I love that so much do those snow shots is so So good.  This is just so good This is definitely my favorite music video from camera. Whoa nuts. This product quite nutty. Dude. I love that I do that shot that shot where it's like that. Oh my so good Right there looking is not so my kids just sleeping. You can't even see him. Oh, that was oh my god Awesome that music video was awesome. And then your cat. Oh, what is your cat gumbels nice? I'm pretty sure I'm getting you cats name wrong I am a terrible person, but your cat looking is nuts. That is the Funniest thing I've ever seen in a music video.  That was so good. That was just so good Mad props to that camera man.  That's no scene. Oh my god That's no scene.  It was just so good I present thing that this MV is the best one on Cameron's channel, but also What is it called?  I think it's some full house by mob. I think it's that one He like did a English remix on that and he was at a carnival and that is it awesome music video as well I dig big music video a lot, but I yeah It's basically gonna be all this very guys did engine guys didn't show some support But leaving a like and also comment down below if you cracked up with the cat looking is nuts and also subscribe guys I need to show because we more of a cocky reactions come to you guys in their future and Also a straight kids reaction coming out tonight.  Oh my god And other than that, I hope you guys have a great day and just keep on smiling and adios a doof squad and K squad


Everybody forced to it ripping 2022 selects WWE hobby one box number 20 random pack style for to the random I'm gonna open the box pull the packs out put them face down kind of as they're sitting if I hold the box this way I'll try to keep it with the two stacks atop left Pack is a pack one bottom right is pack 12. I'll go left side down right side down. So those are the pack numbers right there Let's do the random. Good luck everybody 12 names 12 numbers From side by side after we randomized six times one two three four five six Daniel H on a Paul Z and six times on the pack numbers one two three four five six 12 down the nine Daniel H 12 Torbin 7 Matthew F 2 Mitchell H 8 Matthew F 1 Daniel H 3 Matthew F 5 and 6 John B 10 Matthew F 4 John B 11 Paul Z 9 Get those results posted You can always find those at latent sports cards calm and here is a link if you need to look at them But again real quick as we get started here bottom. There's a pet. This pack is gonna stay left. You can see it here It's more on the right. It's more on the right. So we'll do that Pack on the bottom Since we did the other one right. I'll put that one left Yes, let me bottom left stack pack one Cold AJ Styles Ray Ripley in a white concourse beer Mahan beer Mahan rookie 69 of 99 Harland Quickie premier level. What's up, Sawyer? pack two Triple H JC Jane and our first auto of the box is a legendary signatures Rikishi There we go. Not number Rikishi Silver concourse to muscle Champa J. Uso number three Rikishi Bobby Lashley concourse blue light blue is Alba fire to 30 to 299 premier level Valkyrie rookie hard in that one. I think Number four here dusty roads Brock Lesnar Miko Sadamora an XT insert a concourse red Shawn Michaels Nice Shawn Michaels 204 of 249 and a Nikita Lyons ringside rookie Number five Boogs Harlins Miko Sadamora NXT again sober GG Dolan NXT insert And a diesel ringside pack six Godfather Dolph Ziggler Cedric Alexander sober for male-level ultimate warrior Cruise del Toro Tim LaCastro is an Ithaca legend. Yeah, this is back seven. That's one pack seven Don't leave do drop happy Corbin Tomaso Champa concourse tri-color sub-zack Corrigid premier-level rookie sub-zack number eight Shelton Benjamin Bruno San Martino a Ray O Ripley Relic non-numbered Ray O Ripley concourse over Jordan Devlin And Damian Priest ag 9 Champa Mick Foley Jordan Devlin a concourse tri-color Mick Foley and Vader ten Shameless Seth Rieken Rollins Eddie Guerrero Hall of Fame selections Miko Sadamora Maroon 99 of 149 premier level And Finn Balor pack 11 here Miko Sadamora Hulk Hogan Rob Van Dam silver concourse Mick Foley And a run breaker rookie premier level number 12 Vaughn Wagner Nicky Ash the auto is a Ringside action signatures do drop non-numbered on the do drop auto Tri-color premier level la night non-numbered and a walking wild that is gonna do it Or WWE coming up next


Aloha, thanks for considering the views expressed in this ThinkTech commentary. While our world closes around us, our society is changing profoundly, and will never be the same. Everything seems to be changing faster, more unpredictably. There are toxic accelerants in flaming these changes. Trump has been one of them, but there are other factors too. These sea changes are disrupting everything we knew, in a tidal wave of change. Although we don't integrate these changes into our daily thinking, much like the frog in a pot of heating water. They include changes in our relationships with old friends, with new friends and with strangers, and like China, with those who exercise the power of government. This speaks of a complete reordering of our society. The problem is not so much that our governments are failing us, which they are. The much more threatening phenomenon is that our governments don't care about us anymore, and that soon enough we won't care about each other. Or worse, that our officials are becoming more interested in benefiting from, and thus exacerbating the divisions among us. Democracy can save us, but the decline of democracy and the emergence of autocracy, leads to injustice and inequitable treatment of constituents and ultimately to a complete and potentially violent breakdown of our economy and civil society. This could happen in any country, and it can happen here in the United States. We seem wholly unprepared for it. Sorry, but we will not be returning to the old normal any time soon. Instead we are going to a time very different than the time from whence we came. We need to appreciate the changes and the life experience of living in a more dangerous and dystopian world. To some, that's an interesting intellectual experience. To others, it's really terrifying. While a personal appreciation of this destructive process may somehow be comforting, the end result could take us all to a very fearful time. So we must ask ourselves what we can do to deal with this degradation, to minimize the national and global decline that is happening to our country and our world. That's the greatest challenge of all. The first thing is to realize, like the frog, that we're boiling. Then to join under the best leadership to restate our values and the rule of law, and to develop and ethically deploy the best technology to affect a recovery. Can any one person do this? Can any community do this? Can any city, state or country do this? No, but it is incumbent on each of us to do what we can. It's plain to see that we are on a road to disaster, surrounded by a red sea of deceptions drowning our democracy as we race to a desert where the Lord of the Flies rules. You won't like it, I promise. We should rather take the higher road, the road focused on protecting our institutions, our values, our people and our communities. What to do, what to do? Well, be decent, honest and kind. That could be an important guiding principle and countervailing power in the contention at hand. Only accept what you know to be true. Don't be afraid of speaking that truth to power, and never stand by idly, when you see outrage that needs correction.  Yes, our country is in a state of emergency and madness, and more and more the inmates are running the asylum. In the branches of government, both state and federal, business, media and the rest. The light at the end of the tunnel seems further away, but hope for happier days is still possible, although frankly that hope may now be all we have. Mahalo, thanks for considering the views expressed in this ThinkTech commentary.


From DailyDoseOfWeirdNews.com, I'm Darren Marlar, and this is your Daily Dose of Weird News. This episode is brought to you by The Audiobook Bed Bugs by Jason R. Davis, narrated by Darren Marlar. If you love horror but hate bugs, this is the audiobook for you. Here are a free sample, and support Marlar House by downloading the audiobook for yourself at DailyDoseOfWeirdNews.com. Cadillac has launched a vehicle subscription service for a fee of $1,500 a month, so you don't buy it, you just subscribe to it. Or, here's an idea, how about you pay a third of that each month and actually own a car? British dentists say the National Health Service doesn't reimburse them enough so they're refusing to take patients who have bad teeth. Wait a minute, Britain has dentists? IKEA recently announced that it will be launching a candle collection. Although I suspect they're going to start selling wax, wicks and bottles of scent, and then you'll have to put the candles together yourself. Scientists at Massachusetts General Hospital have used adult skin cells to grow a beating human heart, meaning there might still be hope for George Soros to finally get one. If you want to boost your performance on the putting green, listen to jazz while you're putting. While any kind of music does improve performance compared to listening to no music at all, jazz is the most effective musical genre for improving putting, according to researchers. And animated Disney movie soundtracks are good for murder sprees. A recent study finds that attending live concerts reduces the concertgoers' level of stress. For those of you who attend a lot of live concerts, I said a recent study finds that attending live concerts reduces concertgoers' levels of stress. A geographer has determined that Center North Dakota is the geographic center of North America. Apparently the people of Center North Dakota already knew that they named themselves Center. UPS is raising its delivery rates during the holiday season, and while you're going to have to pay nearly double if you want your package on your porch rather than in the bushes. In Summerfield, Florida, 18-year-old Shelby Conder was arrested after allegedly downing five beers in the beer aisle of a Walmart store and then groping a paramedic who was trying to help her. The teenager reportedly told the Walmart manager that she was drunk and needed to ride home. She's also accused of kicking an officer in the leg as she was put in handcuffs. Wait, where did this take place again? Oh, Walmart. Okay, yeah, that explains it. Finnish researchers say that eating eggs actually boosts your brain function. So bring on the cadburys! Find even more weird news that I didn't have time for on the Facebook page at DailyDoseOfWeirdNews.com. I'm Darren Marlar, and I'll see you next time, Weirdos.


Welcome back. Hope you enjoyed the time in the breakout rooms with your fellow learners and that you have very interesting discussions. We're waiting for your insights in the main chat, so please share them with us. We already have some insights from breakout room one, but we're waiting for the rest. Don't be shy and share your insights. OK, Larry, so should we begin commenting on the first question? Sure. So the first question was, how might you analyze your forecast errors in order to improve your forecasting? So how to use forecast errors to improve forecasting? OK, we don't have feedback yet. We have some feedback, so let's see what they suggest is from breakout room one. They said, trust, track forecast accuracy and variance bias, if the money is bigger than supply, might lead to finance issues, accepting that forecasts are a challenge, real adjustment to baseline forecast, understand that all errors are not due to bad forecast. It could be supply issues that may reflect in error figures. So that's a summary of the discussion in breakout room one. OK, room one. Well, we get starting from two, or you want me to go? I hope so, but we can't begin commenting on that. OK, so I think that a person, room one, mentioned it. One is comparison to the baseline forecast. Because what I found in my research is a lot of companies never keep their baseline forecast. They come up with a final forecast. They compare forecast error against it. But it's very important to look at the baseline forecast and see in what cases was the baseline forecast the better forecast over time. And if it is, then we go with the baseline until we learn how to do better with what we're doing. But the current forecasting process is adding error rather than getting rid of error. So it's important to understand we did all this final forecast on top of all these baseline forecasts we had. Maybe we're better off with the baseline forecast in some cases for some products and some geographies. And I think that's important. The other one that I mentioned in the article was a lot of people are now comparing everything to the naive forecast. The naive forecast is whatever happens today is going to happen tomorrow. That's the most naive thing. Whatever happened last month is happening next month, right? Whatever happened last week is next week. It's a very simple way to forecast. It never is far off. It's not a bad forecast. It's actually one that's really good to look at. If you have a sophisticated forecasting methods that you're using and you compare that error to the error you would have gotten if you just used the naive forecast. If you can't beat the naive forecast, then you are not adding any value to it. So therefore, it's important to recognize that as well, that a simple forecast like naive may be even better than your current baseline forecast, right? So that was kind of the other thing I talked about. And another piece of this is, remember, forecasting is all about variation. And so you're going to get very high errors on demand that varies. Demand that varies for promotional reasons because we promote it. Demand that just naturally varies, right? And basically, you need to put special focus on those if you can, right? But there's only so much you can increase the accuracy of that. And so what I've talked about a lot is ABC analysis. When we do this in inventory, we should do it also in forecasting. In inventory, we say, A items or the 50, 5% of the items represent maybe 95% of demand, right? And then we got the B items and the C items. C items may be the 50% of items that represent only maybe 20% of demand. So therefore, it's important that we take the C items and put them on, just let the computer do it, right? The B items, the computer does it with some exceptions. And the A items or the A products are the ones we spend a lot of time trying to forecast, right? And so that's a key thing. So, but there's also a twist on that. If you take the two dimensional matrix, we have something called volume variance analysis. That's ABC is a volume analysis. There's also whatever you want to plot a two by two, which says, you know, which are the ones that are A items that have high variation of error, between low variation of error. And we want to basically do our analysis against that as well, because it comes to a point when you get high variance items, that you don't want to spend a lot of time trying to get an accuracy because you're not gonna get it. It's just this highly variable. So that helps you figure out how to learn from the forecast errors. And so those are some other breakouts. Other breakouts include product groups, customer level, aggregated forecast, the typically more accurate than the aggregated forecast. So if somebody needs something at an aggregated level, we should forecast the aggregate. All right, so that's again another thing. You know, when you look at aggregations versus de-aggregation, is it better to de-aggregate and aggregate? Or is it better to produce the forecast at the aggregate level and push it down to detailed level? So those are what I mean by, because what happens in many companies, they're so busy doing forecasting, that all they do is keep track of error. That's it on a total level. And they don't understand that looking down in the depth of it, understanding where those errors are, you could figure out what we call the forecastability of each item. Is how forecastable is it? What can be the lowest error you can get because that you reach a limit? And it's not worth spending a lot more time on it. So that's what I mean by looking at the error in much more detail, lots of breakouts, okay? I think your article about forecastability can be really interesting for our learners too. So I might share it with them. There's an article called Forecastability, right? Yeah, okay. Yes, that's fantastic. Well, thank you, Larry. Should we go to the second question? Okay, no more feedback from the folks. No more feedback, they are kind of shy. So please go ahead and share your feedback. And now it in... We have more? Okay, we have more here. Oh, good, okay. Okay, I missed it. So they said for question one, forecast bias tendency to be over and under forecast. Also check this against the original sales target and purchase budget to see if those were good assumptions to begin with. Okay. So yeah, connecting with the other functions. The forecast error in dollars and units. It would then focus on my top 10 or 20 SKUs using the power rule, 80-20. 80-20 is for ABC. Good point. I tend to use the 80-20 rule just because of the large number of SKUs I would be managing. So that's your priority. Standard deviation. How stable or volatile is my forecast? You also mentioned that. If the standard deviation is large for a product with fairly stable demand, this could mean that my model needs to be tuned so that it is not overly reactive. Right. So yeah, thank you. Thank you for your insights for breakout three. That's really interesting points. And I think very aligned with what Larry has just mentioned. I will agree with 100%. I have no comments on that one. Yeah. It's just like pointing out important things again. Right. And from breakout two, now we're getting their feedback too. They said calculate the MAP and compare it with the MAPV. That's also like a message I was suggesting in other audio articles. MAPV value lower than MAPV is a sign of value addition insights from the article. It is a smiley face. High level, actual forecast. Actual forecast divided by actual times 100. So the percentage. You can analyze by skew to see which ones generate more errors, effect of promotion, effect of promotions and other market distortions or conditions and trends and errors and understand and remove bias. Okay. Just a little comment on that because again, I probably didn't get you to error. Error of forecast for error is actual minus forecast over actual. There are many companies that do the error and denominator is the forecast. Isn't it? Now, what does that mean to do the forecast? That's not what we in science would say is an error. Actually, I just got this little email conversation with a company recently about this and they were finding that the company was dividing by forecast. It turns out if you do the math and those of you out there are probably mathematical, you could figure this out. There's a tendency to over forecast if you use forecast as a denominator. The reason being if you forecast it a lot like infinity, forecast error goes to zero. And so that's what you want to project. Again, the reason I wrote this article was that we're ashamed of our forecast error. The way to reduce the forecast error is not to divide by the forecast. That's wrong. You're going to divide by the actual number. So people say, well, what if you have to divide by zero? Well, okay, you work around that. I get to divide by zero because that becomes infinity but still correct formula for error is actual minus forecast divided by actual, right? Not forecast, right? So that's a little common. Important point, yeah, sure.  That's your, yeah. Not professional. That's not professional, of course. Okay, great. So thank you for your feedback. And let's go with the second question that it's actually really good for our course because it ties up forecasting with inventory management. That's what you all are going in now. So our second question is in what ways might a company use forecast errors to manage risks? So we have some feedback here. Would you like me to read it before dealing with? So from breakout room one, they say forecast errors can be used to analyze where the root cause of error was to avoid them in the future. Say the assumptions were wrong, went wrong, for example. So forecast errors can be used to cover for those errors by keeping some safety stock. So to determine the safety stock. Also agree with the mention of errors caused by any kind of bias that can be found so we analyze errors. So for example, if sales department is consistently over forecasting their sales, that happens. Then for, this has very, very long feedback. So I'll try to find the main points. So basically they say they can use the forecast errors to manage the inventory accordingly, reduce losses due to overstocking and understocking caused by the most recent forecast, make changes to EOQ, EOQ being considered right now. Good start to see how SKUs are performing and hen assist the companies to prioritize and approach a targeted market being well-informed. Would you like to begin with that? No, it's all very good anymore. Yes, they say, I think they're describing a whole process. So while the past, other forecast model is always a predictor for future forecast errors and appropriate adjustment for the future can be used to plan the efficacy of the supply chain logistics. Analysis of the forecast errors and underlying assumptions and models can be used to refine these processes to avoid the same mistakes in the future. And forecasting models assumptions may need to be adjusted per SKU, geography, market, et cetera. And the adjustments made after analyzing forecasting errors and taking appropriate actions may help to reduce the risk of targeting the investment appropriately be per SKU, location, market, et cetera. So reduce the risk of targeting the investment per SKU and location market. And the last feedback from breakout room three, companies can use forecast errors to negotiate trends like service level, discounts, service reliability, network design, basically use the errors as a means to doing sensitivity analysis and then optimize the total cost incurred. Very good. So that's from our students. Now a lot of the input is around inventory and that's okay, because that's what we do. We know safety stock. Everybody's learned safety stocks. So we learned that, but I wanna step back a little bit first, because whenever I talk about risk management, the key thing for me is understanding the uncertainty, what I call the risk profile. I gotta understand the risk profile that I'm dealing with, but I always use this quote from a philosopher is Sir Francis Bacon, English philosopher, lives in 1561 to 1626. So here's what he said. Of course, he's not politically correct, but in those days they were not politically correct. So he says, if a man will begin with certainties, he shall end in doubt. But if he is content to begin with doubts, he shall end in certainties. And what does he mean? What he means is that, and one of my students put it really well, don't think you know everything, because you don't. That's basically what one of my students said. But basically what he says is you gotta start off with the fact that you don't know, understand the uncertainty, like the risk profiles. And if you do that, you'll come up with the certain answer, the certain decisions to be making, the certain forecasts to be making, et cetera. But if you don't understand the uncertainties and think you know everything, and this is the point forecast, and this is a problem in industry. Many people, many industries only give a point forecast. And everybody has to run with that. And that was the reason why the second question was important. And one of the major reasons why I also wrote this article was the fact that everyone planning in the organization has to understand there's errors in this forecast. We have to tell them, we can't be ashamed of them, we have to tell them, right? So that's one thing. So now, so understanding the risk profile and the errors is the first step towards great risk management in all areas, all places in the company. What are some of the things you can think about, buffering? There is a book called Factory Physics. I learned about this a while back. It's actually a book called Factory Physics. It's a great book. You could look it up on Google or Amazon sells it. But what it talks about is one concept is buffering. How do we buffer in a supply chain or a factory, et cetera? You buffer on three items. You buffer basically on inventory, which we all know about that safety stock, but you also buffer on capacity. What does that mean? That means we buffer on, if we have a plant, maybe we run it for two shifts, but we always keep the possibility running a third shift. We have excess capacity that we have not planned for. And so that's a buffering concept, that's a concept of buffering manufacturing. The other one was buffering inventory. The other one is time. The longer time you give yourself, the better you're able to handle uncertainty. So the concept is, if you're gonna use a forecast to do something, do it as late as possible so you're closer to the forecast so a short-term forecast are more accurate than long-term forecast. So you wanna basically make a decision on something when you've got a decent forecast about it. And if you wait long enough and close enough to when it's actually gonna happen, your error will be better. So that's the buffering on time. So it's an interesting thing, it holds, and it holds in a lot of areas. So if you look at, that was a hedging strategy where we use our capacity, but we then have excess capacity if we need it, right? Delaying the terms, and then risk pooling is a thing that actually Yossi Sheffi's done a lot of writing about in terms of risk pooling to performance strategy is you hold your inventory at work and process in which case you can forecast that more accurate because it's an aggregate rather than a detailed SKU. So risk pooling is an important concept as well. And pretty much that's what I covered in the article on data, but the capacity has all these different ways. Time, capacity and inventory can be used in multiple functions in a company. Certainly even marketing and sales and various pieces of supply chain can all use concepts. Even production, inventory, size of distribution centers when I need overflows, these are all things you've got to take into account that mitigate risk. Because the real issue is you're trying to get upside revenue potential. When there's an upside for revenue possibility and supply chain, we can't say no, we don't have it, we gotta have it. So we have to have the capability of capturing upside risk. Because if we go with a point forecast, it turns out that if it's normally distributed the error, half the time will be too high and half the time will be too low. The ones that people really worry about is when you're too low, because then you lose revenue. But to set your inventory on the average as you're gonna be out of stock half the time. That's not right. That's why we put safety stock into it. Same thing with plants. You don't do your plant on the average, you do your plant on the fact that you need to capture some upside potential, okay? So that's pretty much what I wanted to talk about here. Really interesting, Larry. And the buffering idea is a great addition and it's gonna be very helpful for our learners in the day to day at work. So thank you, Larry, for being here today with us. We have some very interesting questions that were raised by our learners about other topics related to forecasting. But we have no time to address them now. I will talk to Larry about them and share his insights with you in the course, in the section of the Second Life event, okay? So we can have some interesting discussion there in the forum if Larry agrees. I agree, it was nice to talk to everyone today. Thank you. So it was fantastic to have Larry here. He has, he's a great expert in forecasting and I think he added a lot of value to our course. So thank you so much. And just a couple of reminders for our learners. We have, we are discussing current topics. This week's topic is about forecasting. So you will find this post by Chris Kaplis in the general channel in the forum. I will put the link in the life event section too, in the course. So this week we are discussing about Apple's problems with forecasting demand for iPhone X. And they're having a lot of problems there. They over forecasted by like 50%. So join the discussion and share your insights about this topic with us. And another reminder, and this is an important one. We are opening the midterm exam tomorrow at 1500 UTC. It will be open from tomorrow, February 7th until February 14th. So it will be open for one week. But remember, it is a timed exam. So once you begin to take the exam, you only have four hours to complete it. So good luck. And I hope you all pass. And so you will do a great job. So thank you again, Larry. It was fantastic to have you here. Nice to be here. Yeah. Bye.


Tonight, Wall Star Radio cast, headed by Norman Lloyd and Mark Humboldt, in fury and sound. A suspense play produced, edited and directed by William Spear. You helped murder Kingsley Roachler.  Your contribution to the crime was unintentional, but it was murder, nevertheless. Because you fed his ego until it destroyed him. You all remember the name, Kingsley Roachler. He was famous for his radio plays. They were on the air once a week for years.  During the last few months of his life, I was closer to Kingsley Roachler than any other man. I knew every twist of his warped intelligence, for I assisted him in producing his radio broadcasts. It was I who stood in the center of the radio studio and relayed Mr. Roachler's instructions to the actors, the musicians and sound technicians. Roachler would sit in the glass and closed control booth. His harsh voice, picked up by the rehearsal microphone and amplified to the proportion of our guards, would thunder at the cast in the studio, lashing them away. No, no, no, no, no, no! Let's take it again! I'm not up for page seven. This is the final time Roachler will explain what he wants. He asks the extras for tender ad-libs, not the circus moxamus. Roachler would also like to remind the sound effects man for the seventh time, he might add, that he wishes the rain effect to sneak in after the music bridge. Now crash in! And with the maestro, please explain to his musicians that canness of all means softly. Now, unless it interferes with anyone's more important plans, may Roachler proceed with his rehearsal. Ad-libs, please, then music, then rain, then, dear Diary! Goodbye! Send me a part from journey, my friend! Dear Diary, how can I tell you what my heart cannot say? It's raining now as though the heavens too are crying, and he's been gone again. How many years are there in a day of loneliness? Passes in many places and under many conditions, but he is forced to yield top honors to the radio artists of California. How can this girl perform these sensitive thoughts against your noise and indifference? How can these fragile dreams achieve by knights of creative sweat? Compete with your gum-chewing, chair-creaking, walking, talking, thick-skinned detachment. How can this magic move? I'm sorry, King, it was my fault. I tried to adjust the music stand and give the cues at the same time. The assistant producer, Mr. Fowler, honorably confesses. Roachler has employed him for three years. His principal function is to relay my signals to you. He watches Roachler carefully, and when Roachler moves his arm thus, he moves his similarly to you. In its highest sense, he is an extension of Roachler's arm. All right, we'll break for dinner now, and anybody, including Mr. Fowler, who feels that Roachler's work, which seems to interest a mere 14 million listeners, is too dull to warrant his or her entire attention, can be paid off now, thank you. That was the pattern of my life. For three years, I was Fowler the Stooge, a carbon copy of a self-styled genius. No one could have much respect for me, at least of all myself or my wife. How did my performance sound, Charlie? All right, I guess. You guess? Well, it seemed a little corny to me. It doesn't seem corny to King, but of course, he only gets 2,000 a week for running the show. Well, if Roachler thinks you're the greatest actress in the world, just stick to his judgment, and everything will be peaceful. In the five years I've been married to you, I've seen every facet in your fine art of being disagreeable. But I must say jealousy is a new wrinkle. Fine, let it go at that. Oh, no, no, I wouldn't think of depriving you of some fuel to feed it. Would it make you more jealous to know that I'm having dinner with Kingsley to discuss my performance? See you later, dear. Aren't you going out to eat, Charlie? No, thanks, Van. I've got to mark up these scripts. Why, you can't live without eating. Here, I'll split a sandwich with you. Thanks. I've sort of given up food since I've been working for Roachler. Boy, you got it tough.  Yeah. Hey, did you notice how I fixed him on the rain effect? Rain effect? How? Well, after he bawled me out for the fifth time about the effect being too loud, I just let one bridge go by, and I didn't even put the needle down on the record. He yelled it was still too loud. That sounds impossible. No, I watched a lot of these boy wonders. He's got the occupational affliction of radio genius. Newspaper men get the shakes, movie producers get ulcers, bank presidents have nervous breakdowns. The killer cycle, wonder boys, get open nerves in their eardrums. What do you mean? Hearing things that aren't there? Yeah, if you hang around this racket long enough. I read somewhere once that if our hearing sensitivity was increased just 10% we'd all go nuts. Yeah, look, take my clock chime, you know the effect. Yeah, so what? Now see what happens. What's the gimmick? This, have you ever seen one? Contact mic. Yeah?  Now, turn up the volume on the amplifier, will you, Charlie? This one? Yeah, a little more. Interesting, huh? Now, guys like Rochler live in a world of sound. It's their bread and butter. Mr.  His ears are as stuck in trade. The nerve ends in his eardrums get more and more sensitive. When his hearing becomes as acute as this contact mic, he can't stand it.  The contact mic, huh? Why do you get one of these things? I built this rig myself. See, that's the work. Yeah, pretty neat. I stood in the vacant studio, staring at that tiny black contact microphone in the palm of my hand.  Oh, good night, good night, my night across the latitudes and longitudes of space and time. Farewell across the hours and days, the mountain peaks and the plains between the darkness and the sun. You are with me here because love is. Heard another original by Rochler in the series, Rochler Presents. It was produced written and directed by Mr. Rochler, who also suggested the musical theme. Next week, Mr. Rochler acclaimed as the most imaginative dramatist in radio will. But let radio's foremost producer tell you about it. Kingsley Rochler. Rochler speaking. And next week, Rochler's fans will hear a vivid contrast to tonight's romantic theme. It's a drama fraught with social significance titled Farewell to Apes. It poses a subtle political problem. What would happen if an ape proclaimed himself dictator of a nation? Those who listen very attentively will recognize certain modern historical parallels. Until next week then, Rochler says, good night. And Rochler will be pleased if you return to hear another Rochler Presents. But with one of the most impressive shows of the series, in my opinion. Don't you think so, Charlie? You should know. It would have been a much more polished production if you hadn't botched up the music use. In three places, they were distinctly slavish. I told you a thousand times, Charlie, if you watch me. Save it. I'm through. Through what? I'm through being your whippin' post. You better find yourself a newer model. Charlie, I can't believe it. No, no, you didn't say it. No, I've erased it from my mind. Well, scribble it right back. I'm finished. Charlie, I bleed. I can understand when these adults, these actors, soundmen, fiddlers, mistake the tension of my sensitivity, these little moods brought on by the lashing of creative fire.  Sorry, I kept you two waiting. What's all this glaring about? Charlie wants to quit the show. Oh, he's just tired. Don't mind him. He'll forget it in the morning. Come on, King. Let's go get some coffee. And then suddenly I had decided. There was no longer any question, any hesitation. I had tested the mechanics of the thing and it worked. The rest lay entirely within me, my own courage and patience. And above all, the slowness with which I could do the work. Slowness was all important. Slowness. I didn't hear you come in. Didn't you?  I always say a husband's place is in the home. Having a good time? Kingsley was just reading me some of his script for next week. I was helping him edit it. She had some very decent ideas, Charlie. Well, I'm glad to know that. Good night. Good night. Good night. Parting is such sweet sorrow. Good night, King. Come on, Merle. Let's get to bed. We both need some sleep. Course you know, darling. It's impossible to sleep with you. You twist and turn like a gyroscope. I saw a doctor the night he gave me some sleeping powders. Can I give you some, a glass of hot water? All right. I filled two glasses with hot water. Into one of them I dissolved a heavy dosage of the sleeping powders. Not fatal, but enough to ensure a deep sleep. When I didn't turn the faucet clear off, I let it drip just a little. Drink up. Here's two. I was pleased to see that she drank the entire glass. Then we got ready for bed, and I snapped off the light. Can't you learn to turn off a faucet? The tap leaks, it won't turn off. Oh, well. From her breathing, I thought she'd fallen asleep, but I had to be sure. Merle. There was no answer. I got up and went into the bathroom, taking with me the contact microphone I'd borrowed from Van at the studio. Carefully, I fastened this sound microscope and the water tap and adjusted the amplifier so that the sound grew in volume, slowly, very, very slow. What's the matter, King? Did you hear that noise? What noise? Well, you must have heard that dripping sound. Maybe a leaky faucet in one of the bathrooms. But it sounded almost like explosions that sound filled the whole house. I didn't hear anything. Merle's still asleep. It didn't wake her. But I heard it as loud as if. There wasn't any noise. Don't tell me what I heard and what I didn't hear. I say there was a noise. Call your own shots, but I didn't hear anything. Maybe I was dreaming. Yes, yes, sir. That must be what I was dreaming. Good night, King. Good night. Good night. What's the matter? Come here, into my room. OK, I'm coming. I suppose you've got another brainstorm for the show. All right, let's have it. Charlie, it's the same thing I had trouble with a few nights ago. You heard the noise, of course. Are you hearing noises again? Don't tell me you slept through that. I don't know what you're talking about. I'm going back to bed. Don't leave. Routes let the man's picture remain here. He does? Please, Charlie. I don't mean to shout at you. I must be getting a little nervous, a little bit jumpy. Tell me, Charlie, didn't you hear a buzzing sound? Something like a mosquito? Only louder, enormously louder? You'd better switch your brand, King. You didn't hear it? Not a tinkle. Your death? No, she must have heard it. She's sleeping like a baby. But I heard it. I was standing here in this room. I'd awake it, vibrated the walls of the house. Get dressed and back the car, Charlie. I'm going to see a doctor. You think that's wise? The doctor ought to be able to do something. Sure, he'll do something. I wonder if you'll like what he does. What do you mean? I've wondered sometimes what would happen to a man if his hearing became too sensitive. If he heard too much, I don't suppose he'd ever be able to find rest or quiet. Eventually, he'd blow his top. I do have very sensitive hearing. I must have to achieve perfect sound balance on the broadcast. Sure. You're even hearing things that aren't there. I wonder how long you'd have a sponsor if the lads who pay you a salary knew the shape you're in. I'm in perfect shape. I've been working too hard. That's all I just need a little rest. I'll get the car and drive you out to the hospital. No! No. I think I'll be all right now. Go on back to bed, Charlie. Whatever you say, you're the doctor. The next night, I did a little production with traffic sounds for the benefit of the great Roachler. I sat in my room, turning the volume knob slowly, ever so slowly. Charlie! What is it, King? Would you come into my room a second? I'd like to talk to you. OK. What's on your mind? I, uh, I've got a terrific idea for next week's show, Charlie. See if it tweaks you. Shoot. There's this girl, French. She's escaped from the Nazis. And Charlie, how far are we from a main thoroughfare? Sunset Boulevard? That's about five miles down the hill, I guess. We couldn't hear traffic from that distance, could we? I couldn't. Yeah. Well, well, this girl's a painter, and she falls in love with you. You know, Charlie, I get these ideas in the middle of the night like this. I like to talk them out before I forget them. Why? Why don't you bunk in here with me for a while? Well, it seems sort of silly. Stay with me, please, Charlie. It's terribly important. Roach's La Nijo. I need you. I knew then that the breaking point was near. As I watched him at rehearsals, I could see the psychosis gradually engulfing him. No, no, no, no, no! I've told you at least 11 times, Mr. Glaskin, to mute the brass and everybody quiet. Roach's La Nijo's unquiet, complete quiet. Will you please stop your insufferable scuffling and scraping and babbling, and you'll call upon to make the required sound? Maybe he'd like to have us quit breathing. The actor who made that statement is discharged from the cast without pay. Roach's La will not tolerate insubordination. King, you can't let Lewis go. You have to have him for the operating room scene. Your mind shows it won't size directly. No one, the artist or performer, is indispensable. We can replace any one, and any one. What's the matter, sir? Mr. Planned, take him home. Out to my house. Now, don't worry about the show, King. I'll take over. I've got to hand it to you, Charlie. You didn't louse up the broadcast as much as I thought you would. Thanks. How is he? Resting in his room. Oh, it's been a rough day. How about a sleeping powder just to make sure we get our rest? The usual? No, I don't think so. I've been waking up a little bit foggy. You will take the usual sleeping powder tonight. It's very important to me. Charlie, I don't understand you when you act this way. You will drink the usual sleeping powder. I forced her to take the sleeping powder. I had to make sure she was thoroughly drugged. For tonight, Merle was to be part of the plan. When she was deep in sleep, I carefully slipped the contact microphone underneath her body so that the metal lay within a few inches of her heart. Please, make it stop. I'm here, King. I'm right beside you. Make what stop? That's Robin. You hear it. It's your heart beats and grieving. You must hear it. Your imagination's working overtime. I can stand it. Charlie, make it stop, Charlie. What can I do? I've got to get away from it. I've got to have quiet peace. I can't stand it any longer. Make it stop, Charlie. I watched him stagger out of the bedroom. Down the stairs to his study. I heard a drawer pulled open. Roachley. From here on, Fowler produces. Nothing, darling. I can hear noise in the room. Like drum beats. I'll turn it off, dear, so you won't hear it any longer. I stepped to the amplifier to shut off the heartbeats from the contact microphone. I flipped the switch, but the sound continued. It kept on going. I turned the switch again and again. Still, I heard the heartbeats louder than before. Thank you, dear. That's better. What do you mean, that's better? It's still going on. I beat the sides of the amplifier. Still, the heartbeats continued. I tore the wires from the connections. I smashed the contact microphone. With a bookend, I've got a amplifier box. Still, the heartbeats went on. Merle's heartbeats. Charlie, Charlie, what's wrong with you? You know what's wrong. You can hear it. I can't hear anything. You're lying. Oh, Charlie, wait a minute. You're acting crazy. I'm not crazy. I know what's going on. You have another contact microphone hidden somewhere. You're trying to work the same thing on me. Charlie. All the time, you were pretending to be asleep. You planned all this, didn't you? I know. Well, I am not a roadster.  Charlie, wait a minute. Now there isn't any noise. Charlie, stay away from me. Stay away! No, no, no! Of course, the so-called forces of justice never overtook me. Fowler was too clever for them. I now enjoy a position in the radio profession very much like that of Mr. Roachler before his death. Would you care to come into my control room with me while I rehearse my orchestra and my actors? Already cast? Fowler will now begin his rehearsal. Fowler insists on absolute attention to his directions.  Fowler cannot tolerate this indifference to the very verge of the moment. Mr. Fowler, if you don't stop this shouting, the doctor will lock you up in that little room again. You know that all this noise is very disturbing to the other patients. This is William Spear. Spear wants you to know that he hopes you have enjoyed tonight's little expose of backstage radio. I want to thank all our cast, Norman Lloyd, Mark Humboldt, Mr. Lorraine Tuttle, Clifton Cromwell, and thanks as always to Lud Glaskin, our conductor, Lucian Morrowick for his score, Burns Sorry for Sound Effects, and Ted Denton, our engineer. I should like you to know, of course, that tonight's story was all in the spirit of fun and was completely fictional. There are no such characters among us producers as Kingsley Roachler and any resemblance to actual persons, et cetera, et cetera. So Spear says good night. Oh, and you? Me? Yes, sir. The suspense is produced, edited, and directed by William Spear. I want a great deal more importance there. Those are the most vital words in the show. Yes, Mr. Spear. Next Thursday, same time, Joan Loring will be your star of... Suspense. Radio's Outstanding Theater of Thrill. This is the Armed Forces Radio Service.


The three unspoken rules of sharing your location with friends. Your friend trusted you with their private information, whether it was to feel safe on a first day or during a road trip. So don't shame them when you see that they're somewhere juicy. Even if your friends are cool with trading their location for a free tote bag, that doesn't mean they want their day-to-day moves tracked. If you haven't talked in forever but you still have each other's location, make the first move and remove yours. Chances are they've been waiting to do the same but didn't want to make things awkward.


If you watch Common Ground online, consider becoming a member or making a donation at lptv.org. Lakeland PBS presents Common Ground, brought to you by the Minnesota Arts and Cultural Heritage Fund and the citizens of Minnesota. Production funding of Common Ground is made possible in part by First National Bank Bemidji, continuing their second century of service to the community, a partnership for generations. Member, FDIC. Welcome to Common Ground. I'm your host, Scott Knudson. In this episode, go behind the scenes with those who design Bemidji State University's TAD Talks. My name is Satchel Josephson. I'm a professor in the School of Technology, Art and Design. We're here at the beautiful Bemidji State campus and I'm here to talk about the TAD Talk event that is in the spring of every year put on by the School of Technology, Art and Design and it's just an incredible event. And I'm involved in TAD Talks because about five years ago, the students were trying to have a TEDx event on campus and for whatever reason it fell through and I was involved in the stage design at that time and I said, you know what? I think we should still move forward on it and not do a TEDx event but do something called TAD Talks where the School of Technology, Art and Design and we have an incredible network of people that we know and why don't we just tap into that network and try to find people that would embrace the spirit of the School of Technology, Art and Design. I'm Ben Wenkelman, a senior student at Bemidji State University. My task was a project manager of the 2017 annual TAD Talks for the School of Technology, Art and Design. TAD Talks is modeled around TED Talks which TED Talks, they invite an industry leader to come talk about, explain just about anything. I mean, TAD Talks is modeled around that which they then invite nine to 12 industry leaders who are modeled around engineering technology on design and art. My name is Angela Guerrari. I'm a student in the School of Technology, Art and Design here at Bemidji State University and I was one of the lead student organizers for TED Talks. So what I did was work with my professor and we worked with a committee and I would help find speakers. I would communicate with the speakers and get their PowerPoints to us, what we were gonna present on the screen and we would work on budgets and basically just planning the entire event. Hi, my name is Shane Fierstead. I'm a quality systems engineer for Polaris Industries. I work in Roseau, Minnesota and I was privileged to be a part of the 2017 TED Talks at Bemidji State University. Well, through the years I've become acquainted with David Towley, he's an instructor there at BSU in the Technology, Art and Design Department and I became acquainted with him through my MBA program where he was a classmate with me and then I also got to work with him at BSU and so he became aware that I had some knowledge of social media and he suggested a topic of social media because he knew that some of the students are kind of lost when it comes to social media. They may do things that are inappropriate or not know how to leverage social media to advance their career. They might actually be doing things that harm their career advancement. The TED Talk event is a very unique event in that it's not run by faculty. It is a student run event and we as faculty help kind of facilitate the students. The School of Technology, Art and Design is made up of programs in engineering, project management, model making, exhibit design, graphic design and studio arts and what we really try to do with TED Talk event is take students from all those different disciplines, put them in a room and say, we're gonna make a really awesome event and you guys are gonna do it. We do a stage design and we ask the engineering students is this gonna stand? Is this design gonna stand? We have the project management students managing the entire event, making sure we're meeting deadlines, making sure we're on budget and making sure that it's a quality event that the industry, the university and the community has come to expect. I became involved with TED Talks because of my professor and the project management course I was in. He had asked me and another student to be the project managers of the TED Talks event. So we worked with a variety of different professors. I worked with Satchel Josephson and Steve Sundell. Those were some of my professors on the design side but as well as David Towley, Tim Brockman and Lyle Milbrook, those are professors on the technology side and it was really cool for me to work with them because they have a different insight and they see things differently than the way Satchel and Steve see things. So David would look at me and say, okay, well, how are you gonna work the budget into that? We don't have that much money, so what are you gonna do? Whereas Satchel and Steve would say to me, okay, how are you going to give the audience a good experience? How are you going to make this experiential for them and how are you gonna use the design to do that? Dave was my professor through the project management course kind of treated each other like a working colleague through the event, which is a different experience which is great to have such a good mentor throughout this event. So the TED Talk event is made up of a committee of faculty from within the School of Technology, Art, and Design. For example, Dave Towley, he oversees a lot of the project management students that work within the project and he is an incredible person and fun to work with. He works well with a lot of the other students which is a lot of fun and it allows the other students to interface a lot with departments and faculty that they aren't used to dealing with because they wouldn't take a lot of those classes. Another faculty member that is integral to the event is Tim Brockman, Lyle Milbrook, Bonnie Higgins, Drew Graham, Mahmood Aladay, and a lot of other faculty that I haven't listed. We have new faculty that I'm really excited about helping this year, Mitch Blessing, and it just really takes the entire team within the School of Technology, Art, and Design to make this event happen. As one of the lead faculty members of the TED Talk event, one of the things that I do is I get together with all the other faculty and we build a team of students that are excited about the event. It's an event that has kind of grown into something really special and it's something that students look forward to and it's something that the community looks forward to and industry looks forward to. So on the committee, there was a bunch of different students and one thing that was very nice was being able to delegate tasks. I didn't have to do everything and neither did they. We worked well together. We figured out what each other's strengths were and then let them run with that. Angela, Abby, and a lot of the other design student volunteers helped set up the stage along with Drew, Tim Brockman, Dave Tauley, a lot of different people throughout Bridgeman helping. It was fun, it was stressful, it was exciting, but there were definitely times that was running around very stressed. We really did well at working together, I think, and that was awesome. The committee was great and all my fellow students and all the professors and along with the community as well, everyone really worked together to make this event what it was. So one of the really great experiences that the TED Talk event gives the students is that the event is going to happen. The show must go on and students need to learn what it's like. When things don't go well, they have to work through it and it's still gonna happen and that doesn't always work with assignments. Sometimes if it doesn't work, they'll ask for more time. But with this event, we don't have that option. It's going to start at 5 p.m. and it's a really great opportunity and we'll translate when our design students or other students will get a job because they learn how to meet deadlines and that's something that the students can use in an interview when they are interviewing for a job but it's also something that they will be able to employ once they're in the job because they will have that real life experience of actually knowing what it's like to meet a deadline that is absolutely gonna happen. So one of the things we had to do to build the set for TED Talks event was create trees, which we used foam core. That's like a thick tag board type stuff which then we cut out into tree shapes and created a 3D tree. And then we had to paint them which we definitely underestimated the time that we were thinking about two to three hours and then we ended up about nine hours into it two separate days. We used an air powered brush to make it go a little quicker which thankfully we had otherwise we'd be still painting trees I think. The experience for me that was really different was I was literally downstairs in the shop painting the trees that were gonna be on the stage. We were setting them up, seeing how they looked next to each other. You know, okay, what colors do we want them to be and actually coming into the auditorium and seeing, okay, how do we want this to look? Where do we want them to sit? What lights should we use? So actually getting to see it full circle was really cool. As a cool project manager, I was expecting to split up a lot of the work and I think the other project manager that was working with me, we definitely shared a lot of the responsibilities which is great. What I didn't expect, I guess was the amount of work that went into it. We started in probably early January and we didn't finish working until April 27th, the day of the event. We definitely had to trust each other and have faith in each other and I think that we did. We learned that we could do the tasks that we were given and so could the other students. So during the Tad Talks, I would say the biggest influencer people that helped were the design students. In Bridgeman, our the School of Technology Art and Design Department a little bit segregated with the engineering construction side, with the art and design side and working with them and seeing what they were capable of doing was incredible. I got a lot of respect for the work that they can and did do and as well as the professors seeing kind of outside of the classroom working with them and seeing kind of what they have to offer and teach you. So what we're really trying to do with the Tad Talk event is give students real world opportunities. What it's like for an engineering student to take a design that one of the design students is doing and try to translate it to reality is something that they're gonna have to do in the real world and on the flip side of that our design students actually get to see how their 3D renderings come to life and so they learn more about buildability, materials and just the aesthetics of what it's like to design under a budget. To have a set as good as we did for Tad Talks, it really, I think in my opinion the biggest thing is for the speakers. I know you don't wanna invite a speaker that's an industry leader to come sit on a bare stage with a black cloth background. It really makes it pop and for the audience it makes it feel like a whole better experience. Something that they would pay lots of money to come which is offered to them for free. It's very professional, well lit with the displays and cues for the speaker. There's a green room in the back where you can sit and get prepared and have a drink of water before you go on stage and mingle with the other speakers. And so we really just try to pool everybody together. We have brainstorming sessions about who would be a great speaker. So one of the things that we like to do with the Tad Talk event is make sure that we have representation from the different academic areas. We wanna have somebody from engineering, we wanna have people from project management, people from design and people from art. What Shane Fierstead did is he has great experience as a project manager. He's working in industry right now for Polaris and he really understands social media and so we approached him and said, Shane, we know that you're really good at this. What do you think about doing a Tad Talk? And he graciously accepted our invitation. The primary audience for Tad Talks are the students of Amity State University. It's open to the public, yes, but everything is done with an angle toward the students. And with them being young people just starting out in their careers, it's so important for them to make sure that they have the correct online image that their social media profiles are clean when viewed from a public standpoint. And it's so easy to make mistakes that can hurt you. I mean, once it's out there, it can be hard to get it removed from the internet. They need to make sure that they're not hindering their career but also on the other side of things, making sure that they're leveraging social media to make those connections and to enhance their career opportunities. Let's take a little bit of a history lesson in social media. Modern social media generally is considered to have started with Friendster back in 2002. Well, yeah, walking out in that setting with all those props and things that had been built by the Technology, Art and Design group, it was amazing. And well, I treated my presentation sort of like a project and I managed it that way. That's kind of how I think. The first thing I did was solidify the topic and then I kind of created an outline to go through all the main points. Then I gave myself plenty of time to make sure I did the research, find out what the best practices are when it comes to social media. I had my own opinions, I had my own experiences in life but I also wanted to make sure that was balanced with best practices recommended by employers and human resources departments. So I did the research, put together my presentation and then I made sure that happened well in advance so I could have some time to practice it several times with family and refine it, make sure that I wasn't nervous at all. It's so important, your online history is so searchable, whether it's social media or any other kind of you know, hit on the internet. If someone searches your name, they'll find things about you. So those things can be positive or they can be negative and it's so important to have a clean social media image because nowadays employers, human resources departments when you apply or when you interview, they will check that out. So you know, you could actually perhaps hinder your chances of getting the job or you could actually make sure that you got a professional photo that your privacy settings are appropriate for those things that you don't want just anybody to take a look at. And it's so important too to leverage professional opportunities like LinkedIn for example, it's probably the most common professional social media these days. I recommend that people have a presence on LinkedIn, make sure they have a nice professional photo, a nice profile that's very detailed and complete and then get people to recommend them, get people to endorse their accomplishments and their abilities. Well the networking opportunities of social media are obvious. For example, if you're looking to get into a certain industry or a certain company, you can reach out and become connected with people there and ask them to introduce you to people that can get you where you want to be. I didn't have any notes with me. I was relying on my slides and unfortunately those were sort of way off to the side so I had to turn sometimes to look at those. One recommendation I did make following the presentation was to have the slides for the speaker sort of in line with the audience so that I wouldn't have to remove my attention from the audience. If you're gonna be a speaker at TED Talks, make sure you give yourself plenty of time to do your presentation, your preparation, your research and make sure you have time to go through it and deliver it to a friend or family and then it'll help to put those butterflies at ease when it comes time to actually deliver your presentation. So we always try to do something a little different every year with the TED Talk experience and this year we had a great group of people. I really wanted the keynote speaker to represent the technology side. I also really wanted to incorporate the Native American population. I worked with the American Indian Resource Center and they suggested that we use David Northbird and his son and so we invited them and they graciously accepted our invitation. He's fortunate enough to have raised him in this culture and he's stepping up to the plate in a lot of ways. When they came in, we don't really know what to expect all the time from our presenters and they came in and did such a cool performance. It's something that people will continue to talk about for years. Hey! Hey! Hey! Hey! Of an incredible MC year after year in Randy Aker, he's the CEO of Exhibitor Media Group and without him it would be so hard. He absolutely does such a good job, brings a ton of energy to the event and he also helps with the planning of the event. I'm warning also an advisory board of industry professionals that help the school of technology, art and design always improve their program. So the TED Talks taught me a lot of good valuable lessons. It taught me how to deal with people, to talk with people, which once you go into industry is a huge skill to have to be able to effectively communicate with people. And then just the skills in general as being a project manager, doing the Microsoft project, the budget, the scope project charter, different things like that actually are usable once you graduate and you come into the real world. I think what I learned as a student was the real world experience. I actually, it wasn't just a project that I wrote a paper on or I designed and it was hypothetical. This was really happening. It didn't matter if something went wrong, we had to keep going. So I basically learned how to roll the punches and see, okay, if this goes wrong, how can we fix it and how can we make it better and continue moving forward? Well, it's very exciting. It's such a great thing for the community, for Northern Minnesota to be able to have something like that. And I was honored to be a part of it. So my advice for students attending the event and anyone else really, come with a notebook and come with an open mind. Because I think even if it's, so I'm a design student, I'm an exhibit design student and even if it's a technology speaker, I can still look at how they solved their problems and apply that to what I'm doing. So I think that no matter the field you're in or no matter what your expertise is, you can really learn from each individual speaker. So one of the ways this could potentially benefit an engineering student is they learn a lot about materials in the classroom. They learn about buildability but this is an opportunity for them to take a design and turn it into a reality and use it in a resume and potentially get a job. But when they're actually doing the job, it will give them something to reflect on and say, you know, I did this really cool experience when I was in college and so I have some experience with stage design and how things are built and how things can stand up. I think learning hands-on definitely reinforces another aspect that you don't get just sitting inside the classroom. You get to work with people, which is a big part. Once you graduate and go into industry, you have to be able to have a conversation with someone and deal with problems and having that experience hands-on definitely helps. TED Talks is definitely something that I'll take with me going into my career. I eventually want to be an event designer and so this was a very cool experience because I got to actually practice what I'm gonna do for the rest of my life and I think some of those things were hard deadlines. You couldn't ask the professor for more time if you weren't done with your project. If it wasn't done, we have to keep going. I also think that just understanding the aesthetics of an event, how it's set up, how it's run, time, all the different components are something that I took into my internship and I applied those to the projects I was working on there. So I graduate tomorrow, which is exciting. I am graduating with an engineering technology degree. I actually accepted a job here in Bemidji at Nortech. I'll be a quality engineer, pretty excited about that. So as a student, I would like to let everyone know that the work put behind the TED Talks event was extraordinary from many different people and that work that was put in is definitely transferable into once you graduate. A lot of the things that we did as a team will be utilized individually once all the students move on to become working citizens. One of the things that we really wanted to do with the TED Talk event was increase access. This is an event that costs no money for those that want to attend. And so you basically just need to look in the paper, we try to advertise it on the radio and we just want you to come be yourself and enjoy a great evening. Bemidji's the coolest place on the planet. I think one thing I would definitely like to say is we are so indebted to everyone who participates in this event, from speakers to MC to students to local businesses. Everybody is giving back simply because they believe in education and believe in Bemidji's state and we love that and we love to see that and I just hope to see that continue. Thank you so much for watching. Join us again on Common Ground. If you have an idea for Common Ground in North Central Minnesota, email us at legacy at lptv.org or call<PHONE_NUMBER>. To watch Common Ground online, visit lptv.org and click Local Shows. Order episodes or segments of Common Ground, call<PHONE_NUMBER>. Production funding of Common Ground was made possible in part by First National Bank Bemidji, continuing their second century of service to the community, a partnership for generations, a member, FDIC. Common Ground is brought to you by the Minnesota Arts and Cultural Heritage Fund with money by the vote of the people November 4th, 2008. If you watch Common Ground online, consider becoming a member or making a donation at lptv.org.