rvation an outlier? This is a very subjective topic and this is very subjective to what is causing the outlier. So for every outlier in your data you need to investigate can I find where this outlier was produced, right? Is it a comma error? Is it an experimental error? Or is it just that I have a very heavy tail distribution? So a lot of people are more or less a normal distribution but some of them are very different from the other ones. And generally variability in measurements are not considered outliers. They are considered real measurement values, right? If you happen to find a mouse which happens to be 70 centimeters then it is a mouse which is much, much bigger than the rest. So it could be an outlier but it might not be because if you go back to the mouse house you can look at the mouse and if it's really 70 centimeters like this size of a rat then it could be that it's not a real outlier, right? Because it's really that big. But if you have a real outlier which is caused by experimental error or recording error then generally you want to get rid of this value. And there's two major ways of doing that. One of them is trimming. Trimming means taking these outliers so these extreme values and considering them as missing so just replacing the value with an NA. And then there's Windsorizing. And Windsorizing is one of my favorite terms in statistics because it just means I measure the mouse which was 70 centimeters. And that's impossible because mice generally are between 10 to like 40 centimeters or something. Well, not 10 to 40, like more like five to 17, I would say. They're not that big, right? They're mice that are like this. But Windsorizing means that you take your numbers and you just say, well, this mouse 70 centimeters I don't believe it. I'm just going to write down seven because I believe it's a comma error. And this is a perfectly acceptable thing in science. So in science, you can do like 100 measurements and then you can look at your measurements and say, I don't like this measurement. I'm going to change it to whatever I want because there's no real rules on how you should Windsorize your data. So this was invented by Charles P. Windsor who lived at the beginning of the 19th century. No, 20th century, beginning of the 20th century. And he came up with this idea that in science, sometimes there's values which you don't like. So you're just going to change them to whatever you want. And that's perfectly fine as long as you write it down, right? As long as you mentioned that I changed this value that I measured to this value because I like it better and it fits my hypothesis better, then that's a perfectly valid statistical thing to do. It's just questionable in a way, but it is perfectly valid as long as you write it down and as long as you mention it in your publication, saying that I Windsorize the values to get rid of outliers. Good, so when we talk about normal distributions, we always want to talk about the shape of normal distributions. I hope this is visible because it's an image which I had to invert the color from. So skewness is the measurement of asymmetry of a distribution. So we can have a long tail or we can have a fat tail and it can also be undefined. So if we want to analyze this skew of a distribution, right? So we can have a negative skew or we can have a positive skew. So it looks fine. Okay, good, good that people can see it. I think it's a little bit blurry. I don't know what happened with the image. But hey, in R you can just load the site library and then this type skew of your numbers. So X here is a single factor of measurements. And then it will tell you if there's negative skew or if there's positive skew. So and that means that in positive skew it means that there are more values above the standard deviations than you have. And negative skew means that there's more numbers on the negative side of the normal distribution. So kurtosis is another thing that can happen to normal distributions. Kurtosis means that there is a peekiness in your data. So that means that instead of the perfectly normal distribution that you see, your data is still normal but it is the standard deviation is not big enough, right? So it's very peeky, right? So and that's called positive kurtosis. So positive kurtosis means that there are more individuals more or less close to the mean than you would expect based on a number of values that you have. So negative kurtosis means that it's the opposite, right? So that individuals are not as closely surrounding the mean as that you would expect it based on a normal distribution, right? Because the shape of the normal distribution is more or less fixed. So we call this mesokurtic. So a Gaussian normal distribution is a mesokurtic distribution because there is zero access kurtosis because it's the normal distribution. Then you have leptokurtic, which means that there's positive kurtosis leptokurtic, which means that there's positive kurtosis and then we have platykurtic distributions which are the negative kurtosis distributions. Again, in the psych library, you have a kurtosi and this will give you a number. Positive numbers means that the distribution is more or less pulled up and negative kurtosis means that it's pushed down, right? So why would you wanna calculate like kurtosis or skew numbers? And this is because many statistical models assume a normal distribution. So they assume that your data is either Gaussian distributed or that the error term after fitting some factors is following a normal distribution. So because of this, because if we have this assumption of normality and this normality assumption holds, we have more statistical power because we don't have to switch to nonparametric statistics. So if you wanna test in R, if something is normally distributed, you can use the Shapiro test. So the Shapiro-Wilk test of normality and this is built into R. So you don't have to load a library, it's in the standard R and it's called Shapiro-Dot test. This only works for around measurements when you have up until 5,000 measurements, I think. So above 5,000 measurements, the Shapiro test doesn't work and you have to switch to D'Agostino's K-square test and that is based on sample skewness and sample kurtosis. So if you have a distribution which is kind of normal but kind of skewed, then you can use this D'Agostino K-square test and this is provided by several external packages. I think the Psyche package also provides the K-square test. So one thing to note about the Shapiro test and I showed you a little example here is you can test the normality of your data, right? So if I draw 100 uniformly distributed numbers and I do a Shapiro test on them, then it will be a significant P value. If I draw 100 numbers from a normal distribution and I do my test, then the value is not significant. So it's the opposite of what you would expect. So significant means, so if you get a significant Shapiro-Wilk test, it means that your data is not a Gaussian or a normal distribution. So this is because the H0, the null hypothesis is that it is a normal distribution while the alternative is that it is not a normal distribution. So that's why the P value needs to be interpreted but interpret the P value correctly because if you get a non-significant P value, it means that it's normal. If you get a significant P value, it means that it's not normal. Good, so plots. We're going to talk much more about plots in the next lecture but I did want to show you guys some things about plots which I think are useful because plots are very useful for visually exploring data. So you can look at the distribution, you can look at outliers and you can look like other data weirdness what might be going on. So in R, there are four, five major plot functions. So you have the plot function. So the plot function actually does two things. It creates a window and then it calls points on the vector that you provide and points is nothing more than a function which creates a dot slash line plot of the data in X. So I can only call plot once but after I've called plots, I can call multiple times points and that will just add to the window. But when I call plot, it clears the window and then the numbers that you give it will be plotted. But if I want to add then more to it, I can use the points function. You have the access function to determine what is written down on the X, the Y, the Z and the W axis because in R you can have more than, so you don't, you can have an X, a Y but you can also have the opposite axis. I would never do that because it makes plots very hard to interpret but the axis can be specified. So the side one is the X axis, two is the Y axis, three is the Z axis and four is the W axis and four is the Y axis. So you can add a plot that's on the top of the plot. You have to provide add, so at which values do you want to have an axis tick? So where do you wanna have your ticks? And then the labels are the things that are written under each tick. When we talk about plots, we also have to talk about legends so you can use the legend function to put a legend or add a legend to your plot. Furthermore, we have the image function but it is for two-dimensional plots so it kind of creates a heat map like plot, a 2D plot of the data and here you can use breaks to set the color boundaries. So you can say everything from zero to one, make white, everything from one to 12, you color purple and from 12 to 16, you make it black. The breaks are open-ended on one side so on the positive side, so that means that if you say, so the last break is everything higher than that break as well, right? So you have to always specify one more break than you have colors. So because you need to go through the whole distribution. So some example, so a box plot that we see here is a box and whiskers plot so you see the notches here and the notches are really useful. When I make box plots, I always put in notches and notches are based on the more or less computation of the standard error or based on the standard deviation and it is a very nice visual way of seeing if there is a significant difference between two groups because if the notches, so the notch here is this thing and it runs all the way to here, so the notch starts here and then ends here so this is the median and this is the upper bound, lower bound and if these two things overlap like here, this notch overlaps here because it's inside of the notch of this, there's this little notch here. So if they overlap, there is no real evidence that things are different but if the notches do not overlap like here then you expect or then you almost know for certain that the two medians are not the same so that there is a significant difference between these two groups. So it's a very quick way to kind of get an idea if there are any significant differences in your data by just setting the notch parameter to true, so you just call the box plot function notch equals true, it will add the notches and you can visually see if there's a significant difference between one group or the other. We also have the far with parameter, if you set the far with parameter to true then the horizontal size of the boxes will be based on the number of measurements in there. So the fatter a box, the more measurements there are, well if it's a very skinny box then there's only very few measurements in there. So it also gives you an idea of how much data is in each of the groups. So if you wanna show this a little bit better you can use violin plots. So I love violin plots myself, publications also love it. So it's the same as a box lot but it shows you the distribution much better, right? Because a box plot is very useful to show when your data is a normal distribution. But if your data is not normal like here, like we have a bimodal distribution with more or less two normals or three normal distributions woven into one, then it's much better to show this violin plot, right? Now we can see that although the average is zero, the mode of this is minus five. And here we can see that for group number one, the average is also around zero, slightly higher. But we can see that the mode here is around positive five or negative five. I don't know which one of the two is exactly bigger than the other one. But you can see that it shows the shape of the distribution. So the wider the area, the more measurements were in this area, right? So there were a lot of measurements that contain five and there's only very few measurements that contain like the value of 11. So here is how you can do it. Violent plots are not standard to R. So you need this violin plot package. So you of course need to install it first and then you can load it using the library. And as an example, I generate some normal distribution. So three normal distributions in one vector. And then I generate a vector zero, one. And then I just say make the plot. So take my values in X and then make two groups and the groups are located in Y. And the first one gets to be orange. The second one gets to be purple. If you wanna get more or get a better idea of your distribution, then you can use the histogram. So I think everyone knows what a histogram is. So it shows you the amount of measurements or the density of the measurements within different breaks. So you can represent either densities or frequencies. The breaks you can set yourself. So you can say I want to have a break or I want to the first box or the first bar should be from zero to five. The second bar should be from five to seven and a half. And then the next one should be from seven and a half to 10, right? You can set how wide or the width of each of these individual bars in the histogram. It has a plot parameter because sometimes you don't want to plot the histogram because the histogram returns all of the data from the histogram. So sometimes you don't want a plot to be created. You just want to use the histogram function to compute things like the normals or the mode, the median, the quantiles and the amount of samples in each of the different groups. If you wanna add one of these curves then you can use the curve function. So the stuff that the histogram returns can be used as an input to the curve function to draw a nice curve across your histogram to show that this is the data distribution. So images and heat maps are functions in R. So image creates a grid of colored rectangles and the heat map is the same as an image but the heat map also provides automatic clustering and you can add colors to the sides of the plot. So if you have different groups then generally you would want to use a heat map and not an image, although the image is much more flexible in what you can do with it. So if you wanna make plots then in R there's a lot of things which you need to configure and you can use the par function for that. So the par function allows you to set or query graphical parameters. So here, for example, I say use the font lab, is two, the font axis is two, the magnification of the axis is 1.5, the magnifications of the labels are 1.5. So you can set all of these plotting options using the par function. So you can set, for example, magnification, the font family, you can set the margins, you can set the amount of rows, the amount of columns that you want in your plot, the size of each dot, if you wanna plot the x-axis or the y-axis or if you don't wanna plot them. So everything about plots in base R is configurable and you configure it using the par function before you start plotting. So how do you know plot in R, right? How do you make an image which you can use for publication? Well, you start off by creating an output device. So for example, I'm saying that I want to have a PNG image. So I use the PNG function, I give it a file name, I give it a width and I give it a height. Then I set up the parameters. Like for example, I want to use the font label two, right? So that means that the font family is going to be two and I've want font axis to be also twice the size. I create an empty plot. So in this case, I make a plot which is from zero to 100 on the x-axis and zero to a thousand on the y-axis and I say type equals none because I don't want to add any numbers to it yet. And then I just use the points function. So a lot of people here run into or a lot of people in R run into issues because they always use the plot function but the plot function is bad because it does two things. It makes a window and adds stuff to the window. And generally you want to start off with an empty plot. So creating an empty plot, specify the x-range, specify the y-range and then just say type equals none. That will make an empty window for you. It will add the axis to it but it won't plot anything yet. And then of course you can go and use the standard functions to add points or lines or arrows. So call the points function yourself. Once you're done with your plot, you just say def.off. And at this point, it will save the plot that you created into the PNG that you designed as the output. So plotting is a kind of five step strategy. Open up an output device, set the parameters. So what font type do I want to use which other things do I want to set like families or should it be bold or italic or these kinds of things. Then make an empty plot window and then add stuff to the plot yourself, points, lines, arrows, and then use def.off to save the plot to the hard drive. Because all of this is in memory until you call the def.off function. If you want to have multiple plots you can use the par function to specify the number of rows and the number of columns. So here I say MF rows, so give me two rows, two columns. So that's have four plots, two rows, two columns. And then when I call the plot function, I can then call the plot function four times. Each time it will add a plot to the plot window. And it will fill them. So if I say MF row, plot number one will be here. Plot number two will be there. If I say MF call, then plot number one will be here. Plot number two will be here. So that just determines if you want to do it row-wise or column-wise. If you want to make more complex plots, so you want to make for example a panel plot, then you can use the layout function. So you can use the layout function to make, for example, something which looks like this. So you give it a matrix and you specify one, one, zero, two. So and then two by two, right? So this is a matrix which has a one, a one, a zero and a two in the matrix. And then if you show the layout, then it looks like this. So the first plot will go on the top and use the whole top area. The second plot will go here and this one cannot be used because it's set to zero. So you can't plot in this area now. Of course, we could have put a three here, right? And then the first plot would have gone here. The second plot would have gone here and the third plot would have gone here. So you just have to play around a little bit with the layout function, but it's really useful if you wanna make like multi-panel plots where you, for example, have the mapping, the histogram, and then some other like box plot or something that shows the data distribution. So just as an example, or so just during the assignments, there will be a lot of coding effort when you start or when you want to do it with for loops or when you want to do it with while loops. So in the assignments, you should, in this case, in these round of assignments, you should try to use the apply function because that will save you a whole bunch of typing. You don't wanna type like a massive amount of for loops. For example, if you wanna calculate the column means, right, you can say apply to a matrix that I have loaded in to two means to the columns, the function mean, right? So the apply function is defined like this, like apply to a matrix, margin, one is rows, two is columns, one, two is rows and columns, but we always use one or we use two. And then we have fun, which is the function that we want to apply to the rows or to the columns. And this will save you a lot of time during the assignment. So I just want to remind you guys that don't, well, you can always do the assignments using a for loop or using a while loop, but it will be much shorter code-wise if you try to use the apply function. So if you fail to use the apply function, feel free to use a for loop or a while loop, but remember that it's not the optimal solution in many of the assignments for today. So of course we can use apply and subset together. Again, this is for the assignments. So if you do the assignments, if you want to get means for a certain number of columns, use the subset function, right? So you have my matrix, from my matrix, I want to select column one and column two. And then to this subset, you can directly apply to the columns the function mean, right? And we can also use this to filter. So the subset function we discussed in the previous lecture, I think. So from this subset, and so subset from this matrix, everything where the temperature column is lower than 25, and then only select column one and column two, and then calculate the mean, right? So you can use the subset directly in the apply function so that you don't have to store an intermediate matrix, which will be a little bit of a hassle by storing them in the assignment. Good, so that's what I wanted to say about the assignments for today. So next week we will focus on making plots. And I will only show you base R because I do not use ggplot too. I never learned it. When I started programming, there was no ggplot. When I started programming in R, there was no ggplot too yet. So I don't know how to make plots using ggplot. I would love to learn, but I just can't get the way that ggplot works in my mind. But we will focus on making plots suitable for publication. And that's what the whole next week's lecture is going to be about, making beautiful plots that you can use in PowerPoints and that you can use in presentation. So join us next week, definitely, and ask a lot of questions. Ask for a lot of examples every time. Hey, if you're in the stream and you think, oh, this is difficult, show me an example, then we can do that, right? So attend the lectures because that just gives you the option to ask questions. Think that's about it. So next week, we will continue talking about plots, about the different parameters, how they affect your plot, and it will be all base R. If you guys really want to learn how to use ggplot too, then also drop me an email, put a comment under the YouTube videos. And if there's enough people that really want to have a lecture about how to use ggplot, then we can do that. But I think, in my opinion, base R allows you to make all of the plots that you need. And we'll discuss how to do that. Good, so for me, that's it for today. I hope it was not too boring. We lost a little bit of people, but there's still some people watching, so that's good. So for my side, if there are no questions or requests for me programming something or me doing anything else, then this is about it. And this is what I wanted to tell you. So today we talked about descriptive statistics. What does it mean? What is a median? What are standard deviations? And why do we use these numbers? We use these numbers to tell other people how our data looks like without showing them an image. Of course, showing them an image is much clearer and showing people a violin plot. What is the difference between base plots and ggplot? It's a whole different philosophy. Base plots in R, so our base graphics are based on the artist's palette theory, which means that you do layer after layer. So hey, you first make an empty plot, then you add some points, then you add some more points, and these new points are going to be on top of the old ones. If you draw an arrow, then this arrow is going to be on top of everything which is below. So it's kind of a layered, so you make a plot and then you add layer by layer the same way as that you would paint on a canvas. So you would, well, ggplot has a very different way. It uses a grammar to specify how plots should look like. So that means that you just tell it, I want to have a heat map and this heat map should have this and it should do that and it should group by this. And then it's one call. So it's not subsequent layers. It's just more or less a specification of how the plot looks like. And then ggplot makes it fit into the window that you have. Well, in base R, you sometimes get an error saying that what you're trying to do does not fit into your plot window. Why, well, ggplot will do the scaling for you. Hey, it will adjust, for example, the font size so that everything fits nicely and that stuff doesn't start overlapping. But in base R, you are the one making the plot. So you are the one responsible for that. And base plots are totally free. You can start with an empty canvas and you can put anything on there. Like the stuff that we did today with the moving of Obama, that is something that you can never do in ggplot because it's painting on top, off, on top, on top, right? And ggplot doesn't allow you to do that. It allows you to make multiple plots the same way as that we did, but it doesn't allow you to kind of smoothly transition from one thing to another. So there's a difference of philosophy behind it. And ggplot just looks more beautiful without spending that much time on it. So it's, I always say that ggplot is for people who are too lazy to learn base R. It's not entirely true because like you need to spend a lot of time learning ggplot as well. And if you're good in ggplot, you can use it in a lot of things. It's just that for me it's another package that I have to learn another help file set of like a hundred pages that I have to read through and then have to master, which I don't feel like I need to do this investment because I can do anything that I want using base R. And in the end base R is, in my opinion, it gives you more freedom and it allows you to do more things. All right, so we're down to five viewers at the moment. So I would like to thank all of you guys for being here, for listening to me for what is again, almost three and a half hours. So thank you guys for staying here. We have to think about if we want to do the assignments live, I think it makes sense, but it only makes sense when people ask questions, I think, because otherwise I can just show you my answers and just copy-paste it in as well. And yeah, that like, hey, if it's interactive, then it makes sense, but if I'm just coding, coding, coding, then it's just two hours of me coding, which is, which might be interesting for some people, but for me it's more fun for me to just show you my assignment then and then we can discuss why did I choose this. Thank you for the lecture. Thank you for being here. Like that's why we do it, right? Without you guys, there wouldn't be a lecture. So thank you guys for being here. Thank you for registering and thank you guys for showing up every week. And then I will see you guys next week. And as said, next week we will have plots, plots, plots, and even more plots. So thank you for being here and I wish you a very, very good evening. The weather here is still beautiful. So if you have the opportunity, go outside and get some fresh air. And I will see you all next week.


August is hot, and so are the savings at Appalachian Wireless, where all smartphones are 50% off. Even the 64, 128, and 256-gate models, two-year agreement required. Better service, bigger savings. That's today's Appalachian Wireless and East Kentucky Network Company. This apartment building is so infested with bugs. Outsiders are concerned after bed bugs were found inside the Carl D. Perkins apartment complex. Alexis Prichard was visiting her grandfather this weekend at the apartment complex. While having a conversation, she noticed a bed bug crawl out of his shirt. I looked at him, and I was like, Grandpa, do you have bed bugs? And he said, oh yeah, they're all over. Prichard's grandfather lives on the second floor of the building. He says an exterminator comes to spray, but the apartment complex is still infested with bed bugs. He's not the only person that has bed bugs. I mean, I spoke with people all the way up to the ninth floor that have bed bugs. Prichard, who lives in Ohio, says she has contacted the assistant manager of the building, the Pike County Health Department, the attorney general's office, and social services. The health department told EKB News it has no authority over bed bugs, and bed bugs are not considered a public health hazard. According to Prichard, the assistant manager of the complex says their protocol is to spray the apartment that is infected, along with three apartments to the left and right, and three apartments above and below. Prichard says she is concerned for her grandfather and those who live in the apartment complex. I just would like to see somebody help them.  I'm not right, and somebody has got to do something. In Robinson Creek, Shelby Steele, EKB News.


early on in my career, I had a client with just this amazing, beautiful stainless steel blade for a lawn mower and for that, calling it a prototype is like a finished product. And we did a patent search and it is devastating to find almost like a knockoff. You know, if someone had read his mind and it was his exact idea, this prototype cost about $8,000. The nice things I like about the way Matthew works at prototype houses, they initially not always jump in to a full functional working model. At that cost, there's ways to do things. Injection holding.


It's not a secret that a lot of service designers struggle to get their concepts implemented. If you're one of them, keep watching because in this episode we're going to look at what it takes to make service design real. Here's the guest for this episode. Let the show begin. Hi, I'm Lin. This is the Service Design Show. Hi, I'm Mark and welcome to the Service Design Show. This show is all about helping you to design organizations that put people at the heart of their business. The guest in this episode is Lin Wizzard. I'm really excited to have Lin on the show as she has both experience with service design consultancies, working at service design consultancies and also in-house teams. So she knows the struggles from both sides. And one of the struggles is that for service designers it's often challenging to make our work real, to actually get put services into the world that make an impact on customers and on business. Too often our work stays in the conceptual phase. So in this episode we're going to explore some of the roadblocks, what is causing us not to be able to make our work real. And at the end of this episode I hope that you have a different approach and mindset towards implementation which might prove to be more effective. So that's what's coming up. If you enjoy these conversations don't forget that we post at least one new video here on this channel that helps to level up your service design skills. So if you haven't done so already click that subscribe button and of course that bell icon so you'll be notified when new videos come out. So that's all for the intro and now let's quickly jump into the interview with Lin. Welcome to the show Lin. Hi Mark, so stoked to be here. Awesome. Lin for the people who don't know who you are could you give us a short introduction? Yeah for sure. So I'm Lin and I'm an independent service designer based in Toronto. Prior to going independent I worked at consulting companies like Bridgeable and before that usability matters. So I have been in Toronto for about seven years and it's been really interesting to see the service design community grow in that time. It's booming in Canada at this moment. Yeah for sure. It's come such a long way since I first came here and folks really didn't know when I said I want to be a service designer. People hadn't really heard of it. Well a lot can happen. That's probably encouraging for people who are watching or listening and are in a country where they feel that they are the only service designer around. It can change. Yeah for sure and actually I think it can be a really great opportunity to roll up your sleeves and build the community and practice that you want. Of course that can be tough but also fun. Somebody has to do the work. Just as a side note somebody reached out to me on LinkedIn today and said I want to organise the global service gem in the Czech Republic and I said yeah amazing do it. That's the way to start to start. Yeah 100%. So the global service gem is coming up in March I think so this is a quick shout out for the people who still want to join. Maybe we'll do a special on that. Anyway we're getting off track already and this is just to start. Lynn the question I ask everyone how did you get in touch with Serbs Design? Do you recall the moment? I do. So it was 2008-2009 I was studying industrial design my undergrad in Dublin at the National College of Art and Design and we were doing the Royal Society of Arts issues student design briefs every year and I was really curious about a brief that was around redesigning the prison visit experience. This was kind of outside maybe yeah and kind of outside of the industrial design domain in a sense. I was really compelled by this and as I tried to do this project and tackle this brief that was how I came across Serbs Design as I was trying to explore you know how can I express an experience that happens over time? How can I explore the different people and roles that make this experience happen? So that was my first you know I made my first very rudimentary journey map the proposal I made was for redesigning a role within the prison system and that was my first exposure to Serbs Design. 2008 yeah and Scotland also sort of has a I'm talking about Scotland but you mentioned Dublin but sort of that area also has a heritage in Serbs Design right? Sort of I feel that a lot of people coming into Serbs Design sort of have their roots in that area. You mean that part of the world or yeah yeah of course the UK but also Scotland and Dublin a lot has happened there. For sure for sure I mean I remember shortly after I graduated Lauren Curry who was you know one of the founders of Snook came and gave a talk as part of a project I was doing and so for sure I think there was a really interesting kind of nascent exploration happening at that time and some people like Lauren and Sarah Drummond of course who were pioneering Serbs Design work which I found really inspiring and exciting. Both were on the show by the way as well as Mike Press and a lot of people from that area. Cool happy interesting to hear that the prison experience I don't think I've heard that one before. Lynn let's get into the topics you shared with me. Let's do Interview Jazz are you ready? I'm ready let's do it. Okay I don't know if you had a particular order. Should I surprise you or do you want them in the order that you gave me? Let's do them in the order I gave you because I'm hoping we'll have a nice flow. Okay okay I'll be let's see let's see what comes out okay so the first topic that we have over here drum roll is make it real and do you have the famous Serbs Design? So question starters. Yes so the question starter for this one why is it that we seem to have a really hard time making it real in service design or shipping service design is another way I've been thinking about it. Please share what is your vision of shipping Serbs Design making it real what does that mean? Yeah so I think for me it's about is there some kind of meaningful or visible or measurable change that we can draw a line from our work our process what we did kind of to that change so sometimes I think about it did something in the market change did a service is there a new service did a touch point of a service change is the way a service is being delivered has that changed and they think this is one of the things we grapple with is even first of all understanding or defining what making it real means yeah. Yeah so I've in my career as a service designer often got the question like okay so can you tell me about a service that you actually designed like can you point to a service that you actually created and often the answer is well not really and our clients don't really want a new service just as they might want a new website or an app or something like that right that's that's already quite paradoxical. Yeah for sure I mean I think it's really really unusual to be brought in to conceive of or deliver or build or design a service from scratch I think it's much more common that we're working with something that's existing I think notionally people want improvement or change to what's existing and then I think what happens is the reality of making that change happen is really really difficult and sometimes as service designers we're not equipped I think to do that I was reading a bit in preparation to chat with you there was a 10th anniversary edition of touch point which was focused on this issue from design to implementation and there's a statistic quoted in there that only four percent of service design methods are focused on the implementation piece so I think that's a really interesting clue around where our energy has been focused from a methodology perspective. Yeah but I feel that we I've heard that statistic before and for people who don't know what touch point is it's a service design network magazine it's a publication they I think publish every month or something like that every quarter I don't know anyway it's a recorder yeah I'll put a link down in the show notes but what we have to define like what does it mean to implement service design because if we say four percent is focused on implementation like what is it focused at do you have what is your perspective on that? Yeah so again I kind of go back to did something actually change you know in the service that a user a customer a citizen is experiencing you know did it make it out into the real world in some way and that's the way I've been trying to kind of think about it for myself and in my own practice is this going to meaningfully change what's happening in the real world on a day-to-day basis is someone going to be able to experience that right I think you know too often which which is probably to do with the maturity level of the practice but I think a lot of the time service design is being brought in to sort of do art of the possible or blue sky and there's often a tension between wanting to do these very bold visionary you know innovation type projects and there's a tension between that and what's actually realistic in terms of delivery and what it takes to do that delivery on a day-to-day basis so this is something I've definitely been grappling with and I think there's some dialogue in the community about you know work ending up on the concept shelf or in a drawer or you do all this work and it's a blueprint on the wall but that's it yeah and it's a waste of effort it's a waste of energy and it's if we keep doing that kind of work we're sort of putting the reputation of the whole industry on the line right yeah and I think part of it is about what are the conditions that you're walking into is an organization actually ready to make change um do you have whether it's you know senior level executive champions or are you able to build the right relationships in such a way that people are brought along and I think you know we talk a lot about co-creation being a way to do that but I think something that happens a lot is that co-creation gets mixed up with consensus-based decision making so people think that co-creation is going to solve all of the difficult decision making issues that people and organizations are facing um whereas actually it you know it can be a really powerful way to bring people along on the journey but someone still ultimately needs to make decisions or there needs to be a process or structure in place for that decision making to happen I think a lot of the time uh you know concepts or service design projects flounder because that structure isn't really there to enable them to continue or to live on and a lot of that's you know political or relational so can we well yeah yeah and and then if we reflect that question back on to us if it's political or relational can we actually influence that I think so um I think we can influence it I think one of the big challenges for designers is to reconsider or reconceptualize how much control we have so I'm really interested in this idea that as designers who are often you know creative people we're used to having a certain level of direct control over making things right um whether that's being able to sketch or whether it's being able to make with your hands you know we're often kind of makers by nature uh but I think what happens when you start working at something that's at the complexity level of a service um we can no longer have that direct control the kind of material that we're working with we'll maybe touch on this a bit more later we will but the material that we're working with um is no longer sort of as malleable or as directly controllable so I think influence is exactly the right word we can have influence but we may not be able to directly control the outcomes and and that's maybe the frustrating thing right we we can sort of shape the conditions in which this outcome might occur but we cannot enforce it a hundred percent and I think this is very difficult for folks who are maybe traditionally design trained like myself because you're you're setting the expectation that you're going to have a vision that you then go execute on so as an industrial designer you know you're going to bring this chair to life um and I think it is a really different mindset to work at this level of complexity and I think it's often what's very frustrating for people because there are people who are incredibly skilled at the craft elements but keep running into this frustration and like myself included around why are we not delivering why is change not happening in the way I was hoping why are we not making it real why am I struggling to be part of projects that that ship I think we should transition into the second uh topic because um this will sort of be the red threat what what is the red line red thread what a yeah red thread red thread throughout the episode uh so yeah let's move into uh topic number two to continue this conversation and topic number two is about outcomes okay let me see here so for this one I thought we could use this question starter which is how can we how can we expand our understanding of what the outcomes of service design are are is our current understanding limited so I think two things I think one we actually don't talk a lot about outcomes at all which is really interesting um this became a little bit of an obsession for me uh last year I was really trying to explore this this idea of how do we think about the outcomes of our work uh so I think one is we're not really even having that much dialogue or discussion around outcomes we're not framing our work around outcomes um and then two I think when we do uh it often gets a little bit maybe sidetracked or kind of dominated uh with a conversation around metrics and KPIs and measurement so I think we can unpack both of those a little bit more let's go yeah sure go ahead yeah so I think the first piece around you know how are we framing our work are we actually talking about outcomes I think as service designers we love to talk about method process deliverables um and actually none of those things are really outcomes they can lead to outcomes but they're not outcomes in and of themselves and I think historically what's happened is we've asked a lot of our uh stakeholders and teammates and people we work with to sort of assess the quality of design um and almost think about what the outcomes will be through the lens of these deliverables that we're creating you know there's a lot of conversation about we're not sort of speaking always the same language as the people we work with uh and so I think there's a really exciting opportunity to explore more about like what are the outcomes we're actually getting at and I think what becomes very difficult particularly in service design is that a lot of these outcomes are very intangible um so it might be things like convening new relationships or building new capability or skill or enabling people to solve problems with another tool set sure it may also be things like increased value in some sense for the business or it may be things like a new or improved service being delivered yeah or yeah there are a lot of other things that also come to my mind as an an outcome but the problem is I think uh we as a community don't make that explicit but it's also our clients are not per se asking and sort of don't make the connection that if we have this kind of challenge then it's a service designer that we need to call I think that's true um and I think for me it comes back to how are we framing what we do and it's so it's so easy to get caught up in you know I love the design community I love design it's so easy to get caught up in our own little bubble and so you know if we're not effectively communicating the types of outcomes we can help to achieve if we're not even having a dialogue about the types of outcomes of service design how can we expect people to know exactly that's something that a service designer can help with yeah so uh we we've we've had this conversation on the show quite often that we're so in love with what we do uh that we love to talk about what we do rather than talking about the things we try to achieve the outcomes we try to achieve for people and if they're interested we can talk about how we do it but that shouldn't it should be more uh there should be a better balance let let me phrase it that way right yeah for sure and then I think the other piece becomes how do we not get too caught up in this conversation around KPIs and return on investment I think the big aha for me was thinking about the fact that often measurement is really a proxy for outcomes so you know for example if you want to get healthier maybe one of the things you're going to measure is say what you weigh or BMI could be it doesn't have to be but really that number is not the outcome you want the outcome is maybe to feel better to be able to you know run for the bus or whatever it is and I think sometimes we get a bit mixed up because we feel so pulled by the really dominant kind of business values around being able to prove ROI and metrics and so on and so I think they have a place and they can be a helpful way of showing something changed uh because of the work we did I think we need to be careful not to get too sucked into thinking that this is the only way to kind of demonstrate outcomes of service design and I think there are a lot of intangible outcomes to the work we do which is around how people feel um so a little story about a project I did last year um with a public sector client you know I I think one of the things that was most exciting for me was seeing how some of the frontline staff who were really tenured experienced very skilled people in their jobs you could see a sort of renewed sense of excitement and energy at being brought into a different way of doing things and it's very hard to measure but I think it's quite a meaningful outcome and and um I totally agree by the way with you uh how but my question would be how can we uh I sort of feel that we have to convince clients that these are actually meaningful outcomes how and any any do you have the same experience and if so how do we do that or yeah yeah no I think it's true and I think I think one thing is you know you don't want to necessarily lead with some of the things that may seem different or or kind of too out there um but I do believe that a lot of it is about what are you modeling when you show up what does it feel like to work with you or your or the team um so I kind of feel that a lot of this is a bit of a show don't tell it's more about the experience of doing the work together than it is about trying to convince or sell or tell uh that these things matter I think people can feel when it's happening and they and they sort of you know I I sort of framed like this in the talk I gave about this last year I sort of said you know how do you know that you're in love right um it's very intangible it's very much about a feeling uh and I think it's less about convincing people that these things matter because I think we know it as people and it's more about letting people experience it hmm again again I'm of course I'm totally on your side the challenge the I sort of the challenge one of the challenges that I see is when you deliver outcomes that you know are valuable but your client isn't per se valuing then sort of the perception of the value of your work isn't what it should be so right we can create a lot of valuable outcomes like shared understanding or renewed energy but if somebody up front isn't looking for that or it's like they don't know what they don't know then we have created a lot of value but we I don't know what the word is but we should be appreciated for that or credited for that or so I might kind of challenge you there mark and say that you know um are we in it to be appreciated right and I think this comes a little bit back to this idea of sort of what are we expecting out of the work and what type of of humility can we bring to the practice and can we really be in service of in a way that is sort of you know not attached to necessarily getting credit or feeling valued or all of these things I mean I understand that there are some you know realities around business and uh it's not to diminish that but I think there's something really interesting for designers around how can we cultivate a mindset that really is about being of service and acknowledging that if a team or a client doesn't feel that some of these things are valuable outcomes or they're they're not seeking that right now then you know they're not in a place where that's meaningful to them or it's the right thing for them or maybe they're sort of not almost ready in a sense and I think this is a lot to do with um having patience in terms of what the change we're all seeking is a long game not a short game yeah so and that's again a recurring theme in the last few episodes is um it's also about finding the right clients having the skill to find not every client or challenge a project is suited for a service design approach 100% and I think for designers and I'm trying to work on this for myself it's also about readjusting your expectations about how much change can happen how fast um and and what's actually realistic for people you know sometimes you go into a project you think it's one thing you think it's going to be about this you know I don't know big radical service innovation and you know it turns out that actually if you could support people to see the value and in qualitative research that would actually be a good outcome for that whatever it is you know for months six months um and those moments I think you have to really celebrate I had a client last year after you know some resistance to the idea of prototyping and testing and you know just sort of not super excited about this idea and we set up and did some prototyping and testing with folks and the team was so excited and I had someone say to me I'm never doing anything again without testing it with the people who will use it and that's huge like that's an amazing outcome right yeah yeah and we have to sort of be really uh aware that what comes natural to us might not come natural to other people and then celebrating that putting that on a stage if you will is really important exactly and I think we sometimes expect too much too quickly so taking those moments which can seem maybe small and maybe weren't the thing that we thought we were going to be able to achieve at the outset and actually really celebrating those for what they are I'm really excited by these ideas yeah okay we're going to continue transition into the third and final topic shall we let's do it okay it's again one word which is in this case material okay let me get my question starter here okay so I think my question here is what if the material of service design is the organization that's an interesting thought please elaborate okay so this idea of the material of service design is the organization comes from Stephen Taylor at Harmonic Design he wrote a medium post about it I think last year and I found this really fascinating so we were talking a bit earlier about you know designers often learn a craft learn how to work with some kind of material and this really resonated for me around as service designers the material we're working with is the organization I and yeah and in order to kind of achieve the types of outcomes that we want we need to be really skilled actually at working with this material and yeah yeah go ahead so I think there's also a very interesting tension I may be preempting maybe something or I was listening a bit to some of the previous episodes and I know this has been kind of talked about it in various ways you know I think one of the questions that might arise is is this too big of a scope like is it really our job to take on the organization and I understand that at the same time I would sort of say that we can't be effective as service designers without considering the organization and without actually getting skilled at working with organizations and the sort of material they're in and I think that's why we're often struggling to make it real and to ship service design because we're not that skilled or that equipped or we're not calibrated in the right way to work with that material I think I have a video also on the channel where I talk about that one that the design material of service design is the organization and you have to understand the material properties just like in any design discipline another way we could also look at this is if we as service designers are sort of writing the software the hardware is the organization that our software needs to run upon and if we want to make software that actually runs without bugs we need to understand the platform sort of that we're building this on top of right that's that's sort of the metaphor I'm using in my head yeah that's a great metaphor what are so so what what is it that we actually need to do if the organization is at that design material how do we design with the organization yeah great question and definitely not something that's straightforward right um one of the things that was a bit of a light bulb moment for me was coming across some work by Lotta around during her PhD and she was looking at basically organizational theory and this was kind of a light bulb for me so the idea is that we often think about organizations in a very mechanistic kind of systems oriented way and we think that we're going to achieve outcomes by implementing a plan it's sort of a system and we can have a plan and implement it and we hope to get this one is to one result where our plan and the outcome are very closely interlinked and kind of side note historically we've seen the quality of a design process as connected to how closely matched the actualized design or the product that goes to market is to the sort of design vision that's been an indicator of the quality of the process we're able to execute on that and what Lotta's PhD talks about is that the in part is that the latest in organizational theory suggests that we should actually be thinking about organizations as conversations where outcomes happen by coming in and affecting and changing the conversations that are happening so this was really interesting to me because I was like oh yes I have thought that I can just go in and have a plan and sort of implement it and get this outcome or results but actually when you think about organizations as conversations two things happen one we can think about a lot of the design process and design work and design methods as a way of having new conversations or shaping or changing the conversations and also as sort of an invitation to have a different conversation right and two just by being there we're actually changing the conversation and so in this model you can kind of argue that we're implementing simply by being there and changing the conversation I struggle a little bit with this because it feels like a tautology to me right then the question yeah yeah so so then the question for me becomes if by showing up and being part of it and changing the conversation I'm already implementing I'm already creating new outcomes how do we make sure those are intended outcomes that those are intentional again I'm going to reference a video that I made is where I said there is no implementation in service design everything is implementation from the first moment you start interacting with your your client and that that stirred up some debate but it was exactly to sort of counter the notion that we can sort of go through research ideation prototyping and then sort of implement I've never seen that work in in any organization so the implementation mindset I like the way you phrased it of having a conversation from day one and then how do you make it intentional that's about direction and and other stuff right yeah and I think this goes back to what we touched on a bit earlier which is how can we expand what we think of as outcomes so new conversations are in fact an outcome convening new relationships are an outcome they may be less tangible outcomes they may be harder to prove the value of they are how change happens so how do we should we start adopting a new mental model around service design and should we start having a different conversation about service design so to add to that do we have like still the industrial design lens on service design and should we adopt maybe a different lens I don't know which one yet but question mark yeah quite possibly I think that many of the ways that we operate are really rooted in industrial models of the world and you see that now with organizations in some cases struggling to stay relevant and adaptable we've been very used to you know top-down types of control and hierarchy and now we're living in a world that's much more flexible and networked and where things are much more emergent and I think for designers we're sometimes still quite rooted in that industrialized model which makes sense that's where our practice has its origins yeah and and if we go back to one of the things we said in the beginning of the episode where four percent of the methods is focused on implementation this could also sort of relate to that where the methods of implementation are focused on product delivery or the product mindset or industrial design mindset while we might start we might need to build a vocabulary and a tool set of methods that originates more from service delivery lens 100% and I think for me a lot of what this comes back to is where does service design live in this and it comes a bit to where do you sit in the organization you know and there's arguments to be made for all sorts of different setups but I think we need to be really strategic about how work happens and what you said reminds me of this sort of thought around operations I mean operations is in some ways to my mind the kind of oldest form of service design we have it's how things get done and how things happen in organization and how things are delivered and so I think there's a really natural relationship between service design and operations for example yeah so so to continue on what you said what would be the place for service design yeah I think it's a tough one and I think we're still trying to figure that out I think there's a question about you know what should our role be right should we be embedded practitioners within delivery teams you know within product or service lines and of course there's lots of great sort of exploration around this what's it called design ops for design orgs or yeah yeah or I'm not sure if I'm getting that title entirely correct but so there's there's lots of different sort of conversation around where we should sit and there's pros and cons to to either I think unless we're sitting close to or have insight into how things are getting delivered and shipped we're not likely to be able to really trace our work to that end outcome in a very linear way which sometimes might be okay but I think what starts to happen with service design is by nature it's so complex cross-functional there's so many different people involved it's much harder to have a really tight two pizza team that is responsible for delivering and shipping a service and I think that's one of the things we need to really grapple with and Lynn regarding what we've just talked about in the last 30 minutes is there a question that you would like to ask us the viewers and the listeners of the show I do have a question it's not necessarily directly related to everything we've been talking about but I'm curious to hear if any of the listeners have great examples either that they've worked on or they've come across of how organizations have started to kind of routinize or have as part of their ongoing practice service sort of testing and service simulation so you know very aware of all the sorts of methods that you'll come across in lots of the books but curious whether there's examples of service organizations in particular building that into part of their practice and how they're actually continually testing um prototyping and testing services uh in their delivery process um and not just from a digital perspective but exactly yeah yeah because I already see the comments flowing in that people do MVPs and screen AP testing stuff like that that's not what we're aiming at right that's not quite what I'm aiming at I'm aiming at like how do you actually prototype and test on an ongoing basis very complex omni channel services that happen over time and is are there any great examples of organizations that have built some capacity or maturity in continually doing that type of testing in their service delivery would be awesome yeah me too bring a new frontier new frontier I'll make sure to also add this question in the email that I send out to you to the community Lynn final question what's the best way to get in touch with you if people want to reach out yeah I'm fairly active on Twitter usually my handle is at Whitster w i t t s t e r I think we'll link to it um it's an anagram of twitters there you go okay twitter anything else uh people can feel free to connect on linkedin and you can always drop me an email uh my name's fairly unique and fairly googleable so you probably you'll probably get me good well uh there was a lot to process in the coming two weeks before the next episode comes out so uh link thanks for stirring this up yeah you're welcome mark it's a pleasure thank you for having me awesome thanks so coming back to Lynn's question did you have any examples of companies who are able to continuously prototype and test services we would love to hear some examples leave your thoughts ideas in the comments down below if you enjoyed this episode consider sharing it with at least one other person today that way you'll not only help to grow the service design community but you'll also help me to invite more inspiring guests like Lynn if you would like to see more interesting videos more interviews with services on pioneers here's the next video so check that out and i'll see you over there


Hi everyone, Joe for Jaspy's Case Breaks.com, coming at you with 2020 Topps Luminaries Baseball. Just dropped yesterday, brand new release, three box, random hit break, number Lucky 13, from a fresh case. Big thanks to these folks, Joel, Andrew, and Ryan for getting into the action. Good luck to you. There's the case right there. I don't think they even have a knife. All right, so let's pop this case open and let's see which three boxes we're gonna do. We're gonna open up the boxes, show you the hits, type them in in the order that they were pulled, and then we'll see who gets what. We'll do the randomizer. All right, so we're gonna select a die. We'll go one, two, three, four. If I roll a five or a six, we'll just roll again. And it's two, one, two. So we're gonna do that box right there, and we'll save these for next time. Put some Wolverine slash marks there. I think Adam guessed two before I rolled. There you go, good guess. Winner, winner. All right, so we've got all those marked so you know that they're all from the same case. In fact, I'm just gonna leave them on the sofa behind me here. Stack orders might be mixed up, but just set things right here. So we're doing break 13 right now. This is break 13. The next three boxes are already in the shop, so check it out, jaskyscasebreaks.com. Cool, doing well. All right, here's the first one out of the gate. Let's see, I think we're gonna have to, it's gonna go this way. We got a Braves logo on the helmet. It's gonna be Ronald Acuna Jr. Four out of 15, celebrating 41 homers. All right, number one, number three, season of home run total for someone 21 or younger. That's a lot of home runs for a young player like Ronald Acuna Jr., nice. Second one, and I think this is another one that's gonna go this way. Is that White's socks, maybe? I think so, huh? I think we know that face. There we go, it's the big hurt. Five out of 15, Frank Thomas. Trust me, she'll like it too. Number two, career home run total as a DH. With 269 homers, it's a lot as a DH, there you go. And the third and final box. All right, we've got another hitter here. We've got two out of 15, it's Joey Vado, Votomatic. Nice relic and autograph. These luminary stuff looks really great. Number eight on the Reds career hits total list. It's pretty good, a lot of great hitters on the Reds to be in the top 10 of that organization is not too shabby. All right, now let's flip back over to the other screen here. We'll go, once again, in the order that they were pulled. So we had Ronald Acuna Jr. first. That was four out of 15, auto. Right, no, no patch, yeah, four out of 15. The Frank Thomas had a patch, Frank Thomas. Patch auto, five out of 15. And then the Joey Vado, Vado auto, patch auto. That was two. Out of 15. Joel, Andrew, Ryan, good luck, thanks for getting in. Let's roll it, let's randomize it. Six and a two, eight times for each list. Your names first, one, two, three, four, five, six, seven, and eight in final time. After eight, we've got Andrew, Joel and Ryan. Get those names in there. And then six and a two, eight times with the hits. Good luck, one, two, three, four, five, six, seven, and good luck, eighth and final time. After eight times, it's Frank, Joey, and Ronald. So there you go, Andrew, you have the Frank Thomas patch auto, five out of 15. Joel, you have the Joey Vado patch auto, the Vado auto to two out of 15. And Ryan S, last spot mojo with the Ronald Acuna Jr. Autograph four out of 15. Another three boxes in the store, ladies and gentlemen. I think we've just cracked the surface of another great case of 2020 top luminaries baseball. So get into the action. I'm Joe, I'll see you next time for the next one. Bye bye.


I'm olive soap your beauty hope and luster cream shampoo for soft glamorous dream girl hair Bring you our miss Brooks starring Eve Arden Like many of her colleagues in the teaching profession our miss Brooks Madison High School's English teacher Watched the year 1948 come to an end with mixed emotions As she puts it although the year didn't start off brilliantly or develop too sensationally It certainly wound up in a blaze of nothing Of course, I did enjoy my two weeks vacation In fact, I spent most of the money. I was going to borrow in the next three months The afternoon of New Year's Eve Friday December 31st for those that still can't remember I was chatting with my landlady. Mrs. Davis. Well, Connie I guess you've got big plans for this evening. Frankly. I haven't got any plans at all Mrs. Davis Of course, I do have a date with the bashful biologist. Mr. Boynton What are you going to do Connie? Probably the same thing we did last year pull our money and go to hip-sings for dinner Fine way to spend New Year's Eve to Americans go to a Chinese restaurant Dutch What are you going to do Mrs. Davis? Oh, I'm going to visit my sister Angela. She's so absent-minded poor thing She'll probably be surprised to see me Although it was only last week that she invited me over. What time do you think you'll be leaving Mrs. Davis? leaving But where? For your sisters For my sister's what? For your sister's house. Oh, I'm glad you reminded me Connie. I've been making I've been making up my New Year's resolutions, and that's the first thing on the list I've resolved to correct Angela's absent-mindedness Angela's absent-minded What else is on the list? What list? Maybe I'd better talk to Minerva the cat for a while. We were talking about New Year's resolutions Mrs. Davis Oh, yes, I'm sorry. I wasn't paying attention Connie. Tell me the rest of your resolutions Well, first of all I've resolved not to what resolution We were speaking of yours Mrs. Davis and before you say my what I'd like to ask you again the question I asked when we were both younger Namely when are you going over to your sister's house? Maybe you better not go out tonight Connie you sound very strange It's just the way you're listening Or are you Mrs. Davis?  I don't want any hot tea. I just want an answer Thanks, Minerva Now about this evening, Mrs. Davis. Hello, Minerva. Want some milk, dear? I'll get you some in a minute. You were saying Mrs. Brooks this evening your sister's house Yes, I'm going over there tonight. I know Mrs. Davis Right away, Minerva. What time Mrs. Davis? It's a quarter of four now Get away from those curtains Minerva, I'll fetch your salsa right away. Keep on my honor. Will you Angela? I'll be glad to Connie Come on just hop into my lap, Mrs. Davis There's a good dog. This is getting contagious Oh Coming excuse me, Minerva. Why it's Monsieur Manet. Come in. Merci mademoiselle. Thank you. It's nice you remember me Remember you. I'm Monsieur Manet your Madison High's favorite French teacher for that miss Brooks permit me to kiss your hand Let's not give the other hand the complex Certainly not I trust that I'm not arrived at how you say inopportunity time Oh No, this is very opportunity time.  Oh, thank you miss Brooks But now that I'm teaching in America. I would appreciate it if you would call me in America. All right. What's your number? No, no, no, I mean call me Mr. Monet instead of Monsieur. Oh, certainly Oh, I didn't know anyone had come in this is Mr. Manet, Mrs. Davis our new French teacher at Madison How do you do mr. Monet? How do you do mrs. Davis?  I'll hold your saucer madame Lovely lady with a lovely hand Mr. Monet came over to see you Connie. I'm sure he doesn't want to talk to me there But I'll just take her into the kitchen come along dear. There's a good kitty come drink your milk out here So nice to admit you mr. Monet or likewise. I'm sure she's very nice your mrs. Davis But why she run away so fast in the words of some of my pupils why she took some powder and put it on the lamb Oh, you mean she took a powder or took it on the lamb may we she flew out of here like a bat out of Faster than your teaching Now mrs. Davis was just being tactful I guess she thought you wanted to be alone with me alone with you, but why miss Brooks? I'm a married man. Oh, I know but mrs. Davis doesn't know about your wife mr. Monet. Oh, oh miss Brooks I I don't know what plans you have made for New Year's Eve But my wife Elaine and I would be very flattery if you would join us. Well, thanks mr. Monet I'm flattery that you should ask me But as far as I know mr. Boyden is taking me out tonight. Oh, then you both must come you see This is not an ordinary party miss Brooks. Although we're all going to wear evening clothes and try to have the best possible time Elaine and I we realize that among school teachers. They are very few. How do you call it? malted millionaires Some of us are too thick to drink with a straw What you're trying to tell me is that the evening won't cost much money. Is that right? Oh, it will cost you no money miss Brooks, but there is an admission charge kind of blood No, no, no just some old clothes you see I am in charge of a committee to send clothing to the poor people in France Any sort of clothes would do miss Brooks anything that is made of cloth. Why that sounds like a wonderful idea, mr. Monet, I'll be delighted to come and mr. Boynton. Do you speak for him as well? Mr. Boynton has been spoken for many times He doesn't answer You mean about tonight. Yes, mr. Monet. I feel sure I can speak for mr. Boynton. Oh fine I'll be leaving them. I'll walk you to the door mr. Monet. Oh my address is a 9066 charm drive try to get there before 10, and I'm sure that as my students say we will have a ball Yes, until tonight then miss Brooks stay in the groove. Oh natch mr. Monet natch and mr. Monet. Yes Don't take any wooden Franks Our miss Brooks starring Eve Arden will return in just a moment, but first here is Vern Smith Ladies regardless of age skin type or previous beauty care Doctors prove you too may win a lovelier complexion with palm olive soap But to win this lovelier complexion the kind men admire and women envy you must stop improper cleansing Instead use palm olive soap the way doctors advised remember 36 doctors leading skin specialists advised 185 women many with complexion problems to use palm olive this way some have dry skin some oily some course looking Using palm olive soap alone two out of three one lovelier complexions Now here's what the doctors advised wash your face with palm olive soap Massaging for one minute with palm olive soft lather this cleansing massage brings your skin palm olive's full beautifying effect Rinse do this three times a day for 14 days It's that simple, but doctors have proved this way using nothing, but palm olive really works So forget other beauty care use palm olive soap alone for a lovelier complexion For loveliness all over use big thrifty bath size palm olive in your tub or shower After mr. Monet left I tried to get mr. Boynton on the phone to tell him about the invitation But ours is a party line a four-party line to be exact and every time I picked up the receiver It was in use always careful not to lose my temper I sat by the phone and drummed lightly on the top of the table until my five fingernails were impaled in the mahogany Then I tried it once more Coincidence Lucy I smell my drapes burning in the living room Hang up now. I'll call you back so much for Emma and Lucy. I'll try it again. Oh It worked at least I can dial now. I hope Lucy doesn't think Emma was kidding her Daisy and Fred isn't here. Will you please get off the line? Happens to be a party line and I happen to be the party using it at the moment It doesn't matter I only say Frank Frank, are you still there? I had it come up your bottle is falling out of the chandelier Start When a body meets a body, he's had too much rye. Hello, mr. Boynton. This is miss Brooks I assume we still have a date for tonight. Yes December 31st 31st, eh? Yes, you know the day we celebrate the appearance of the first enchilada north of Laredo, Texas We'll think of something you mad impetuous boy As a matter of fact, that's why I called mr. Manay and his wife are having a little impromptu party at their house And they've invited us What kind of party well you have to have some old clothes and then you Know this is not Emma. This is your friendly cooperative party line neighbor. Oh, I'm talking to non-stop Nellie the human dial tone Will you please stop this filibuster and get off the line? Yes, mr. Boynton as I started to tell you although it's a formal party We're supposed to have some piece of apparel that we can That is not friend no it isn't When I talk to strangers wonder if you'd give me a hand I've been invited to a formal party tonight And I just don't know what to wear. Well, what if you got honey? Well, nothing that is nothing but an old evening down. I've had for five years Well, come on into your room Connie and we'll look it over here. We are won't take long to find in my closet Well, let's see. Here's a skirt and blouse the suit. I got two years ago. Here's one of the dresses I wear to school. Here's the other one. Oh There we are my pride and joy why that's real pretty Connie and look at the fringe Silly malls. They left the best part While I'm in here, I better find something to donate as well donate. Yes, the price of admission to the party is some old clothing I know I've got some because I've been wearing it Oh dear, I forgot to tell you Connie But just last week when the Goodwill truck came around they pick up all clothes, do you know? I gave away everything of mine. I could possibly spare. Well, that's all right, mrs. Davis You're not going to the party. I know but I also gave away a big bundle of your stuff You had it lying in the closet and miss Davis that was for the cleaners I had some of my newest clothes in that bundle 1945 stuff I'm sorry dear, maybe you can borrow some old clothes to give well, I guess I'll have to I know I'll go over to the Conklin's he's got one suit. I know could use an ocean voyage Are your folks at home mother's out shopping, but daddy's upstairs taking a nap come on into the living room Won't you? Walter Denton and I were just playing pass it Look who's here, Walter? Well, if it isn't my favorite English teacher Sit down miss Brooks Harriet and I were just playing pass it. So she told me what's pass it? Well, it's a game we read about lots of high school kids play it All you do is take a piece of Kleenex and hold it to your nose by sniffing and then with both hands behind your back You pass it down a long line of kids by sniffing it away from your neighbor Oh Sounds fascinating, but where's the long line of kids? Oh, it's just as much fun with the two of us more Saves wear and tear on the Kleenex too Harriet and I go steady that's why I'm here But what brings you to the dread sanctum sanctorum of your school principal during a holiday? Please Walter you make daddy sound like an ogre Yes, Walter just because mr. Conklin is my superior at school is no reason for me to live in dread of him Now is a good time to tell him you're here miss Brooks You see he's going to a big party tonight wants to get some rest well Then maybe you kids can help me out I've just got to get some old clothes somewhere right away. Why miss Brooks the ones you've got on look fine I think but I'm talking about clothes. I can donate golly miss Brooks mother just gave away every stitch We could possibly spare to the Salvation Army Wait a minute daddy's new tuxedo is being delivered today, and he's got an old suit of evening clothes That I'm sure mother would love to see given away say no more Harriet Do you think you can get it without waking your father sure it's right here in the hall closet? Here it is miss Brooks This is the suit daddy wore when he first became a principal. Let me look at that Hmm. I bet he was a sensation in these tales what there are three of them Oh, that's just where one of them is torn you can patch that up in a jiffy. Thanks very much Harriet. It's cloth anyway Well, I'll be getting a long home now. Mr. Boynton's picking me up soon, and I've got to see if my evening gown still fits me I've had it for over five years. I think that's nice miss Brooks. What's nice Walter? How you and your evening gown have grown old together Not that you're falling apart at the seams or anything I mean well to me You're still all wool in a yard wide You have just failed in English for 1949 would you care to try for 50? Hello, hello, mr. Conklin. Yes, who's this? This is Kane from Kane's classy cut clothes with four Ks Oh, yes, where's my tuxedo Kane? You promised it to me by five o'clock. It's ten of now Oh, that's what I'm calling about mr. Conklin. I can't get the suit to you by five o'clock. You can't well Then when will it get here next Tuesday? Next Tuesday, but I've got a very important party to attend tonight But isn't there something you can do somebody who can fix this Even if I gave the suit to another shot to be finished, it wouldn't do any good. Well, how could you why did you win did this? Control I've had a great disappointment my tuxedo. Hello, Denton And pass it want to sniff this Kleenex off my nose onto your nose. I can think of nothing more loathsome to do Harriet do you know where your mother put my old suit of evening clothes your old suit daddy? Yes Yes, I've got to wear it tonight. Oh, but that old evening suit isn't any good, mr.  Boynton are going to a party where you have to bring some old clothes to get in what? That does it not only do my teachers openly flaunt my wishes about fraternizing, but they take my Children, you know what I'm going to do. No, we don't but I know one thing if I was miss Brooks I'd hop in bed and pull the covers up over my head Well look on me mrs. Davis lovely Connie and fringe is more popular than ever It's amazing what a tuck here in the stitch there will do About what time did mr. Boynton say he'd be over about this time mrs. Davis. I'll get it good evening mr. Boynton Won't you come in? Oh, thanks, miss Brooks Say that's an interesting overcoat you have on Raccoon isn't it? It's a relic of my college days you mind if I hang it up here. It's pretty warm go right ahead mr. Boynton Then come on into the living room. All right Oh, that's better Well, it's Brooks. You certainly look lovely tonight. Thanks, mr. Boynton. You look Mr. Boynton, I told you we were invited to a New Year's Eve party didn't I well.  Oh Well, but you said you had to have some old clothes to get in some odd piece of wearing apparel is what you told me Oh, great. I hope your sneakers are vulcanized I don't understand miss Brooks just what kind of a party is this it's a formal party mr. Boynton But the price of admission is some old clothes to be shipped abroad. Oh, well, I don't know I don't usually go to parties on New Year's Eve. You don't well How do you like to spend the evening mr. Boynton? Well, I usually have an early dinner then catch the first show at the movies and hit the sack about 10 30 What does your doctor say about such carrying on? Look mr. Boynton, I've already accepted for both of us and wait a minute I've got a dress suit that might fit you then we can bring the stuff you've got on as our admission Just go into my room mr. Boynton and take off those clothes. Oh miss Brooks Find a suit of evening clothes right on the bed. Please slip them on. Mrs. Davis Have you finished sewing mr. Conklin's tail together? Just finishing now Connie Here it is as good as new. It would make any head waiter proud. Oh, hello, mr. Boynton My father nice beanie three propellers I wish you'd tell me what this is all about Mrs. Davis Well, you're going to an ideal source for information just take this suit and put it on mr. Boynton, please Well, all right miss Brooks, but this is all highly irregular now. Mrs. Davis. Let's go into your room I want you to fix my hair in the back. I'm wearing it up.  I've got the suit on that's fine I'll just be a few minutes. All right. Oh, well, it's mr. Conklin. Good evening, sir Good evening. I'd like a table down front, but not too near the drum. Oh, it's you boy Yes, sir. Won't you come in? No, I won't come in Boynton. How did you when do you use Eve? I'd swear that mr. Conklin had come by. Oh, it is you mr. Conklin miss Brooks I demand the return of my evening clothes at once your evening clothes I cannot tell a lie mr. Boynton.   Take it off Well, don't just stand there mr.  It's 12 o'clock turn up the radio Well, miss Brooks nice party, no But it's midnight now The band is playing au lang syne and everyone should be kissing someone. Where's your mr. Boynton? Oh, haven't you heard mr. Manay? He hit the sack at 10 30 Eve Arden is our miss Brooks returns in just a moment, but first Tonight show him how much lovelier your hair can look after a luster cream shampoo Only luster cream brings you k-doomats magic formula blend of secret ingredients plus gentle lanolin Gives loveliness lather even in hardest water Glamorizes your hair as you wash it Luster cream not a soap not a liquid but a dainty cream shampoo Leaves hair fragrantly clean free of loose dandruff Blistening with sheen soft manageable gives new beauty to all hairdos or permanence Four ounce jar one dollar smaller sizes either tubes or jars Tonight try luster cream shampoo and be a dream girl dream Beautiful luster cream You owe your crowning glory to A luster cream shampoo And now once again here is our miss Brooks Well, mr. Boynton didn't show me such an exciting new year's eve But we had another date the next day today after spending the afternoon at the zoo We came back to my house Do you mind if I turn on the radio mr. Boynton? Well not at all miss Brooks, but I'm afraid I can't stay to listen to it Why not? Well actually I didn't get into bed our new year's eve until 10 minutes of 11 I've got to catch up on my sleep And so as Philip Boynton faded slowly into the west I bade him farewell in true Zulu fashion by saying Tunga Lunga Bimba Loctaw Which means how can you leave now jack benny has switched over to cbx Next week tune in to another our miss Brooks show brought to you by palm ale soap Your beauty hope and luster cream shampoo for soft glamorous dream girl hair Our miss Brooks starring eve arden is produced by larry burns written and directed by al-lois with music by wilbur hatch Men do you shave with a lather or brushless shave cream palm ale shaving cream comes both ways And whichever way you prefer to shave you will find that using either palm ale brushless or palm ale lather shaving cream Can bring you more comfortable actually smoother shaves. Here's the proof 2548 men tried the new palm ale way to shave described on the tube and no matter how they had shaved before Three out of every four got more comfortable actually smoother shaves Get palm ale brushless or palm ale lather shaving cream today For mystery liberally sprinkled with laughs listen to mr. And mrs. North the exciting fun packed adventures of an amateur detective and his beautiful wife Tune in tuesday evenings over most of these same stations and be with us again next week at this same time For another comedy episode of our miss Brooks stay tuned now for lumb and abner bob luman speaking This is cbs the Columbia broadcasting system


As Jai said, we have a lot to do, including with our defense colleagues, so I'm very much looking forward to that. And I think it's further evidence of our resolution focus from the United States on the Indo-Pacific, our region for the future, and the future is actually now, and we're building it now and we're building it together with India. So I look very much forward to good conversations and very good to be back. And finally, we look at global regional issues and I think what's happening in West Asia, at least, to you folks, that I think is a very big concern right now, and I look forward to discussing those and other matters with you once again, and very good. Thanks everyone.


I was feeling stuck and overwhelmed by uncertainty, and I found hope and self-confidence through brain education. My name is Panita, and I'm from Los Angeles, California. Brain education changed me from a person who I used to have a lot of overthinking and overanalyzing, and to the point where I got really stuck sometimes in my life. I couldn't move forward. I was changing careers a lot. I couldn't decide, you know, what I wanted to study. And so I spent a lot of time wandering. Eventually, I found myself in a place where even though I was trying to get myself healthy, I was still feeling really anxious and depressed, and also my body became very stiff. And when I started doing brain education, I found I had a lot of stiffness and pain. And since I started doing brain education, I was able to gain a lot more confidence and change my body condition. So now I can move my body more the way I want to, and it's been, I don't know, it's like really energizing now. I found brain education when a friend of mine invited me to a body and brain center. At first, my friend invited me to try a yoga class, and I said, well, you know, I have yoga classes near my house, so I'm okay. But then he said, well, how about Tai Chi? Have you tried Tai Chi? And I said, okay, no, I haven't tried Tai Chi. And so at first I wasn't sure, I was kind of nervous to go, but once I did, I just felt so great. After my first class, I was really amazed by how good I felt and how good it felt to be in the center. Everyone was just so friendly, and I don't know, it just kind of stuck with me. My favorite brain education exercise is longevity walking. I love to walk, bringing the awareness to the bottoms of my feet. And then as I walk, I also stimulate my palms. And through that, I feel really connected to my whole body. And after I get really energized and walking for some time, my hands and feet get really warm, and I just love that feeling. Knowing what I know now, what I would say to my old self is to be a little bit brave to take action, to really trust yourself, that it's better to overcome that fear of failure. Actually to go through the failure is a lot more beneficial. Like it feels a lot better than that fear of the failure itself. So what I would say is take a chance to try something, maybe that really scares you or makes you nervous because your sense of self trust or that sense of being able to be proud of yourself is on the other side of that fear and uncertainty. I was feeling stuck and overwhelmed by uncertainty, and I found hope and self-confidence through brain education.