00:00 Welcome to “Steal the Show” with Michael Port. I’m Michael and this is all about the three elements of content creation. One of the big questions people ask is, “How the heck do I organize my information? How do I create content?” Well, you are gonna learn how to create content that will take you from the blank page, to polished content for a range of performance situations. From speeches to small group representations and even job interviews. Most presentations require an effective content creation process. However, let’s not think of this as speech writing but rather a creative process for organizing your ideas into a compelling performance that delivers on a promise. And remember, everything I’m teaching you comes from “Steal the Show”, the book and you can buy it anywhere books are sold. This entire podcast is based on “Steal the Show”. And if you want free giveaways, bonuses, if you want free tickets to events around the country, if you want templates that will help you create content for your speech, if you want free videos on how to create content and much much more, then go to stealtheshow.com.
01:18 If you pick up a book or two or three, will give you lots and lots of goodies. There are three essential elements of content creation. Number one is getting ready. I want you to get ready well in advance of a public performance, most people wait till the last minute. They start putting their slides together the night before a presentation. Then they run through their material in their head a few times before they give the presentation. So they go on stage with no rehearsal and virtually no content creation time. So this process that I’m gonna give you, is gonna be useful as a reference going forward and as a warm up to loosen your creative muscles so you can begin to give them a workout. So here’s a simple five step exercise to get ready. Number one, what type of performance are you gonna give? Is it a 45 minute keynote speech? A 20 minute department review at a sales conference? A reading from your book? A 15-minute pitch for investors, maybe a software demo? An interview, a product pitch.
02:38 So start by determining what type of performance you’re gonna give, that’s number one. Number two; who is in the audience for the performance? Who will be in attendance? What are their interests and concerns? Will you be addressing 700 public school teachers, expecting an educational speech? Will you be leading a webinar to show off your product line? Maybe you will be giving a toast at your son’s wedding. So who is in the audience for the performance is number two. Number three; how will your audience benefit from the performance? So will you be educating, motivating, selling or raising awareness? Or maybe a combination of some or all of the above? So number one is what type of performance you’re gonna give. Number two; whose the audience for the performance? Number three; how will your audience benefit from the performance? Number four; what is your call to action? What do you want the audience to do with what you share, and how do you want them to feel about it?
03:47 “How can you leverage your performance?” is number five. How can you leverage your performance? How can you re-purpose your content or material if applicable? Can you turn this 10 minute talk into a longer keynote type address? Can you turn this product demo into a webinar or streaming video or Q&A session? So start with that five-part exercise. Now let’s get down to organizing your content in element two. You see, top level public speaking can be used to promote your big ideas and to change and transform the way people think what they feel and what they do. Your performance can literally save the world. I use that word “literally” intentionally. If your performance results in one person in the room making a positive change in his life because of you, well you’ve changed the world. If your performance results in a big sale that will make your company so much more successful, that will create more jobs and allow you to hire new employees, you’ve changed the world.
05:03 How about your toast? If your toast at your son’s wedding makes his new bride feel like a member of the family, you’ve changed her world. My public speaking training company isn’t called “Heroic Public Speaking” for nothing, our motto says: “we’re out to save the world one speech at a time.” If you wanna have a world changing impact, this goal requires a well informed plan that is anchored in a big idea. You need to choose the right structure for organizing the content. The expert doesn’t always know that much more than the novice. The expert is often perceived as an expert, simply because his information is better organized. It’s also important to discover and how to reorganize and repurpose your big idea and your big speech into other performances for different lengths and different purposes. Now, a big idea… Well, that supports the promise of your speech. It’s the main point you wanna make, but it’s also a statement of conviction that takes a position on whatever your topic may be. A big idea shows, it shows the audience the world as it is, and it shows them how much better the world could be if your idea became a reality. That’s the promise. That’s the promise of your speech.
06:41 And it also demonstrates how much worse their world will be if they don’t adopt this new way of thinking or way of being. This is important to public acts of persuasion and communication. It’s important because you’re asking the audience to change views they may have held for 20, 30, 40, 50 years or more, and our human inclination is to find reasons not to listen rather, than be made to feel uncomfortable. We don’t wanna feel uncomfortable. But if you want them to listen, your message needs to contain a big idea that they can believe in, along with a promise that your big idea gives them results and the benefits that they’re looking for.
07:34 Your big idea might be provocative. Your idea may challenge what audience members believe about your particular topic and why their point of view could be flawed. Your performance should not, however, be needlessly or gratuitously offensive. Now, maybe that sounds obvious, “Michael, why are you saying that? I would never make anything that’s needlessly gratuitous or offensive.” Well, sometimes I think people think they need to be extra controversial just to be controversial just to get people to notice them. But, you can be controversial simply because the topic is provocative, but it doesn’t have to be. Even thinking big is controversial to some people because it provokes them. Nor does it have to be original. As long as your big idea is rooted in your overall expertise and your beliefs, your values, you don’t need to be different to make a difference. I want to burn that into your brain if I can, that you don’t need to be different to make a difference.
08:33 The same thing goes for your content. It doesn’t necessarily need to be dramatically different to make a difference. This big idea is the foundation for your entire presentation, but it delivers a big promise to the audience. That’s what’s actionable. People want the promise. They don’t always care how they get there. People want the promise, and they don’t always care how they get there. So, look. You don’t have to tackle issues of international importance. You can animate a technical or a sales or a business subject with very basic, to the point content. Changing software platforms. That’s a big issue for you and the people around you. We just changed our whole e-commerce system, and it is a big, big issue. It’s not something that was easy for us to decide to do or actually do. A new marketing approach that can be a confronting, big idea. So, the kind of results that you’re producing for people are life changing, and it comes from this big idea and the promise that you’re delivering.
09:47 So you, as a performer you need to articulate the promise behind the big idea, or the big idea behind the promise, rather, and how the audience would benefit by listening and paying attention. However, no matter, no matter how world changing your big idea, the audience must connect the dots between the message and the messenger. Connection is not possible if your audience doesn’t understand why you are a credible messenger, and why your message has to matter to them. You have to be seen as a credible messenger, and why your message matters to them. It doesn’t mean you need to be the absolute expert on your topic, it doesn’t mean you need to have won a Nobel prize, or even a gold ribbon at the state fair. One of my clients actually won one of those for pie baking, which I was pretty impressed with but, you need to demonstrate why you should be the one bringing this message to them. You should be the one teaching them.
10:53 In one of my seminars, a young US Navy officer was working on a keynote about domestic violence, and the kind of domestic violence that’s perpetrated by soldiers on their spouses or partners. And, his speech was about approaching… How to approach these issues, how to report them, how to stop them in the military. But here’s what’s interesting. For personal reasons, he wouldn’t reveal why he had chosen to deliver this speech. As a result, nobody in the seminar could understand why this young Naval officer had taken ownership of this topic, and they spent most of… After polling them, of course, they spent most of his speech trying to figure out why this was important. Had he committed abuse and was making amends with this? Was his sister a victim of abuse? Nobody knew. So, he lost his credibility on the topic. But if he’d just been able to discuss the situation a little more openly and say why this topic was so important to him the audience would have understood and seen him as an impassioned messenger.
12:08 And when I asked him, “Why won’t you share?” He said, “Because I don’t wanna hurt my credibility.” I said, “So, does this mean that you perpetrated some abuse?” He said, “Yeah.” And I stopped it before it got bad, but I realized what I was capable of, and I wanted to do something about that. And I said, “Well, that’s a beautiful, beautiful message. It’s a message that really could change lives. And I… In fact, you will be more credible to the people in the room if you do actually share this message. But if you don’t, then they won’t see you as credible, because they will not understand why you are speaking on this topic.”
12:57 So ask yourself a few questions to help you develop and evaluate your big idea. Now what matters to you? What are you passionate about, and could, could this change some aspect of the world for the better? What is your personal connection to the subject matter? What does the world look like to the people in the room? What are their limitations, their beliefs? What are the costs of not changing? Meaning, what are the consequences of not adopting your big idea or acting on the promise of your presentation. And that’s where I would end this questioning with, what is the promise? What will the audience get out of listening to you? What will the world look like if the audience does adopt your big idea? And remember, just always remember, anytime I talk about audience, audience can simply mean one person sitting across a desk from you, or it could mean thousands of people in a big conference room or event space.
14:10 Now, once we have those questions answered, then we can move onto framing and organizing your big idea. ‘Cause when you organize the way you think and write for your audience, you organize the way they hear your idea and think about it. Historically, in the world of content marketing and curriculum development, the phrase, “content is king” was used. And I get it. It makes sense. For our purposes together, I suggest you thinking about consumption as key. Can the audience consume what you have to offer? And that’s a great service for your audience, whether it’s two venture capitalists, or an auditorium filled with colleagues. Of course, the way you organize your information helps you give the presentation, but it also helps them consume it. It helps them consume it. See, I’m using dramatic pauses here because I want you to get this. I want this to be burned into your brain. ‘Cause you’re creating content that is high stakes for your life.
15:35 So I’m gonna give you some frameworks that sharpen your focus on the most important findings in your material. I have a way for you to organize your ideas using a few, what I would call “information blueprints” that have worked for countless, countless speeches, countless books, countless presentations, countless panel talks, lectures, et cetera. And when I introduce each framework to you, I’m gonna give you an example of a book that uses that framework. Why a book? Because most of us have read the same books, or it’s more likely that many of us have read the same books and its less likely that many of us has seen the same presentations, but if you use the book as an example, then you’ll get how you can apply that to content creation for a presentation.
16:29 So, the first framework is the numerical framework. This is probably the most well-known framework for organizing information. You’ll see these in many, many books, many speeches, many articles. It’s an old standard, and it’s an old standard because it works well. So maybe you’re familiar with Stephen Covey’s “The 7 Habits of Highly Effective People”. The reason it’s put to task so often is because it works. So, numerical frameworks they allow you to break up a number of recommendations or new ideas into easier to understand chunks. And your numbered sections can be keys or principles, elements, rules, values, whatever. And you can deliver the points, and here’s what’s cool, in order, backwards, in many cases, or you can pick and choose a few of them or one of them, depending on the situation. And that’s what’s kind of cool about the numerical framework. There’s lots of different applications for it.
17:33 Now the chronological framework. Well, that’s the second framework I wanna introduce to you. See, in the chronological framework, you present information in a sequential order, based on time or a logical consistency. So maybe you’re going from past to present. “Your Pregnancy Week by Week” by Glade Curtis, is a great example. It’s one of the best selling books in history, and it uses this structure. You don’t really wanna know what’s gonna happen at the end of the third trimester when you’re at the beginning or the middle of the first trimester. You just wanna stay where you are because if you’re new to having babies, it’s gonna get a little scary if you look at what’s gonna happen at the very end of the third trimester to stay where you are. So you see, it makes people comfortable that they can go step by step by step. And they use it throughout their pregnancy.
18:28 Steve Jobs’ epic presentations introducing iPods, iPhones, et cetera, they often used sequential structures, pitching one feature at a time and then leading his audience to understand the latest release’s feature, and moving up, up, up, up, up. There’s also a modular framework and the modular framework is something that I used in “Book Yourself Solid”, I used it in “Beyond Booked Solid”, and I used it in “Steal the Show”. Now in both “Beyond Booked Solid” and “”Book Yourself Solid”,” I used the term “modular” specifically. I had four modules in “Book Yourself Solid” and three in “”Beyond Booked Solid”.” In “Steal the Show”, I have three parts, which is the same thing. I’m just using a different term. And what modular framework allows you to do is break up the information into more easily consumable chunks. So you can go to different modules for the information you need now, rather than reading the entire book.
19:35 I’m not suggesting you don’t read all of “Steal the Show”. I’m suggesting you read all of it, but, if you feel like, “You know what, right now I need hard hitting, I need a tour de force master class just in public speaking skills, I’ll get to the mind set of the performer, I’ll get to the performance principles little bit later. But I’m on a deadline. I’ve got a speech coming up. I wanna get right to that.” Well then that’s what you do. And in fact, part three of “Steal the Show” is half the book. So the modules don’t need to be the same length in the book and they certainly don’t need to be the same length in a speech. But I’m using these as examples, “Book Yourself Solid”, “Beyond Booked Solid”, “Steal the Show”, because you may have read one or all three of those hopefully.
20:17 You can also combine frameworks. “Book Yourself Solid” is a combination of a combined framework. There are four modules as I indicated and each module is sequential in nature except the fourth one. There’s another example of how it doesn’t have to be consistent throughout the entire book. In “Book Yourself Solid”, there are four modules. The first module has four building blocks; you wanna go one, two, three, four. The second has four building blocks; you wanna go one, two, three, four. The third module has two building blocks; doesn’t really matter which one you do in what order, and the fourth module has six and it doesn’t matter at all which one you do first. So you see, the fourth module uses the numerical framework and I’m mixing and matching frameworks.
21:06 In “Steal the Show”, there are three parts. The first part uses the modular framework. There is no sequential order for those first three chapters. You could read them out of order and get the same value. In the second part, there’s a numerical framework. There are six performance principles that I want you to adopt. And then, in part three, I go through all of the very important performance techniques, but you could go through them in any order. I have put them into what I think is a sequence that you should learn them in, but you could work outside of that. So the way that I created it is in with that framework in mind, and that also helps me create the framework, create the content, and you consume it. Remember I mentioned that earlier. It’s so important because these frameworks help you create the content and… Excuse me, helps… Yes, helps you create the content and then helps your audience, or if you’re doing anything in a book, helps your readers consume the content and that’s what’s essential. It’s incredibly important.
22:18 Another framework you can use is the compare and contrast framework. Now, this is best suited to a discussion of major subjects or thematic points, where you’ll be showing differences. So you might challenge… You might compare and contrast the role of intellectual property in the US and China. And you might compare and contrast the same topic in 10 other countries. Jim Collins wrote one of the best selling business books of all time called “Good to Great” and that’s exactly what he does. He’s given hundreds of speeches on the book and the speeches often follow the same framework. He analyzed, along with his team, more than 1400 companies. He identified 11 that became great, and then he compared and contrasted the variables that led to the 11, standing out over the rest. It’s a great teaching tool, easy to consume. Now, you don’t have to do a 1400-company study to make this work. But it’s a great example, nonetheless. So those are some of the structures you can use. You may even find more.
23:30 I want you to use them as a way in. That’s important. I want you to use them as a way in. Not as a constraint that holds you back. Use them to start the creative process. If you find a different framework, a better way, a more creative, artistic way, then go for it. Because the performer’s job in part is to break the rules, but you gotta know what the rules are first. You see, that’s key. If you’re trying to break the rules before you know what the rules are, then you might just be making up a lot of fluff.
24:04 So here they are again. You have compare and contrast, you have modular, you have numerical, you have sequential or chronological, and finally, you have problem solution, problem solution. Problem solution is quite fun, it’s not very complicated, in fact. What you’re doing is you’re saying, “Here are X number of problems”, notice how there’s also a numerical framework there, “And here are solutions for each problem.” And “Why your Parents Love Too Much”, a book that was written a number of years ago is about parents who love their kids so much that they ’cause all sorts of problems, helicopter-type parents. And here are the problems that are created, here are the solutions to each problem.
24:50 It’s a wonderful way to organize your information so it’s easier for you to produce it and then, easier for you to deliver it and easier to consume it. Now, I have much more on content creation from element two in “Steal the Show”, so I do recommend, if you are gonna get serious about creating that kind of content, that you do read “Steal the Show” or listen to the audio book, either one if you like the sound of my voice. If you don’t like the sound of my voice, I suggest reading the book. So here’s element three, is creative and effective content creation, right to it. This really, I think, gives you two for the price of one. So it provides a step-by-step advice for transforming your presentation or performance blueprint into written word. And then, it also helps you refine your own working process so it best serves your mental health and professional goals.
25:42 Listen. Please, please please, please, you don’t have to write out your speeches word for word and then memorize them. Although that is very effective for some people, it might be something you wanna do for certain speeches, I do it for some, not for others. In others, you may wanna outline, bullet point, choose your stories, those I think should be written out and memorized, sculpted, crafted because you wanna be able to do that the same way every time so you know you can get to the resolution or punch line perfectly. But if the work is done on that outline, bullet points, chosen stories, et cetera and you do the rehearsal. You see, that’s the key. If you don’t do the rehearsal then that structure is gonna get dropped once you start giving the presentation. So either one needs a lot of rehearsal.
26:34 One of the reasons we don’t memorize is because we don’t wanna give that much time to rehearsal, or we think that, “I’m gonna get stiff, I’m not gonna be natural if I memorize.” And that might be the case if you only do a little bit of memorization, because if you do a little bit of memorization, then you spend most of your time trying to remember what you memorized while you’re giving a speech, that doesn’t work. You have to be so prepared, so well memorized, so well rehearsed that you can walk up on the stage or walk into the front of the conference room or the head of the table and intentionally imagine that you forgot everything that you worked on and let it come to you naturally in the moment, that is true performance. And that’s what a professional actor does, that’s what an amateur actor is supposed to do.
27:23 And it is what a professional speaker should do, although I’m not sure they all do. It is what a professional speaker should do, meaning know their material so well whether they memorize it or not, is not important. But they know the material so well that they can forget it even before they walk on stage but it comes to them so naturally in the moment that it seems like it happened for the first time in that moment. And if you’re not a professional I think you should get pretty darn close to that if you’re giving a speech that means something. And most of the time when you’re giving a speech, there’s a reason you’re giving it. There is something compelling that is driving you to give it, the stakes are high in some way, the speech matters. So I teach some of my students to write and memorize speeches and others, I don’t. It depends on the individual type, depends on the speech itself.
28:16 So here’s what you’re gonna do first. This is the first, first is where you start in element three, you do a brain dump, everything you know on the content topic. This could take a little while. But it doesn’t have to be perfect, you’re just writing this down. You can record it and then transcribe it. You can record it, you can shout it out to your assistant, have them write it down, nothing fancy about this. What you’re trying to do is tap your creative and associative powers without activating the judgment and censorship of that right brain, the linear brain. So maybe it’s free form writing or speaking into a recorder as I just said. You’re just trying to get it all out. I personally, I usually do this verbally and then I have someone take notes for me.
29:01 Part of it is because I’m dyslexic, so when I write I tend to have to think about a spelling for a word and I don’t wanna spell it incorrectly because I’ve spent my whole life trying to not spell things incorrectly. So I have this habit of stopping and trying to fix it and make it right. But if I can verbalize it, then I can get it out faster and better, and I know that I’m also more verbal, which I think you can tell, because I do this podcast, I can communicate verbally faster and I’m quicker on my feet verbally than I am on the page. It takes me a long time to write a book. Others can do it very quickly, it takes me a longer time. But you start with a brain dump, that’s where you start. Number two, you organize this brain dump by compartmentalizing related ideas. So you’re looking for the main points and you’re looking for the supportive material of those main points and you separate them.
29:56 You may enjoy using sticky notes and you put them on the wall. Once you get each topic, each main topic, you put it on the wall. You can organize them. That way, like the mind map approach, you can deploy a whiteboard right on that. You may thrive through talking and notating the brain dump with a trusted colleague. It’s the same thing you did for the brain dump. You’re now organizing the brain dump with somebody else and have them help you organize this brain dump, if that serves your particular way of thinking better. That’s number two. So one is the brain dump, two is organizing the brain dump, three is noting your direct experiences that relate to your main topic. So, how can you shape your experiences to support the change you’ll be asking the audience to make? So, if you’re speaking on health, for example, what health issues have you overcome? If you’re trying to get on the school board, for example, the change of policy, what experiences did your child have with the current policy?
31:04 Number four, now you gather your direct data, either anecdotal or scientific that support your topic. So you do preliminary searches for the kind of data you think is relevant that you believe will be credible. I really encourage you to just observe a simple and a smart rule of research. Tap the most respected and credible sources that are used by journalists and academics first, and ignore a lot of the less authoritative research that you find in the intra-web. Because anybody can make up anything and put it online and say, this is the way it is, and you stumble across it, and you go, “Oh, that must be the way it is.” You take the quote, put it in there, and next thing you know, your statistics are way off. This is something that I see in I’d say 90% of speeches. They’re using statistics or using quotes that are inadvertently misappropriated. So there are a lot of studies that have been done that are taken out of context and used in different ways for different purposes, and then it become memes and, in fact, actually don’t hold water. So make sure that anytime you use a statistic, anytime you reference a study, make sure that you are accurate in that. It’s very, very important. So please, use credible sources.
32:29 Number five, identify any holes or vulnerabilities of logic or persuasiveness in your content. So, what arguments could your audience present in response to your presentation? You’re gonna wanna skillfully address those arguments, so how would you do it? And of course, if you figure out how you address those arguments, you plug those holes in the speech before you ever give it. You don’t leave the holes there just ’cause you have something to plug it. You plug it beforehand, otherwise, the boat sinks pretty quickly. And I’m a boater, and I can’t tell you how many times I have left the plug out of the dinghy. When I’ve launched the dinghy off the boat into the water, and next thing you know, it’s filled with 20 gallons of water. It’s a nice bath, but it’s not always what I want. So make sure that you plug those hole before you get in front of the audience. It doesn’t mean you won’t leave some there inadvertently and you’ll have to deal with them. But it’ll give you same information and go back and you can change, you can work on it, you can improve your presentation for the next time. So you’re identifying the various objections that people might make to your theories, your experience or even your personality.
33:43 And then number six, let the editing process begin. Good content creation tends to be messy for a while, just like rehearsal. Rehearsal is messy. Content creation is messy. So, I don’t want you to get discouraged if you need more than a few drafts. You will if you are in pursuit of not just mastery, not just excellent, but just good. That’s how writing works. Writing is rewriting. So, I suggest that you take one of the following approaches to your editing. So, you go through your notes and you choose the pieces, the stories, the data that best serve the through line, that’s the connecting theme or the plot in say, a movie, a book, a speech, et cetera, and the journey. Or choose what not to include. So remove anything and everything that doesn’t serve the through line or advance the big idea and in what you want your audience to think or to feel or to do. And then it becomes a recurring process, brain dump, organize, edit, brain dump, organize, edit. Say it with me, brain dump, organize, edit. That’s it. Just remember that this is a creative experience. It’s about what you like in a work process. It’s not about what I like. It’s about what you like. And if you find a different system that works better for you, great. You can use this as a good starting point.
35:08 And then, finally, number seven, cut, cut, cut, cut, cut. As you get into the later stages of the editing process, it’s time to murder your darlings. Incidentally, despite years of misattribution, this is one of those things that is misattributed often, that phrase was first coined by Sir Arthur Quiller in a book that he wrote in 1916, I think that’s right, 1916, I will put a caveat and say, maybe it was 1915, but I think it was 1916, called “On the Art of Writing.” So it’s offered as advice to writers because many of us tend to add more details and examples for important points to be sure the audience gets it or because we want them to think we’re smart and we know what we’re talking about. We want them to think we’re clever. So be careful of extraneous detail that disrupts the flow, such as, that little bit of historical context I offered above. So cut to the meat. Cut to the strongest detail, or example, or data point at the critical parts of your story.
36:20 And often, audience, they need a lot less information to get the, “A-ha” moment than you might think. And sometimes when you overwhelm them with content, they turn off, they shut down. And for example, in this particular episode, I’m giving you an enormous amount of content, but it’s very well organized. And you’re able to take notes, because my pacing is just a little bit slower than it might be in some of my other episodes.
36:50 I’m giving you time to think about what I’ve said in those pauses. And of course, because this is audio, it’s very different than a speech, because you can go back to this and listen again, and again, and again. You can rewind and listen. You can rewind and listen. But you can’t raise your hand in the middle of somebody’s speech and say, “Rewind.” Okay. And then have them go back to the exact part that you want them to. And then have them continue on. And go, “No, let me listen to this again.” You can’t do that. You’ve gotta sit there and if you missed it, you missed it. You gotta try to figure it afterwards. But it’s not like that in audio. So it’s a little bit different.
37:29 So I want you to do something for me. I want you to listen to this episode again. No, first, actually subscribe to this podcast if you have not. Write a review for this podcast if you have not. Buy “Steal the Show” if you have not, anywhere books are sold. Best place to learn more about “Steal the Show” is at stealtheshow.com. I spent $8500 for that domain, so please go there. Make me feel like it’s worthwhile. That would be great. And here’s the thing that’s really cool, if you go to stealtheshow.com and you buy a book or two, I’ve got lots of bonuses that I give you, because my job is in part is to sell lots of books. So I’ve got to incentivize people to buy lots of books. And that’s just the industry today. That’s just the way it is. So basically, I give away the store. It’s like a fire sale, but you only have to buy a couple little things. Like a book or two.
38:22 So you can get free templates for creating your content, things based on what we worked on here today. Templates on crafting, sculpting your stories. You can get tickets to live events around the country. Free public speaking video coaching. Now when I say free, I mean these are normally hundreds of dollars or thousands of dollars and you buy a book, we’ll give it to you. And then much, much more.
38:44 So this is “Steal the Show” with Michael Port. I am Michael Port and I love you very much. Not in a weird way, I promise, but I love you for being the big thinker that you are and I hope you keep thinking big about who you are and what you offer the world. Bye for now.