Thank you for joining us on this beautiful sunny afternoon. Can I get someone from the audience in the chat, let me know that they can see and hear me. That would be great. And we'll give it just a moment for the crowd. Thank you. Welcome everybody will get started. And I want to welcome you all for being here. My name is Anissa. I'm a librarian at San Francisco Public Library and am happy to be here and honored to have our guests today. We are here to speak on part of our one city one book and Chanel Miller's book. Know my name. And today's panel features some amazing women creators. We'll discuss the book and their art. This event will be is streamed on YouTube right now we welcome all of our YouTube viewers as well. We want to welcome you to the unceded land of the aloney tribal people and acknowledge the many Romeo tush aloney tribal groups and families as the rifle stewards and the lands on which we work and live in the Bay Area. We're committed to uplifting the names of these lands and community members from these nations with whom we live together. We encourage you to learn more about land rights, indigenous communities, first person's culture. And I will put a link in the chat box as we get rolling with a link to all sorts of resources about indigenous culture reading list, but all sorts of other events and resources for today. San Francisco Public Library condemns the horrendous violence against Asian and Asian Americans in our communities, our state and nationwide, both the reported and the invisible crimes that have occurred. We stand in solidarity with our Asian communities neighbors colleagues, and those distressed and hurt by these attacks. We acknowledge that these events are complicated by the entanglement of anti black and anti Asian stereotypes in the reporting of these acts of violence. We acknowledge the reduction in humanity and harm done to the black community by the coverage of hateful commentary that has been deployed by our media. Anti black and anti Asian racism, both uphold white supremacy and we're all harmed by these racial structures. San Francisco Public Library has been deeply committed to working on our racial equity in our own house, and we have a racial equity commitment statement that I'll put a link to as well in the chat box for this. Don't forget to mask up for this event of through one city one book we're working closely with San Francisco women against rape. The book is very heavy. We have been partnering with SF or for the entire campaign they have extra staff and effort extra folks manning the phone lines so if you need help. I will put that link into the chat box to you can reach out to them 24 hours a day. And they are women of color led and volunteer based organization providing support resources advocacy and education to San Francisco's communities communities healing from sexual assault. We are having many events related to one city one book I'm really honored to have all these amazing people, as well as Chanel Miller. The San Francisco Public Library supports all of the events fiscally, and you know it's really amazing that we get to bring all these amazing people in. Every Monday we've been hosting a series called know your name, and this will last all the way through April so please come check out some of those events. Tomorrow we're going to be celebrating and honoring international transgender day of visibility. And then one other thing I want to point out was know the rape documentary and director talk coming up. Aisha Shahida Simmons is a pretty amazing and legendary filmmaker, the documentary has, you know, it's over a decade old but it was revolutionary and it's time and still is. And she's a 2020 co author of a Lambda award winning book. And events like I said these are Monday series. I should definitely come check that out. She's joining us from DC so some silver linings of pandemic world art and more art. The one and only Dr Carol Queen will be talking about healthy relationships. And then Mayor from memoir who is also doing the International Day of Transgender visibility will be back to have a virtual healing circle for survivors of childhood sexual assault. All of these people are partners. Including our sharp, which is the office for sexual harassment assault and response prevention who helps train first responders to be allies as they help survivors get through.  So some definite powerful events that are heavy and we understand that and the book is heavy. We understand that too but it is so vital and important and it needs a mind shift. And we are here to help you with that we're also here to help you with those resources like I said, SF or is on the line now, and I will put a bunch of stuff in the chat after I introduce our panel and we get rolling. So again, thank you all for being here. We are here today with this dynamic panel of fierce female artist and titled feel what I felt which is a post it quote from Miller that Chanel wrote as inspiration for her book. And this is referenced in the daily show, Trevor Noah's Daily Show. The panel will feature cultural creators CC Carpio Diana Camaros, Amara Tabor Smith, and moderated by Ellen Sebastian Chang. And we even have a surprise guest. So it's wonderful. Ellen Sebastian Chang is a legendary figure in Bay Area performing arts, a director and arts educator whose career spans 50 years. Current projects include an ongoing collaboration with Afrofuturist conjure artist, Amara Tabor Smith, and deep waters dance company companies, House full of black women. This year sites, specific dance theater work that addresses the displacement, sex trafficking, and creative well being of black women and girls in Oakland. Sebastian Chang is also the creative director of the world as it could be human rights, and the arts education program. He is the recipient of awards and grants from creative capital, map fund, a blade of grass fellowship and social engagement art matters, Kenneth Rainan Foundation, the NEA creative work fund, and California Arts Council and the Zeller Buck family fund. So without further ado, I would like to introduce you to Ellen Sebastian Chang. Hi. Thank you so much to the San Francisco Public Library for this event. I'd just like to start by honoring that I am currently on the land of the the Cowlitz and Clackamas First Nations tribe in Portland, Oregon. Let's all breathe. This is such a tender subject that we're all about to embark upon and and it's tender because it is so every woman in this room may have some story, or possibly the men in this room. I don't know who always in the room but assaults upon our body, even even when it's a perceived assault, a literal assault.  And so the alchemy of this is not lost on any of the panelists is not lost on myself it's not lost on anyone in the room. And so I just want to start by saying that I've been playing the last three nights with the word shame, because I personally, I have a lot of shame, and being an artist. I took the word shame and I just broke it down to the, and the letter a and the final two letters of me. I began to rock that word. Like a very vulnerable baby. You know, innocent and vulnerable. A word that is born out of misdirected training misdirected. Just violence that gets put on the self and so I ask each and every one of you to just whatever shame you carry just swaddle it and hold it for a moment, and just say, just cradle it for a moment.  So I'm just going to start I'm just going to read. Just a short passage from Chanel Miller's book. That I speak, thanks speak so much to our feelings of coming forward, and then I'm going to introduce. Amara Tabours Smith. Whenever I hear a survivor say they wish they'd had the courage to come forward. I instinctively shake my head. It was never about your courage, fear of retaliation is real. Security is not free. It bothered me that coming forward should feel like heading toward a guillotine. I don't think most survivors want to live in hiding. We do because silence means safety openness means retaliation, which means it's not the telling of the stories that we fear. It's what people will do when we tell our stories. I remember thinking, if anyone finds out they'll think I'm dirty. They'll suffer from society's shallow understanding. Disclosing one's assault is not an admission of personal failure. Instead, the victim has done us the favor of alerting us to danger in the community. Openness should be embraced. And so with that, I am going to open up a beautiful panel. I'm going to open up to you in the audience that have joined us today and invite us all to be open and embrace each other and embrace each other's stories and that we are here together and that we are here to protect and embrace one another. So I'd like to turn it over to Amara Tabor-Smith and she'll do a brief introduction of herself and then we'll just go in order of our guests and then we're just going to have a free discussion amongst the four of us. So thank you, Amara. Helen, thank you for that. I'm so moved by those words, so moved. Yeah, breathing. Yeah, let us all just keep breathing throughout this really short time together to delve so deeply. And so, who am I? Who am I? I make, you know, what would be traditionally categorized as dance and performance work. I call it conjure art. I utilize Yoruba spiritual technologies to address issues of social and environmental justice and in order to shift the vibration from oppression to collective joy, liberation and well-being. It for me is, it is death doula work. It is grief doula work. It is joy doula work. I see myself and the folks I work with, which includes you, Ellen, as being part of work, a death doula being a very loving death doula for patriarchy. It's the grand system that even gets us to this topic today. So I just want to thank you for holding space for this conversation and I'm looking forward to everyone else and us delving deeper. And I'm going to leave it right there for now. And I'm going to pass it to Diana Gameros. Hello, everyone. Thanks, Ellen, for reminding us to breathe first and foremost for holding space for us as we become open and allow ourselves to feel the things that we need to feel. I make music, I sing, I play guitar, I write songs, mainly inspired by the immigrant journey, but also songs that hopefully will first uplift me and hopefully uplift others. And I think that's one of the reasons why I honor Chanel Miller's work so much and because I see the power in that I have experienced it. And so, yeah, I perform. I am originally from Mexico, now living in Oloni territory in Berkeley, California, and just couldn't be more happy to be sharing this space and this conversation with all of you. So much admiration for all of your work and all of your being. So I don't say that lightly. It's truly an honor. Thank you. And next, I'd like to introduce Cece Caprio. Hi. Thank you, everyone. And thank you, Ellen, for beautiful introduction. It's an honor to be here with all this beautiful, brilliant women that I have so much admiration for. And just to be able to speak and talk, I mean, we're, we're going really deep today, you know, we're getting all up in the fields, but I mean, beyond all of that is like such a high admiration on not just to craft that each of the women in this panel does, but also just to reach and intention of every word that Diana sings to every movement that Amara kind of compose and create. I'm such a big admirer. I'm such a big fan. So it's great to be here.  I'm currently in Dominican Republic right now. But I'm a visual artist. I paint big walls. And in so many, in so many ways, I kind of actually got me really thinking and reading Chanel's book and, and kind of really thinking about my craft made me really think about how I reclaim public spaces is kind of very similar on how we as women as we go through our resilience. To also reclaim our body is almost kind of a similar process and that's kind of the, the metaphor I see in connecting my work within this book. I've reread the book. I mean, maybe the second or third time now and, and just really impressed on the, the capacity of Chanel Miller to articulate emotions and feelings and ways that I feel like I felt it before just by reading her words and so I was highly impressed because it's not. And I don't take the session lightly because you know being able to even feel and being able to talk about our feeling is not necessarily a common cultural practice to a lot of people I know, including women in my life. I mean, unfortunately, and I think we are constantly growing to be more in touch and be open and, and, and I think that's why this panel like this are really important and relevant. I don't always have the right words express this. I communicate with colors and with lines. And so it's especially thrilling to be able to be in, in the space with amazing creators who kind of touches all of that. I mean, essentially, I believe one of, one of the role of an artist is to be able to get us to feel, you know, and with that comes intelligence of being able to connect. And hopefully then being able to create action to whatever extent that is, whether it's healing ourselves or whether it's, it's changing the world so. But I think that very seed and that very drop of being able to, to feel and have this notion of we are connected through the feelings that we have it's quite magic really and I'm excited to. To dig deep a little bit more into that as I feel like Chanel Miller kind of. Um, brilliantly did with her book and in a really kind of, I could empathize but I could also find myself halfway laughing in the way she described things and, and, and I think that is kind of just the complexity of feelings it goes from one pendulum swing to another within within seconds and. So, and I feel like my metaphor to that is just the variations of color palettes that can be used in painting up a wall is kind of very similar in ways of like we can feel all this different things as and and be able to learn how to hold space for all of those so I'm excited to talk more about that. I think, I think this is for right now and and I'm excited to to to hear more of Ellen's leeway on where this come conversations going to take all of us. Thank you that that was an excellent segue CC. We're also going to just introduce a little bit later as a surprise author, who's born and raised in San Francisco, and we'll bring her in near the end named Natalie golly, who wrote an incredible book called the girl who said no about Vila Franca who wrote the entire thousands of years tradition in Sicily in the early 60s. That was part of if a man saw a woman that he decided he wanted if he raped her then she had to marry him. And so with that. Natalie golly so at the last minute agreed to to join us at the panel at the end. So I'm going to lead us off CC you you opened a great gateway here which is the gateway of feelings and also talking about being a death do of patriarchy, and which to me. I think one of the things that we're up against right now is that we're at this I believe at this crossroads of language ideas. What is the body, you know what is the body in relationship to technology what is the body in relationship to gender, and all of these things are rooted in the elements of our feelings and under, I believe a very industrialized capitalized system. We're trained to suppress our feelings, especially if we're women, we're, we're told we're so emotional and, and you know, we're so this and yet, when I think of rape as an act. It is an act of unbridled uncontrollable surge of feelings of feelings that are rooted in violence in anger in power and all of those are rooted in feelings. Those feelings becoming ideas ideas that we are taught that we are taught, and that's why I think we're in a very important moment in the 21st century to identify something becoming a culture, a rape culture. And because we are creatives, we part of our drive is to reframe rethink and reshape culture because when culture changes, legislation changes, laws change, and so I would like each of you to express in your own ways. You can write a music song, throw up a mural, whatever it is that you feel that as Amara talked about earlier is how are we shifting this vibrational moment right now, and Chanel Miller's book has been such a catalyst of that and inspiration to feel what I feel. And whoever wants to dive into that but thank you CC. Wow. Yeah, I, you know, I, I reread her book. A second time and also got the audible version so that I could because she narrates her own book, and there are these moments I don't know if anyone listened also to the audio version but she, you know, the emotion in her voice, you know, which in some books that I've listened to, you know, is void of was so present and and the power of that and the power of retelling the story is about, you know, there's, I feel like, you know, something you were saying Ellen like that, yes, we live in a rape culture. We live in a society that actually was founded on the ownership of women's bodies of bodies and primarily, you know, wound bodies, wound bodies, right. So, and so what it means, like, to, to tell your story of violence in a way like the power in that book is not just about the retelling of what happened, but the evocation around, you know, there's a way in which it's even articulate but there, but there is an energy inside of it that is transformative of that, of that violence. And it's, to me, it's an, it's an evocation, because as I'm reading it, you know, there's ways in which she is repeating some things again and again and again and that's what we do in ritual in, in my tradition, you sing a song, you do a movement over and over again till you shift until something else happens. And I feel like she did that in the telling of the stories like, I'm telling it and I'm telling it and 50 pages later, I am telling it again, because it keeps bringing you back. It's like, we live in a culture that says, yeah, yeah, yeah, okay. Yes, I want to hear it, but then I want to move on. But then I want to move on, you know, and she's like, she keeps you there. And it's, you know, and there's a power in that because if we're going to transform something, we have to go in. And we have to keep going in and tell something else happens. And that, that was really, that was what was so powerful for me is that in the telling of our stories, it's about what is the ritual, just like the young woman who carried the mattress on her back, you know, on the college campus, it's like, and you're going to see me and me again, and you're going to see me again, and you're going to see what this represents, because when you feel like, okay, enough, but it's not enough until we collectively shift it until we collectively make the decision to lay down, you know, the, the, the spirit of rape culture, the spirit of patriarchy that makes it okay, you know, that all these ways that we come to normalize this behavior that we don't even, you know, it's internalized that even, you know, in, and I'll just say this last thing and turn it over, but like the thing that I kept thinking about when she was telling the story of like how she was making everyone else okay, or how her sister in the party, you know, is laughing often, and, and, and our instinctual as them body people to not make a scene to laugh it off okay let me just let me just move myself that we are not conditioned to fight back, we are not that is not part of our socialization as them body people, you know, and that what does that mean, and for some reason before we came on I was having this memory. I was having this memory of a car campaign. Ellen you might remember in the 70s their use and I think it was Volkswagen and it was the car and it said yes, and the car and it says, if this car were a woman you would pinch its bottom. It was a huge campaign and I was a child, you know, seeing this I am a young femme body person who's seeing this campaign that is okay. Right. And I remember that there was a someone did some graffiti in response and I used to have the card but it said if this woman were a car she would run you down. But the important thing that I that came to me was like, right, if this car were a woman you would pinch its bottom, but you wouldn't even pinch the bottom of a car. So that a car gets more consideration and care than the, the, the femme body.  No more. No more seriously. And I'll stop there for now. Yeah, maybe I'll, I'll add to what you said Amara about how, you know how Chanel keeps coming back to remind us to remind us to tell it again she is going deeper and deeper she, you know, we wish for her to take us out. Out of that place of grief and she doesn't you know she's also I feel like there's just so much there because you know we're also seeing and we're you know through her writing. She's allowing everybody to see the spectrum like the big spectrum of healing from grief and how there is a, there is a, you know, there's a healthy spectrum of suffering. And yet, even us we want her to be out right because we we're starting to feel like we love her and because we can relate to her story. And yet, no, there is a process to this. And I actually wanted to read a line that one of the lawyers told her one of the ones that was helping her, you know, gets down for to be accountable. The lawyer Michelle when she says the social change is a marathon. And it's not a sprint that you do all you can in the time that you have.  And yet, you know, here we are here we are again there's there's this is also a reminder that there's still so much work to do. And also I acknowledge you Amara by saying, or by amplifying that wish to yes, we can to say yes, it's not a sprint, you know, we do what we can in the time we have. And I almost want to say, well, and yes, let's step it up and keep, you know, hitting that gas pedal a little bit because I think collectively, we can potentialize that growth and that getting us out of this, you know, normalization and of this, and of this pain together. And Chanel is doing it and I think she is, she is doing it exponentially. She is offering this healing and I think that's the beauty and the power of art that we can reach to people that we don't even know we are reaching out to and especially now with the platforms, you know, with the digital world at her feet. Now more than ever, we can do that. And so for me, that's where my hope lies that yeah I acknowledge that social change is a marathon. And I also acknowledge the fact that we do need to put our foot on the, on the gas pedal and that we have all these, you know, all these, all these tools Chanel also said, you know that she bought a small red notebook and she wrote it feels better when the story is outside myself so for me as an artist and for anybody who wants to become an artist and who thinks they have a story to tell a mural. I think we may be lost Diana is frozen there. And for a moment CC, can you just join in and speak to the the power of color and images. Yeah, no it's. I mean so much what everyone have said I feel like we can talk about each particular part of that for the whole hour, you know, because it's so packed with so much stuff but I actually wanted to bring it back to two feelings because as I'm rereading this book, and especially within the different incident that has been happening the last week or two, it's been such. It's, it has allowed a different type of intensity of the feelings and emotion and feeling as I'm rereading it again and also just, you know, triggering certain memories and and just different thoughts and different analysis and, you know, and, and, and, and just ideas on how we heal and how we move forward. Incidences and times like this because as you mentioned earlier at some capacity about almost every woman I know who have had a chance to talk about this topic have had some sort of, you know, capacity of experiences within this and it's, it's always been. I believe a Samara had mentioned earlier sometimes become almost expected and normalized to some degree, like as, as a women's like, well, that's the role that, you know, that you just have to kind of get through it. You know, there's not like necessarily always a black book to like guide us through the process of and just also knowing that different folks have different timeline and healing. But, but before I go to that part and kind of like a little bit more. And that part of the process and wanted to bring it back to feelings because one thing that really caught me with Chanel's writing is she's able to talk about the intensity of what had happened to her in a way that's very fluid. Sometimes, you know, I mean she takes us all to the feelings the anger, the empathy, the, the, the relating, but even the moments in between. They feel the numbness, she like describes that and, and I think it's kind of really powerful and magical to like acknowledge those time because those are not normally connected, or we don't normally consider that part of the healing that is part of the stuff of the awakening. And one of the one of the line I actually have the book right in front of me and this is one of the book, one of the part that I've highlighted and I've gotten back to over and over because I feel like in so many different struggles in my life and the different intensity. She kind of really broke down and articulated this feeling. Which is, she describes it as the end and then clipping from the world where up was up and down was down. This moment is not pain. It's not hysteria. It's not crying. It is your inside turning to cold, to cold stone. It is utter confusion, paired with knowing. One is the luxury of growing up slowly, so begins the brutal awakening. And I think this is kind of like that moment of almost from numbness to acceptance and just that idea of like confused but like, oh, I know this I've been here before or I've known this before. And I think why I wanted to bring it back there is, is also such a big part of the process and how I create. Where there's moments of like just real clarity of like what it is the story I want to tell. But then there's those in between us to go through the process or just like, well, I actually don't know. You know, I'm actually don't know where this is going or how to get through this hurdle. And, and, and what I really appreciated with what Amar already mentioned and I think is very true is we just kind of keep diving deep and diving deep and diving deep. So we kind of could figure out what the next move is and I don't feel like we focus enough on just kind of the various trajectory and timeline on like people say, oh, she's in the path of healing as if there's a timeline that it happens and that you're going to get triggered again and it's, is this kind of ongoing quantum leaping serious event that happens through our life. Like, I mean as part, you know, as part of also it becomes part of like the body memories and how then do we heal that beyond the mental and the spirit and the emotional memories that different experiences have gone and printed in our bodies, you know. So, so I think through my craft, which I'm really fortunate and in ways that I could pace myself in the level of how small and how big I can go. I can create a small drawing in my journal at home in the buzz and take that in my backpack and take it with me or use my whole body and paint the whole wall and it becomes truly then physical. And, and it does have a different impact on on how it's received, and also like the energy applied physically and mentally. But in some ways, I think that what Diana was starting to get into you about how. Art has that power of not only being able to communicate to the world and what it is that we want to communicate but also the power to actually go with our mental and spiritual and physical process of releasing some of those things that we want to let go of. And, and, and fortunately, I, I mean I could only imagine it with dance where it is like literally pouring out of your skin and how much releasing that can do for one's body in order for us to kind of recuperate and rejuvenate and create something new, you know, create a whole new chapter, even as we're repeating similar parts of the story is still becomes different each time we repeat it. So, yeah, like I've never painted the same thing twice, even I could paint the same portrait, but there's always a difference in colors there's always a different and kind of the streets there's always a different. So, I think the more that we do repeat, whatever ritual and whatever process that it is that we go through, it looks different each time, and the more we can have the opportunity to create something totally new. That's, that's beautiful CC. I think it, what it speaks to. I'm going to respond to the word new, not as a criticism but as an understanding in relationship to capitalism's thirst for the new the new the new, as opposed to the depth, the depth, the depth. And I think that what is brilliant about Chanel's book, what is brilliant about what you just said CC of like I can paint the same portrait over and over but I'll use a different color it might be on a wall it might be in a notebook is because part of this process that we're going through is the depth of understanding and like, yes. What's that expression you never step in the same in the same river twice. You know, because the river is flowing, we are cellularly evolving and ourselves are dying and we being reborn and recreated inside our bodies every day, you know, every day and so is our understanding and it's actually through the creative process of repetition that we create depth is how can I really, really understand the depth of a life. And I just even mean my own life or your life or Diana's like that we can sing a song, and then come back to that same song 20 years later only to discover. I really did not understand that song. The first time I sung it because now I'm seeing it with more life experience and the whole purpose of life is living is really living it because there are things that I returned to books, films, music, you know, watching a particular dance piece or recently Amara start talking about the value of shaking, just shaking and why we shake. And so I have added shaking into my morning meditation where I just go out in the yard and I just shake and I just shake and all of a sudden I go. I feel so good. And when we look at American culture and particularly what is the first thing that has gotten ripped from the schools. In the beginning of the starting and the 70s, the arts, the arts because if you strip us from creativity and this isn't about professionalizing the arts. Yes, we can identify ourselves as professionals but every human being that is born sings and dances and plays and imagines and uses different voices there's not a child on earth that hasn't done that so that is born into us in the systems of industry and imperialism and colonialism has been determined to rip that from us as human beings. And I think the commodification and professionalizing of the arts is one of the ways that it is actually and I'll use the words siloing, ghetto icing commodifying. What we know is the most dangerous thing that human being has and that's our ability to play to imagine and to feel because once you strip us of that of our feelings and our ability to play and sing together. Because when we're singing together, we're not fighting when we're dancing together, we're not fighting. And we see that throughout all indigenous. I call Earth cultures where the interconnectivity of dance and music is global.  Can you please finish what what you had started. Thank you. I sort of lost the train of thought trying to get back but I did I was able to to hear some of the last thing you said and I am actually I'm actually curious if when you started talking about remembering and and acknowledging that that that that you sort of you know we sort of have this cellular memory I don't know if you read I wanted to to share something that for me was very, very touching and something that a teacher told Chanel and forgive me if you already maybe even read it because I you were talking about that specific thing that made me think of this line when the teacher once explained to Chanel that we possess an invisible blueprint in the womb to build ourselves from the from the Mesoderm ones bones and connective tissues and heart emerged. We know how to form our being. We still have that information. It's still informs us.  You know, for me, it's a, it's a reminder that that it is through art and through through through movement and and not the professionalize it's not the mainstream art not the, you know, not the art as an only an artist could do it but just as as beings who because that's really what an artist is of being who recreates himself herself themselves and so it's just, it's just so beautiful how this book is, it's just full of these reminders and and how we can, you know, me personally as an artist can go back to them to say, yes, all this information is in here, all this ability for us to heal and to remember that if we need to stay in the pain we will, but also the remembrance of, of what's beyond that and through through art is right. I mean, she on and on will say, you know, she pulled out a notebook or she wrote or she went to that comedy club and, or even through reading the letters, right, that that people were writing to her so keeping the story outside of ourselves. It heals us and it heals others. So, yeah, thank you for touching on that, you know, cellular memory cellular intelligence because I think it helps us it helps me to stay in the truth or to remember our truth the very deep one that are the one that comes from our essence and from our from where we really are from, you know, and sort of trying to get rid of all the labels and all the things that identify us as things that we are not. And to remember that we are powerful and free that that's how we were born. So, then we become oppressed and and not liberated through other systems but that's really our essence and so thanks to Chanel Miller for reminding us of that on this book. I'm just checking the time real quick, and we're doing so I'd like to introduce our little bit surprise local author, Natalie golly to just join us for a moment to kind of intersect the work that she did with the girl who said no, along with her understanding of the Chanel Miller book so Natalie golly if you could just introduce yourself really thank you and then do that so thank you so much for being willing to come in at the last minute. You're welcome. I'm actually very honored to join this group. I wrote a book about a woman I had read about when I was 13 years old, and the circumstance was. It was, it was serendipitous, I guess because a tiny article in the San Francisco Chronicle in the spring of 1966 galvanized my attention and riveted me in a way that had stayed with me has stayed with me for the duration of my life. And so I thought I'd read very quickly the article that I saw in the Chronicle so that you know what I'm talking about. This was a filler this was a little article about three inches long when they needed to fill in gaps in the in their larger articles they put these human interest stories in. So, this is what I read raped Sicilian girl refuses to marry, and this was from Trapani in Sicily the island of Sicily. A young woman has shocked her countrymen by refusing to marry a man who raped her. Donca Viola 18 years of age has defied more than 1000 years of Sicilian tradition by rejecting napshills with Filippo Melodia 25 years of age. The tradition is still part of Italian law which provides that all charges be dropped when a one way kidnap and carnally violated her. The girl has publicly avowed that she has no intention of changing her mind, despite the forceful opinions of many of her townspeople. She has not left her family's modest white home for several weeks. They have endured repeated vandalism and threats of violence. The fact that this had on my 13 year old seem to be or just on the edge of adolescence mind. I can't tell you and I am of Sicilian and Italian background, and I've asked myself a number of times would it have made any difference if this girl had been from Africa, or China or South America or the United States. And my answer is it would not have made any difference because here is a girl who stands up to an entire patriarchal system. And secondarily, the patriarchal system always, but I don't know what's right, and it will not agree to this arrangement. She seated, am I still with you? I hope so. You've got a very challenging audio connection. Okay. All right. Well, I hope you can hear me now. So, so I've written a book about my search for this woman, a number of years later, because I wanted to know did she survive? Who did she become? What, where did she go? What was the outcome? And that is the nature of my book. I hope that I hope you got enough to get a sense of one girl who represents thousands of girls. And what that meant for the culture position completely changed Italian culture in the long run. The, the custom does not exist anymore and it's no longer legal, but it was legal then. How are you? Are you getting me? Yeah. Yeah. Okay. I hope you're getting me. We're getting you, but it is gargled, but I think we got to do it. Yeah. Yeah, sorry. No, it's nobody's fault. Let's see. Here we go. Oh my God. I'm unable to start video. Okay. Okay. Sorry. Yeah. So thank, okay, sorry. Thank you. Thank you, Natalie for that. And thank you for, for, for joining this conversation. Just, just from to remind us that in Chanel Miller's work, there is a embodiment of thousands of years. And in the spirit that we, we are, we are the cellular memories. We carry the epigenetics of the women from around the world. And at some point, someone is able to alchemize that in such clarity that it feels like a singular person. And yet when I read Chanel Miller's book, I felt centuries of women in her body. Saying, sorry, saying, speak for me. And what is so powerful is when, when there it be it someone like a Tarana Burke, who says, Oh, I am trying to work with these young women. And I need to say, me too. And so just even a simple vocalizing of me too, that it, even in that, what feels like something so small, because it is not small when someone is able to raise their hand, even when it's shaking and saying, this is also me, because where we're also at this moment in the world is that this healing. It needs to be intergenerational and intercultural and global. And so much of the time in this American experiment. We have gotten so good at other ring of like saying, Oh, well, you get over it because you're so privileged in this way and that and I thought it was so beautiful that Chanel Miller actually was in her own privilege. You know that if she, there's another book that's out right now by Sadiah Hartman and wayward lives. I'm forgetting that the title I'm clumsy with the title but Sadiah Hartman was able to address that there are so many women that are marginalized that are footnotes in history that are just named photographs, you know, and that these women might have been considered unruly and wild and sexual and therefore not worth protecting not worth much of anything. And we're in this moment right now to say, I have value, not because I'm an artist. I have value, because I'm alive. I stand in this body, and I stand in this world, and I, and you have a body and you. We must change this moment in time of the say that we are interdependent but we're also autonomous with autonomous desires and ideas. And that is the beauty of each and every woman in this moment here that we are interdependent and we share this moment together. And each one of us is a is a beautiful detail. A beautiful detail of humanity. And so I would just like to before we open it up to Q&A I want to read one one more thing that Chanel Miller talked about with her mother, and she said that she said, today the blessing finally came and this is what her mother said her mother said, if you want to break yourself to be bigger to help other women do that pain always gives you more power to go forward. It all depends on who you want to be. And so I applaud each and every one of us because I know that we have all felt incredible pain. And we choose to go forward we choose to keep breaking ourselves open and having the courage to be vulnerable and the courage to be soft to be soft and see the power of soft. So with that, I would ask if our audience has questions for the panelists. If you could put them in the chat and then I'm on the chat and I can read those because we have about 12 more minutes. And if not if there is no questions then I will turn it over to my panel is to add whatever final, not final but continued thoughts that they have before we close out. You know what I keep coming back to to is that, like, even as you were talking, and, you know, Ellen and you were speaking about like Saidiah Hartman's book and, and how, you know marginalized women are invisible lives and, you know, I think one of the biggest myths is that in this culture is that and by this culture and in patriarchal misogynist culture. No, no femme body person is valued. There's the illusion of it. There's the illusion, like even, you know, Natalie reading the story.   And how his, you know, that man's actions, his violence was sanctioned, sanctioned, absolutely sanctioned by this culture. Absolutely. It's so ingrained in our universities that you know, the boys will be boys, and that you cannot win. There is no winning. There is no winning. There is no perfect scenario that a woman is going to get out of or a girl is going to, there is no winning. Misogyny and patriarchy have one role, which is to hold power by any means necessary. And that's always includes, you know, the violence on our bodies. It always does. It always does.  I can see your lips moving. But if you could. I wanted to say, when I began this long project of writing this book, my immediate goal was to reach to reach the patriarchs and to bring them to tears with a story about humanity to bring them to consciousness about what it was like for someone unlike themselves. I know that I've achieved that lofty goal, but I do think that the dark side, that dark dark side of patriarchy that doesn't know its own self needs to be somehow considered in all of this. Because I do think that finding the humanity somehow within that very closed off mindset will be helpful. I don't know how to do it, except for these stories to become common and frequent and part of a very large conversation, a very animated conversation. I've been amazed by some of the responses of men who I've spoken before who have cried and wiped away tears and gasped when they hear the details of what happened to Franca Viola. They identify with her. That was a surprise to me and a beautiful one, honestly, because it's our common humanity that we we're all a part of this and we all need to speak to each other and listen. I hope you could hear that. CC or Diana, any, any other thoughts or sharing this, whatever you want. I think one of the things that I really actually enjoyed and reading this book also, I mean, along with so many different things, but it's just like she left this sharing kind of what had happened to her over and over again, but she also left this with hope. And this, yeah, and just kind of the pathway to what I understood to be here healing and I think there's a question on the chat that says, do you see the change the flip coming can we flip the patriarchy of sexual violence. And I think that I do, I do see the change and I think that we actually have because we won't survive. If he keeps going the way it is. Yeah, just this this this last week and a half alone and just what had happened in Atlanta with the six Asian women and just the intensity of happen is specifically the six Asian women but how that was felt collectively by like Asian population and all the allies, knowing that Asians like was 60 70% of the world at this point but, but I think, you know, just really thinking a lot about how that actually I mean I kind of went back and that connects and relate to what Amar had mentioned just this whole system of patriarchy and this whole system of war but also just like, even connecting that back to our land where the history of war and military and the colonizing of our land is directly directly connected to the rape of the woman's body that's in it. But we are still here. And we are moving forward and acknowledging it and, you know, kind of going back to remember certain things and remember the lessons but moving forward to go and create that change. And I think in order for us to survive the current state in which we're at right now, which I'd mentioned, you know, you see a change coming I mean I don't really think we have a choice I think we need to change it in order for us to survive So, and, and, you know, I think there's a second part of the questions. Even when talking of sexual violence it is ingrained female violence the male is taken out I don't necessarily always see it as something kind of genderized in that way, like in terms of there's many males who also have gone through the same kind of pain and struggle and healing that that is is is is necessary for us to create those change I think we need our male allies if anything they actually are the work where the place that the change needs to start, because most of this violence had been kind of perpetuated by what they've been taught they should be and what their role in society is. And in order for things to change I mean, to be honest, I don't, I don't think women alone should be the sole responsible per, you know, part of it. But it takes all of us as Natalie was saying it takes all humanity to change this culture and I think as artists we have that capacity to imagine to feel and to imagine what that change should be. And I think, I think we're getting there I mean I think at the very least we started. So, I'm really helpful for that. And I do think that that is that work is beginning because the language is shifting where we. We're always turning to talk about asked the woman, but what was she wearing or why were you in the situation or this and that language is starting to change just say let's not talk about women who are raped. Let's start to talk about the men who rape. Let's bring men front and center. Let's not talk about violence against women, let's start to talk more about the men who perpetrate violence against women and I think by shining a light on that, not to say that again to circle back where I started to promote shame to promote further dehumanization but to actually promote real depth of healing and humanity and humanity. What is it, you know, and to circle back to a marzene, the death doula of patriarchy, it's like, yes, it is time for this cultural shift. It is time and I do believe that we're witnessing right now in the 21st century, the, the birth of that the articulation of that, and that it is, it begins with me to it begins with the girl who said no it begins with. I can feel what I felt, and it is coming forth, and it is here and this genius this genie this feeling is out of the bottle and therefore it's out of our bodies. We're singing about it and we're carrying mattresses on our backs, and we're wearing, you know, we're holding our hands up we're tattooing that we are, we, we are saying, we are here, this is our body and it's not about just saying no it's about saying.  And a perverted culture of fear, because that is that truly is I'm emphasizing that word perversion that is the real perversion. It is the perversion of the very essence that we've been born with which is sensuality that becomes whatever form of sexuality we choose to have that we feel inside of us and that could be a sexuality, I have feelings but I don't feel that. You know, and so this is, thank you. I, I don't, I don't know where we're at I'm going to ask our host of the San Francisco public library to jump in because I'm here, thank you feeling clumsy. It was a very emotional talk and just I love that we're ending it on this hope and it is so important and we're really proud to be part of bringing you know this conversation and I feel like so connected just that we've all read this book now several times and it has been you know, we can see the humor and Chanel provided in just living and writing. And so I really it was like a really done about 10 book clubs on the book. And I felt like I was in this very private and like just a wonderful glimpse into your private book club of the book. Thank you for that Chanel has art you can see at the Asian Art Museum right now on hide street. It's a triptych called I was I am I will be along the main library you can also see a mini exhibition of Chanel's outtakes from the work and some little explanation. And I see Ellen Amara Diana guest Natalie SFPL is so honored to have you have spent this time with us and share your, your, your thoughts and your, your knowledge and your talent. Everyone the doc, I will put the link in one more time right now and they also gave us a reading list which I love librarian in me loves. And you can find all of their information their sites their talents in this doc. My email is also in there if you want to get a touch with me. Thank you. Thank you. And have a wonderful afternoon. And everyone on mute and let's be messy everybody on mute. Thank you. Thank you. Thank you all. Thank you.


I am Sparsh, I am the Vice President of Unicondia Ventures, we are an early stage VC fund operating out of India. So today we are here to basically discuss about this new phenomenon or maybe a surge in the phenomenon that we all have been noticing, that more and more startups or entrepreneurs are coming, not from Kormangala or Hawaii or you know Cyber Hub, but rather from Hinterlands, from Bihar, from Surat, from Tamil Nadu and from Jammu and Kashmir. So we are basically here to understand some of the nuances, what learnings that are here and for that we basically have three panelists with us. I would like to just with the permission have a small kind of introduction to all of you. So first we have Sushant Kumar with us, mostly known for being the founder of Dehath. Dehath is for the people who don't know is one of India's largest market linkages firm. It's a firm that I wish I had invested in, but never had the chance to. So Dehath has been valued recently at 700 million, has raised 220 million till dates, started off in Bihar, now has Temasek, Prasiu, Safina and Sequoia on the cap table, who's and who's of the investing world. So Sushant had worked previously on a farm and farmers foundation. It was a prestigious tech-enabled farming tools and he's an IITN. He happens to be from the badge of my elder brothers from IIT Delhi. So happy to have you on the stage, sir. Next we have Hemindra Mathur with us. He's the venture partner at Bahadur Innovation Fund, specializing in investing in agri and clean tech and healthcare. He's also the co-founder of ThinkEG, it's a non-profit working on driving innovation in the agri space. He has had an illustrious career before that. He was the MD at SEA of India, a global impact investor. He was the ED of YesBanks for an agri fund, so a very illustrious career. And to round up the panel, we have Manish Bapnavitas. He's the director of RFPIO, recently renamed to Responsive. He was also working at Auler before that and he has held multiple product management and software development roles in his career. Yes, and I would be Sparsh, your moderator for the day. So with this, we'll be starting off the session. So let's start with you, sir, Hemindra, in the order of seniority.  Just wanted to get some nuances out of this. So more and more we are seeing startups coming out of the hinterlands. But at the same time, we hear or we feel that a lot of resources, a lot of capital availability, a lot of human resources and sometimes even the TG exists concentrated in metros. So while we are talking about this narrative or maybe the reality that there's a surge in the hinterlands, what's your view on it? What's the nuanced view that we would like to present to the audience? Thanks Sparsh. I think when it comes to TG, I think things are changing very fast. I believe like the income pyramid in metros have more like a diamond with the middle class belgium. That phenomenon has sat in rural areas also called hinterlands. So I don't think TG is an issue. I think another important parameter is aspirations of becoming homogenous. So thanks to social media, thanks to 4G, thanks to smartphones, a person in Kalahandi or a Barabaki, I think he's equally aware of what's happening around, you know, not just in his territory but around the world like we do. So I think the aspirations are becoming homogenous. Everyone is looking for best product, best services, best health care, best education, good roads. So I don't think the aspiration levels are different when we compare Bharat with India. But for any business model to be successful, I think you need to crack four A's. So one is of course aspiration, second is awareness, third is accessibility and fourth is affordability. I believe we have cracked first two, which are aspirations and awareness. I'm very hopeful accessibility is improving in the next five years thanks to highways, expressways, Delhi Meerut is one hour, Delhi Sonipat, Delhi Panipat, everything is like one hour which is used to take three hours. So that is bound to change the landscape of hinterlands, railway network. So both digital connectivity and physical connectivity will make more and more products and services accessible to smaller towns. The biggest challenge for any startup or any company is the first mile and the last mile. I think with those transactional costs can come down significantly because of better logistics and infrastructure, business models will pivot to cater to the hinterlands. Affordability is a matter of time. I know the per capita incomes are lower, smaller towns, but so is cost of living, right? So maybe another 10 years, so I'm very optimistic that things are bound to change. Another point I want to make is specific to agritech sector. I think this is one of the sectors which has converged India and Bharat. A lot of solutions and Shashank is a great example out of Patna. Build in Bharat and build for Bharat, a very rare breed, but I also see hundreds and thousands of startups in cities like Bangalore and Pune and Hyderabad and Chennai working, building solutions for all over India. Now for solutions, those solutions to scale, you need a lot of entrepreneurs on the ground, right? So for agritech to become mainstream, tourist that's a hundred million farmers, you need those entrepreneurs who are on the grassroot because they understand the grassroot situations, they enjoy a lot of trust and credibility among farmers, right? So I think in a way, this growth of agritech is bound to drive a lot of entrepreneurship at the grassroot level. So you'll see a lot of guys running processing centers, building warehouses, running drones, collecting data, I think they're like silage stations. There's so many models which were not viable will become viable, right? So I think it's a great convergence of India and Bharat bringing two worlds together and hopefully that will drive jobs, that will drive entrepreneurial spirit and that will drive demand. A lot of these guys I'm talking about, even if they're working on a part-time basis, they earn somewhere between 8,000 rupees to 20,000 rupees a month, which is significant in those particular geographies. So you are in a way creating wealth in those markets. So I remain optimistic, I think Bharat is the future. So far, as I always say, most of the business models are built for maybe top 500 pin codes in India. You're right, HSR layouts, Gurgaon, Inje Vadi, these are the places where you go test market and scale your businesses. The next set of entrepreneurs are the ones who want to build solutions for 7,000 pin codes in India. I think that's going to transform the hinterland. So Himeed, I was hearing your response and I actually have a follow-up. If I may be the devil's advocate and then say that I as an investor see, okay, let's keep aside, let's say AgriTech or some of the kind of sectors which rightly should be placed in the hinterlands, right? They don't have no place being in like, you know, Kormangala. But let's talk about SaaS and I also like Manish sir to kind of weigh on this later on. But let's say for example, for SaaS I've been seeing that start of start in the hinterlands but then this very quickly kind of migrate to these core areas. First of all, do you see that happening? Secondly, what are your views on this? And how do we kind of rectify this? Because there must be some pain points, right? For these entrepreneurs that they're moving away, right? So how do we rectify this? You're right, I think three or four pain points and I think Shajang would be in better position to talk about it because he has faced those in his journey. But I think first and foremost, I would say, incubation in tier 233 cities is either lacking or poor, you know? And I'm not talking that we need to create 1000, 2000 incubators, it's about the quality of incubation. Do you have people who can support these young start-ups when they need a lot of hand-holding? So I think that has to go up multiple notches. It could be the local engineering college. It could be a local university who can take up them and it. And I think government is, through hotel innovation mission, is also trying to achieve that. So that's one. Second is talent. Data scientist in Bangalore is easy. In Chandigarh, Patna, Bihar, any, even in tier 2 towns, Jaipur, for example, is tough. How do you find those guys who can work with you? How do you build a team sitting in those places, right? So I might be headquartered in Jaipur, but my tech team is going to sit out of Kaurangalaya. So I think that has to change. So for that, thankfully, there is enough talent factories in rural areas. Oldest IIT is IIT, Kharagpur, which is the hinterland, I would say. Now, IIT Roorkee, I am on the board of Incubator at IIT. Mindy, fantastic start-ups out of those places. Then there you have IAM, Bodh Gaya, and things like that. The challenge is that talent doesn't stay there because the ecosystem is underdeveloped. So I think that has to change. We need to build regions and opportunities for these guys to stay there. And last but not least, the investment there. All investors are lazy. We love deals coming to us. How many of us go to the deals? It's very rare that people go to the deals. So I think that mindset also has to change. And thankfully, there's some bit of saturation in the bigger towns and the valuations are going beyond, I would say, investors' appetite, in a way. So they are looking for proprietary deals. They're looking for some good entry valuations. And Pomi, tier 2, tier 3 rounds are the perfect places to go out and scout for deals. So I'll just quickly one minister to kind of weigh on this. So you have been building a SaaS, a global SaaS company, its operations in India. So I think it would be a very pertinent question for you. Do you feel these pain points, building a SaaS business in Coimbatore, what do you think your life would have been easier if you were in Kormangala? I don't think so. That is difficult because, again, with the connectivity, with the 4G, 5G that we are talking about, again, our team, again, though we say that, OK, we are based in Coimbatore and working with 20% of the Fortune 500 companies, we still have our team, which is remote. Again, we have few people in Noida. We have few people in Surat. We have few people in Pune, Bombay. So we have it throughout the location. I don't think CT matters now. And with this change in the hybrid, again, we have our team completely diversified. But what I would also say is, cities like Coimbatore have actually complimented the tier one cities because it's not competing with them, but rather it's complimenting them. Because if you see the lease in the tier one cities have gone super high. And again, I'm hearing this about Bangalore where it's going to 100, 200 per square foot, which is way too high. And I've seen all these big enterprises now having their satellite offices in tier two cities in Coimbatore. In fact, I can say that at least there are eight to 10 big companies that have seen, have set up their smaller office in Coimbatore because there's a lot of talent from Coimbatore, which moved to cities like Bangalore and Chennai, which we can easily see. Again, just give me an example. I was working in Bangalore and to get a train ticket or a bus ticket on a Friday evening from Bangalore to Coimbatore what's next to impossible. The same thing like going from Coimbatore to Bangalore on a Sunday night, what's next to impossible. That means I have to book at least two or three months in advance. So that means that's a big talent pool sitting in the tier two cities like Coimbatore, Salem, again, I'm just talking about Southern India, which because of this hybrid and the remote work, they're settling over there and it's an opportunity for big enterprises to have their offices in smaller cities and which will complement their bigger cities. So Sushank, you are the entrepreneur on this panel. So what is your view on this? So you have worked in Patna, you have now also worked with the global investors. You have seen the entire spectrum of things, so to say. Do you agree with this? Do you agree that enough has been done in the hinterlands for an entrepreneur to succeed, where the lacunas that you see or from your experience, decades of experience, where do you think we are lacking and we can do better? I think before talking about where do we lack, I think we'll start maybe from what Hemant said that things have been changing very drastically and if I just recall our own journey at Deha. Firstly, I think I've been thinking, I mean, that was back stage conversation that what can be a better word of hinterland? So that's a food for thought for the entire house, right? I mean, I've been facing this question that building business out of hinterland. So again, I think keep thinking that what can be the better word. But in our case, I think it was a natural journey, right? If you have to work with farmers, if you have to work for farmers, so then you have to stay closer to them, right? It's very simple that the entrepreneur, it has, they have to stay closer to the problem statement. So like so that's exactly what we did. You're talking about Patna, we started in 2011. We set up our Patna office in 2014. So first three years, in fact, forget about Delhi or Bangalore, we didn't even have our office at Patna. Why? Because that was not needed at that point of time. We set up our Gurgaon office in 2018, like when we really wanted to strengthen the tech team or so. I think it's not fair to generalize that what is, and I think for country like India, for any of the sector or sub sector, there is no fixed template to run the machine or basically to pursue your dream. I think we did what was right and whenever there was a need, right? When we felt that no, out of Patna, it's very difficult to getting tech talent and that's how basically we set up Gurgaon office and so on, so on, right? But still out of even as on date, as rightly said, so we are still headquartered at Patna out of a workforce of total 2000 almost, not almost like more than 16, 1700 people they are located in districts, not even talking about like we do have offices in Lucknow, Jaipur, Omi, Bipuna, Indore, but I'm talking about core districts whether it's Khandwa, Gurgaon of the world or Nasik, Sangli or Muzaffarpur or Aligarh for that matter. So I think in our case, I think we did just like, you know what we thought that probably this is the need. As far as raising funds investment have been learning through our own experiences and for us it was very important to basically to see the equal amount of excitement in the person who is going to invest. So for us, I mean, whether it was important for the other person or not, but more than that it was very important for us to see that whether that someone is ready to come to fields side or not. And on a lighter note, I mean during the field visit to jo jitna remote district ota tha wahaan leke jaath eten. So right there were few operating districts close to Patna where I think the field visit could have been done within a day. But we used to take it to maybe the further district like which is like six hours from Purnia, right? The person should also understand ki kitna pain lena padra a ground level pe or what exactly you are building, right? Whether you are not very comfortable to come for just one visit. People are building business models where farmers are ordering any agri input and you are delivering in less than 24 hours, right? India is talking about 40% post harvest loss and you are aggregating from those remote locations and your post harvest loss is less than 1%. So people should understand these things. So I think that's all I think we have been seeing. But to answer your question, I think we have found enough set of people whether investors or banks or the companies or the prospective people or employees, I think getting more comfortable to visit so-called the hinterland. And that's why I'm saying that the things have been changing very drastically. I think as on date, I don't see, I don't see challenge. We don't find challenge, let's say recruiting people or expecting someone who belongs to Maharashtra and working in the rural area of Rajasthan or vice versa. I think we are not seeing those challenges largely because of what Heminder said that physical digital connectivity, it's at different level. Probably I think it was possible for me to manage all this trajectory because I came from that place. So I always, and I think all of us as an entrepreneur, we are always a forward-looking person, right? We are always a very ambitious, optimistic person. So we looked at each other at some point of time. We used to walk to travel to school for five kilometer. We used to study in Laltain versus that now there is a 22 hours power supply. But it was easier for us like who have seen those days but versus that today, it's a different level. Whether you go to Odessa or MP or wherever, you'll find amazing physical as well as digital connectivity. The traction what we are talking about, I think it's just, it's an obvious outcome of two data point. When we say that 50% of our population is in the range of 25 years old, right? When we say that 70% population, they are in rural tier two, tier three. When we say that, that for first 50 million internet user abhogia, let's build for next 500 million internet user. And then when we say that as a problem solver, you have to stay close to the problem statement. So then whatever traction we are seeing in the hinterland, I think that's pretty obvious. It has to happen. And nobody, literally nobody is feeling shy in visiting those hinterland, right? I mentioned, I mean, each of the investors whether the, I mean, each of the investors whether Sequoia or processor, everyone. They all visited in a field location. I think one or two of our board meetings, I mean, it don't happen in Gurgaon. And we make sure that it would happen closer to the field side. Maybe at some paddy field or grief field, right? And we all, we all enjoy. The simple reason is because things, things have been changing. And still it has a long, long way to go. But abhi tagitna ho hai to aage bhi ho gai. Definitely, I as a VC can kind of concur what he's saying because, you know, having worked in this space for now five, six years, I realized that just five, six years ago, there was not so much pressure on VCs to go and, you know, source from the hinterlands. Or let's, you know, let's just stop saying hinterlands. Let's just say Bharat. Maybe that would be a good alternative word. So there's now a lot of impetus from the investor side also to go out and look out for these kind of opportunities because opportunities are being built there, right? At the end of the day, VCs investors will follow those opportunities. I have a follow-up, Sashank. So, you know, you mentioned in a line that, you know, entrepreneurs are very forward-looking. They're very ambitious. I think I'll add an adjective to that. They're also audacious, right?  We are privileged to be from elite institutions but not the entire country, right? But they're still building. So what intrigues me as an investor is where is this audacity, where is this drive coming in the, you know, tier two, tier three, tier four cities, even villages that, okay, I will not go do a Sakari job. I will not sit for, let's say, you know, competitive exams. But I'll build a business.  Where is this coming from? So, I think firstly, though, I don't buy this notion, you know, that let's say that every startup or organization, it gets started with an aim of building a multi-billion dollar or so, right? I mean, value, I think it's just a, it's an outcome, it's a byproduct. And I think as a stakeholder, all of us, I think we should change, or we should find a better way. It's a simple thing, right? For example, while introducing me, instead of saying that, you know, that Dehaath is valued $700 million, I think you could have said that, no, they are working with more than 2 million farmers. So the point is, this is not where you start your journey. At least on day zero, I don't think, or like if, like few of us, or if any person think in this way, according to me, that's not the right way. On day zero, nobody thinks that, you know, that will build. Yes, everyone wants to build something very big, very large, but not like in terms of multi-billion dollar yoga. But, yes, going back to your question, I think where is this coming from? Because I would say, again, the, see, information discovery is not a problem, right, these days. So everyone is very well aware of, even in the deep, rural location, that what's happening today in India, right? And I think this is one good, I would say, point, where the various stakeholders are there talking, more or less the same thing, whether it's government, whether it's academic institution, whether it's different types of investors or entrepreneurs, right? So everyone is more or less talking about building in India, right?  I mean, be a job creator, right? So those notions, philosophies, like the youth or baby people, they are hearing more or less the same thing from different channels. And the outcome is, that's the outcome, that's the reason why you're seeing that this is coming from there, right? And hence, there is an acceptance, right? At least today, again on a positive note, at least today if any person, you know, when they express their interest to their family members or parents in deep, rural area, that I want to start my startup, at least like the parent would recognize what they're saying, right? I mean, back in 2000, like in our case, when I did mention that, you know, that, listen, we want to become an entrepreneur, right? I mean, with all due respect, my parents, it was very difficult for them to digest what they're saying. So at least there is an acceptance, right? Every single household, they understand what is startup all about, right? So you see that acceptance, right? When I go to villages, right? My ancestor village and talk about, okay, these are startup and, you know, the entrepreneurs. It seems very... It's happening, it's happening. I'm not talking about Patna or Indore for that matter, right? You go, even in deep, rural area, people are bubbling with random ideas which is a first or maybe like, you know, like your one stage prior to the day zero, right? Of becoming an entrepreneur. That's a separate thing that now, what are the right step for us, right? It's like, you know, that yes, we have activated a large mass, but now everyone who are bubbling with the ideas who are now aspiring to become an entrepreneur, do we have a right ecosystem to support them or not? That's a separate thing, but it's becoming mostly because they are hearing same thing, same vibe from different things, from all the channels. And at the same time, obviously they are seeing number of, you know, success stories. And more importantly, they are seeing the opportunities just next to where they are. Makes sense, yeah. You know, totally taking the feedback on the valuation. See, it's an investor's, I think, narrow-sightedness that leads to it. You need to say that when you start. Yeah, totally happy to learn. So I think we'll now slightly move towards closing this. I always equate this to how the Indian target team has changed. If you were to look at just, you know, a decade or two prior, it was all basically people from the operational lines of the society in the course of, or maybe the big cities.  I think something similar is also happening in entrepreneurship and will continue to happen. And I'm personally very glad.


But here's one problem that he had. And this is statics, torques, forces and stuff like this, right? Yeah, one problem Where you have a plank and it's being held up with a couple of strings There's a robot here. This is Gijo's robot. Okay, there's a robot here and And You've got the plank and the question is What's the tension in this string and this string given the following information? Okay, the mass of this guy, let's say it's 10 kilograms the mass of the beam is I Forget what they are. We'll just come up with the wrong 75 kilograms Okay kilograms The total distance Of the beam let's say at six the distance here Is 0.5 And this is 0.5 as well 0.5 as well The distance of the robot is let's say two meters And is there anything else? Is there anything else? Is there anything else? Um No, that would be it, right? So you're given this information. Hopefully I'm not missing anything. Hopefully this is coming out Let's see. Is this better? That's a little bit better six Two meters and these are meters all of it, right? 0.5 0.5 10 kilograms 75 Kilographs Oh, we do need this distance too. The distance That's probably oh, no, no, we got that figured out. Okay, cool. So the question is what's the tension here? At t1 and what's the tension at t2, right? So the way we laid down this problem the way we ended up doing this problem I like this problem. Okay, because it involves torques right so There's there's two types of static equilibrium problems you end up getting Usually in physics that you have to think about right one of them is You try to balance out the forces, right? So if you have here, let me show you this If you have an object, right? And there is like a force acting on it like this Okay, this pen is done. Let's grab a different Blue pen So if you have a force, let's say you have a box. There's a force one acting on this box here. There's another force Acting on this box here too. Let's say there's another force Acting on this box here, right? And this box weighs let's say 20 kilograms and it's not moving You ask yourself, okay, what? you know What's one of these forces, right? They'll give you this one They'll give you this one. They'll give you this one. They'll say if this thing isn't moving static What's this force here, right? And all you do with this type of problem is you say all the forces have to balance out So you break up this one Into its components, right? So this is f1 y F1 in the x direction you break up this one Into these components, right? And you say this is f3 x f3 y and this one, let's say it's just horizontal, right? Then all you say all you do you say All the y forces f1 y must equal to f3 y Oh, you got this guy too. Sorry my bad And you got mg here, right? And that's acting straight down. So you say f1 y Plus mg has to equal f3 y, right? Because that's one force acting now. That's another force acting now And that's the only force acting up. So they have to balance This plus this has to equal that if this thing is not moving If this thing is not accelerating let's rephrase because if it's moving at constant speed, this is also true But let's say it's static, right? And in terms of the x direction The weight doesn't come into play because that's acting straight down Then f1 x plus f3 x have to equal f2 in the x direction, right? The forces have to balance out When it comes to torques, right? They come into play when We're not treating everything As a point source, right? There's distances involved when there's distances involved You do the same thing the forces In one direction have to equal the forces in the other direction, right? But It's not just the forces. They have to equals the torques of them. They have to equal, right? So the force times the distance of this times force times the distance of this Have to equal each other, okay? So over here Let's erase this What you do with this is you say, okay, what are all the forces Acting on this object Right on this system So there's This guy here acting up. That's t1 There's this guy here acting up All right, this is t2 There's the robot's mass Weight acting down Which is this guy And the only other thing we have here Is the plank Acting down on this, right? And what we do with the plank is we take the plank as being a Point source and we say that's in the middle Acting down Okay Now consider this Which one of these t1 or t2 is going to have a more of a tension? Right because if we had this let's assume we had this model Instead of all this stuff on it. Let's say we had a plank And it was laid out the same way and this was a string and this was a string What would t1 and t2 be what could you say about t1 and t2? right If this is a plank t1 And t2 they would be equal Right if this is a homogeneous plank That it's not heavier on one side or anything These two would bear the Same amount of weight to hold this guy up, right? That's why you know I'll use gloomy reference But when people are carrying coffins You put three people on one side in general and three people on the other side So no one's really carrying too much weight unless they're different heights, right? You try to when you're getting people to carry something heavy You want everyone to be approximately same height. So the weight distributes evenly, right? Unless they're willing to either bend down or lift up and that could create some problems But if you have a homogeneous plank and you got strings holding it up The tensions in the strings will be the same. However, let's assume we had this thing What would happen if you put a weight here? right Wherever you put the weight whichever string is closest to That string is going to carry more weight The tension in here would be more than the tension in here now, right? That would make sense So for the system t1 Is a bigger force than t2 Okay now if you notice we have Two unknowns here to a certain degree. We want to find both of these and we don't have any specified pivots when it comes to torque and pivots are Basically in torque type of problems are you basically put something as a hinge And everything else can rotate around that. So if you have a plank Here if you have a plank And if this thing's sitting against the wall This would be your pivot and then you could have forces hitting here hitting here And you would try to see if it's an equilibrium then this has to equal this times the distance has to equal this Times the distance. That's what the whole principle of torque is, right? So if this force is one, this is force two And this distance is d2 and this distance is d1 And if this thing is in equilibrium, it's not moving what you would say is F1 d1 has to equal F2 d2 right And always keep in mind if you want to know how torques come to play Just imagine if you have to move a gigantic boulder, right? Now you could sit there and try to lift it up and throw out your back You could try to push it this way if it's sitting on a hinge or On a on a on a slope you could maybe push it over, right? But if it's all flat ground is large, you're gonna have a hard time So how do you move something heavy large?  I could draw it, right? So if you have this gigantic rock you want to move you put another rock here You bring a hinge here, right? And you stand here and go pull the sucker down and you can move that, right? If this thing's longer, it's easier to do if you try to pull down here Right, that's going to require you giving a lot more energy, right? It's one of the basic tools that we have That we've known about humanity forever, right? So this would be your hinge So if you want to think about in here, this would be your hinge This is your hinge So if these two If this is not moving, if this is in equilibrium, this has to equal this Then the force here would be bigger than the force here, right? Because this is further out So it's sort of thought process as well You want to know how the system operates, right? So you're going to keep all this in mind The more problems you do this way The more little nuances you remember about specific types of systems Like there's a whole mindset behind people who are inventors, right? It requires to give the same amount of energy but a different amount of force Yeah, right? And the torque is what we're talking about, right? The torques have to equal each other to a certain degree So take a look at this So for us over here One of the things we do when it comes to physics types of problems We try to simplify problems for ourselves, right? We try to make things easier The way we try to make things easier We either label things in a certain way where they make sense Or we label things in a certain way on a drawing to eliminate the unknowns, right? So we try to get rid of the unknowns and solve this A more simplified system than the one that's being presented And one thing we can do when we're trying to solve the system To find out what the tension is here and what the tension is here Is we specifically eliminate either T1 or T2 But putting in an imaginary pivot at one of these locations So all of a sudden, if you have a drawing, if you have a pivot If you're applying force on the pivot Nothing's going to happen with this, right? So what we do is for the first problem We're going to eliminate T1 And we're going to try to solve T2 And we're going to put a hinge here Okay, so we say, you know what? Just imagine that this system was exactly this But this point was locked, right? We're making it a hinge And we're going to reference everything to this point Then what we have, I'm going to redraw this down here Let me bring out a green I'm going to redraw this thing here Just with the forces that we're dealing with, right? So we're making this a hinge, right? Here's a hinge This is going to be difficult to erase, I think Here's a hinge And then I'm going to draw the plank here, right? Here's our plank So we have T1 going up like that Oh, sorry, T2 going up like that We've got the weight of this guy coming down And we've got the robot And it's the center of gravity is here But we're just going to put it on the plank Working down like this So the torques These two torques That the torque that is being applied at this point, at this point Has to equal the torque at that point For this thing not to move Right? So all we need now is the distances here So this distance, that was 0.5 From here to here is 2 So this is 1.5 The distance here If the whole thing is 6, right? And this is 0.5 Right? Well, if the whole thing is 6 Well, we can't do the middle at 3 Right? Because we've got to account for this So that's 0.5 So the distance here is I should have made the numbers easier To here And there's 0.5 there So actually we have to account for this as well Here, let me erase this Let me put it down here so we see So if we go from here to here Right? Because the plank is going up there That's 6 minus 0.5 Which is 5.5 meters The center of gravity of the plank Is going to be in the middle of this plank Excluding the weight here Because that's on this side of the hinge Right? So 5.5 divided by 2 Well, 5 divided by 2 is 2.5 0.5 divided by 2 is 0.25 So it's 2.75 meters So this distance here is 2.75 meters And this distance here Starting from here, that's 0.5 So that distance there is 5 Right? I hope you see that That's okay I'm just going to erase this So this distance here Here, let me draw it here Is 5 meters Okay We're almost finished laying down this problem So the equation for this Is going to be Let's call this r for robot Let's call this plank for the plank And that's t2 Right? So the torque on r plus the torque on the plank Has to equal the torque on t2 So the torque on r is force times distance Right? Well, the force on this is mg The force on this is mg as well But the m varies So this is the mass of the robot Mass of the plank Mass of the robot Here, let's write down the formula Mass of the robot Times gravity Times the distance which is 1.5 Plus The force the mass of the plank p Times gravity Times the distance which is 2.75 Has to equal t2 The force at t2 Times 5 Ah, you can barely see that Too light, too light mg 1.5 Plus mg 2.75 Is equal to t2 Times 5 Right? And then all we do is just plug in The mass of the robot is 10 Gravity is 9.8 The mass of the plank is 75 Times 9.8 Those are just numbers You divide by 5 And you got your tension on 2 Right? How do you find this one? You move your pivot from here And you put it there You measure everything from here This way The distances, right? And you solve for t1 Nice problem Really Fun problem to do You gotta love physics You gotta love physics Right? Physics is just It's just brilliant Really Physics is just brilliant


Hi everyone Joe for jaspyscasebreaks.com coming at you with 2019 Panini one and one basketball five box Random team break number six from jaspyscasebreaks.com. Obviously all cart. There's only two carts per box.  Thank you for getting in one way or the other all 30 teams are in Let's roll it. Let's randomize it one and a three four times for names and teams one two three and Fourth and final time after four we got Ryan H down to Nancy One and a three four times for the teams one two three and Fourth and final time after four right one and three four times four times.  Let's sort this by Column B right here All right, so I'm gonna pause the video when we come back. We're gonna see if there's any trades and then And then the break stick around All right, welcome back folks Little bit of trade chatter, but in the end no deals were done. So let's see how it works out for everyone here. Thanks everyone for buying in for joining the fillers And congrats again to the winners appreciate remember I marked these with green X's so you know that they're all from the same Case that we popped open not too long ago Thanks everyone Gilo, what's up? I Think there's two cards here. I think the card on the bottom is the oh, and there's a Redemption right here. Oh, this is what downtown Chicago looks like. I've been to Chicago And I can assure you that is what downtown Chicago looks like. There's a gigantic bull there You know there's stuff going on on the pier Right. There's a pizza signs everywhere The L train right here Nice nice downtown for Gretchen people love the secondary market loves the downtown cards nice Kobe white, too The redemption will be It's a Mike Conley jersey autographs blue. That's got to be jazz Mike Conley, right? In this said They wouldn't do you like that would they Ryan? They wouldn't be like oh is Memphis And you'd be like what what? Jersey autographs blue. So let's see what the peril Jersey autographs blue is Looks like out of 49 Card number 19 my client is jazz edition of Mike Conley. Yeah, they definitely updated it See there you go And you've got plenty of time to redeem it. You've got until next May No, you're kidding. Is that Kobe white downtown $2,000? Well, that's what Oliver's reporting Oliver is not a prankster So I I'll have to take his word for it. Wow Gretchen There you go. Not too shabby Gilo rode that downtown train to to Wrigley and we've got another jazz player right here 95 out of 99 Carl Malone I don't know that that depends on how fast Mike wants to sign his cards, right? All right, and the hit here Wow two out of the last three downtown sales were two grand Gretchen for the downtown Kobe white Congrats We've got Clyde the glide Drexler 30 out of 35 Wow nice Kind of like that shadow box look that they have back there Portland Brandon with the Portland trailblazers We've got Darius Garland four out of 15 Cleveland, this is for you Nancy back here. What do we have? We have another redemption and it's gonna be Eric Pascal rookie dual Jersey autographs for the Golden State Warriors that'll be for John John we with that You have 41 outstanding redemptions, right? You need to contact them and see what see what we'll see what the deal is Put some pressure on them There's Thomas Bryant I mean most of the time it's it's really actually the players. They're just not fulfilling those redemptions But at least contact from a Don't keep contacting them We'll put something out on social media We've got a pelican It's Zion Williamson. Wow. What a break for Gretchen She gets the Chicago Bulls Kobe white downtown card and now she gets the three-color dual relic patch and auto out of ten Autograph Zion Williamson who's having an incredible game tonight Zion 30 that's on TV right now 34 points 15 from 26 from the field four or five from the free throw line Eight rebounds six assists. That is sharp spot. She bought straight up to the final box. Good luck We've got Drew Holiday for Gretchen the pelican 59 out of 99 and the final hit is gonna be is Gonna be Six out of 49 that's Jared Culver for the T Wolves John With Minnesota kind of hard to see the blue against the black, but trust me. His name is there I think in person you can actually see that pretty the contrast a little more more easily and there you have it boys and girls What a break Thanks very much for getting in that was Panini one and one basketball Well, I don't know if we have any more right now But we'll we'll keep your eyes out For more and keep your eye on the website whenever something's whenever one of these are posted jump in on it as quickly as possible All over saying that last time on sale was 7,500 bucks. Congrats Gretchen. Thanks everyone else for getting in Congrats everyone else who got cards as well. I'm Joe for jazby's case breaks calm See you next time for the next break. Bye. Bye