QuickBooks Online 2024. Accounts receivable graphs. Get ready and some coffee because we're off to a quick start with QuickBooks Online 2024. First a word from our sponsor. Actually we're sponsoring ourselves on this one because apparently the merchandisers they don't want to be seen with us.  Like our crunching numbers is my cardio product line. Now I'm not saying that subscribing to this channel crunching numbers with us will make you thin, fit and healthy or anything. However it does seem like it works for her just saying. So subscribe hit the bell thing and buy some merchandise so you can make the world a better place by sharing your accounting instruction exercise routine. If you would like a commercial free experience consider subscribing to our website at accountinginstruction.com or accountinginstruction.thinkific.com. Here we are online in the browser searching for QuickBooks Online Test Drive. Looking for the result that has into it.com and the URL into it being the owner of QuickBooks. Selecting the United States version of the software and then we're going to verify that we're not a robot. Honestly it's getting annoying. It's like being asked if you're 18 over and over again when you're trying to get on the same roller coaster. You see my beard here it's gray. It's gray for crying out loud and I've been on this thing like 10 times and you keep asking. Whatever whatever I'm not a robot. Reports on the left hand side we're going to open up the major financial statement reports like we do every time. In the favorites right clicking on the balance sheet open link in a new tab. And then we're going to right click on the profit and loss report open link in a new tab. Let's go into that middle tab that we just open close up the hamburger. We're going to change that range bring it back to 23010123 tab 123123 tab run it. That's right we've got to relive 2023 we're going to go to the tab to the right. Make sure buckle your seat belt we're going back to 2023 010123 tab 123123 tab run it to refresh it. That's the setup process that we do every time remember and these are our major two financial statement reports that being the balance sheet and the income statement all other reports basically given more information on one or multiple line items of these two major financial statement reports. Now we're thinking hey we want to present our reports to our clients possibly or supervisors or whatever and we want some graphs because we want to make it look fancy. Well the QuickBooks doesn't have a whole lot of graphs in the reports section although they sometimes put some fancy graphs in their analytic areas and whatnot but if you want to present the reports outside of QuickBooks then the easiest way to do that and the best way to do that would be to just generate the graphs yourself by taking the reports exporting them to excel and then making your own graphs you have much more flexibility that way. So let's see how that might happen some major graphs that you might look at usually you would be thinking about possibly the income statement breaking it out by customer or possibly breaking it out by the things that you sell but you might do the same with accounts receivable because the accounts receivable has the people that owe you the money. So you might make a simple pie chart that just shows the people that owe you the money and as wedges of the pie. So people owe us $5,281.52. Now this would only be applicable if you have invoices that you're going to be dealing with you might make a graph so let's test that out as one we can do. Let's go to the tab to the left and we're going to go down to the reports on the left hand side close up the hamburger we're going to go down to who owes you the money and you'll recall that we had our report here. I just want the standard report that's just going to give me a list of who owes us the money. So we've got the customer balance summary that's probably the most basic sub ledger. So let's just right click on that one open the link in a new tab going to the tab to the right and then close in the hamburger we're going to do a range change up top let's just bring it back making sure it's as of the end of the year of 1231 23 this is as of a point in time type of report instead of a range because it's a balance sheet report just showing where we stand at this point in time. The total comes out to 528152. If I go back on over to the balance sheet that should tie out here 528152 looks movie B to the end BN back to our worksheet. Now this the easiest report would be if we didn't have these sub accounts these sub accounts are basically possibly there when we have like a job in there. So now we have we have the parent and then and then the jobs within it or possibly projects and whatnot. So that kind of mess it makes it a little bit more difficult. We probably want to see if we can kind of collapse those or remove those items to make it easier. Let's see if we can collapse it in here by using this collapse button because if I export it even with this triangle this way it may still expand the triangle when I export it to excel. So what if I use this collapse button boom removes it beautiful. This is perfect. This is the easiest kind of thing to make a pie chart or any other a graph a bar chart that we want. We'll just export to this Excel. So I'm going to say let's go up top and say dropping it down export to Excel. I'm going to open that up. Boom. I'll just open it up here. Now I'd like to we started off putting some reports balance sheet and income statement reports into an Excel worksheet in prior presentations. I'm going to say enable the editing and those are here. Now if you don't have this that's okay. But I'm going to imagine that we already have this and we're trying to still add some graphs to the worksheet that we're going to be providing to our client making it look super fancy. This being one of those things you cannot easily do if you use the internal management tool. So you'll recall when we said we were going to give reports to the client we can email it to the client and so on and so forth. We can also have the option of making the management reports which is great but you can't put the graphs in there. If you want to make some fancy graphs like this then the Excel technique is one that you might use to try to get everything on one PDF file using Excel and a PDF printer. Okay so what I'm going to do is I'm going to move this one over to the sheet that I have my other reports in. If you don't have other reports you can skip this step. But I have to have the other worksheet open and then I can just right click on this and move or copy. Move or copy. I'm not going to copy it I'm just going to move it because I don't need this workbook anymore so I'm just going to move it to the month end reports. Boom. And then okay and then it puts it over here and then I'm just going to drag it to the right. I want this on the end and then I'm going to put it on the end over here.  Now I might make another tab for the data tab and then put my graphs in another tab over here and then hide the data tab so that I can print all these worksheets on one sheet. So we'll see that in the future I'll show you how to do that but just to get you to let you know what the plan is. I'm going to hold down control and scroll in a bit and first I'll just clean this up because I all I need is just raw data. I just want these numbers listed out so I don't need the header. I'm going to put my cursor on one down to five. I'm going to do this quickly because it's not an Excel course so I'll just give you the idea the essence here. I'm going to right click and delete it and then I'm going to delete the stuff below. I don't need the total either. I can redo the total if I need to right click and delete. I'm not worried about messing this sheet up because I can always just redo it in Excel. So and if I mess it up so we should be okay. No need to stress out. I don't need any more stress in my life. Okay. So so now we can say let now notice that the format in here is a little different. We have aerial eight and this one is aerial eight but over here we have Calibri 11. I'm going to make it all Calibri 11 which is this default Excel font. And so I'm just going to say because that's the easiest thing I'm used to working with. So I'm going to go to the home tab format paint this cell and I'm just going to paint brush the whole screen. So it's all the same thing. I'll also make it all bold because we're recording maybe that be easier to see. You've got to be bold when you're recording. That's what my producer Phil says tells me. So I have to be bold in the producing. So then I'm going to go ahead and I'm going to adjust the formatting of these numbers as well. So I'll select the entire thing. I'm going to right click on this and format this and then we're going to say let's make it a currency and I'll make the negative numbers bracketed. I don't need the dollar sign. Do I need the decimals? Possibly not. I possibly don't need the decimals because this is going to be just a graph and so I'll say get rid of the decimals. Okay. So there it is. So now what I'd like to do typically is to order this from highest to lowest is going to be the next step. So you could just take this whole thing and use your filters up top. Where are those filters? They're in like the data over here and you could add filters. I tend to like to put a table in it so that it doesn't because when I use the filters I feel like it's going to get jumbled somehow possibly. So I usually go into the insert and then make a table out of it. So then I've made a table and then that gives me the filtering options up top. So now we have the columns up top and then the filters so you can call this customers and then AR or something or balance. And then I'll sort it from Z to A. Z to A. Boom. And that's basically it. Now we can just basically make a pie chart from it. However, if you have a long list of items the pie is going to have too many slices. So we're probably going to have to trim down some of the slices. Let me show you what I mean though. If I select this and we go into the insert over here and then the pie charts are right here. Now note the type of charts that you can put in. You could put a bar chart, standard bar chart here, bar chart up top. But you can also look at the recommended and it gives you, you know, some different looking charts like this one's a little bit, you know, strange and kind of cool. If you want to look for something that's a little bit different, basically a bar chart that's a little different format. We'll start off with a standard pie chart. So you could do the standard pie chart here. You could do some of these options. This is the 3D. I don't like the 3D personally because I feel like it's deceptive because people can try to manipulate which part is bigger by rotating it. And so I feel like that's a marketing trick. This one is like the newer kind of thing. This is the new age thing that people tend to be doing. So that's another way to represent the pie chart. I kind of like that one. We can look at that one. Let's take a look at it. The problem with this, however, is there's too many colors up top. So the pie chart is not really, we might want less stuff in the pie chart, right? So you might say, well, maybe I'll just take like the top 10. One, two, three, four, five, six, seven, eight, nine, ten. Let's take the top seven. One, two, three, four, five, six, seven. And then everything after that I'm just going to put in other. So I'm going to say all of this one, eight, five, nine. So this ties out to one, eight, five, nine. And then I'll just delete all the stuff below it. Does that, is that too much? That's not bad. And then I'll just call all of this other. So this goes into other. And then I can wait, others here. And then I can delete this, and I'll delete these columns in my table. I'll just delete those columns. And so, so now I'm going to have to reformat my table to pick up the proper area. Let me do it. Let me just, there we go. I could just, it's picking up the proper area. So now, so now you've got a pretty nice looking table, right? Am I right? Looks nice. You can change the color up top if you wanted to. This way, you can get into more advanced settings on the left hand side, possibly adding the data labels, for example. So we can add the data labels. And then if you want more options on the data label, the data labels, you can go into the options on the right hand side here. So possibly you want those labels maybe as percentages instead of, instead of full amounts. So I could say, I want them as, hold on a second. Where did I go? We want them as percents. So there it is percent. And I'll take away the value. So now we've got the percents. And then we might need to change the color. So we could go up top just in the normal formatting up top. And then I go into making it white. And you could actually move these, I think, as well, if you wanted to physically move them out here and make them black. So you could try to do that. Now I did something crazy to the new fancy chart. Could move this one out here. Okay, I won't do it to all of them. Anyways, you can get into the detail of the formatting from there is the general idea. You want to make sure that the total here ties out. So if I looked at this total that I now have the other, it adds up to five, two, four, five. So if I go back to my original report here, it was tied out to five, two, eight, one. Five, two, eight, one. What happened here? Five, two, four, five. I think I messed up my total here. This should be equals the sum of this. And it should equal five, two, eight, one, five, two. Five, two, eight. Let's just say two equals this minus this. So you would think this would have to be one, eight, nine, six. So hopefully I got that right. And then the percentages, if someone asks you about the percentages, if you put in a percent format, which is quite common, then you could take your totals. You might make a total column in our table over here, or I could insert and say that I want, well, no, let's go to the table designs.  And so it's summing it up here. So that's good. And then I'm going to make the other one the percent of total. I'll say this is going to be the percent of total. And then this is going to be, now it's picking up. See how it picked that up in my data? Did it pick that up? No, it's not. It changed my table though. In any case, I'm going to say this is going to be equal to this number divided by the total. And then I'll format this as a percent. So I'm going to go home tab, numbers percent. And then I'll sum this up. And so that's where the percentages are coming from. Now, I'm just going to redo this because I don't want the totals. I just want it over here. Okay. So there's my 18 percent. There's my 12 percent. There's my 11 percent. There's my 9 percent. Where's the 9 percent for the yellow? It's around 8. So it's rounding it a little bit differently over here. 8, 8, and 7, and so on. That's the idea. So that's the general idea of it. Now, you could do another type of graph. And like I say, we might say that we want to insert maybe a bar graph, just a standard bar graph that would look like this. That's your standard bar graph. Or you can do a more fancy one possibly, which is a standard bar graph that might be like, you can insert this one. You have all these different, the side ones down here. And then if I look into the recommended, it's got this kind of fancy one. So that's a new kind of a new age bar graph. They centered the bars, you know. So we might call this just AR, AR by customer or something like that. And so now you've got the amounts by the total amounts there with a bar graph. I can say access title, data labels, and so on. Now I could, if I of course want the percentages, I could take this, hold down control and pick up the percent and then go into insert. And I can go into my recommended, and then I have this same thing on a percent basis. So AR percent by customer, if you wanted to do it that way. But classically, if you want a percent type of thing, then oftentimes you do the pie chart, if it's a percent of the total type of thing, and then with the numbers, full numbers, you might do the bar chart type of thing. But now the question is, well, I don't really want my data here. I just want the cool graphs on my worksheet. So instead of, so what I might do is I might make another tab. So I'm just going to add another tab over here and put my graph. So I'm going to cut this. I can right click and cut it and then put it over here. Paste. Boom. And then I might go over here. Maybe I just want the one, this one, right click and cut it and then put it over here, right click and paste. And then I'm going to format this one. So I'm going to say, let's go into our view on this side and then back over here so I can see the end of the page. So what I might want to do is make the graphs, actually that fits pretty good like that maybe. So maybe I just make this as large as I can. I'm just going to go to do to there on a page and then I'll go from here maybe to there on a page. Give it some room. And so then, so now you've got your graphs on this page. Now, if I was to do this, this page will still print which is a problem because I don't want that page. So if I went over there over here and I said I want to print this thing, but I want to print all the workbook, including all my reports, there's my balance sheets and so on and whatnot. But then I have this, I don't want that. I don't want that one. I just want this sheet would hatch my cool graphs on it. So what I can do then is I can go back here and I could say, let's hide this tab, right click and hide it. And so then this is going to be my AR graphs. Boom. And then I can print all of my reports on one sheet with the Qt PDF printer printing. I've got the Qt PDF printer selected. So it's going to print it to a PDF. I've got my entire workbook selected and then I can just go through this and say, there's my reports. They're not totally formatted beautifully because I just giving some examples on the formatting. But the point is that then goes right to my graphs. I should probably put a header on it and stuff, but you get the idea. The idea is what we're going for. If I print this out, let's print it out and check it out so we can admire it the way it should be admired, the way it deserves to be admired. Let's see this. Let's go ahead and close this down and open it up in our PDF format now. So now we have all our reports on the one PDF format. If I scroll down, we've got the balance sheet stuff and if I can give this to someone, landscape view is still okay because it's reporting vertically and it's not like sideways when you try to open it, which is neat O. And then we have some things that are neat, which is okay, but neat O. Neat O is when take it up a knot to neat O. So here we have it. We have our AR circle that we can add. A couple of little touches like that. Pretty easy to do once you do that a few times and then you'll be heads and toes above the competition with just a few little tweaks generally. And so that's the idea.


Defense here. Anybody know who Frank Chimizo is? I hope some people. He's a guy from Cuba that defected from Cuba. He wrestles for Italy now and he's above average. All right? Beating Jordan Burroughs. Beating a lot of really good guys. Did he beat Zykoff last year at a tournament? I know he didn't beat him at Worlds. So now this is something that he is amazing at. Now for the record he is part alien. Okay? If you're part alien then good. You'll be better at this than most people. All right? Anytime this guy shoots a high crotch, whether I'm on my feet, sprawling or in a crack down, this is the most important thing. His shoulder in the pocket. Okay?  That's what controls my hips. That's what helps him take me down. Okay? So my far hand is gonna hook his armpit and we're just gonna kind of stay tight with his shoulder right now. Okay? I want you to feel this position. All we're gonna do is take a side step and my opposite hand is gonna pop his shoulder and then I'm gonna dig my elbow into his armpit. That's all we're gonna do. This is gonna be a real quick drill. So I'm gonna pop the shoulder, side step, dig into his armpit, and then I'm gonna shift my weight into him. Everybody see I'm driving off my outside foot.  Good high crotch position. Okay? I can't sprawl. Again, we're scrambling because I can't sprawl. If I could do this and break his grip and go behind him we wouldn't leave this camp. All right? And according to some people on the internet scrambling can't be tall. From what I heard this past week. All right? Pop the shoulder, dig, the elbow, drop my butt. Step, pop, dig and drop, and then I'm driving into him. Stop right here. Okay? This guy should not be a scrub and stay up just like Jack's doing. Okay? So I'm nice and tight on the hip, pop, dig, dry. I don't want to be too specific with how we finish. But here's the deal. Do I want to pick up the heaviest leg or the lightest leg? Lightest leg. All day long. That's why we drive with our head and our dry leg so we can make that leg light, right? That's what he's trying to do. He's trying to drive with his left foot and his head so as my leg gets light. I'm basically just changing it up on him. Flipping the script on him here. I'm popping. You guys aren't using this hand. This hand is super important. Some of you guys are just doing that. Okay? I'm not gonna beat this shoulder unless I step and pop. And it's like my hips are doing a circle. Okay? It's like my hips are doing a circle here. Okay? So I'm gonna pop, circle my hips and dig.  Okay? I'm gonna pick the leg up and wrestle through this guy. Don't overthink it. Don't try to be too specific. All right? I don't want this guy to give me a good feel. I don't want him to just fall over. All right? But more than likely, I'm gonna drive him up to his feet. So I'm basically gonna re-high crotch him. So I'm gonna pop, dig and I'm gonna drive in right here. I like my chances right here. He can start diving under me and all kind of stuff. Don't get greedy and go for a cradle right here. You can post on the shoulder, post on the head or just change off to a double A. I don't care. Okay? Just get him to the mat. We'll start talking about hiding our ankles and all that stuff. He's got options there. Okay? But if we're aware of him, we should be in good shape. Pop the shoulder, dig the elbow, change direction, drive in. Here. I'm right back into him. I like my options right here. Notice I'm elbow deep. I'm not here standing straight up, un-athletic. I don't have one hand on his leg. I'm right back into a good position. I want to get back into a fundamental high crotch or double as quick as I can. Pop, dig, drive. Elbow deep. I like my options right here. Okay? I'm pretty good position. He's not.


excited to introduce to you this next panel which explores the role of everyday creativity in transforming communities and in particular how each of the organizations represented supports and instigates the creative power of the communities they're embedded in. Please welcome Kemi Ilesami, Executive Director of the Laundromat Project, Ebony, Ebony Noel Golden, Founder and CEO of Betty's Daughter Arts Collaborative, and Shadeh Liptov, CEO of the National Black Theater. I'm so excited to have this chance to connect with you all here on stage and in front of our beautiful audience. It's been a really exciting roller coaster and we're ready to take it to another exploration that in particular what I'm excited about this next panel is that we're privileging the perspective of community engagement and everyday creativity. So I wanted to open up with this idea that Robin Kelly and others have written and talked about which is this notion of radical imagination and how essential it is for liberation because not only does it allow us to resist oppressive institutions but it actually allows us to envision what we want to replace those institutions with. So I want to open it up with this with this concept and to ask each of you or whoever wants to jump in. I know our time is short. How does this notion of radical imagination connect to the idea of art and creativity and how is this reflected in the work that you do every day? I've been inspired today by the James Baldwin quotes and thinking about literature and some of the other things that others have brought up so far this morning. So I looked up a quote from The Salt Eaters, the opening of Salt Eaters by Tony Cade Bambara that I wanted to share that I go back to you as a touch point and I'll connect it. So the book opens up with are you sure sweetheart that you want to be well? Just so you're sure sweetheart and ready to be healed because wholeness is no trifling matter, a whole lot of weight when you're well. And I really think a lot about the laundromat project's work as building a culture and a community of wellness and owning our imaginations in its most radical form is about that pursuit of being well and being able to sit in every complexity and nuance and contradiction and joy and beauty that we deserve to hold. We serve communities of color communities living on modest income right here in New York City. We're building a community of artists and neighbors who are using creativity as a path towards wellness and towards creating change in the places where they live and where they grow and where they breathe and where they raise families and all those beautiful things and we're doing it by supporting artist projects that are community engaged and community responsive. We're working with artists that want to do this work with a moral compass with respect for the communities in which they are taking apart etc. And we have a community hub in the South Bronx where we get to go again and again and again and I think that'll come up in some of our conversation but this idea of being well for me is very rooted to the ideal radical wellness. Yeah I'm feeling in this moment that radical imagination is the only way we can be visionary in future forward and how we want this world to look in the now and in the liberated Afro future. And there is a song by Bernice Johnson Regan that happens at the beginning of Their Eyes Were Watching God the film version.  And I think for me being in a practice of radical imagination means I am learning how to choose where I want to stand. Do I want to stand still? Do I want to stand scared? Do I want to stand afraid? Do I want to stand with folks who are pushing for that new world? And an art and radical imagination I just I think it can be interchangeable. For me it is interchangeable and it really provides the foundation for my work as an artist as an educator as a strategist working with communities and working with organizations that are supporting the absolute necessity for artists to be at decision makers at all levels and parts of our communities. And right now the pictures that you see are from a work of love and a work of art that I've been able to bring this idea of radical imagination into 125th and Freedom, which is my most current performance project public art project that traveled from First Avenue to to all the way west riverside not riverside what's the where do we go Kim and you can it was a part river yes yes and a five hour durational performance piece that was really looking at how we can reimagine our communities and be creatively a part of those conversations around change around legacy and around public space so yeah yeah starts with our psychic shackles and the commitment to disappear them and it's something that we practice at National Black Theater which for me is a game changer it's something that I call the over under faster so what's the over under factor immediately ASAP get over any conversation that has you be under something so under capitalized under represented under resource right we have a tendency especially in POC communities especially when you're serving a specific neighborhood or community that you get labeled with and sometimes resources come from that being underprivileged get over being under right that's the first step of radical imagination imagine your identity created from your own kind of connection and your own urgency to be your ancestors wildest dream so that's the first part just get over being under and the imagine and when you can take that leap right you take that leap of to your point time travel this astro projection into what a black future this season at MBT we're calling the black to the future what is possible right the audacity the radicalness of what is possible when not you're under nothing and so for me that is this that is why we've been on the corner of 125th street of the avenue for a half a century we didn't luck up on it you know it was radical in our imagination yeah well jumping on on that point and thank you all for sharing those ideas one thing that's interesting about this word radical which you know can can scare and can excite but if we if you look at the epistemology of the word it comes from the word roots yes and so connected to this idea is both the idea of getting to the core what's at the core of the issue but also it links us to this idea of being grounded and a couple of you just in your last response kind of naturally gravitated to to what what this actually means in terms of a community a geography and so I'm wondering if you can talk with us a little bit about this idea of being embodied being grounded holding space and how that connects to the work you do I'll say very quickly so it was funny I was doing a panel at the Apollo and some very wealthy white man came on before us to talk to us about our community was awesome the Apollo you know he said and it's so wonderful that you guys have made it that you know you you're here for this moment as if it was accidental right like this we locked up on our property but that's not how it works right we all know that and so the rootedness the national black theater started in 1968 by my mother dr barbarians here we started in the same building an old jewelry factory studio museum and national black theater under the same roof and we're both starting to 50 right something was happening in 68 a lot of things burned to the ground it was a six alarm fire the commercial real estate one space which was a Kentucky fried chicken and the next space was a dry cleaner and the explosion from the grease and the chemicals created the building to come down so rooted we show up the next day and we're all homeless right and my mother said in 1983 crack has officially hit our communities everything in Harlem looks bombed out she was like I want to buy the property people like you are crazy and she was like no it's the most famous address in the world and people are looking at this Kentucky fried chicken that burned to the ground and old jewelry factory where you're like doing rituals and painting and people couldn't see point is she said you could go anywhere in the world and say Fifth Avenue and everybody immediately knows New York City and opulence breakfast at Tiffany's Fifth Avenue you say 125th street you know we're talking about Harlem we're talking about black culture and we're talking about that cultural corridor she said I wanted to own the corner of the two that intercede and build a temple to the excellence and the beauty of our authentic story of power so rejecting what is possible because now you know once when history is fancy it wasn't dead and so the point is holding space for what's possible next and watering that every single day like your life depends on it and your community's life depends on it because you know what it does God bless National Black Theater I got goosebumps chills I think it's really for me this concept of rootedness and the radical is really about legacy and what we know about where we come from and as a person who moves around the country I'm from Houston Texas I've been in New York for 10 years I lived in North Carolina I lived in DC so I've been moving for work for love for education since I was a kid basically and what I I think was kept to me rooted in my practice rooted is having a very a real critical sense of family of accountability of chosen family and of blood family and of accountability to the communities that I've been a part of just because I've transitioned out of them doesn't mean I forget about people or forget about what they've taught me I think it's also important to honor your teachers honor your master teachers honor the people who have invested in you as a way of staying rooted in practice and rooted in an understanding of being a bridge to the next person and the next person so for me rootedness is a is it is about place even though I'm not from Harlem in particular Harlem is a cultural mecca that black artists have gone to and wanted to be in since the beginning of Harlem and so it's really important again and talking about cultural rootedness to know who's put in the work who's guided you who's made it possible for you to walk March up and down 125th Street today talking about you know free free us freedom now and I feel like for me the concept of of being rooted and the radical is it is becoming increasingly important as our community shift as we experience what it means to be experiencing gentrification as our community as people leave and move further away with the digital kind of world that we're in right now to know who you are where you are where you're from while you're there what helps you to get there and what's important to help this these communities to thrive I think is intimately for me a ritual practice and Shade mentioned ritual I think we're all talking about ritual rituals what you do is what you do every day and the idea of ritual being something that's about talking to your neighbor you know if they're if the if the children on on your corner need something it's not it doesn't have to be these grand gestures how you welcome people how you really pay attention to the needs of your community of the need your needs of your family needs of your household very intimate encounters I think for me is what is what is really informing my ideas of what how to be rooted and how to be radical to be intimately involved with people and not to just see people as passbys or or a step ladders to get to the next thing or the next idea that you want to accomplish coming home to self coming home to what you've been taught coming home to legacy is yeah it's what's really standing out for me right now yes the launch of my project has worked very intimately with Ms. Golden here over the last five years she works with us as a cultural organizing consultant and guru so lots of what I'll say might resonate with what you just heard and when we were discussing this earlier some of these ideas around rootedness and holding space I was thinking a lot about units of time which you've both brought up so 50 years for nbt studio museum so five decades five hours that I went on a journey with ebony and a group of just beautiful people across 125th street I'd never been to 1st avenue 125th street and then the launch of my project we're 12 years old and we've been very much rooted in New York City so also unit units of time as well as scale kind of how do these things kind of fit together and in the last five years we have anchored ourselves in three neighborhoods which is a deliberate choice they are bedside harlem and hunts point longwood in the south Bronx and the motivation around that was about issues of sweat equity accountability reciprocity and this factor of time and rootedness what does it mean to come back again and again we do we work in a variety of ways but one of the key ways we work is we commission artists and residents over a six month period in each of those neighborhoods and occasionally others as well but so that those are smaller units of time that are six months often those artists end up doing things and being feeling committed and you don't leave just because you've left or because the thing has officially ended but also as an organization we wanted to be able to say work we're here we remain we care we will listen we will show up for the event we will talk to the kids we will learn the names we will say hello we will help when it's needed and we will ask for help when we need it because we don't assume that that's only happening in one direction we will be held accountable when we don't live up to our best and we will ask questions when we need to figure out what's going on so all of that relates to a certain level of rootedness in the sense that you act differently you if you know that you will be held to account and if you know that you will be returning it's a different way that you move in the world with a certain level of intentionality and care and that again that sense of let us figure out we want to be well we want to be well together and for communities of color for people of color so yes there's a geography of that particularly that the LP works in and that has come up here but the LP also works with the community of artists they're 150 strong over that 12 years that we've worked with through our signature program and that's the community that we care about and return to and work with and have that sense of rootedness and reciprocity and so in one another it is about building family it is about building community can I see one quick yeah because the second part of that question was about holding space and that's something that these women appear to maybe better than anybody else and I think we'd be remissed if we didn't just touch on that for a hot second and what I would say is on my hardest day MBT we do something called holistic producing so we use our plays as as conversation pieces so we curate a dramaturgical lobby exhibit where we tease out a social justice message you see that you go in you see the play and then we have a talk back at the end and you know I run a multi-million dollar cultural arts organization we're constantly raising money constantly doing all these things that you would be on about but my hardest moment in my work and in my practice is that talk back because the amount of space you have to hold mm-hmm for everyone to be heard seen nurtured for their pain to feel sacred it's the hardest job and I know in all of our different practices the holding of space especially in the communities in which we work is the the most challenging and the most invisible and that is a part of the alchemy of how I think we can and we do the impact the work that we do is the holding space part I want to talk about this too because I think people thank you for bringing this back up because I'd forgotten that part I think oftentimes in a big part of the work that I do folks come to me with a question or a problem that isn't easy to solve and so oftentimes in terms of especially when I'm working with artists and I'm oftentimes working with artists who haven't received the type of training or the type of apprenticeship or mentorship that would come from folks like us up here right so how do you find yourself how do you find yourself in a world where you know a lot of what you want to know isn't valued and how do you hold space for people when you know that they are having they're having a transformative experience that they may not understand for the next 40 years so this goes back to radical imagination and it is a and it is a strategy to push into those spaces and to hold people in those spaces and to conjure wellness for people in those spaces as they're doing the unnecessary work of decolonizing themselves and this is this this is the emotional labor that's come up this been coming up a lot lately this is the this is the ritual work that we can't really you can't find it in a book there's no blueprint there's no recipe there's only attunement that can help folks really get there you know attunement alignment with self and with legacy that can really help people to get there and and then we have to talk about how do we take care of ourselves in the midst of doing all of this holding space for other people which oftentimes is the last thing on the to-do list that is a mile long are you well not are you well am I well and so yeah and that actually I want to jump in the fuse and everything that I'm hearing come up here which is the role of black women and I don't think it's an accident that we have three powerhouse black women here on stage four connection between the work that you've been put on this earth to continue but you're also interested in recognizing a link always to always the shoulders of those that you're standing on top of so I'm wondering if we could take a moment to think about and to explore this idea of those shoulders that we're standing on on on top of and what has been historically the role of black and brown women in infusing remembering the power of everyday creativity in communities well I don't know anything without my teachers and and this is this is what I was just talking about in terms of mentorship and one mentorship and apprenticeship I don't do anything new everything that I do even what I'm saying right now is because someone decided that I was important enough to to teach and this is a this is a major thing I think you know in terms of the work that we do the professionalization of these rooted ways of being in the world we have to remember the roots and it's important if we don't remember that then it becomes just kind of I don't I don't know it it's it's not as powerful it's not as powerful for me doing the work in the name of my mother my organization is Betty's daughter arts collaborative and I'll never change the name of it uh Betty's daughter I am Betty's daughter what I do as Betty's daughter arts collaborative I am doing my mother's work my mother's retired now and I'm continuing her legacy and I don't really make a lot of moves that she doesn't agree with she you may not know it if you you know it may look like I made the decision but I I'm working inside of a framework I'm working inside of a lineage and a legacy that is is and that I think is really important to understand where you come from you know and and I keep I can keep saying this over and over again it's so important to me um and it's important I think that we lift up names and we and we honor and we build lives that are monuments to the people who have the black women the brown women the folks who have made sure that we could sit here on the stage and look shiny on a Friday you know it's very important it's very important and I feel like um on my best day I am basically you know at at the root I am giving what my teachers have given to me um and this is and this is often you know when I speak and we don't we didn't have a time to do it I'd go through and I list 15 people I am doing this because of this person and this person this person and this person and you know it's important it's important um and I I really lift that up yeah yeah river that east river all the way to the west side it has a tide it has a rhythm yeah it has a beat now let's get deeper with it how why 125th street what was that channel doing the native americans use that channel to get from one side to the next that is a running underneath everything that we do I would be remiss on the best day when I'm fucking brilliant I am a divine listener and it's that river that talks to us right it's that river that tells you when the tide is high when the tide is low and you always have to be respectful so you have these people pouring millions and millions and millions and hundreds of millions dollars into their construction most of it is going to how the fuck is the basement not gonna flood when the tide comes up so our ancestors are always talking and communicating to us our nature ancestors our plant ancestors our river ancestors yes yes we have the privilege of being able to be expressed by our blood memory and so for me and the work that we do at MBT it is all about feeding that rhythm that river and asking for the benevolence to be kind enough to wake up another day to be able to serve and the last thing I'll say about being a black woman is we as women of color black women and I really want to say this in this room in this day and age right now today build your village, build your village, feed your village, I keep cursing mama I know better, build your village, yes, yes, build your village, come on, come on, shout out, screw your brand, it will come, yes, the kitchen table on the front porch in the garden in the church basement for centuries building village forgetting about not not yeah F in the brand yeah I wonder if I'm so interesting just like conceptually about the Laundromat project this is this idea of like the Laundromat you know and I think in just connecting back to this idea of the every day and can we take a moment to infuse and remember the power possible in the every day can you can you jump in there maybe around this this thread of black women radical creativity in the every day and who are the people who are instigating and and reminding us of the power at that location absolutely so first of all I have to shout out Lisa Wilson who's the founder of the Laundromat product of black women and and sort of nurturing this idea in the late 90s and here we are and the idea from that very beginning was this idea of being rooted in community being rooted in the places like she grew up in Philadelphia black community in Philadelphia but eventually really birthing the Laundromat project in Bed Stuy historically black neighborhood that is changing and what does that mean and who's holding down the conversation and the and the fight to figure out how to hold on to that place and to hold on to the meaning of that place are often black women that are at those meetings at those community events and in as we're having this as I was listening to this amazing conversation build your village build find where's your team all of those amazing things I can't help but think about the women in Hunts Point and in Longwood where again we've had this apartment for about three years as an organization so Laundromat has really expanded to be the metaphor so Laundromats were originally the focus because of the places we're in a city like New York where we all have to do our laundry and we don't have them in our apartments typically is a place where different generations meet different genders meet people of different races etc is very much across a path that different people cross but don't necessarily speak to one another so how how could art and creativity be infused in this place that in a space that has people literally waiting I'm waiting for the cycle you know the spin cycle the whatever cycle to happen and I'm just sitting and trying to figure out what to do well you're surrounded by people you're surrounded by your neighbors in that moment so having a film festival in a Laundromat or having a photo session or telling and collecting stories of immigrants was one of the ways or some of the kinds of projects that we've done over that time and the idea was to help turn strangers into neighbors but we've since expanded by listening to artists sometimes Laundromat itself was too limiting to or not the exact right literally physical environment that people need to do their projects so they happen on sidewalks now they happen in community gardens they happen in parks libraries wherever it makes sense that there's kind of a community gathered and it is about saying that people's ideas their imaginations what they care about what they can make it's not about expertise for us we're working with amazing artists but we're often saying to people your creativity is what it is and it doesn't have to mean that you can draw someone that looks exactly like the thing you're looking at in fact if you do something different that what is it that you can bring of yourself to this moment how can we say that what you what you think and what you care about and what you can imagine is both radical and valued is very much at the source of what we're trying to communicate like it matters that you can think about something other than survival which is so key and so necessary and so front of mind but we have to move past and through survival to something better and different and radical and it is through infusing arts creativity holding up artists as one value one valued member of a community and all the things that they bring is kind of what we're trying to do amazing thank you all we're out of time


Again, the jet thruster firings are referred to by Flight Director Jeff Bantle in his conversation with Commander Dave Walker, involve a series of pre-programmed tests built into the timeline to enable instruments on the free-flying 4,300-pound satellite to record the pressure, heat, and characterization of the jet thruster firings of an orbiting space shuttle against a free-flying space structure. Again, this live picture from cameras aboard endeavors located in the payload bay showing the wake shield facility as the orbiter approaches the 200-foot mark from the satellite. That is expected with the wheel speed, and prior to getting into grapple range, we'd like safe hold. The wake shield facility has once again been placed in the safe hold mode to ensure an extra layer of protection for its attitude control system, and in this view you can see the robot arm being maneuvered into place for the eventual grapple of the wake shield facility. This view from a payload bay camera in the rear of endeavors cargo bay showing the robot arm being extended towards the wake shield facility for a grapple. Flight controllers here are watching the attitude control system on the wake shield very carefully, making sure it is as stable as possible at the time that the end effector reaches the grapple fixture on the satellite. Everything has gone pretty much by the book this morning, a flawless rendezvous by Commander Dave Walker and pilot Ken Cockrell to get Endeavour back into position to conduct a series of jet thruster firings upon the wake shield facility from distances of 290 and 200 feet. Unofficially a total of 14 jet thruster firings were conducted to gather valuable data on heat, pressure and forces impinged upon the free flying satellite by the orbiter's jet thrusters. Astronaut Jim Newman at the aft flight deck of Endeavour now slowly moving the robot arm in for the capture of the wake shield facility to complete three days of free flight. Flight controllers here very happy with the performance of wake shield it is a very stable satellite. Good view now of the end effector of the robot arm manned by Jim Newman on the aft flight deck of Endeavour moving in slowly but surely for the capture of the wake shield facility. The orbiter now in so-called free drift no jet thruster firings anymore as Jim Newman moves the robot arm carefully in for the grapple of the wake shield. Astronaut Jim Newman has backed the arm off so he can realign the end effector with the grapple fixture. The end effector is now aligned with the grapple fixture. Flight controllers report the capture of the wake shield facility. Outstanding Endeavour.  This is mission control Houston as Endeavour flies over the Gulf of Mexico it holds the wake shield facility in place on the end of the shuttle's robot arm the other of the two free flying satellites that were deployed and retrieved by Endeavour during this flight the Spartan spacecraft can be seen in the payload bay in this particular camera view in this view from the rear payload bay cameras Houston Endeavour. This is the wake side of the wake shield facility the side on which the carousel is located and the growth of these thin film epitaxial materials has been conducted over three days of free flight the arm now in motion ready to rebirth the wake shield facility back into the payload bay. This is mission control Houston the payload deployment and retrieval officer here in the flight control room confirming that we are in the final activities for the birthing of the wake shield. This is mission control Houston in this view from one of the rear payload bay cameras on board Endeavour we see the wake shield facility close to its birthing position with Jim Newman at the controls of the shuttle's robot arm ready to place that 4300 pound satellite back into its carrier. In this view of Endeavour's payload bay we see the wake shield facility being maneuvered very slowly back into its birth position and its cross bay carrier mounted directly behind the Spartan spacecraft which was the first of the two satellites to be deployed and successfully retrieved by the five member crew on board Endeavour. This is mission control Houston we are receiving television from Endeavour's payload bay cameras as Endeavour currently is flying just to the west of Mexico on a track that will take it skirting along the western coast of Central America. Endeavour continues to circle the earth head in altitude of about 217 nautical miles. Tucked in its payload bay this morning the wake shield facility having completed three days of free flying operations during which four out of seven possible thin film growths were successfully completed.