which can be a little bit misleading. The work producer is part of what I do, but the best way to describe it is that I built bridges between the artistic work that we do on our stages and the discovery programs that we do with young people in the community so that they're in a constant reciprocal dance amplifying one another. And the scope of that changes from season to season, so sometimes I'm more in role as an artist and maker, sometimes more as an administrator, sometimes more as an educator, depending on what the needs of the season are. Bruce, I'm Bruce C.V. I'm the Associate Artistic Director at the Denver Center Theater Company. Actually, the theater company at the Denver Center for Performing Arts. We changed our name to some of us older people having a hard time having gone through it. I'm also the Director of New Play Development. So part of my job is normal stuff associated with the Associate Artistic Director, but I also handle the casting and supervise our new play, Work, which primarily centers around a festival that we do in February called The Summit. We just finished our tent summit. Courtney was there as our director. Hi, I'm Henry Godinas. I'm the resident artistic associate at Goodman Theater in Chicago. And I think primarily what I do is I champion Latino work and help develop our Latino audiences. I've been the director, curator of the Latino Theater Festival at Goodman since about 2003. And I had the great privilege this week of working on Kittereville and it brings the rain. It's been amazing. And I also teach at Northwestern University where I had the pleasure a couple of years ago of directing this theater's play. So it's been great. One of the things that came up on Sunday night when we talked about the us versus them or us and them came out here. Sorry, us, so guys, we need to speak on it. Okay. Thank you. It's just this idea of adult theaters versus youth serving theaters. And so part of this conversation we'll get at that a little bit about what is the truth about that and where is there perhaps more generosity flowing between those two things than we might not be aware of. So I wanna just talk a little about each of your theaters do more for and with young people in a variety of ways. I guess you can wear whatever path you wanna wear in terms of good men at Northwestern as well. But Wendy, if you wanna just talk a little bit about people's, people's history of work for young people, just so people know the work that you do. Sure. I would call us a hybrid theater. Our season of plays includes several pieces that are intended for young audiences and in addition to work for adults and that work for adults also covers a wide range from classics to new plays. We don't really do musicals at all. There are musical components of our holiday show which is a Panto in British tradition but kind of Americanized and created specifically for our resident company which is another significant feature of theater itself. Abigail Adams is our artistic director and she kind of held the position that I'm in for many years and was a tremendous champion of work for young people and started the New Voices Ensemble about 25 years ago. Which is, the New Voices Ensemble is. Is a program that brings students in from the city of Chester which is outside of Philadelphia and it is the most economically impoverished city in the United States and has been for several decades. Those students come and participate in classes and in theater making experiences with us. And it was really to bridge the divide between where our theater is situated which honestly used to be farmland and our theater is built into an old farm house and since then it has become a very suburbanized, a very affluent area but we've continued that partnership with the city of Chester. So now some of the students that started with us when they were in sixth grade, one of them is now one of my most amazing teaching artists and I dare be heard. So there's kind of a generational carrying forward and a real commitment to that kind of long-term relationship building in all of the work that we do. So my realm in our discovery has multiple programs. One of them is a free ticket program for partner high schools that we've worked with for over 20 years. Some of the programs are much newer. We started doing a lot more work with students that are on the autism spectrum and students with disabilities. That has informed our artistic work which I can talk more about later. But our commitment to work with and for young people has always been that as adults we learn as much from working with young people as they learn from us and just continuing to build opportunities for that to happen where we have young people in the room alongside senior company members. Our best artists on our stages and in our design work are also our artists that are teaching our students. We don't have a separate category of teaching artists. It's kind of, you have to buy into that to be considered a member of the company. If you're not committed to working with young people we'll still continue to cast you but to be a company member there needs to be a real commitment there. Bruce, you want to have that? Well, we've always had a high school matinee kind of series at the Denver Center but since Kent Thompson came to the Center in 2006 and I came with him from Alabama he started looking at wanting to focus on the age group just below that and I'm hesitating to name it because we've used a number of different names called it middle school that worked for a while and then we kind of went to family because we were interested and when we started doing middle school all of a sudden we found out the families were attending with their children and thought this is great or we want to kind of go with that. And now we're kind of saying youth and we're also dropping the age a little bit. When we were first there starting out there was already a children's theater in Denver and we're very aware of our role in sort of the healthy organism of Denver Theater and we wanted to make sure we weren't stepping on it and people's toes. However, now there isn't a children's theater in Denver and so we are thinking we might be moving into that and really it's about our desire to put theater into the lives of the Denver metro area, people, population at all stages of the game. And we, I have to say that we're still sort of, we've made little sort of pebbles in the pond kind of thing and seeing what the well, let's try this and see what happens there. We do something every year aimed at that audience and we're still sort of evaluating and seeing what our program will be but we haven't made it yet. Unfortunately we didn't have to do a big manifesto to get a grant or anything. So we're letting the program sort of evolve organically, I hope. One thing we certainly found out though is that it has changed for the better our view of who our audience is as an organization I would say prior to this, it was pretty much a standard regional theater thing is that we were aiming for adults and somebody else was taking care of kids and we don't see it that way anymore. We have kids in the building all the time. Partly we have a very large academy program and there's a building that has two floors dedicated to classes that are happening continuously through the year. But also the move for us to be targeting a certain age group or whatever it has up in. We can put it in a separate silo. It actually was part of our season. We scheduled it differently so that we could take advantage of schools coming but then it was part of the season ticket and we used all our design team and directors and all the production budgets were the same and so we've never kind of put it over off the lap or anything, it gets full attention and it's been interesting because a lot of the people who've been with the Denver Center on staff now have kids that are this age so it's a great thing for them that they actually get to attend with their children. As far as types of plays that we've been doing we started out working with schools very deliberately and because they're sort of the gatekeepers at least in Denver of how you get people in this particular age range and we are kind of aiming at what? Fourth grade to eighth grade, I guess. Denver Public Schools, there's a lot of different versions of what happens between elementary and high school and what it's called. Title recognition is a big part of what these teachers seem to, at this point in Denver, what works. Other pressures and I don't know if this is common everywhere like what time the buses have to get back and this is like, Finn and you know. You're most friends. Yeah. It's that story, you know. We call what we do theater for young audiences, QIA. We've actually only used that contract once. The rest of the time we used an equity contract because it just worked better for what we wanted to do with that particular play or who we wanted to cast in it and how much we wanted to rehearse it. But I blabbered. Okay, I just want to just jump in here. Some of you know this and I just want to make sure we're clear about this. So our three panels are all with Lord theaters, legal resident theaters, which are regional theaters and they all, in their unique ways, are serving leaders and that's part of what we're getting out of the different ways. Obviously we're going to leave a lot of time here for conversations so you can ask some in-depth questions about what they do, the kind of work they do. And we'll also focus here in a little bit on how they develop new work since that is our focus here right now. And we'll talk about that in a global way, new work and then down to is there a difference between developing new work for young people and developing new work for their grown-up audience? But I think for me, having worked at both of their theaters, they're very different institutions and their relationship to young people I would say is different in terms of the way it's integrated at least from the outside. I think people's thought has a long history of deeply integrating that, the roots are very deep with young people being given a lot of responsibility in terms of the playmaking and the generational thing that happens. And I see that Denver is doing that in a new way for you guys. Which may not still be something of the gap. So you're still figuring that out. You all may have some great ideas for Bruce about how they could do that. So since we're beginning of all that. So Henry, you want to talk a little bit about what you did? Oh, sure. I'm Henry today because I forgot my name. It's nice to be so young and good looking. At least for a day. Such a charm. Well, at Goodman for many, many years we've had a really terrific education community program. These days for a while now led by the amazing Willa Taylor. And that included for like eight or nine years my heading of program with what is now called the National Museum of Mexican Art in Pilsen. Working with a group of young people from the community for six weeks every summer developing skills and many pieces where they performed and presented for their community. Sometimes they were scripted plays. Sometimes they were adaptations. Sometimes they were devised pieces. It was really cool. We don't per se have a lot of producing that we do of theater for young audiences. As a freelance director, I've directed for Chicago Children's Theater including their inaugural production of the year for Frog and Toad which we produced or presented at the Goodman. Along also with a couple years later with the production of Esperanza Rising that I directed for CCT. Most recently, we've been working very closely and within the Latino Theater Festival it's always been important for me to include theater for young people or families from international productions. So we've hosted Brazilian companies, Mexican companies and generally they were non-verbal pieces or pieces that depended heavily on music and movement so that language wasn't an issue. With the exception of one Mexican piece, a popular piece that we directed that was very heavy language and we superimposed. But I also am on the board of directors of Albany Park Theater Project which is an amazing company in Chicago. It's a teen ensemble but they're led by incredible professional artists. David Finer is the co-founder, executive producer and artistic director. And we hosted them, we presented them in the festival in 2008 I think for the first time and it was humongous and so much so that we invited them back for the next festival. These were one night only presentations and then we realized we have to let more people see this so now we've been presenting them in the summer for a couple of weeks and the Goodman now has an ongoing relationship with APTP where we present them for a couple of two, three weeks every summer and this summer they're remounting a production called Beast. It's a device, they devise or I don't know how many of you know about Albany Park Theater Project or so, we've got to research this company and they're incredible. They create one show a year. They, the Youth Ensemble interview, they decide on a theme, they interview people in the community that have to do with that theme and then they spend the year devising, developing this play. And it's remarkable. So for the Goodman that's, I think that that's kind of the core of what we do in terms of theater-free and audiences. I wish we did more theater-free and theater-for-families what was great about the edge of P. Susan's play that we did at Northwestern is that's what I really consider theater for, that it's family, you know what I mean? The subject matter is not, you know, it's not super light, it's intense. You know, it deals with war and death and loss a lot of things and we had a great time producing it and I feel that that's the kind of theater that we could use more of, it's theater for families so that parents and children and young people can, you know, in a car away home talk about you know, some theater games. Great, great. So let's talk about developing new work if we can since we're all here hoping to do that ourselves to learn more about it. If you can talk about, if you can slant it towards work-for-family audiences, or for young audiences, how that fits into your programming. But I'm also interested, what are some of the mistakes that you've made along the way that you've learned from that you can pass along to the rest of us who are in those trenches as well? So anyone that you wanna talk about developing new work? We haven't done a lot at this point and we are on the verge of sort of moving into that. We really started out with high-repudiation titles of existing things like Diary of Anne Fragg and the Miracle Worker and we did the Tom Sawyer that Laura Beeson did, and what else? Coles, to give her, very successful. So we've been using a lot of material that's out there already in terms of building this audience and that's been successful for us but we know we're gonna run out of number one titles. But also we're excited about the idea because we have such a healthy commissioning program right now for our new work, adult new work, I guess we don't really call it that, but we are thinking that's what we will do. We have commissioned, Eric Schmidl, who was here yesterday, has been working on an adaptation of Frankenstein for us and I think we see that as something that we will be doing. The title recognition thing, I'd be interested, I'm here as much as a learner as a, I'm here as a learner at this conference because we do find that the title recognition thing is sort of big. If they haven't heard of what the play is already or it's not based on some book or something that's in the curriculum perhaps or something, it changes the way that it reaches the audience still for us and I hope I imagine that will change over time I'd be interested to hear what your experience is kind of doing. But commissioning is gonna be our thing. We're really struggling to shift the tyranny of the title. We really created a monster with going through a period of putting a lot of resources into the adaptation of popular stories for young people that were familiar, that were on library shelves and what we're discovering is that because of the fragmentation of ways of learning, so in our area, we have public schools, we have a lot of private schools, we have a lot of prep schools that are specifically geared toward getting those kids into college. We have a lot of home school networks and we also have a lot of cyber schools. So what we're finding is that the reading list is totally all over the place and it's not as consistent as it was I think even five years ago where we would see a novel like Goot on every single reading list for seventh graders. So looking at that landscape and recognizing that that's probably only going to continue and amplify, thinking about how can we still continue to connect with stories that are familiar and then also develop an appetite for taking a risk on new work. So we kind of have two distinct pipelines. One is what I would call, when we inherit a relatively new work. So a couple of years ago we premiered Why York's adaptation of Star Girl. If you haven't read that, it's beautiful and you should. Both the novel and the play and then right now we are going into working on Robert Shankin's adaptation of Seymour Schard, which the adult children's theater did. So this is the East Coast first production of that. So people are familiar with that book title but not that play. So what we're doing is we use our summer programs for young people. Our biggest is one that serves about 84 through eighth graders and we use the story that we're gonna have on the season the following year as our seed material to go through a devising process and then those students create a response piece that is not a retelling of that story in that same way but pulling those themes out and then using that through improvisation and playwriting to create something new. And then we invite the community and their parents to come and see it and so we're starting to build an awareness of and an appetite for that kind of work because then we try to give those parents tools to activate them to go out and meet advocates for us to other parents who can kind of explain, oh, this is what devising is because there are a lot of, there's so many people that you say that word and they look at you like you have two heads and they're like, so which music are you doing? And the other reason for going about that process is we've always been a very improvisational based company of actors and artists and also because there's a egalitarianism in that where we don't find that as much in already existing scripts where there are a handful of really meaty roles and then everybody else is in the back being a tree. We want everybody to make a meaningful contribution and to find their own story reflected in what is created together. So that's the one pipeline and then the other is, I guess the best example of this would be the recent work of the National Theater of Scotland on what we've loosely called the work project and is now shaping around this title of shift. So a couple of years ago, Abby was talking with Simon Sharkey of the National Theater and they were out of the picnic tables. Those of you that have been to People's Light, you know this like Brassy Null in between the two buildings in the summertime, the picnic tables are out and they were talking about meaningful work and what is meaningful work and what happens when meaningful work goes away or when you shift careers or when you retire and then you're kind of reinventing your identity or you're underemployed and you're seeking work. And so we went into a community engaged process of working with different communities to gather that information. My role in that was to take that same program, that summer program that I was just describing and we worked from the myth of Sisyphus, really light, fun material. And it was, we struggled. This was difficult because we were working with students that were not in a workforce. So how are we gonna talk to them about meaningful work without just going to school, which is not the same thing and what we discovered after making a lot of mistakes particularly in the first week and the kinds of questions we were asking and the improvisation prompts we were using was that they were reflecting back to us their experience of their parents' journey through work and what their perceptions were of that and grappling with things like they wanna spend more quality time with their parents but they also want the latest iPhone. And both parents need to have jobs in order to live that level of lifestyle. So how do you put those two things together and just working through those kinds of just positions and finding story through that? So those are kind of the two models that we're, that we have playing back and forth at the time when we work. That's a great thing. I wanna change this up a little bit just because of the nature of this the time of day that we're doing this but you just brought up something that I'd like to open this up to just some impressions very quickly and that is what is meaningful work? What makes work meaningful? Let's just call out things. What makes work meaningful to you? Discovering new things. Discovering new things. What else is meaningful about work? Helping people. Helping people. That it has resonance beyond selling a ticket to. Making real connections. The opportunity to crack something new open. Opportunity to crack something new open. Yep. Deem emotional connections. You want to do it every day. Forging new relationships. Change it the way I think. Okay, so that's all you have to do. This is for you. This is for you. I have a similar just mentioned there's something I want in our little playwrights and producers to hear. First of all, Wendy, it sounds amazing as a people's life is dealing and I think it's a great model and I think we will wanna know some more about that both in this panel and outside of the panel. It certainly sparked a lot of things. This idea of a response piece as a way to build interest in something is really, I think it's a fascinating idea. Where do you, how do you develop appetite from your work? Right. That's a hard question. Yeah. Appetite film. Appetite film. So another thing I wanna say is that Bruce was being a little modest and I wanted all the writers here to hear this. So Denver Center Theater is, he's saying, the guy who's heading new plays up there and new play development is saying, we're gonna start moving toward commissioning plays for young audiences. So this is a huge shift and a huge new opening so you're gonna have thousands of playwrights and players and I'm gonna do a work. But I just wanna say as a recent commission writer for Denver for a play for grownups, the thing that's so impressive about what they do and why this is exciting for those of us who also have an interest in young people is that the commissioning, I'm gonna do my version of this, you can correct me, but at least in the last few years they've commissioned four writers a year and then you go through a very healthy process which includes sometimes being part of the summit which is now a two week long development process with audiences with several different kinds of audiences, both Denver audiences, national audiences, there is no verbal feedback, it's all written feedback so the writer has power to interact with feedback in ways that's most useful to them but also two seasons ago they premiered four new plays on their season out of the 10 that they did which is a huge, huge thing and so they're onto something so I have to believe that they will be able to figure out how to do new work for young audiences as well with that kind of track record so do you see a connection there? Are you in? I mean, let me ask you another question and Will, if you commission a writer to write a play for young audiences, do you see that play being part of the summit? You know the only thing right now is logistical in terms of can we crime it into the weekend kind of thing, but yeah, we don't really make a big distinction already between who the target of the work is I have to say too, some surprises were surprises for us we started this program for middle schoolers and then found out that all these adults wanted to come with us we put out this study guide for middle schoolers and the adults were like, you know I want the study guide, you know we had to print way more if I think you guys may want it and we found out that our target audience was not necessarily what ended up being our audience which I thought was sort of great and that there wasn't in the audience's mind a big shift we just did a production of Lord of the Flies, right which we were aiming for, I don't know middle school exactly, middle school to high school and the adults were I would say as ravenous for that play as the young people were and they were going together and that was a great audience dynamic that there was that having young people and adults in the same audience that it was so great yeah and I really, what I'm seeing a lot of is that place that kind of hit that middle stage that fourth through eighth grade they are, there is a multi-generationality to that and I think it has to do with the brain of that age of the young person where there's still a playfulness there and great imagination but there's also there's wonderful cognitive reasoning skills that are developing and so when you are hitting that sweet spot I think you're also opening a wider conversation that can include parents like one of the great things about several of the plays here this week is that there's a complicated parent relationship that's happening in the story as well as a difficult relationship for a young person and so there's something relatable for both but there is something about that that fourth through eighth grade sweet spot that does, you know, we're finding many more adults are willing to buy in and go see that and they have a great sense of fulfillment from it which is delicious from a producer point of view I think parents feel like they should get their child and go see that play of that great book or whatever but they end up staying and enjoying the experiences well I mean it's, there's an interesting tag along I don't know what else to call it I don't know what happens the one thing though we are gonna do some more conditioning and talking with Janet the other night and also I'm very aware of what Linda Martzl's been doing as he had the childrens and stuff there's such a body of work out there already I think I'm gonna change you for a number of things and so I do feel like partly we just need to the compendium of all this work that's been happening over what seems like the last 20 years or maybe more than that of playwrights writing for young audiences there's a lot of stuff out there well I would also say for all the writers in the room I'm sure every writer here has a play who's looking for a second production we all, I think we all know it's a lot easier to get a commission than it is to get a second production and that's the reality of what we do so whenever theaters say what can we do I always say do a festival of second and third productions because there are so many of those out there and what also theaters forget is you actually get a bigger, a better script a lot of times if you look at what's there because as a writer you can calm down it's not the career anymore it's in some ways you get to do more of the heavy lifting the second and third time so you're absolutely right and I think there's an exciting connection to be made I wanted to ask you Henry in terms of the work you do when you work like this week you've been working on Mark's play do you approach it, this is gonna sound incredibly naive to everybody accurate let's just put it out but do you approach it any differently than you do when you're working on a new play that was commissioned by the good man that goes for adults what's the nature of the conversation that you have about a new play for your audiences? You know I really don't and it has to do with what Wendy said because first thing I learned when I started directing plays for young people then being a parent is that kids are really smart and if we think about it when we were that age we thought we were just as smart as we could be so no I don't approach it any different really I think that this week in the room we were asking the same questions that I asked about any new play during the development process so you know I have to say real quickly that at the good man Rock and Bob had this thing about not really liking to try to pick things Rock and Bob are who? I'm sorry, Bob Falls are artistic director and Rachel for executive director they really try not to invest too much in labels and boundaries and boxes and things so they kind of disregard those things and just do things that they feel are important and appropriate at any given time so while we don't necessarily specifically have a theater parent audiences program we've been producing Christmas Carol for like 30 years now and it's something that we take really, really, really seriously It's something you've directed there many times and I have, it was kind of my entry point as when I first became an artistic associate for six years after entry and you know it's really important for us so in the casting you see the city you know it doesn't look like I'm willing to bet the Kensian in London but it looks like Chicago and that's important to us and you know there are generations of families and young people that have grown up with that play and now we're bringing their children to see it and you know they learn about redemption and morality and hunger and greed and you know so it's an important thing for us you know we have our great friends, Halibutti and our friends, it's definitely happy master to be part of the adaptation of you know young adult literature so we don't need to go there as things do as we're living but we do understand and I think as a community then hopefully in Chicago we can touch on those things I will say that one of the cool things we've done through the festival is partner with the large play development center in New York City and their US and Mexico playwright exchange is an awesome thing and there are many young or plays for young people that have come through that and it's this unknown gem of a secret that you should look into if you know John Eisner, Henry Atom, but the large there are a lot of wonderful trans-negative plays for young audiences that are flying in big time. So for the writers in the room and Diane are you here? Cause you had a ride and went through the Lark playwright's week, right? I did, yeah. So just I wonder if you're being aware of the Lark in New York, it's open submissions, you can do what you want to talk about by the time you play. Yeah, the Lark is so amazing.  They don't produce work, they only develop work. They only develop work, they have a really great little writer's room, this locked room and only writers can get the post. You're not supposed to talk in there. So it's really great, like and I asked and I was like, so when I'm like back in the city can I just like come right in this room and they were like sure. So they're super, super generous and they do tons of programming. So I mean a lot of programming is for writers who are based in New York, but I'm not based in New York and I've been there twice and they're really cool and great and Andrea is like super awesome. Which is another resource again, I think when we talk about isolation and not being aware of what's out there, it is another place. Susan, you have another thing that everybody ought to be aware of if you're not, is the National New Play Network. Oh yeah. And the whole concept of rolling premieres. Which Diane also just said. But I just think once again we're looking at the second, third production, the idea that there is a developmental path. You know, you talk about what's the developmental path of the play, but there's a developmental path that happens after the premiere. So then there's another premier, another premier in geographically very different states. I think it's just been in God's hand. And it's something that I wish there were more of in TYA specifically. Yeah, I mean the thing against Diane, it's really obvious to the writers and directors and drama turfs and producers in the room and designers in the room and publishers in the room. Everyone in the room. When we talk about weekly development, we're talking about through three and four productions.  Can I say that? I don't know. Until we get into a rehearsal room, until we get into a pair of audiences, it just continues. So that's the hunger for these continuing life of our plays. It can feel like a real burden on writer because you're stuck with these characters who are living inside you who are dying for more voice, for more opportunity. So I do wanna open it up to the room. Remembering just we started with so this us versus them thing, I think we've talked a little bit about how there isn't as much us as them, but I want you to be able to ask these two people, how is there an us in them or where you sense an us in them if you have that to get into that conversation to sort of start to satisfy the desire to really wrestle with that idea that we talked about on Sunday night or any of the other ideas or any other thoughts you wanna have or you wanna offer about commissioning and developing new work for your audiences if you'd like to know anything? I have a, yeah, for Henry, talking about New Albany, sorry, Albany Theater Project and Cout lives in the Goodman. And I think a lot of times, and this is something that came up in 2013 right now, that we wanna figure out how to ways to do new programming where we don't exhaust ourselves, right? That it's like re-energizing, and I love the idea of the invitation for Albany to be there. And I just, I wonder if you could just speak a little bit about how you negotiated those resources or Goodman's down to buy in on that and. Sure. You know, I think that I think we're really good at knowing what we do well and what other people do better. And I think that's the case with Albany Partier Project. You know, we understand that they are doing work and addressing an audience that we wanna address, but that we don't, that we can't do within the confines of a regular season, subscription season.  So they basically touch on all of our core values, community excellence, and there's a diversity, you know. So, you know, and since we got to know them through the festival, it just became a natural relationship. And the buying from the staff is easy because the staff just saw the work, saw how amazing it was, saw the difference it was making in the lives of these young people because not only do they produce incredible work, they also tutor these high school students. They guide them through the college application process. We actually fly them, pay for them to go and visit colleges and universities. About half of these students are undocumented, so we research the colleges and universities that will often financial aid. We, you know, advocate, well, I say we, because I'm on their board, but really it's the staff of Open Party Project, it's David, and that, you know, it's a very small level. And what is Goodman's interaction with that part of it?  But no, that's all the PTP does to that.  So in that way, the Goodman has been super generous in opening up the doors. Right? I wanted, Wendy, as you're thinking of questions, I wanted Wendy to talk about the autism issues that you're developing, facing, solving. Yeah. We have two long-term residencies that have been, one's been in existence a little over seven years, one a little over 10. And one is serving a public elementary school in Pale League called General Wayne. The other is serving a private school called the Pathway School in Norristown, which is a very, also economically depressed area, but it serves students that are experiencing physical, cognitive, and behavioral challenges. So our associate artistic director, Pete Pryor, and our resident director, Samantha Bolomo, are in residence at the Pathway School. I'm in residence at General Wayne among the Susan McKee, who's our lead teaching artist there. And we've worked with those students for a full year from year to year. And what we are discovering there, it's kind of the opportunity to be in constant laboratory mode for how individuals with those unique attributes receive theater. And what are the things that we can do as artists to make that experience more accessible to them, more enjoyable for them? So the tightest model, like the most compressed example would be in the fall at General Wayne. We use the Panto, which usually opens just before Thanksgiving. So for example, this past year, it was the legend of King Arthur. Arthur in the Tale of the Red Dragon is the title of Panto. We started with General Wayne in September and the entire fall, we were exploring that story. One of the things that our students struggle with is story sequencing and also in anything that is abstract and not concrete. So how do you take non-literal, introduce it in a literal way, and then open that up and expand it? Where they have most impacted our work, I think as artists, is in the necessary clarity in order to communicate effectively. So there is nothing extraneous. Susan has shared with me that she feels that her acting has become much more focused and dynamic because she's not wasting anything because for us, when we're with those students, if we're using anything extra, it is a distraction that could derail an entire session. So we have to lean in me. So that kind of specificity of focus is really important. And then we invade all of those students and their families, many of their siblings also are somewhere on the spectrum or they have what are called sibling echoes where they have a certain sensory processing thing that's similar to their sibling that's actually diagnosed with autism. So they come with their families to our invited dress. They become our first audience. This is hugely important for us because it gives us the opportunity to take a play that's never been seen by audience before and have it in real time and space with young people, with their parents, with the audience that we hope will come to get feedback while we're still in a place where we can make changes and investments. We are also adding sensory friendly performances to that production that keep the house lights up and have at least throughout the production gives everybody a lot more space so if somebody needs to get up and move because they need some kind of kinetic stimulation during the performance, it's totally okay to do that. They have taught us how to be better artists. They taught us how to have better hospitality. They have taught us how to be better human beings. So to have that resource built into programming has been hugely important. And I've already heard on how to serve what is an ever-growing population. So awesome. Janet, yeah. Quentin, when you're talking about you for or in residence at these schools, can you just unpack the mechanics of that? Is that, who's facilitating that? So we have great buy-in from our partner schools. Do you mean facilitating as in who's actually there and how frequently? Yes, and who's paying for it. Got it. So both programs are funded in part by the Pennsylvania Commission on the Arts and also by donors who make general donations to arts discovery programs, to that umbrella. So it does pay for part of my salary, Pete's salary, Samantha's salary, Pays-Suz's fees. Sorry, that's Susan, I will call her Sue's. And we're at general wage once a week on Mondays for about an hour and 15 minutes each day after school because we cannot go in during the school day because that would take away from instructional time. And then Pete is full-time staff member at the, well not full-time, he's a staff member at the Pathway School. So he teaches there regularly because theater has been hugely important in developing social skills. And if you're interested in the studies that we've done with speech pathologists that have done a very rigorous documentation of the impact, I'd be happy to send those to you. It was really exciting, studying we did a couple of years ago. He is there, I think, about three days a week. And then Sam is in as much as she can be with her rehearsal schedule. It's a couple hours each week, but if she's in production and she's in rehearsals every day, she's there less. So it kind of, it's a balance between their rehearsal schedule at the school and our rehearsal schedule at the theater and who's available when. So they also, they do public performances at the Pathway School. We do more private performances at General Wayne, mostly because there's not a performance space there other than a very large classroom that we work in. So. And are the projects text based or not? They are not text based. It's all improvisation. We build up to text, but many of our, especially our students at General Wayne have extreme difficulty expressing emotion. And reading emotion. Many individuals with autism have face blindness. So they aren't able to read facial expression and determine the meaning behind the word you're saying. So we work with that a lot. And that's one of the reasons the Panto is so helpful because it's a very exaggerated performance form. So a lot of it is improvisation phase. And then where we are now, it's actually on the phone with Susan last night during the playwright's lamp, which she called in a little bit about where the midst of finishing devising their story and we scribed for that a lot. So it's their words, but we're doing the actual physical writing because either their fine motor skills are not there yet or they are more comfortable expressing themselves through drawing. We do a lot of drawing work with them to tell story and then have them tell us about the drawing and we scribe that. So it's very little text until we get to the very, very end. I love a couple of things about this project. I love the ongoing relationship that exists between a specific school community and the resources that are there with the educators that spend time with these students every day. I think that's a really important piece to looking at how anybody can get into your theater. There's a lot, I imagine there's a lot of behind-the-scenes advising that they have amazing partner teachers they take what we do on Mondays and they really thread it through their whole week and I know that that's a blessing that not everybody experiences when they're an artist and resident. I also think the other thing that's resonating with me right now is the conversation that we started on Sunday night about how do we look at the submission process in a way that gets us away from verbal linguistics and I think a couple of resources that are really great is that I know that the Kennedy Center, first of all, the Kennedy Center has a great, really practical look at on-century learning performances. So I said it again. The Kennedy Center has a great, really practical, flexible booklet on-century learning performances if you're interested in that. The other thing that the Kennedy Center has is a playwright discovery program for middle school and high school curates and their submission process is intentionally and specifically really diverse. You can submit CDs, you can submit video, you can submit drawings, you can submit any kind of media to represent a play and you can also submit not just as a single writer, but as a group up to I think eight writers together as a group playwright. So in terms of broadening what this community might think of in terms of submissions, when you hear your thoughts just kind of spark my thoughts in terms of I think that community might have a lot to offer us and how we can diversify what we think of as an element. Yeah, you just triggered something else that I should share. It's happened for several years. The residency at General Wayne was funded by BSA out of the Kennedy Center and they have changed their guidelines somewhat since they were funding us, but they have I think eight different categories for funding for specifically arts organizations you want to work in communities with individuals with disabilities and the grants can be incredibly generous so that's a great resource in terms of looking for funding to start or sustain programming and also just as a resource that BSA has been really, really wonderful. So I want to connect some dots here. The theater that Wendy's a part of people's life, Wendy's sort of a continuing connection between right now and people's life. Abigail Adams was the keynote speaker at the then Bonderman probably close to 20 years ago. The artistic director that you've mentioned is such a visionary by integrating the lives of young people with the working artists. It's, they've been nationally recognized by so many awards. And also David Bradley who was the associate artistic director was directed here many times as well as the ISU. He says hi to everybody by the way. So this is purposeful in terms of us continuing this relationship of this great knowledge base that Wendy brings to us from people's life which is really one of the leading programs doing work side by side and really together. And also my observation it was one of the first times where I saw a company of grown up actors who were doing both work for young people, families and adults and there was no difference. There was no difference in pay, there was no difference in it was the thing they were working on. And I was so, that was a huge step up for me as a writer to experience that. The resources committed to our work for young people it's, they're the same resources that are committed to anything that we do. So there's not like a second tier funding. I'll see what else you want to ask. Any of you sponsor? Oh I, I just have kind of published one of the issues of the, so I grew up in the U.A. until 1812. So like going to PENTO was for me and like for many young people in the U.A. like that's your introduction to things there. And then like going back to the U.K. as an adult and going with like, you know, young adults of mine, like experiencing that as an adult figure maker now is fantastic. But I know a lot of like, people from the U.K. like the PENTO might be the only sort of more family friendly show that they do. But I have some colleagues that work at York Theater Royal and they talk about their PENTO issues of being like, for many people in their community like the only time they'll come to their theater. Yes. And that's okay. Like they acknowledge, they may not forget but that's a good thing. And it seems like the sort of success of those productions is, well, like it's incredible. And yeah, I think it's just like that, that history, like I'm always kind of surprised that it hasn't sort of taken up so much. Because I think there's so much about that. That it'll, in addition to being family friendly, sort of this great sort of subversive history and like the use of drag, like having them people see that in real age, I think it's so cool and exciting. It's a hard, I have one foot on each side of the fence because on one hand, a PENTO, is everything that Coleman Jennings and Susan Zeter taught me not to do. Just three points as a theater maker. And then on the other hand, it is a low risk entry point for people who have never experienced theater before or that it does become their holiday tradition. And so I'm grateful for the positive things that it's done for us. Yeah. I kind of want to return to what Susan said and maybe get some more responses from you about the idea of rolling world for years and how I am taking that they're not really being, it's not really being applied so much to TYA. And I was wondering what you guys could like, speak on that. Is that anything like, is it, does that seem like a cool idea that anyone's radar as like a possibility for, you know, working with TYA places, place to adult place? I've been on their ambassador board for three years, which you don't get a stash or anything like that. I think it's another thing. Is that a good idea on the board for a national level? Yeah, you don't only have to do rolling world premieres through that, but just I guess they do fun by it. But there's other people do rolling world premier type concepts without. It's a good question. I don't know if they ever have had a TYA script, you know. I don't know, but I think it's terrific. The concept is such a good concept. They just, I think us, Dallas and a few other large theaters have joined NPN this year as associates or something. We're not quite sure what that entails exactly, but I would see no reason why, I still think there's a big dividing line between, oh, kids are gonna come see it, adults are gonna see it, really. I feel like it's an opportunity that we just need to make happen. And it may not always look the way that we think it does. In other words, it doesn't necessarily need to be good and Denver and people's life. Susan, I'll use edge of pieces, for example. I think the university world, the academic world, has a lot of possibility for us in this way. At Northwestern, we have this huge student theaters in two moments. And within that, there is a very established theater for young audiences called Purple Crayon Players. And now there's even a splinter group. It does specifically, you know, I went to a piece this fall that one of my students was in for young people on the autism spectrum, and it was the most moving, remarkable, just can't even talk about it because I'll start crying, but you know, when we did edge of piece, Susan, I don't know if you should speak to this, but we did it at Northwestern, then I think it went to Austin, and then eventually you say, I don't know. Yeah, well, basically what happened again, especially with the big shows, it's often very hard to get it onto that production schedule. So Linda Hartzell, in an incredible act of grace, actually said to Reeves, and to you guys, can do first production, you know, and we will actually call that, you know, premiere will be when Seattle finally can do it, but because they couldn't put it in their rotation early enough, they, we were able to do that in conjunction with Northwestern and in terms of the AATE conference that was happening at the same time. So there was that kind of urgency. But then when we finally did get the time to be able to do the actual quote unquote premiere, it was a co-production between University of Texas and Seattle. And what they were able to do then is that Linda sent five equity actors from Seattle to Austin, and they augmented with the rest of the cast from the MFA program, including the famous Fran Dorn, who was the head of the acting program, the MFA acting program, and it was a wonderful coming together of student actors at the top of their training of the equity actors from Seattle and, you know, the truly co-production that was fabulous to be able to list together. I think one of the things about this rolling premiere, I mean, I don't think we should make it, the number of playwrights in this room, don't make the assumption that the MFA network is not for you, you know, they can't do it if you don't send them. So if you don't knock on the door. I'll take that a step further than you say, because, for instance, at Goodman, we have, in terms of new play development, we, through Tony Palmer, who's our fabulous director of new play development, we had something called the Playwrights Unit where we, she has four playwrights, generally thought of as local Chicago area playwrights who develop the play throughout the course of a year, you know, and they work together every month, they read from each other's scripts, and then they're given a professional director, a professional cast at the end of the year, to do a workshop and a stage reading. I mean, it's really a great process. And then there's new stages where there are submissions and we do every fall readings and workshop productions, and so I would say, don't assume that those sorts of new play development programs, you know, aren't interested in your play for young people or families. I think, you know, don't wait to be invited, and say, just go. Crash the party. Yeah, crash the party, totally. I just want to cede us back to the 2013, right now, gathering in Tempe to say, we spent a day and a half with Jason Lowe with who was the former executive director of NNPN, talking about how we might be able to create a similar kind of model or infiltrate that model with theater-free audiences, writers. So we did some beginning kind of spade work about that. And part of why we wanted to do some us and them in this conference was to start to unearth why, what are some of our barriers to keeping at that? So I think as an industry, we want to keep focused on this. How do we build up more momentum for the kind, either rolling premieres or co-productions, whatever you want to call them, collaborations between academic and professional. But how do we keep the energy moving about that conversation? And part of it is, don't, what Heather said, don't wait to be invited. I think that's probably the greatest way we can parse it. Even in Carolina. It was interesting for us because we, there was a funding opportunity that came up from US Airways about six or seven years ago, maybe a little longer. But they just put out an RP and said, we want to do something special with the arts. And they didn't really know what it was. And so we submitted a proposal with People's Light and Charlotte Children's Theater to do second productions of world premieres where we would share them. And so we did, why you're premiered, getting your baby at People's Light. So we did the second production. We premiered Dwayne Hartford's, Tell Two Cities, which then went on to People's Light. Charlotte didn't really play well. They just collected the chat. But it was a fascinating, and funders sometimes don't know what opportunities are out there. And they were, US Airways was looking for hub city things, but it turned out to be a great experience for us. And we collected a lot of money from it. So it was great fun. It was great. Yeah, Carol. I'm looking for the hope that the sea change that's happening with Lord theaters, because obviously the representatives who are here are doing it. And I think we've heard the glowing stories of significant action in your communities where the work with young people and for young people is not second class. It's not ghetto-wise. So I'm wondering about board meetings. Our fellow board members who are not in the room noticing, are they paying attention? Because it's not only good work, it's also good for marketing. It's good for all those connections that need to happen as a sample audience. I'm just gonna respond quickly, Carol. Here's the oxymoron about Lord meetings. Who's at them is the managing directors. Who are wonderful, but they're doing collective bargaining conversation, not pro-permint conversation, okay? They are doing some pro-permint conversation, but principally through marketing and development. So it's much more, there's some big oxymorons in how meeting structure functions. True. I just got back to more. Yes, she did. This is our temple manager, Jane Robinson. Thank you. I will say, because we've just been on the phone with several caucus conversations because the TYA Ethnic Contract Development Association in June. And there were a lot of Lorde people on that phone wanting to make it easier. Wanting equity to make it easier for us to Lorde theaters to do more. Which I do think in a way does make the programming for my managerial point of view. So yes, the conversation happens a lot. That's helpful, right? One more. Yeah? As a writer for Atlantis is primarily, I was really, I love 100% of that, you know, don't wait for an invitation. However, there are a number of opportunities that explicitly go hit it. Yeah. And I'm wondering if you might be in advocacy to change that and to say it really doesn't need to be. Sometimes I actually contact an opportunity. And they said, well, sometimes it's not that kind of play. But you submit it. And I wonder if there's a problem. Sometimes I think you could just don't tell them it's for young audience. Yeah, yeah. Just submit it as a play and see what you get. You know, Mark and I were actually talking about this earlier this week and, you know, first of all, never take no for an answer. You know, so when I, you know, I advised Mark to use to, when you come up against something like that at a big, you know, Lord theater, a big institution, look for an advocate, look for a champion within that institution that might be open to your work, you know, or to that need. And have them advocate on your behalf, you know. That's what we do at the Goodman, the associates. We go to Tanya, we go to Bob, we rock and we go look, you know. That's my job. That's what I've been doing. You know, sometimes I feel like I get paid to be frustrated, but that's my job. It's to just, I get paid to put my fist on the table and say, no, we need this, we need this. And sometimes it works and sometimes it doesn't. But what's cool is they made me to do that. So find those people and say, look, you know, in the instructions or in the rules that says no TYA, but this is an awesome play. It's, you know, if you frame it this way, could you do that? And I think it's a matter of labeling, too. I mean, I think if you don't send it, you don't say, is it okay if I send this? It's TYA, you know, I was struck, I wasn't a human, I was glad this was the most recent time. But the time before I was struck at that, how many plays in that human festival had a young person at the center? You know, are they defined as TYA? No, but, you know, it was like half had a young person at the center and nobody was calling that TYA. And that's not denying our profession. I think it should work, I mean, I think ultimately my dream will be when we have those, that category disappears. Because we aren't saying we're different, we're special. Where every theater would automatically include the youngest and the tiniest butts of seats among their audience. And you know, I was said when I taught in a children's theater program, that my dream would be the day that there wasn't such a thing. And it's not gonna happen until every single theater in America embraces the totality of the age range of their audience. I've been, I'm getting that signal but I wanna say one last thing to Reina, who I don't know that we really addressed it because one of the us's and them's was that sense of I'm at the beginning of my career and there's all these people who already have the ins. And I think it is difficult. I just wanna acknowledge it's difficult to make it on your own. But I think you have to, you're doing it by being here this week. You know, it's so much about relationships and about building relationships to people's work. And so the conversation has started for you and your play and you just have to keep that conversation going and invite, invite your theaters to do your flow. Thanks everybody for spending some time. Thank you. We're from back in 1030 and we have a break. There's some snacks in the lobby and coffee and water.


What's up everyone? It's your girl, Kenty here from Layton Sports Cards and I am ripping a couple personal boxes here for Patrick T. We've got a 21-22, top two A for Champions League, Stadium Club, Chrome, Soccer, Hobby, as well as a 2022 Leaf Best of Sports. Alrighty Patrick, best of luck. We're going to start with the best of sport. Let's see what we can get. We get some old school names out of these so far today. Let's see what we get. This go rounds. Really cool sports. Yeah, just started. All right, another old school one. How about a 1990 FLIR update? Gem, Mint, Ten, Emmett Smith. That's sick. 1990 FLIR updates. Remember U40, PSA, Gem, Mint, Ten. That's really cool. 1990 FLIR. All right, yeah. That'll do it for your best of sport there. That's cool. All right, Stadium Club, Chrome, Champions League here. Let's see. Chrome out there. They've been all old school so far today. Yeah. Here we go. Refractor, Real Time of Ansu Fati. Love the photography on these cards. Stadium Club is always such nice photography. Harvey Elliott and Bappe. Peter Shemeichel on the Man-U Refractor. Romero, Rookie. We've got Championship Contributions Rookie of Jordan Sabacho. Sabacho. Nice one there. It's a very nice looking card. Then we've got Real Time Paul Pogba. That is two of five on the red. Wow. There you go, Patrick. On the Jersey Color Match, two out of five Pogba. Very nice. Congrats, Patrick. Gavi Rookie. Wait a second. Now it looks like it's red. Brian. We've got Messy Bass. Greenlish. Say Big Otto. We've got Gavi on the negative Rookie from Barcelona. That is out of $2.99. Neymar with Naldo Bay. Then there's Rookie. We've got Benjamin Setsko from Salzburg. Rookie Refractor. Goko. Otto. Lukaku. Josiah. All right, second half here. Still looking for that Otto. We've got Refractor of Cellini from Juventus. Green. Martinez from Milano. That is 14 of $1.99. I feel like I just have to say his name every time I see it. It's fun to say. Benzema. Poncho. Bellingham base. Voting. Davies. Griezmann. We've got Otto on the wave. 15 of $75 of Eduardo Camavinga from Real Madrid. There you go. Very nice of there for you, Patrick. Camavinga. Yeah, and that is 15 of $75. Solid. Polisic. Oh yeah. Gonzalez. Very nice box. It's a five. We've got Bellingham on the pink. Not numbered, but that is a variation. Nice one there. Joan Martinez. Some nice vets coming out. Heck yeah, Patrick. Yeah, very good box. Ben Dike. We've got Glimpse of Gold, Jude Bellingham. Wow. Nice Bellingham insert. What's up, Gucci? We're wondering where you were, buddy. We've got Tresguit from Juventus. Real Time Lucas Vazquez. Gomez. And last box here. Morton. Bounce. Dang. Alrighty, Patrick. That will do it for your two boxes. Congrats again on those hits, and we'll be getting them right out to you.


Can you be fat and happy? Well stay tuned because in this video that's exactly what we're gonna talk about. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem but focus on the solution. And in this video, I really wanted to discuss more of our value systems which I've mentioned in some other videos but in this particular video I wanna talk about where we're at as a society and our focus on mental health versus physical health. Okay, this is a very, very, very important video and I can't stress that enough. So please, please do me a favor, share this video. Watch the video if you get something from it or you think this is a message that somebody needs to hear. Please make sure you go out and share this video. Okay, let's get started.    If we offend you so much that you lose weight, lose, lose weight, I'm okay with that.   I understand I am at an unhealthy weight. I understand that being obese is not healthy. I get that, okay? So as a father and a boyfriend and a son and a friend and somebody that people rely on, yes, my health is something that I'm working on and I have made some changes which I struggle with and maybe I'll do a more dedicated video on this but just for example, steps that I've personally taken the last six months, I've been vegetarian. I've started to try yoga. I'm bad about going to the gym. I need to get my butt back there but yes, physical health is definitely something that's on my mind. I have that issue where I've put my mental health so far past my physical health that this is not under control or where I need it to be at but I just wanna put that disclaimer like I'm not delusional to the fact that physical health is important, all right? So now let's talk about the real issues. So something that I mentioned in the video I will link above when I discussed Lost Connections, the book about depression and the experiment I did. Something that keeps coming up, it keeps coming up because I think it's the most important thing is our screwed up value system and it's something that society has impressed upon us, okay? So throughout our lives, we're always being told that we need to look a certain way, we need to dress a certain way and all these different physical things and when that is in bed in your head we start to look at our prioritization and we start to put our looks, our physical attributes and all these things at the very top of the list and unfortunately that's why many people who are overweight or don't look the way they think they should unfortunately that's why they get quite depressed and I'm gonna touch on that in the second half of this video but I really wanted to focus on this value system of thinking that being a certain weight having certain physical attributes like big biceps or like thick legs or like a nice butt, things like that I wanna discuss how these are sometimes the wrong thing that we're chasing when it comes to our values like the reason why this is something that I feel like I need to address is because of this and I hate to be so blunt about it but it's just to give you some perspective and let you understand the depth and weight of what I'm talking about there are plenty people who commit suicide each and every year who have a six pack like think about that for a second and like I just wanna put it in perspective for you like I've done other videos about success and happiness and which one comes first and the reality is that losing a certain amount of weight having different physical appearances and all these things there was absolutely nothing guaranteed about your mental health when it comes with that so like I'll do more videos on like it's the same thing with like money like there's this idea that we've been led to believe that if you make a certain amount of money then you'll be happy and we now know that's not true like when the lead singer of Lincoln Park committed suicide money, fame, family, people loved him you know what I mean? Like we have to really start stepping back and checking in while our value systems and something for anybody out there who is in shape I really want you to pay attention to this video as well because we need to start focusing on our mental health more as a society and like don't get me wrong don't get it twisted there is absolutely nothing wrong with being in shape nothing wrong with it like we should all be in shape we all need to take care of our bodies we need to take care of our minds our bodies, our spirit, all that stuff the problem comes from thinking that this certain body is going to make you happy so one of the reasons why this is an issue is typically because of the ideas that we have embedded into our brains about what comes along with looking a certain way right? Like for example, I'm going to attract better partners you know, better looking women or better looking men whatever your thing is we get that idea that this is what we're going to get maybe the idea is that if we look a certain way we're going to get more respect from people in some cases we may think that looking a certain way is going to help us get the job that we want so at the end of the day when we talk about success versus happiness even with those things there's not guaranteed happiness let's use a prime example and one that hits home close to me the idea that by looking a certain way you're going to attract the person who is going to make you happy is not necessarily true for example, I have a friend right now this dude is a health nut dude is eating healthy his the gym really focused on his body but he's not focused on his mind and he is currently in one of the most emotionally abusive relationships I've ever seen his girlfriend is constantly beating him down over and over and over again all with her words you know what I'm saying so all of the hard work that he's done on his body has attracted somebody who is emotionally abusive so where's the happiness in that and he keeps going to the gym he keeps working on his health now he's keeping this figure that attracted his girlfriend but he's not happy you see what I'm saying like I hope you're following me on this so just keep in mind like anybody out there who is overweight I don't want you to get into a situation where you think by losing all this weight you're going to be happy I know a lot of people who have gotten gastric bypass and things like that and don't get me wrong a lot of them are for health reasons but there are a lot of people who do it and think if I could only lose this weight then I'd be happy right but then they go through all that trouble and then they realize that they're still not happy you know and we're constantly seeking the next thing that will fill that void that's always inside of us like is it possible to be fat and happy? like I like to think that I'm a real good example of that you know what I mean? I am happy more often than I'm not and it's because I've gotten my priorities straight like my weight a lot of this weight was put on during my drug and alcohol addiction like about 200 pounds of it was put on and it's been a battle to take it off but I'm almost grateful that I've had the weight issues you know over these years because it's helped me really learn how to love myself without having to have a six pack and big buff arms and stuff these are kind of buff though you see those can zoom in on that all right but you know what I mean? like I've learned to love myself and be okay and I've learned that other people can love me too even though I look this way and the main reason is and why I make this channel and make so many videos so many videos is because I want you all to learn that despite your circumstances you can be happy so for any of you watching this if you're overweight like my goal was saying this thing is to give you hope I want you to know that it's possible to be overweight and be happy once you get this thing right again, again physical health is extremely important because just like I said there's a lot of people with six packs who commit suicide like there's a lot of people with great mental health who die from diabetes and heart attacks you know what I'm saying? So like I said I will make a more dedicated video on maybe like just the struggles I've had with my weight and all the things I've tried and you know all sorts of stuff if you would like me to do that leave a comment down below but anyways I'm gonna do a lot more videos on this just about our value systems because I just want you to sit back and start thinking I just want to get your wheels turning and have you just start thinking like why am I constantly seeking the next thing and how do I know that that is going to make me happy you know what I'm saying? So like once we get our values in check we're more likely to have you know this kind of equilibrium of happiness and not all these ups and downs all right but anyways like I mentioned at the beginning of this video if you found that this video was beneficial if you think it would help somebody that you know please go share it share it on social media Facebook, Twitter, Instagram whatever you got going on Reddit I don't know what you kids are up to these days share with some people and help other people start working on their mental health and being a lot happier okay anyways thank you so much for watching if you like this video please give it a thumbs up and if you're new here I make a ton of videos to help you out with your mental and emotional wellbeing click that subscribe button and if you like check out some of the videos by clicking or tapping right there okay so do me a favor stay kind to each other love each other show some love all right but I'm out and I'll see you next time


Sure unlike the Kelly Hamilton unlike the short triangularization theorem you have seen or in your undergraduate curriculum. So this is the Kelly Hamilton theorem. Has anybody not heard of the Kelly Hamilton theorem? So let PA of t be the characteristic polynomial of A then What does the Kelly Hamilton theorem say? It satisfies its character equation so PA of A is zero Yeah, it's the zero where the zero is actually a zero matrix, right? This is a polynomial, but I'm evaluating the polynomial at t taking the value equal to an n cross n matrix a So I'm replacing t with an n cross n matrix and I'm evaluating the characteristic polynomial and I get All zero matrix. So this is a zero of size n cross n So that is what the Kelly Hamilton theorem says that That any matrix satisfies its characteristic polynomial. So again, it's a Yeah, this is again one of those Very cool results of linear algebra that is completely non-intuitive To me at least I am I cannot give you an intuitive reason Why a matrix would satisfy its own characteristic polynomial? Okay, so let's So have you guys seen a proof of this theorem? so PA of t is by definition determinant of t i minus a so that implies that if I wanted to find PA of a That is equal to the determinant of a i minus a Which is equal to the determinant of the all zero matrix Which is equal to zero Is that correct? Yes, sir. Yes, sir. This is an incorrect proof You can see that Real numbers are it is not a matrix Yeah, it's a that's a very very good point. So Obviously, I already observed that PA of a is actually a matrix of size n cross n But if I do it this way, you know, this thing is giving me a scalar value. This is one cross one So some I mean there is no meaning to saying that PA of a is equal to determinant of a i minus a So what went wrong was I should have actually First evaluated this and I get a polynomial out of this and then substitute A instead of t in that polynomial. I cannot directly substitute replace t with a inside the Expression for the determinant. Okay, so this is an incorrect proof. Yeah, here. Let me make another attempt. So We know that PA of lambda equals zero for every Eigen value lambda of a Okay, that is that we know because by definition an Eigen value is a zero of a characteristic of the characteristic polynomial so we also know that given any Polynomial q of x the Eigen values of q of a are What? Q of lambda. Okay, so I just evaluate that polynomial at the Eigen values and I get the Eigen values of q of a Okay, so that means that if I wanted to find the Eigen values of PA of a Okay, that would be PA of lambda which is equal to zero because this is true for every Eigen value of a Okay are all equal to zero So that means that if whatever this PA of a is it's a matrix whose Eigen values are all equal to zero. So that implies PA of a equals zero Okay, so this is so so this is the proof So none of you object So the fallacy of this proof is that any Yeah, even if the Eigen values are zero, it doesn't mean that the matrix should be equal to zero We already seen this example zero one zero zero. There are many other examples where The matrix is not zero, but it's Eigen values are all equal to zero Okay, so this is also incorrect Okay, so now we'll actually Now this is the correct proof So basically PA of t is a polynomial of degree n with zeros lambda one through lambda n Okay, and also the leading coefficient of this PA of t is one that is the coefficient of T power n is one So that implies I can write PA of t in The form t minus lambda one into t minus lambda two T minus lambda n. So this is the form of The Characteristic polynomial now from short theorem So I said we'll see some uses of short theorem. So this is the use. We are using the theorem We can write a equal to u t u Hermitian I'm just taking the u to the other side where t is upper triangular With lambda I on diagonal. So then if I evaluate PA of a Because I've written this polynomial out in the expanded form like this I can now actually substitute For a in this in this polynomial equation.  So I can write this as u t minus lambda one I T minus lambda n I u Hermitian Which is equal to u times PA of t So this this thing is actually the characteristic polynomial of t as well because t is similar to a and u Hermitian and so clearly PA of a will be zero if And only if this PA of t is equal to zero now PA of t Is equal to this matrix if I look at t minus lambda one I lambda one is the one comma one element of t and so this will have a zero on the top and It may have something here and this is upper triangular and next matrix You know has something here the one comma one element, but that's the second element will be zero and Then this will have zeros all down the first column and over here. There could be arbitrary things and then there are zeros down here and This the rest of this row can be arbitrary, but this part will be upper triangular and So on and the last one will have some structure like this and then zero at the bottom and then zeros down here But now this form here is exactly the form we studied in the property where this element is zero And so when I multiply these two together the first two elements will become zero So if I multiply these two the top To cross to top left to cross to sub matrix is zero came by the Properties we just discussed and if I take the first three matrices together Okay, after that then you will see that the top left Three cross three sub matrix Equals zero and so on so if you multiply all of these together The top left n cross n Is zero or P a of t is the zero matrix and so that proves the result So I'm a bit over time so we'll stop here


Hello everyone, this is financial author Amit Don of AmitDon.com On this channel, you'll find financial travel and more videos just like the one you're watching right now. If you like what you see, please give it a thumbs up and consider subscribing.


So, we are back to this but before I go further I just want to quickly recap what we have done so far in the previous four lectures. One is that I started with Fermi Golden Rule which is the top line where I narrated that psi k is a starting wave function with wave vector k goes to psi k prime under the influence of potential V, Vr it is a scattering system not just one but in general is a scattering system and rho k prime E because when you talk about transition from one state to another you need to involve the density of state so rho k prime E is the density of states and the final wave vector rho k prime that is what I wrote and from there I went ahead and derived the scattering amplitude f k k prime which is minus m by 2 pi h square square k prime Vr k it is in the bracket notation the same the way I have written above in integral form this is in a bracket t-rex bracket notation where k is equal to e to the power ik dot r apart from some constant and ket which is k prime here you can see which is e to the power minus ik prime dot r and it is an integration over r for both of them. I assume a delta function potential known as Fermi pseudo potential for the scattering system because here so far I have assumed just neutron and nucleus interaction is acting and because nucleus is very very tiny a femtometer size compared to the wavelength of the neutron which is angstrom I can assume it as a delta function potential and where b sigma is a spin isotope dependent scattering length for the site r where the delta function is existing and with these two I found that the elastic scattering elastic means here elastic means no energy transfer between the neutron and the then the scattering system d sigma by d omega there is some mistake it will be this is the expression this is also equal to if I write f of k k prime is also the square of this same as this so the one bracket was wrong here it will be i q dot rl minus rl prime q dot rl prime here so instead I or the bracket will shift q dot rl minus rl prime so this is the elastic scattering if obtained and there I showed you that when I am calculating the elastic scattering there is an averaging over b l prime b l b l prime complex conjugate b l over the all the isotopes spin in the lattice and that gives me two parts one is one b average square and that is the mean value b average is the mean potential seen by the neutron when average over spin an isotope of the scattering system and the fluctuation around the mean which is given by delta l l prime b square average minus b average square and when I write down the scattering cross section in terms of these two I get two parts one is as I showed here b average square e to the power i q dot rl minus rl prime which is the coherent part this causes diffraction because here we have q dot rl minus rl prime so we need to know that the position of the l prime with respect to position of the l and in a crystallographic lattice these are fixed and whenever diffraction occurs then we know that q will be equal to reciprocal lattice vector g and rl minus rl prime will be given by the miller indices or the of the positions or the planes and another part is n into b square average minus b average square this is an incoherent part and this incoherent part has no angle dependence the coherent part we can see to the power i q dot rl minus rl prime brings in the angle variation with respect to the q values so so I told you earlier that e to the power i we have outside this so this we could write that in terms of an average scattering and in terms of b square average minus b average square so this is an incoherent part this is a coherent part and the coherent part we have this has got angle dependence and the incoherent part has got which is a fluctuation around the main which has got no angle dependence and I also showed you how to find out b average for a distribution of isotopes and spins if I have excuse me I a k isotope having nuclear spin ik then the b average is given by the relative weight of the two states when the neutron spin is parallel anti-parallel to the nuclear state so you have nutrient this if this is the nuclear spin then the neutron spin can be plus minus half with respect to this and the number of states are 2 into this plus 1 that's the twice s plus 1 and this is equal to for plus half it is twice i plus 2 and for minus half this is equal to twice i so adding these two the total weight becomes 4 i plus 2 so relative weight for i plus half states is twice i plus 2 divided by 4 i plus 2 equal to i plus 1 upon twice i plus 1 and this if the number of isotopes then i becomes ik for the k isotope and then this will have another summation over the concentration of the kth one kth isotope and it goes like this so now I can write the average scattering length as ck concentration of the kth isotope and then the spin weightage ik plus 1 upon twice i k plus 1 into bk plus which is scattering amplitude for the neutron spin in direction of the nuclear spin and bk minus when the neutron spin is in opposite direction to the neutron spin so i plus half and i minus half now the question is how do I find out bk plus and bk minus of course experimentally but I am not going to tell you right now how the experiments are done similarly b square average a very simple extension instead of bk plus I write bk plus square and bk minus become bk minus square and the weightages become same so we can find out b average we can find out b square average and we can find out b square average minus b average square and we can find out the coherent scattering cross sections. We also told you that the scattering amplitude shkl for x-rays it is fj e to the power minus twice pi i xj h yj k zj l for an hkl plane where the position of the atoms are given by a xj plus b yj plus c za and for neutron this fj gets replaced by the average scattering amplitude bj which is a basically a delta function potential so fj again is a form factor which has got a q dependence and the intensity in case of x-ray peaks they go down at the higher angles because of fj which is not the case for neutron because bj it is does not have any angle dependence it is constant all over q space then I introduced you to the Debye-Weller factor what happens when the atoms are at a finite temperature or the system is at a finite temperature t they oscillate around a mean position and the amplitude of oscillation u square around the mean position tells us the intensity falls as i 0 e to the power minus one-third g square u square g is the reciprocal lattice vector at which we are measuring the intensity the Bragg peak intensity and i 0 is the 0 degree Kelvin intensity so with increase in temperature so long as the lattice is there the mean position around the mean position of the lattice is not destroyed then the vibration around this mean position causes a drop in intensity but not disappearance of the Bragg peak is only when the lattice starts melting the Bragg peak disappears followed by this I brought in the time dependence through a delta function and this is what I wrote again and again so we have an average of the potential at j and j prime q summed over j j prime and we also have actually I have repeated it both of them need not be written this sum this is I assume there so and one bolts one way for every state and it's a statistical average of 82 per minus i q dot r j 0 it is equal to i q dot r j prime t which is a correlation function I narrated and they also showed you that s of q omega is a Fourier transform over this correlation function as written in the expression above and then I showed you that s of q omega is a Fourier transform of intermediate scattering law i of q t and i of q t is just the opposite way is a Fourier transform from s of q omega now you see from these expressions I can write at t if I put t equal to 0 then you see i of q t is d omega e to the power i omega t s q omega here if I put t equal to sorry here if I put t equal to 0 then i of q 0 is given by d omega s of q omega that means t equal to 0 is not a fixed origin that means at any instant of time the intermediate scattering function is seen as an integration of s of q omega over energy space in the other way round if I put omega equal to 0 that means process of scattering in which energy transfer is equal to 0 this is an integration of our i of l I have to put omega equal to 0 then s of q 0 is an integration over d t i q t here that means when I look at a diffraction with perfect 0 energy transfer that gives me an average picture over time so let me these are integration over omega t remains and s of q omega is time integration and then s of q 0 for 0 energy transfer this is i q omega omega equal to 0 d d t and when I talk about this means integration over energy you are looking at the system over infinite time whereas if I consider i q t then at any instant of time which I call it origin of time is given by integration over all the energies now what does it mean we know that we do diffraction how do diffraction let me see I have got an incident beam I have got a sample and then I have got a detector here let me show it as a detector I will also tell you later how the detector works so at an angle I have a detector and I will count the neutrons on the detector now here I don't do any energy analysis usually energy analysis so in this case what I am doing is actually s of q omega d omega I am integrating over whatever energy is coming to the detector and I told you just now s of q omega d omega if I integrate what I get is an instantaneous picture on the other hand if I do an experiment with the same configuration but now let's say after the sample at an angle theta I ensure that I measure only those neutrons which have got omega equal to zero how do I do it I can do it by putting another crystal to select the energy of the neutrons and then I can put the detector here if I do that then what I have is actually integration over all the time now are they different will he get two different diffraction patterns no because the integrated picture as I told you integration it is nothing but instantaneous picture quantum mechanically but then we are doing the experiment over finite time finite time means our time scales of the experiments time scale of the experiment is much much larger than the time scales in the system in sorry count much much larger than the time scales of the system with this that means we keep putting one frame on one frame on one frame on one frame and that becomes a statistical average on the other hand when I do an experiment like this where I do a absolute zero and register for experiment that is equivalent to average over infinite time and these two things are exactly same statistical average at any instant over the entire ensemble of atoms taken one after another after another is the same as the statistical ensemble average over the entire time t so they are both of them are same but the conceptually they are slightly different because in one case we can this kind of experiments are also done usually we do this which is an integration over s of q omega d omega and there's a diffraction pattern I'm sure not many of you have used this concept but this concept can be used in neutron scattering and we do experiments in two various ways or conceptually it is possible to do it in two different ways so once one is an instantaneous picture and one is an integrated picture but both of them should converge to the same structure otherwise we are in trouble so but both of them do convert this one structure because ensemble average and time average for such a large number statistical system should be same so I stop the module here


Elderly veteran calls 911, then Lady Cop arrives and notices his kitchen. A 92-year-old World War II veteran called the police after his tools were stolen. When an officer arrived and entered his home, she made a troubling discovery she couldn't ignore. After walking into the kitchen, the cop realized the elderly man had bigger problems than the thief. Louis Hicks, a 92-year-old World War II veteran, was rightfully upset when he discovered a thief had stolen his tools from a shed behind his home in Austin, Texas. Hoping the cops could help, Mr. Hicks called 911. Officer Chassidy Salazar was sent to the scene to complete a report, but the call would take a turn after she entered the residence. When Officer Salazar stopped by Mr. Hicks' house to complete the report, she became more concerned about what the elderly veteran was up to than she was about the thief who had rummaged through and burglarized the old man's shed. A sight in the kitchen left the cop deeply troubled and she knew she couldn't ignore what she had seen. In front of Mr. Hicks' gas-powered range was a portable fan, and Officer Salazar immediately recognized that the veteran was using his stove and oven to warm up his chilly home. After turning on the kitchen appliance, the fan would blow the hot air into Mr. Hicks' living room. Of course, this was a huge safety concern for the officer, who immediately knew she had to do something. Salazar contacted her co-workers at the Austin Police Department and filled them in on the troubling sight she had found in the home. With the help of Austin Cops Four Charities, Austin Police Association, and St. David's Foundation, Officer Salazar was able to get the veteran a heater, free of cost. That's just what we do as police officers. I had realized that he's using the oven. I know that's not safe. His gas is on, Officer Salazar said. Along with fellow officer Beno Cadenas, Officer Salazar delivered Hicks' new heater. When the two cops arrived to install the free electric fireplace, the elderly veteran was taken aback. I've never had no one to do nothing for me, Hicks said with a shaking voice, trying to hold back tears. After my mother passed away and left me to take care of my two sisters, nobody never did nothing to help me. Prior to using his gas range for heat, Hicks had been using an old heater. But, when it burned a hole in the floor, he stopped, turning to his stove and oven as a source of warmth instead. You hate to ask anybody, because sometimes they'll frown on you, and I'm a true veteran. I won't ask. I won't ask, Hicks said. Hicks isn't the only one who benefited from the ordeal. Officer Salazar is grateful for the opportunity to serve a man who served his country. He's just offered me a lot of kindness, too, so to know that he's also served, and now I'm able to serve and give back to people like him, she said, according to KVUE. Thanks to these two Austin police officers and several organizations, the elderly veteran will be able to sleep both warmly and safely, but their generosity didn't end there. Proving they too are all about service to others, the Austin police created a wish list of Mr. Hicks other needs. The community was quick to step up, with someone even bringing him lunch, coffee, and some goodies from Tiff's Treats, a bakery in Austin. Austin cops for charities also revealed that they have about 10 heater units left to donate, encouraging those in need to visit AUSTINC4C.com. In addition, a GoFundMe was created for Lewis Hicks, raising over $10,000 in just two weeks time. Of course, the humble veteran is grateful for everyone's generosity. It means everything. The things I've been trying to do since the 40s, Hicks said, explaining that the help he had long hoped for, just came in. The Austin officers proved to be more than just police. These angels in blue were the answer to this veteran's prayers. We have to agree with Mr. Hicks, who declared, God is good. Indeed, God is good all the time.