Good morning, everybody. J.R. Fisher here. It is Monday morning, the 15th of March. We are live. I'm here to help you out in any way I possibly can. Please understand you can put any questions you want in that chat section so that I can answer you, help you make money online. This whole live is for you. You own it. So, you know, anything you want to hear about, I will certainly help you with. I usually have some type of agenda. Today I'm going to talk about Facebook and answer the question, is it dead? I think some people are asking that. We'll see, J.R., what are the top platforms you currently use? Any plans for using Clubhouse? Wow, great question and I got to tell you, Paul, I don't use social media unless it's to my advantage for the most part. Oh, thank you, Paul. Let me know. It's loud and clear. I appreciate that. In other words, I'm not going to sit there and go into Facebook and scroll through all the different groups and see what people are doing and what my relatives have done and all that. I just, I don't spend time there. I just don't. Now, it's not to say I don't spend a lot of time there, but when I do spend time there it's usually posting things. Actually, you know, building content, building an audience. I have used Clubhouse. I tried it out. I think it was a colossal time suck. I mean, if you do a really good Clubhouse room and you have great questions and great answers, it goes away as soon as you get off Clubhouse. So there's no longevity to Clubhouse. I know why people like it, but I think it is a huge time suck and I don't use it for that reason. I've used it a couple times, but I can tell you I won't be spending much time there. But I understand if you want, if you just, if you're just going out there for enjoyment and you want to spend some time doing something, I understand why people do that. I don't have the time for it. I just don't. I got other things I got to do and if I've got time where I'm just down time and I want to enjoy myself, I don't want to do it online. I just don't.  Let's see here. Just curious why you're currently reading. Subscribe entering the bell and share. Yes, of course. Make sure that you do a subscribe right now. If you haven't done so, that button down there will be read right below. You want to click it, turn it gray and then a bell is going to pop up and you want to bring the bell, turn on all bell notifications. So you're notified when I go live and when I do these trainings. But yeah, guys, feel free to ask any questions about social media and growing your business online, all that stuff, because that's what we're going to talk about today. And Facebook has really come, you know, into the point where people are starting to wonder, you know, what's going to happen with it. And, you know, there's a lot of different metrics you can look at on Facebook. So the first one I looked at is there are more people on Facebook right now than ever before. Okay, so that's one thing. So you take that one statistic, there's more people on Facebook. But what does that, what does that statistic mean? The point about it is really it's mostly the grandparents, the grandparents on Facebook. Okay. So it doesn't take a genius to figure it out that older people don't drive social media. They don't.  And the point is the ones that do drive stuff, the 14 to 16 year olds, they're not much on Facebook anymore. And the other thing I looked at was that Facebook users right now have less engagement than they ever have. The under 18 people have moved to like TikTok, Snap, maybe Instagram. They want that end to end encryption. They don't want to be tracked. They're afraid of online bullying, hate speech. They don't like ads. And that's pretty much what Facebook is now it's ads. I don't know if you noticed it or not. But when you post whatever you post on Facebook, and he gets interaction, let's say it gets 50 comments. For the most part, excuse me, Facebook is only going to show two comments. And then you have to click a button to show all comments, or they're going to select what did they put at the top comments? How do they select the top comments? How do they know what the top comments are? So they're doing your selection for you. Most of us don't like that. We don't want stuff selected for us. What's up, Mike Roberts. Good to see you in there. Do you think you'll be doing an event in the future? Hey, Paul, that is really all dependent on, you know, what they allow us to do, you know, events are very tough to schedule now because of all the rules. But yeah, I'd love to. I'd love to be doing it. That would be really cool. So the change in Facebook monthly user usage by age group, the age groups are really, really leaning towards the top of the hill. Okay, people over 35, 40, 50 years older using Facebook. But that doesn't make it cool. It doesn't make it never has made it cool. It's the teenagers that make stuff cool. So I think there's a serious problem there. I am a state of Facebook stockholder. And I have been since since it actually IPO'd originally IPO'd at $37, but it kept going down. I bought it at $27. I think it's like, what is it this morning? I think it's like 267. I didn't check it this morning, which is unusual for me. I scrolled through my stocks, but I didn't look at the individual ones. This morning is 272. I think it was like 268 on Friday. It's been remaining pretty flat. Now, people are also discovering that there's other things you can do on social media. There's other platforms out there.  So they're leaving that Messenger platform and they're not on there much anymore, you know, so that's that's another thing that's going to hurt Facebook. And the right right wing, and I'm not going to get into my politics, but the right wing is already left Facebook. I mean, they're out of there because they didn't like being censored all the time. And I don't think the left wing really wants to be censored either. They're probably going to be out of there pretty soon too. So if you can't share what you want to share, if you're going to be censored, odds are you're going to leave that platform. And I pulled up interesting statistic here. And you can't see it. I've got it on my screen. But it has to do with people and how they interact with Facebook. And the question was asked, how has your usage of Facebook changed in the past two years? So some pretty interesting stuff. 61 percent said they use it less frequently 61% 22% says it hasn't changed. And only 11% say they use it more frequently. So there is a definite downturn in the usage of Facebook. It definitely is going down. So given current climate and way Facebook shuts you down, can you still build a list on Facebook with lead generation? You can. I would not have that list on Facebook. In other words, I wouldn't, I wouldn't go after big groups on Facebook anymore. I don't work by groups as much on Facebook. I'm very reactive to what the market wants. I always have been. I've always liked new technology. And I don't see building a big group there. For the reason being is that they can shut down your group for anything they want. So if I build a huge group on Facebook, and they shut me down, I've lost everybody. It's not to say I won't post things on Facebook and bring them to my mail list, which I do control, I do control my mail list. But we'll certainly do that. Do you see any future upstart platforms on the horizon? Oh my God, yeah, there's a lot of stuff coming about. And it's kind of hard to keep track of it. But there is a lot of stuff coming on the horizon right now. You know, Clubhouse is one. I'm going to tell you that, you know, it's not not for me. That doesn't mean it's not going to grow. It doesn't mean it's big just because I don't use it. What's up? It's kind of dying out. What's up Moran? Good to see you there. He says, hello, Mr. JR. Good to see you, buddy. And, you know, one of the fastest growing demographics on Facebook is senior citizens.  So what else can you do out there?  They could do that. What else can they do? They could invest a ton of cash in trying to convince people in the next generation that Facebook's still the cool kid on the block, which I don't think it is and I think that would be a waste of their money. And they could keep acquiring real innovators like Instagram and WhatsApp and all and TikTok and all that. But the problem with that is the government can break them up as a monopoly. So I think Facebook's probably dead. They don't know it yet. That's what's happening. Mike Robert Zuckerberg is a clown. He fails to understand that the his opinions and views shouldn't interfere with business model. You're exactly right. And you know, it doesn't matter what side you're on. It doesn't matter if you're right wing or left wing or somewhere in between. I think everybody needs to be aware that you can't censor people. You just can't do that. I mean, this isn't North Korea. You know, this isn't China. This is the United States and censoring people has never been good.  So I would rather somebody who I don't agree with is allowed to speak than they aren't allowed to speak and they go underground and you don't know where they're at. So I think everybody should be allowed to speak. I don't think there should be any censorship whatsoever. Period.  I don't think it's good. And I do have a side that I'm on and I want the other side to be heard too. I think that's the right thing to do. But I do think also that as fast as Facebook grew, they can implode the same way. You know, we all remembered MySpace and they grew exponentially. I mean, they were huge. But once they started to implode, they really implode because it's like, if I'm on Facebook and I've got, well, I've got 5,000 friends, but let's say I had 500 friends on there.  So that's one times 500 and that happens a few times. And I'm not saying that they would all go away because it's me. I'm just saying that does happen when the people they follow go away. They start to go away and they start to look for new areas. They start to look to see where the people they follow went to. Now, the truth is there are going to be a lot of newcomers out there. James Breen says, Mark Zuckerberg is fluent with Chinese language. How about that? Yeah, it makes you wonder, right? Why would he be? I don't know. Well, his wife, I think, is Asian, isn't she? I think she is. So maybe he doesn't argue with her. I don't know. For marketers, basically, there's going to be more platforms. It's going to give you more marketing options. It's going to be more niche specificity and less competition. So I think that's a good thing. If you're an entrepreneur, you're going to have the opportunity to build a really bona fide, elegant, innovative thing while Facebook challengers come for the first time in a decade. As individuals, consumerist society grows, expect to see a proliferation of niche specific sites in the years ahead. This is true for right-wing conservatives or left-wing liberals or whatever. You're going to see more niche specific ones. Now, for social media users, you're going to see an introduction of the user's bill of rights, including beefed up privacy standards, far less addictive algorithms, innovative protection from foreign trolling and perhaps even add revenue sharing. So go medium, right? It's our presence and content creation that really gives these platforms and all the power in the profit. So I think if these platforms forget that we are the ones that make it profitable, we as individuals are the ones that make it profitable, they don't exist without us. Without my content, without me posting at lunchtime going, ah, Friday lunch, which I went back to doing guys, if you're my friend on Facebook, you'll see those pictures, every Friday I go out for lunch and I have people that follow that, that like that, that comment on that. So I'm one of, you know, billions of people on there, but once people start leaving because nobody's seeing their content and it's getting, you know, censored then, you know, their base, the people that really support Facebook are going to be gone. And I'm at the verge now was, do I sell my stock mail before it implodes? Will it go up a little bit more? I don't know. You know, it's $272 and I pay $27 for it. So I, I guess I've rode that pony pretty, pretty long time now. I bought it, gosh, when did it come out? Was it 2011 or 12? I can't remember what it was right around that point. Um, think you're going to fit in just fine in Texas. Well, good Paul. I hope so. You know, I'm, I'm, I guess I lean more towards libertarian than anything where, you know, I say, I think everybody should have their rights to do whatever they want.  And I will tell you what's interesting about some of these platforms. When you speak out against them, all of a sudden your accounts get blocked. I've seen it happen.  I read an article the other day on a guy who wrote a big article on Facebook and how it's going to die. And all of a sudden his Facebook page got taken down. And now it intermittently comes back up. They really can't use it. So I think that's interesting. I think that's really interesting. What do you guys think? You've been putting some comments in there and I really do appreciate that, but put some comments and questions in that chat section there. This, this video that I'm doing right now is live, but the way it gets spread afterwards is with you guys putting questions, comments, and likes. If you haven't liked the video, make sure you like it and do that. But what have you noticed about social media? Are you using social media more now? Are you using it less now? Do you use it differently? What are your fears about your privacy? I know mine have increased. You know, I've looked at some of this. I'm like, gosh, you know, there's certain things they're making a list of certain people who post certain ways. I mean, what is that? That's kind of weird.  I don't want, you know, people to follow me because of something I said to do something detrimental to me. I don't want that. You guys probably don't either. I see the most open platform now is YouTube.  They want people being mean and all that kind of stuff, but they allow you to have an opinion. You know, Google is really helpful like that. As a matter of fact, I run ads and their ad rep contacts me on a regular basis and they help me out. So that's really nice. But you know, what is your opinion of this? What do you think? Are you going to leave Facebook? Put in the comments. Yes or no. Are you leaving Facebook? I don't see a big use for me anymore. I know my son posts on Instagram and my daughter posts on Instagram, but they don't post much on Facebook anymore. They're just not there. Let's see here. I'm really seeing podcasting exploding. Yeah. And that goes back Paul to that niche thing I was talking about where people are saying, you know, hey, I want to really niche down. I want to really reach my audience exactly who they are. Now that the audience is not as big. So like on Facebook, audience is huge. But the thing is you can't reach them. So if you can't reach them, does it really matter how many people are there? If you put a post up and Facebook lets nine people see it, you know, what's the point? Okay, I'd much rather be excuse me on Clubhouse or Instagram or some other, you know, platform where 100 people see it or 200 people see it.  I care about how many people see what I post. That's what really matters to me. Mike Robert says, I deleted my well-established Facebook profile due to censorship. I only opened another account for doing the ads. Yeah. I mean, I get it, man. I really do get it. I understand why you would do that. And I've seen so many people's ad accounts get shut down. I was talking to one of my friends in here the other day, Richard, and he lost his ad account. I mean, it's like, for no reason. You can't even find out why. You know, at Google, you can contact somebody. You can open up a chat. You can open up a ticket. You can talk to people and they'll tell you, you know, let me take a look at that. Let me see what's wrong. Facebook, nothing. It's just crickets. They don't care.  Because we are the market. We are the market.  You know, they're done. I'm going to drink here real quick. So would you, at this point, join Facebook? Are you thinking about getting off Facebook? Put that in the chat section there. I want to see. I mean, Mike's already said that. That he's out of there. He's only using it for ads. So that's not going to really support your platform. Outside of that, get some ad money out of it. Paul says, so can Instagram be used to build a list? Any platform can be used to build a list. Yeah, that's not a problem. I'm not an Instagram user. I mean, I have stuff on Instagram and I have a Twitter account. I'm not big on it. I'm really going all in on YouTube. I like YouTube a lot. I think YouTube has a lot of longevity. I can do a video on YouTube and five years later, people can still be watching it. There's no way that's going to happen on Facebook. I do a post on Facebook. I'd be lucky if five minutes from now people can even see it. But on YouTube, I can put it on my channel. People can search within my channel and find the stuff that they want and get answers. Let's see here. How do you feel about direct email advertising? Mike, I think it's coming back a little bit. Personally, I hate getting junk mail. I hate it. I mean, it's like 99% of what I get in the mail is junk and I don't read it. I throw it away. That doesn't mean that as a marketer, I will discount it because what I like and what I dislike has nothing to do with the market. It's just me. It's just me. Would I do direct mail marketing? Probably. Yeah, I probably would. Have I done it? I have not done it in the past but I will certainly look at it. I think it's a real viable alternative to a lot of stuff. It's like mediums come and go. They come and go. They go in style and out of style and in style and out of style.  That was a big thing to send a telegram. Western Union Telegram and what do you think a text is? It's essentially the same thing. It's a telegram. You know, then we went to phones and we talked to everybody. We were always on the phone and people would spend hours on the phone as opposed to social media. Do you remember that? I mean, I remember in high school talking to my girlfriend for an hour and a half, two hours on the phone. You know, that was a big thing and now we go to social media and we spent an hour and a half to two hours and we don't speak on the phone at all.  We're using that on our phone. I use that now with my daughter. She has a twin boys and another son and it's cool to see them. So, you know, these social platforms go up and down but they don't really change how we interact as human beings. We just think they do but they really don't. So, you know, we could leave platforms and move on to another one and they're going to be left in the dust. They just really are. Let's see here. Buddy Darrell. Darrell lost Facebook account which was military-based dealing with PTSD. Fortunately, he had me as a moderator and Page still grew. Interesting. Yeah, that's interesting that you're doing that. James Breen says, how come? How come? I don't know what you mean. How come on that one? Mike Roberts to clarify. Advertising on list owners emails. I don't know, to clarify. Advertising on list owners emails. I'm not quite sure what you're asking there, Mike. If you could expound on that just a little bit so I know and I'll be happy to answer that for you. But I really think, guys, if you really want to grow your list at this point, I think it's video. I really do think it's video. There's a lot of different video platforms and I'm all in on YouTube but there's like Vimeo and there's a bunch of others out there that I don't do and you can't do all of them. You know, a lot of times I think we think as marketers, why could it be on every top platform? It's hard to do. I mean, maybe Gary Vee can do that. I can't do that. Gary Vee could probably do that.  He just cranks the stuff out. How come I keep hearing that the dollars is in the email list? It is and it isn't, okay? It is if you are interacting with your email list and you have a good relationship with them. But if it was just the list, the people with the biggest list would be the wealthiest people and that's just not the case. You know, if you don't interact with your list, if you don't have a good relationship with the people in your list, it doesn't matter how many millions of people you got on it, it doesn't matter. But if you interact and you help them out and they see value in what you email them, yeah, email isn't in the list. I can send an email like right now. I could literally, I could do an example. I'm not going to do it, but I could do an example where I say I've got a new course and it's $97. Click here to get my course and I can send that out to my list right now and I'd make money instantly because they know that I've been helping them throughout the year and they're going to go, wow, if he's got a course it's probably good because he gives me good information for free. So I know the course is going to be good.  Still working on that. You've heard me talking about it for weeks. It takes a long time to put together a really good course. On a little different note, when you were leaving your job, what steps did you take to be ready to jump ship and go all the way in online marketing? I think the big thing Malina, what's going on? Good to see you. Malina just jumped in here. I think the big step is make sure you have enough money in the bank. Okay. I had enough money in the bank to last, I don't know, three, four, five months, something like that, and to already have replaced your income with what your online business is. So, you know, I, the month before I quit my job, I sold $80,000 online. So, I thought, okay, I'm good. Now, that wasn't profit. I don't want you to think that was all profit. I was probably profiting 15 to 20% something like that, but it was enough to where, you know, I felt secure.  I would say also look at health insurance. You know, do you have health insurance? I was on the Cobra Plan and my health insurance payments went up, but I had health insurance. I had some money in the bank and I had built up a little bit of business. So, I would say that's, that's what you want to look for. Is have that security. If you don't have that, don't, don't say, well, I'm going to quit my job and go out and start an online business. That's scary. That's scary because you don't know how well you're going to do or how well it's going to do. So, see, Mike, Mike is right. Currently, I'm getting ads on my inbound emails. Yes. Email marketing is a big thing. Mike Roberts, I'm talking about sponsor ads that show up on emails from opted-in participants. Yeah, Google's big on that. It's, it's, it's thing where it's in your email box now and they can actually read your email and they know your interest. I don't know if you guys know that or not, but you don't have any privacy on your email, so be careful what you're putting in there. So, right about relationship marketing, you are the perfect example of a servant leader entrepreneur. Thank you, Paul. That's very kind of you. But I mean, it is what it is. I mean, if you don't help people out and you're not kind to them and you don't treat them right and you don't give them things of value, how do you expect people to want to follow you? I mean, they're just not going to want to. It's, it's a relationship.  You know, I got to treat you guys right to get you guys to want my stuff. I mean, if I don't treat you right, you're going to go find somebody that does treat you right. You're going to find somebody else. And it's, it's, that's how it is. I mean, it's how it is online. I have to bounce to Doc Appointment. Hope you're okay, Paul. We'll check the rest later. Have a blessed week and a head game. Thank you so much for being here, Paul. We always appreciate you. Matter of fact, when we put it in here, I appreciate each and every one of you guys. Period. Please put all your comments in here. Here we go. I got to see. I don't, I don't type type because I'm not that fast at it, but I can talk type like that. How do you feel about continuity content products? I love them. Love them. Love them. I love continuity. I've got some inner circle things that are like $4.97, $1.97 a month. I've got some that are $27 a month. I got some that are $97 a month. I have a whole lot of different continuities. And it's nice to get up every day and to see those payments there. I mean, it really, really is nice. Plus the fact, you know, if I have a course that's $1,000, that's going to rule out a lot of people. A lot of people just don't have $1,000. But if I take that same course and I say it's $97 a month, it opens it up to a lot of people. You know, a lot more people can buy that course. So overall, sometimes I can make more money on one that is a lower monthly continuity than it is a lump sum payment. Hate that YouTube now is putting two ads back to back on videos. Yeah, I mean, but it is what it is, Paul. It's got to be supported. You know, they give me this platform to be able to talk for free, for free. All I have to do is turn on my computer, you know, hit my lights and away I go. So that's got to be paid for somehow. Plus the fact that they give me 55% of it. And I checked this morning and my CPM is over $40. So, you know, I get 55% of $40. So I'm getting like 21 bucks, 22 bucks every time I go live and start talking and an ad rolls. Not a bad deal. Not a bad deal at all. I'm very happy with that. Are you guys leaving Facebook? Put in there if you're leaving Facebook. I want to know. I'm kind of curious, my little poll here. Now you may be watching this and it's not live. You can still put it in there. Put it in the comment section below the video. If you're watching this is not live. You can answer any of these questions. You can ask me questions even if it's not live.  So please feel free to do that. And once again, let me remind you to subscribe. Subscribing is super important. And ringing the bell. Turn on all bell notifications. The bell won't even show up until you subscribe. So if you're looking around for the bell, you're like, I can't buy the bell. I can't buy the bell. It won't be there until you subscribe. So you need to do that. The thumbs up matters a whole lot. And I didn't realize that so much. But that thumbs up. If you click that thumbs up for me, guys, wow, that really helps with distribution. And I previously didn't mention it that much, but I really should have because that really helps a lot. So do you guys have anything else? We're almost at the end of the session here.  Now I'm going to go work. So much more fun just to talk to you guys. It really is. And get your input. Get your interactions. What do you think about today's training? What do you think about Facebook? What do you think about the future of social media? Put that in the chat section there. Is it going to continue the way it has been? Is it going to change? What's going on? See, do you have videos on creating continuity products? You know, I believe I do. Paul, excuse me, Paul James. And what you want to do is go to my channel and go in that search bar and just type in continuity. I'm pretty sure I've done several on continuity. And they're really good products to have on me. I love continuity. Now the interesting thing about continuity is how long people stay there. You know, I had one lady that was paying for continuity and he was like, gosh, what was it, $27 a month? Something like that. And she paid for like four and a half years. I was like, wow, that's amazing that anybody would pay that long.  But it's interesting how long people stay in there. Usually in my continuity, people will stay at least a year. And the reason being is I have a lot in there. So if you're going to pay for continuity with me, you're going to get a lot of information that's going to be useful. It's going to make you money. I quit Facebook the day President Trump was banned, James Green. I get it, man. A lot of people didn't like that.  Banning the president of the United States? Seriously? That's pretty frigging amazing.  You know, the president needs to be able to talk to people. Whether you like their message or not, that's up to you. But you can't do that. You know, it can't do that. I mean, I think Twitter banned him too at the same time. It's just, I mean, I was blown away. I looked at my wife and I'm saying, you're kidding me. You're kidding me. They can ban the president. You know, some guy in Silicon Valley, you know, that has opinions can ban a president. That's insane, insane. So I guess I'm going to wrap it up, guys, unless you've got anything else. I guess I don't forget to subscribe, like the video, make sure you turn on notifications. You guys are wonderful. Love being here every day. Matter of fact, love having each and every one of you here. And I appreciate you. There's my typed text. Talked to text, right? Because that's a whole lot easier for me to do. Today I've got to finish up doing some editing, just so you know what I'm doing today. I have some editing to do. We're probably going to run out and get lunch. We're going to work out after lunch. After I do that editing, I'm going to go back to working on digital course designer. I have a lot of the slides done, but I got to voice over them, and then I got to put the intro in them, and then the exit on them, which is easy to do. But it's just time consuming. And what I do is I'll take a PowerPoint presentation I have for that particular course. And let's say it has like 16 slides. I will voice over four of them. And that's usually about 8 to 10 minutes. And then that becomes another video. And then I take another four or five of them. And that's 8 to 10 minutes. And that way I can get all the different videos. And by putting them in digital course designer, which you guys will have access to, but by putting them in there in that way, people can get, oh gosh, completion. In other words, you can get through a five or 10 minute video pretty quick. I don't like to put in 45 minute or hour long videos. That's a long time to sit through a video. I'd much rather people see that they're making progress. So then I have a whole bunch of different modules. And under each module, I'll have a whole bunch of these five or 10 minute videos that they can go through. So that's how I'm designing the course. So that's that. What do you think? Good day? I hope so, guys. I hope you have an awesome day. Hope you got something out of this today. Once again, your opinions matter. So put them in there, even if it's after the fact, I want to hear what you guys are doing. This is a good gauge really of what people are going to do with Facebook and all these social platforms. Thank you so much for being here, guys. I really appreciate you. I'm going to go ahead and get out of here.  And I'll talk to you tomorrow at 9 a.m.


Hi, I'm Zor. Welcome to a new Zor education. So we will continue talking about heat transfer. In particular, we will talk about convection as one of the kinds of heat transfer. We have already considered during the previous lecture the conductivity. This is just another way of transferring heat from one object to another or from one part of the object to another. Now, let me just tell you from the very beginning that convection is a much more complex process than conduction. This lecture is about this complexity. I will try to convey this complexity to you. Now, this lecture is part of the course Physics 14 presented in Unizor.com. The website contains the course, basically, which is not complete as of right now. But gradually we are trying to put all the lectures, all the components in place. Now, the same website contains mass proteins, which is a prerequisite for this course, which I strongly recommend you to take. Because, obviously, I'm using a lot of mass during this course of Physics. And the website, by the way, is completely free. There are no advertising and you don't even have to sign in if you don't want to. Okay, so let's talk about convection in relationship to conductivity or conduction. Now, conduction is mostly considered for solid objects. So, if you have some kind of a solid object where the molecules are relatively fixed in place, the forces between the molecules or whatever else, they keep this solid object solid, which means molecules more or less are in place. However, they do oscillate. So, each one of them is oscillating when the heat is applied. And the more heat is applied, the more intense this oscillation is. Now, whenever we are transferring energy from a hot place, let's say this piece is hot and this piece is relatively cold. Now, this oscillation actually forces, it hits, it shakes, if you wish, the neighboring molecules. The neighboring molecules shakes its neighboring molecules and that's how the heat is transferred. So, in a way, you can consider this to be a microscopic transfer of energy from molecule to molecule. Now, the convection is a completely different process. Convection is mostly related to liquids and gases where the molecules are not really fixed within the same position, maybe oscillating around this position, but still relatively fixed. In liquids and gases, the molecules are relatively free to move around. So, instead of this molecule, which is hot, it has a lot of kinetic energy, just shaking a neighbor, it just flies this way. Now, it also flies this way or this way or this way, but for instance, if we are heating in a pot, the water, now the flame is here, right? So, this piece is very hot and the molecules of the pot, let's say it's a steel pot, so the molecules which are inside the steel pot, they are using the conduction, sorry, they are shaking the immediate neighbors of molecules of water. This is conduction because this is a steel, but as soon as the first layer of the molecules of water is heated, then it immediately can go to all the different directions and in this direction or going down, it doesn't really move anywhere, but all the way up, it heats up the upper layers basically forcing the cooler molecules to go down. Now, they are heating and they are going up in all other directions and that's how the whole process is being done. And this is what convection actually is. So, convection is the movement of the heat, not from the molecule to a molecule, but movement of an entire mass of molecules from one place, let's say in this case from the bottom of the pot to the upper layers of this. Of the water. So, it's a completely different process, but nevertheless it's also a type of heat transfer. Now, not only it's a different process, it's a much more complicated process. Now, let me go back to conduction. Now, with the conduction we actually derived a relatively simple formula of the Fourier law of heat transformation, which basically was something like this as function of, so this is the wall, this is the air and this is the room outside air. And the room actually is warmer, so the heat goes this way and if this is X, then the temperature is changing from the room temperature to the outside air temperature. But the way how it moves, basically the derivative, the speed of changing the temperature, is basically amount of heat which goes through the unit of time and unit of area at the distance, at the surface which is on the distance X. So, that's kind of an understandable and relatively easy. Now, with conduction, situation is much more difficult because as you see, even in the example of this pot which we are heating up the water, the movement is extremely complex. Now, it would be incorrect to say that the theory does not exist about this type of process. It does exist and it's complex. It's so complex that it's outside of the scope of this course. It's related to differential equations which are called, if I'm not mistaken, convection, diffusion, differential equations, something like this. It's relatively complicated issue, so we are not talking about this. However, for certain practical cases, we can really, using the same logic as with conduction, we can use the same logic in the convection case and come up with a relatively simpler formula, which kind of approximately reflects the reality of the real life. Now, let's just think about the following. For example, you have certain hot temperature here. Let's say this is the bottom of the pot with water. Now, this is the surface. Now, initially, the water has, let's say, room temperature. So this is something like 20 degrees Celsius. Now, we are heating this up and the temperature becomes significantly higher. Let's say 100 Celsius. So the water is almost boiling basically in this case. Now, I think it is intuitively obvious, and while experimentally confirmed, that the flow would be faster if the difference between these temperatures is greater. Now, if there is no difference in the temperature, basically the heat will not flow anywhere. Now, the more different these two temperatures are, the faster these hot molecules will be moved faster to the upper layers of the water. So the whole convection actually very much depends on the difference between these temperatures. Now, let me go to an extreme case. Now, if we are heating the water, gradually it will reach the boiling point. Now, whenever it reaches the boiling point, the temperature doesn't really go any further. So even if the temperature down is, let's say, 200 of the flame is 200 degrees Celsius, for instance, or 400, whatever, the temperature of the water will not be greater than 100 degrees Celsius because the water will start evaporating and the steam will go out. The vapors will go out and the excess of heat will go out. So the temperature will remain as 100 completely. The whole thing will be 100. Now, what is with this heat? The heat goes up all the way, right? Because it should go somewhere and obviously it will evaporate with the steam which takes all the excess energy with itself. But the temperature of the water will remain 100 degrees. Now, so there is some kind of a flow from 400 or from 200 degrees to 100. It gradually actually changes. Now, again, the temperature will basically direct how fast this heat will go. So obviously the amount of heat which goes through, let's say, unit of area during the unit of time should really be proportional to difference between temperatures of the source of the heat and, let's say, the ultimate destination of where the heat is. Probably a better example is when we are calculating this amount of heat which we are consuming for certain purposes. For instance, if you have, let's say, hot weather outside and you would like to maintain your room at certain temperature, you need air conditioner. And how do you calculate how much air conditioner you need? How much power this air conditioner should really produce? Or how much heat it should actually take out from the room to maintain the room temperature cooler than outside temperature? Or similar example, if you have, let's say, some kind of a hot pipe going through the room and you would like to find out how much air conditioner you need to neutralize the heating effect of this heating pipe to basically maintain the room temperature. So these are two examples which I'm going to, right now, to address. And that's where I will use this type of a formula. Now this is not equal sign, this is actually proportionality. And obviously there is a proportionality coefficient which definitely depends on what exactly, whether it's a water or air or something else, basically depends on the subject and its state. And I will talk about this a little bit more in detail. So let's consider these two examples. Now the first example is you have a room, you have a four meters hot pipe at 100 degrees Celsius and the room is supposed to be at 25 Celsius. Now the diameter of the pipe is 0.2 meters to know the surface, right? So based on this formula, and I actually put it here, that h in this particular case is equal to 40. So h is, how is it called? It's convection heat transfer coefficient, something like this. Yes, convection heat transfer coefficient, that's what it is. And in this case for the air, I took 40. Now this is jose per second per meter square per degree. I put Celsius degree or Kelvin degree doesn't really matter, it's the same, right? Now jose per second is actually watt, right? So it's watt per meter square and degree of Celsius. So that's what my convection heat transfer coefficient, which is here. So per unit of, now watt is jose per unit of time per second. So this is also per second. So what do we have now? Well, first of all, what is my heat transfer per unit of area? Well, that's 40 times difference in the temperatures, which is 100 minus 25, which is 75, 40 times 75, which is what? 300, 3000. Now 3000 of watt per meter square. Now what's my area? My area of the cylinder pipe is length times circumference, which is, if this is the diameter, I have to multiply it by pi by 0.2 and I have it as 2.512 square meters. So if I will multiply this by this, now this is amount of heat per square meter, which the pipe actually emits and the air takes with itself. And if I will multiply it by square meterage, I will have something like the total amount of heat per second will be 7536 watt. Now usually air conditioners are specified in BTU, which is British thermal unit per hour. So in BTU it will be, I have to divide it by 3.41 and the result would be about 2200 BTU per hour. So this is kind of an air conditioner which I need in this room to neutralize the amount of heat which is produced. So this is the amount of heat which is produced, so this is the amount of heat which I have to extract from the room to maintain the same temperature. So this is how this formula basically is used. Now where did I get this 40? This is a very murky situation, very, very unclear. Because look at it this way. Now for instance you have this pipe which is going through the room. Now if I don't do anything and just let it basically maintain this inside temperature of 100 and I would like to have room temperature at 25 and I put somewhere on the side the air conditioner assuming that they are not far from each other and the air is circulating relatively freely. Now what if I will put a fan against this pipe? Well the fan will take more, at the same time, the fan will take more hot air from the pipe. And which means that I will take more heat from the pipe during the unit of time. Which means my air conditioner must be more powerful because more heat will go from the pipe. So this coefficient is very much dependent on conditions. Again if there is some kind of an extra movement of the air which is produced by some kind of a force, for instance by fan, then it's completely different. It might be from the range, that's what I want to say, the range of this coefficient might be completely different in different conditions. So that's why this is basically tabulated for many different cases like forced flow of air, not forced flow of air, forced in some particular way. Then it depends also on how this particular pipe is arranged because if it goes horizontally it's one thing, if it goes vertically it's another thing. Because if it goes vertically then the air would dissipate differently than if it goes horizontally. And it also depends on the gravity obviously. So somewhere up in the mountains it might be different. So that's why it's very difficult to deal with convection. It's very fluid I would say. I mean it depends on so many different circumstances that it's kind of difficult to do this type of calculation. So this is very, very approximate. And don't count on this number 40 to be a reality. Well it's close to reality under certain circumstances. I took it from basically some practical textbooks. However, there is no guarantee that in some particular cases, in some particular pipe it will be the same. And now my second problem which I wanted to talk about. This is about air conditioning considering we have a weather, warm weather. So let's say outside I have 40 degrees Celsius. Inside I would like to have 25 degrees Celsius. Now let's say for simplicity I have a glass wall which separates outside from inside. So if this is my room, so this is my glass window and everything else is insulated. So this is the heat, 40 degrees. And this is what I would like to have inside. So in this particular case let's assume that the area of this glass wall is 20 square meters. In which case I have to multiply my 40. This is my convection term heating, terminal heating transfer rate, whatever it is. So it's watts per square meter per degree of Celsius. I have to multiply by difference between temperature which is 40 minus 25. And I have to multiply by area. So this is my wattage. So this is 15 times 20, it's 300, so it's 12,000 watt, joules per second. This is amount of heat which I am consuming from the window. And obviously this is amount of heat which I have to extract if I would like to maintain the same temperature of the room. So this is basically how my air conditioner should be calculated. And this is in BTU it's equal to approximately 3500 BTU per hour. Which is not very powerful air conditioner, so it's not a big deal really. So this is applications, but all these calculations they seem to be like correct calculations. But don't forget it all depends on this. Which is convection heat transfer coefficient. Which is very much poorly defined, let's put it this way. For instance again if you have a vertical glass window the air dissipates differently than if the source of the heat is horizontal. Or in some other shape like a pipe for instance. And it all depends on again whether there is some kind of extra movement of the air inside extra circulation etc. However convection is extremely important obviously for instance the weather depends on the convection of air. The ocean currents basically are results of convection because they are usually going from warmer to colder area. So convection is extremely important and extremely often occurs in nature. But all I'm saying is you really have to approach all these calculations related to convection very carefully. And primarily because of this coefficient of heat transfer in the convection. It's very much difficult to calculate and to basically tabulate. Because there are some tables where saying under these conditions the convection heat transfer coefficient is such and such. Now liquids obviously have one coefficient, gases another coefficient, different liquids have different coefficients. It all depends on density, on viscosity of many many many different factors. And that's what really complicates the whole issue. Plus another very important thing is and that's very important actually in liquids. What if you have something like well the same pipe let's say and you have to really put some kind of a liquid around it to cool it down for whatever reason. Now it all depends how this liquid behaves because if it moves it's one thing. If it doesn't move then the convection would be different. Now the movement also is different. Sometimes the movement is along a straight line. If it's a liquid for instance it goes in a straight line like one flow with a river like a river. But however there might be turbulent movement when the water moves something like this. With gases actually it's more complex even than that. So these are very complex areas for exact calculations. However my purpose was to give you basically a feeling how the convection actually occurs, what problems, what difficulties are. And under certain circumstances we can actually do the calculations. Maybe approximately but still we can do the calculations of the heat transfer. And again this is just one of the examples of the heat transfer along with conduction. And the next lecture would be about the third type of heat transfer called radiation. It's completely unrelated to these because these are kind of mechanical movements of the molecules. In case of radiation it's completely different so we'll talk about this next time. It's electromagnetic fields etc. Okay I do recommend you to go to the website, take a look at the text which is accompanying this lecture. It's very useful and again I do suggest you to take the whole course, not just one particular lecture on theunisor.com. Other than that that's it. Thank you very much for today and good luck.


Dennis, what's the biggest takeaway and the message to the group after a loss like this one? Got to finish games What shifted and what changed in those last few minutes when the Clippers went on that 22 to a run? I gotta go back and watch I gotta go back and watch it Look at the offensive game that you guys had shots were falling. Was there anything that the Clippers did? Defensively that slowed you guys down One of the shots my shots weren't falling. How are you guys not able to kind of get back to that rhythm and getting back to your spots I think it's about how we was getting the shots. We kind of strayed away from that and we started Trying to hunt matchups going one-on-one instead of just letting the letting the game flow letting it come to you We went away from that and that's when it got to Was that kind of on you guys or did they start switching more to kind of lure you into that I Think it's us, you know, I don't really too much believe in them dictating what we're gonna do So I say was on there. I Know you all take a game by game, but you guys closed out January at home. Does that help kind of reset things for you? I'm hoping so I'm hoping so it's less travel, you know, we've been roll running as a late So we get to be home rested You know, that should be an energy booster for us playing for now home crowd Guys I talked about how you're one of the leaders and the vocal leaders in this locker room You look at how this road trip started here importantly You got a big one on Friday and then this one a loss here tonight What do you want this team to kind of take away from this three-game road trip as you can I'll carry it back home Now understand we could play with anybody, you know I want everybody in the locker on the field like we're gonna win the game when we come in It sound crazy, but It's a real thing. You know, I want everybody to believe we can come in and win the game don't matter who out there and You know, if we had that belief and if we take that from this road trip, you know, that's a positive from it What was the message in here after the game and who were the who were the loudest voices? We just listen to JV You have to ask him When you guys have this deep into the season and I understand that there are obviously runs but for When it's 22 nothing to close the game like that Timeouts whatever how disappointing is it that I guess you guys couldn't find an answer even to kind of staunch that a little bit Very disappointing very disappointed play the good game and we blew it


But I am kind of in seeing this conversation, which I like to say is the conversation with the future of American theater, the present and future American theater. So what this is is we are here because of an organization called Enough. And it is a fabulous idea that was dreamt up by Michael Cody, who gathered some great theater minds. I'm quite honored to be among them to read plays that writers all over the country, who I believe are 18 and younger, have submitted based on the idea of the braiding of arts and activism around anti-gun violence and gun violence prevention. And who you see gathered are some of the folks who have been chosen. They are award-winning playwrights who have written brilliant, just wildly poetic, deeply naturalistic, just genres all over the place, brilliant heartbreaking short plays that show the range, the absolute range of the human lived experience of living in an era where gun violence in this country is so sadly predictable and prevalent. So we are here to talk to these incredible folks about who they are, why they write, why arts activism and get a sense of what this incredibly brilliant and brave generation is offering us on the stage. So I would love everybody to kind of, let's popcorn around. Once you share your name and pronouns, you can pop it over to somebody else and we will meet everybody and then start chatting. So once again, Lauren Gunderson, my pronouns are she, her, hers. Sarah Schecter, would you go next, please? Absolutely, thank you. Hello, my name is Sarah Schecter and I use she, her pronouns. So excited to be here. Aja, would you like to go next? Oh no, I think we might have lost Aja. She's finished. Hopefully she'll return soon. In the meantime, would you like to go next? Sure, hi there, my name is Olivia Ridley. My pronouns are she, her, and I wrote Ghost Gun and I am so grateful and excited to be here. Thank you. Adelaide? I'm Adelaide Fisher. My pronouns are she, her, and I wrote Miss Martins-Malays and I'm also very excited to be here. Can you share out who else should we go? Oh, I will send it over to Elizabeth. Hi, my name is Elizabeth Shannon. She, her pronouns, I wrote Loaded Language and I also am very excited and honored to be here. Deb Kanya? Hi, my name is Deb Kanya Mitra. I use she, her pronouns. My play is called Malcolm and like everyone else, I'm very excited to be here. Can I give it off to Aja? Hey, my name is Aja. My pronouns are she, her, hers, and just to echo everybody else, I am very excited to be here. Sarah? I actually already went, but I didn't say the name. I didn't get to go. I'm sorry. I'm Aislem Grayson, pronouns are she, her, it's a total honor to be here. I wrote Guns N' Dragonland. Awesome, well, I can tell you, so the way that this basically worked was there were several finalist plays and my fellow judges and board members of enough got to read them all and I can tell you the really energetic discussion that went into all of these. And we were all just so thrilled to choose all of you because so much of what your work represents is the diversity of theater, the absolute range of aesthetic and style and everything that you can imagine, some like startlingly theatrical and some just deeply brooding naturalism character studies. So I look to you all for what's happening in the theater, what's exciting, what's next, what's now. So why don't I start by asking you, when I started with this organization, it made me think of who I was at your age. And I remember thinking not just that I wanted to write, but that I had to write, I just, I couldn't not. I just, you couldn't stop me. And that drive and that passion and that kind of voraciousness has really defined my entire career. And so I wonder at this point early in your career, what is it that makes you write, but specifically theater? Why theater as your form and your medium? How did you find this thing? Olivia, would you start? Sure thing, yeah. I think art is such a perfect and wonderful means of starting conversations and initiating change and kind of pursuing something greater. And specifically theater, you're given the advantage of having a live audience.  And that sort of intimacy is something that you don't find in other mediums. And so I think theater is really just one of the most perfect ways of kind of trying to seek in film and change because in order to do that, you start conversations. And yeah, that's kind of what kind of like propels me forward when it comes to art. Iceland, what is it about theater for you? Well, the theater is the closest you can get by taking a story and applying it to real life. It's the closest you can get to actually embodying that story and like legitimately living through it. Of course, disregarding like cosplay and stuff like that, but that's cool too. But yeah, I chose theater because it's just, it's just so interesting. And there's so much you can do. And most people will argue like, oh, like I would rather watch a movie any day. It's like, well, yeah, like in movies you can do a lot, but there's just such an awesome challenge in writing theater. And it's just, it's so interesting and seeing it in front of you is just, it's beautiful. Yeah. Yeah. Asha, did you ever consider writing any other kind of form or do you write poetry or short story? Was it always theater for you? I've written like, I've always considered writing like poetry and short stories and just other different things, but I think dramatic scripts, be it playwriting or screenwriting or whatever. I don't know, I just, I think that they, they're a lot more rooted in naturalism and kind of what Olivia said, the intimacy between the audience and the actors. Like, I don't know. Something about that just has my heart. Yeah. I mean, it's thrilling because I think we are so inundated now with great TV, amazing TV, all streamed movies that you can eat and to have such fierce minds as yours in a young generation to turn to theater, it to me further confirms there is something magical about the live performance. There's something necessary. It's urgent. It's primal. We're around a campfire, you know? And I applaud you all for having this be part of your journey. Now, I assume all of you will, if you've choose to write movies and TV if you like, but the idea of always having a home in theater is inspiring to me. Sarah, what about you? Tell us about why theater, why writing for you? Yeah, absolutely. I mean, I guess I'd echo everybody else that it's like a fundamentally just human thing, that it's representation at its core, that it's pure storytelling.  Those are all beautiful, you know, different ways of representation and expression, but I think that theater is like so fundamentally human and grounded in character that everyone should be a player, right? And everyone should be a theater artist because I think it helps you to appreciate humanity and narrative, you know, in a way that other art forms don't allow for. And I feel really lucky that I've been able to go to art school and open for the past four years in high school, which has really kind of grounded me as a theater artist and shown me that, you know, it's a conduit for so many other things, which eventually led to enough, you know, that you can explore any social issue that, you know, we're people, we can explore whatever's in our life, you know, no theme is too big. That's what I really like, like the Jose Rivera wrote like the 36 assumptions about theater and one of the big ones that's on there is that, you know, you can tackle anything in it. And I don't know, it's pretty cool. I love that. Well, yeah, anything, we can do it. Devkanya, what about you? What is your journey to theater? So when I was in fifth grade, a playwright resident came to our class and we had to write plays as an assignment for that, like writing class back in fifth grade and since then I've just been doing it. Wow, what was it about that assignment that inspired you? Well, I feel like I always liked theater like I enjoyed watching theater, but that assignment kind of taught me that maybe I could, like I myself could have a role in theater other than just an audience member. Love that, yeah, awesome. Elizabeth, what about you? Well, like Sarah and Olivia and many other people said, I think the basis of theater is human connection. And I think everyone could use more human connection. I think there's something special, really special about live theater when you can see the audience's reaction and how you can get such a different audience reaction every time you do a show and the audience can take something away, a different thing away from the show. And I think that that's really powerful how you can impact so many people and in so many different ways. And then also, you know, get to see that impact in a way that you wouldn't really with like film or TV. And I also just, I've always really liked writing but was for a long time kind of too scared to try it. And then I tried it. And I have been an actor for a lot longer. So it was a great way to be like, even if I'm not in a show right now or I didn't get cast in a show, I can always write. And this is another way I can like connect to art and connect to people no matter where or when it is. Can I just ask before we have Adelaide answer the question, how many of you are actors or yeah, we've got actors among us, some directors or choreographers. Yeah, great. All right, good. I find that there's a lot of actor entry points because you get the script, you do your lines, you get addicted to this form, this medium, this feeling.  I can write the stories too. Oh, this is great. So Adelaide tells us about your journey to theater. Why theater, why writing? So I've been doing theater like a very long time. Both of my parents also love theater. So I've kind of always done theater and I've kind of done every side of it, like acting, tech, and then now also writing. So I just, I love to create pieces that like as an actor and also as a technical person, I know that like I would like to do, I like to like create characters that I think actors would enjoy playing or would have a challenge playing. And I enjoy like creating technical moments that like costume designers or directors or makeup people would like enjoy working on and would find interest in working on. I think it's fun to like take what I know I like to see and like the sort of characters I want to see and I like and kind of create my own version of them. That's so great. Love that so much. Awesome, thank you all for sharing. All right, so let's see, you know what the heart of this organization and why it means so much to me is that it is taking a social ill, the prevalence of gun violence, this specialized at manifests and schools and younger populations and doing something about it and applying the artistic story, this powerful empathy, this powerful intimate human connection that you're all talking about that drove you to this form and using that to get us as close as possible to this cause, this problem that is so hilariously horribly uniquely American. So what is it about arts and activism in this form? When you started your play, what was the first step? How did you find the story to tackle gun violence? How did you approach it? How did, what in you as a theater artist was kind of the first step to building your story? Adelaide, since you finished us off, why don't you jump in at the beginning of this one? Okay, so the first step for me really like was that. It was finding a story I wanted to tell because like thankfully in my own life I haven't had a firsthand experience with gun violence. So I didn't have my own story to tell and I didn't have, when I started, I didn't have any like particular, this is what I wanna say, this is the kind of story I wanted to tell. So I eventually ended up talking to like a couple of principals like my middle school principal and then my current high school principal right now and like hearing kind of their like, as an educator standpoint on gun violence and like some of the things they have experienced in their teaching and principal careers and then kind of like finding that story and being like, this is the angle I wanna tell, this is the story I wanna tell and like the experiences I wanna use. Amazing. Asha, what about your story? Your play is so interesting and so intimate. How did you find your way of tackling this? Okay, so whenever I found the prompt for enough, well, when I read it, I had like, I just knew in my mind that people were going to write about school shootings and I was like, well, there's like other types of gun violence other than school shootings. And I went back to, I just thought about my life and where I am. And I'm from Mississippi and like there's a lot of gun violence where I live. And so there I just drew from that and I delved into that a little bit more, a little bit deeper and together just came together. Would you mind telling us a tiny bit about your story, Adelaide? I'll jump back to you as well after this so you can tell us a little bit about your play as well. Well, you know what? One second. I have been remiss in telling people how they can experience your plays. So before we tease everybody with the telling a little about the show is, so what you're gonna see is 50 communities across the nation are going to be digitally premiering these amazing plays and readings from theaters all over the U.S. They'll all be streamed on Broadway on demand. So you can go to Broadway on demand, find enough and you'll be able to support this incredible thrilling production but also see theaters and artists all over the country and see these great plays. You can find out more on enoughplays.com. I'll probably say that about 10 more times during this stream but yes, enoughplays.com. Okay, yes, and they're not just in the U.S. they're all around. I think they're in Europe and in Africa as well. So we are truly a global four-continent force for good. It's amazing. Okay, so Ajit, tell us a little bit about your play. So people kind of know what you're talking about. My play is about four friends, Cheyenne, Amani, Aaliyah and Ayanna and they're at this graduation party because they just graduated their seniors. They're thinking about the past, the future, everything that lies in between and out of nowhere, someone comes up and they start shooting and Cheyenne gets caught in a crossfire and she dies and it kind of just towards the end, it just displays that type of the type of anguish and the pain that the friends are going through. So I mean, what I thought was so brilliant about it is it really does have capture that moment where you've learned so much in your 18 years and you are so ready for the future and to have so many lives because short of that moment of possibility, it just, I found it really, it's a really beautiful play. Adelaide, tell everybody about your play as well.  Yeah, that was so impactful partly because it was one of the few plays that was written about an adult, a teacher from the teacher's perspective, but the idea that of course this doesn't just stop at kids and an entire community is affected, your everyday way of life, even if there is no actual active shooter situation, you are still on edge and that stress is just seeped in across communities. So I thought it was a really interesting thing. All right, Elizabeth, tell us a little bit about your play and kind of how it came to be.  Yeah, so my play is called Loaded Language. It's about five high schoolers who are in their, it's at the end of their third block and one overhears two of them talking and she thinks that she hears them say that there's going to be a shooting in the next block. So she starts freaking out and she tells her friends and then they have to decide, do they tell their teacher? Did she hear them correctly and kind of weighing all of the possibilities of what could happen? I had this idea right away when I read the prompt because a kind of similar thing happened in my sophomore year biology class. And so I knew exactly that I wanted to write about, I knew right away immediately, that's the word, that I wanted to write about friends who, how there wasn't a gun, there wasn't a shooting and they were still so paralyzed with fear. And then I read in the description that they didn't want to see a gun, if possible. That was one of the suggestions.  I got, I was like, yes. And then, so that's how my play came to be. And I almost like what you just said, Lauren, about Adelaide's play. I just wanted like how it's so ingrained in our culture and in the back of everyone's mind. Like, I remember there was a video of, it was like a car backfiring in Times Square, I don't know, a few years ago and how everyone started running. And that was that similar kind of fear.  And I took things I had said, I had thought or people had said to me or that I'd heard all about gun violence and guns in everyday lives. And there were like so many, I had to cut some because they were just, it just kept going. I kept thinking of more things I'd heard, which was like really terrifying, but. Yeah. Yes, another profound example of how guns are everywhere, even if they're not there. So I certainly remember thinking that. I said, what about you? Tell us about your play. Yours is a very creative, surprising take. Well, I remember having lots of great discussion about your play with the judges being like, this is amazing, what is that? Tell us all about it. That means a lot, thank you so much. So I usually write satire, like that's my niche, like that's what I go to. And the thing about satire is that if you want it to be effective, things have to be super emphasized and super theatrical. Like that's just my take on it. Like of course there's a million ways to do satire, but that's how I like to do it. And so of course I didn't want this show to be another satirical piece because like satire usually relies in like comedy and stuff and like, I was like, no, I don't, like of course I want like elements of humor, but it's not funny. It took me a little bit to think of an idea. It took me like a week or so because I knew I wanted to do something kind of outrageous, just to highlight how outrageous this problem is in our country. And I just, I don't remember if I had this conversation in that following week or previously, but it just, it somehow came to me. I had this conversation with my little brother who's eight years old. And I was like, I was in the car with him and my mom after we picked him up from school one day. And he was like, oh yeah, we had a, we had a drill today. And I'm like, okay. So I had to like, I was like asking him about it. And I was like, oh, so like, why, why did you have a drill? And he was like, oh, well, just in case there's a bad man who comes in and we all have to hide.  That's so, it's just, it's just, it's so unbelievable that it really affected me. And it's like, that's my brother. That is the love, that is everything I love right there. I adore my brother. And just to like, imagine if it wasn't a drill and to see like how he would think just inspired me and just to write this show. And of course I wanted to, I wanted to use more personal elements of like my childhood because I don't really know how it is being a third grader in 2020, but I know how it was in, oh God, don't make me do math. I don't remember when I was in third grade. But whenever that was 2000, what, 11, 12, 13 in that area. So yeah, I just, I used like children's programming and I used that conversation with my brother and it just kind of came together. So guns and dragon land. Guns and dragon land. Olivia, what about, what about yours? Kind of a very different approach from my son's play. Tell us a little bit about your show and kind of how you put it together and what were some of the creative decisions that made it? Yeah, absolutely. So kind of similarly to Aja, I felt as if after I found out about the project and everything it stood for, I very quickly realized that gun violence is such like just a far reaching issue where like it is especially prominent in schools and that should not be dismissed and should be discussed. But there are like so many other aspects and components that just aren't discussed enough, I feel. One of like, you know, in addition to school shootings, I think race and class also have a significant presence in the conversation and should and like in this entire issue. And I wanted to find a way to introduce this prospect, to introduce it into the conversation and to justify why we need to be talking about this component too. So that's kind of how Ghost's Gun came to be.  It is a monologue coming from a young black boy who appears to be armed and is speaking to his audience sort of like held at gunpoint, not physically held at gunpoint, but they know that he is armed.  And there's no in between and they're not allowed to be complex or multifaceted people. And I wanted to introduce that. And, you know, in addition to that, of course, something like gun violence involving death and violence, like it traumatizes people. It is scary and like, you know, the notion of a black man being scared of being insecure and, you know, on the verge of tears, like, you know, it's just never really thought of, you know, I feel like in general, it's like conversations of people choose to speak about black men, they are always deprived of like any sort of sensitivity. And that's not accurate. That's not accurate at all.   Yeah. It was a particularly bracing and beautiful, beautifully written play that, yes, we all agreed instantly about how much we responded to it. So, yes, that's, and, you know, I will say a one person play is really hard. It's hard to build that engine and to have the plot have any sort of churn to it being a solo. So it's an extra accommodation to you for taking on that challenge. Deb Khan, what about you? Tell us a little bit about your brilliant play. So, so I wrote my play in June when there was a lot of media attention and the public was very concerned about police brutality deaths across America and even like around the world. So I feel like my play came out of like a place of grief. Like we were all kind of collectively mourning the death of like police brutality victims.  And he kind of goes on this journey for self-discovery but his ultimate success is cut short by the fact that he becomes a victim of police brutality. And I kind of, I knew that was the particular story I wanted to tell because like I've heard pieces of it from different places. Like I met people who have had life experiences similar to that. But because I've never had that life experience I was a little bit hesitant about trying to tell that character with my kind of language. So then I settled on the idea of having four adjacent characters who are in Malcolm's life try to reconnect like reconstruct his story after his death. And something that I think is particularly important. And I hope people that watch my play see this is how because Malcolm suffered death at the hands of police brutality incident his perspective on the story is lost. We aren't directly able to see his emotions we can only construct with what we have left. And I think that says something important about like the people we lose because of police brutality. Like friends and loved ones can talk about who they were but we never really get it from the person we can't. Such a savvy way to create a character out of nothing add to your point. It's one of those kind of form and function the content and form conversation that the point you're trying to make socially and as an activist is made in the way that you wrote and how you tell the story of somebody who's not there. Quite lovely, quite lovely. Let's see, Sarah, tell us about your play and how you wrote it. How did you decide to put together this great thing? Yeah, absolutely. I mean, actually I'm really glad that the point just went because it made me remember kind of this initial like thought that I had once after I saw the enough prompt and that was like, how do I write about gun violence?  So what do we do from that? And I was like stumped for a good few months and I kind of was a last minute writer too. But like Aja, I think that I kind of had this thought whereas like where I come from gun violence exists outside of school shootings, more so than other places. Like, I mean, I don't know. It's not my place to write about the history of gun violence in Oakland particularly. And I didn't know how to write about my own. It's scary, you know, kind of run-ins with gun violence, you know, from like being smaller to growing up, including a few like, yeah, scary like little moments where I was, where a live shooter was. And yeah, this was kind of in June, I guess. So there's a lot happening, kind of a lot of public reckonings with white supremacy, I guess. People were starting to have that conversation. And then I was like, I have no idea how to write about school shootings, how to write about all of this. And I had this one line come to me, which is like red, white and blue. I don't know, some graphic. And I was like, I'm American, like white crosses, red blood and blue lives. And these were kind of these like three things that I was like seeing. And then from that, I built this monologue that was kind of about the just bizarre, kind of less like tangible parts of gun violence throughout American history. And that turned into a monologue that is like unhinged ringleader who it leads this show with different acts of American history, kind of using little sections of gun violence. So yeah, I was trying to show that gun violence exists outside of school shootings and also existed outside of this century that even though, you know, our generation has kind of had like gun violence just seared into like our consciousness that we were born right after Columbine. We were in elementary school with Sandy Hook and we, you know, I was in my freshman year of high school when the Stoneman Douglas shooting happened in Florida. And I mean, I keep on repeating myself. We've been in a few interviews together. So sorry, you have to listen to me and say like the same things, but it's still in my head. Still truthful. So I was kind of like, yeah, what did we go back further than that? And then afterwards I read it and I was like, oh my God, this is like a little crazy. But I was like, okay, you know, might as well lean into it. So that was what I tried to do with Hullabaloo. Well, yours is a great example of kind of taking what is inherently serious and mortal and heavy and like doing the opposite, like having the opposite feel of this circus delight atmosphere kind of crashing into this very serious dangerous topic, which I thought was really successful because it's whiplash, you know? The aesthetic you're going for is just like a, just an explosion. And I think in many ways there again, the form that you chose has the impact of being a moment, a kind of attack, aesthetic attack. So it's a really great example in how striking and different kind of all of the judges like I would have never thought to have read this. It's just amazing. So all of you, I covered all the plays, right? There's, yeah, okay. I do think it was quite a privilege for all of us as the judges to really dive in to your work and to get a sense of the breath of what we got to read and to see and then to actually get to see it in a production. Can we chat a little bit about production in a pandemic, reading on Zoom on, I'd love to know how y'all are handling that? How are there any discoveries that you're having as this point in the process? I'm sure y'all have been in rehearsal at least some by this point. And starting to see the work on its feet, on its Zoom, Zoom feet. But I'd love to know what that's like for y'all. I think every theater professional and almost certainly in this country is having the same experience in terms of how does the work change, grow, suffer in this strange medium that is so disassociated. But also we have the great benefit of sharing these stories so widely. So I'm thrilled for you and for us that we get all of these stories. Enoughplays.com, enoughplays.com, enoughplays.com. But I'd also like to maybe sprinkle that in with your reactions, some advice for other writers who are your age or younger, who are thinking, well, I've never written a play. How do I even do that? Should I do it? What is the, what is any advice about writing, about arts activism, about writing that first play, about writing your 10th play? Anything that you've discovered or learned during all of this would be fabulous. Elizabeth, would you start us off? Yeah, of course. So for the first half of the question, I mean, obviously I miss live theater. I think the main thing I've gotten from this experience and I've actually had a few other plays that have been like streamed and worked on over Zoom is that I've gone to meet so many people I never would have met. My, the theater company that is doing my show for Broadway on Demand is in Southern California and I'm in Maryland. So I would have never met those people and it's just so amazing. And earlier today we did an, I did an interview with a theater company in Arizona. That's part of enough. And like I never would have met those people and just getting to meet so many people who care about this issue as much as I do and all of my playwrights. Oh my gosh, all of you too, who I never would have met. Getting to meet them and talk with them and learn from them. It's kind of hard for me to compare like my show over Zoom because I've never seen it live. But I think at least for mine it's worked well over Zoom and I'm happy and my actors were incredible and my director and assistant director were incredible. So it was still a great experience even though it was digital. My advice for people who are trying to write plays is just to write something you're just, you're really passionate about. I think that's how I started. There were other social issues that I really wanted to write about and that really stuck out to me. And I think that will give you, if you have that passion, it will give you the motivation to keep writing. And you'll also just, you can come from such a more real and human place if you have those real feelings and those things you really want to tell people and you want the world to hear. It's amazing advice. Olivia, what about you? Zoom, reality and device? Yeah, actually like after, so after we finished producing my piece, which because it was a monologue, like we were able to film it, like instead of it being over like Zoom, it was filled into front of a green screen and has all of these effects. And it's really interesting because right after we, I was speaking with the director and he was like, yeah, it's, I mean, like he had a completely different vision beforehand where he wanted to like film outside and like all of this other stuff. And so at the last second, he had to shift gears like right away. And so because it just wasn't working and with like regulations and lockdown, like he was just like, yeah, I don't think this is gonna work. So we ended up something like completely different than what we were planning. And that is not necessarily a bad thing. And that has been such an interesting process incorporating like kind of like digital editing into something that was written for live theater. Definitely very interesting and has been really, really interesting to see. And I'm also extremely grateful that I was a part of the process, involved in navigating the whole editing and process. And that has just been really, really cool. And you're currently in Chicago, is that right? Yes, in Chicago. And Jason is your actor, is that right? Yes. He was in one of my plays, he's so good. Oh, he's wonderful, perfect. Yeah, I was absolutely thrilled.  And so I'd like read the play alone in my room and a female voice. And so it was like shocking to hear like the base of a male voice. It was very exciting. Yeah, and regarding advice, just for writing, I think just, I always ask myself, what is a conversation you want to be had? And like even if your work isn't explicitly like for like the sake of activism, kind of just like, what world are you trying to reflect? What is the purpose kind of of your piece? And also just like, I think we're so, I mean, I'll say this and it's hard to really like take into consideration, but like you are always like your own harshest critic. And it's always hard for me to write, without like deadlines or whatever. Like it's hard for me to write because I'll start and then I'll hate it and I'll stop. And that's, you won't produce anything. You won't produce anything.  That is the only way you learn. That is the only way you learn and get better. And you're going to remain stagnant if you don't try it all. Yeah, I think, yes. That's what gets you to the end, to the end. And once you get to the end, once you have the first draft, however shaky it is, there are many holes there are, that's the draft that'll get you to the better draft, the better draft, the better draft for the better draft. And you can't finish the thing if you don't finish it. So yes, I think that is perfect advice.  Don't be afraid of writing something that's a little weak at first. That's the way it gets better. So brilliant, brilliant, brilliant. All right, let's see, Sarah. Tell us your Zoom experience, what it's like at this point for you and advice. Definitely. I think that, I don't know, I would just kind of approach it all with, being honest, whatever that means for you. For me, that was kind of like, oh, like damn, Zoom Theater is very challenging.  And then I actually, like I guess it didn't, the lessons from that didn't really sink in until I actually just watched the version of Paula Blue virtually that I actually like, I wish that I had changed my plays a little bit because writing for Zoom is different. It simply is that's the fact about it. For some people, I mean, for some of these plays, I think they, you know, could be transposed perfectly online. And that's fantastic for my play. I wish I had revised a little bit for Zoom because what we were talking about earlier is that it's fantastic that plays can exist in so many different mediums. They're live, they're like static, they're dynamic, you can read them, they can be brought to life. And yeah, for me being honest means that, you know, we have to embrace that, you know, maybe we have to acknowledge that this is different. And it like requires you to be introspective and honest about your work. Is this, you know, what are the main things that you're trying to, you know, show the audience and give the audience that are gonna be different, I think specifically around like gun bounce. I was thinking back to the plays that like, I mean, Office Hour by like Julia Cho were like natural shocks like about, you know, what are the, is the tension of like having the audience, it all being in one space, like with, you know, guns is that like every important part of the show for me, I think it was. So like be honest, lean into the challenges. This is exciting. I don't think it's super temporary. If we're gonna be doing this now, I don't think it's gonna stop.  That's cool. Fun things will come out of it. So yeah, let's, let's lean into it. That's fabulous advice. Yeah, I think, I think you're right. And I think some version of virtual theater will be with us and it'll just get better and better and we'll know more about what the heck we're doing. Yeah, I thought what about you? Ironically, I just got out of like my first live theater performance I've had in so long. But yeah, Guns N' Dragonland is also live, but of course it's recorded, but it's live. And that's something I noticed that was like, whoa, I wasn't expecting that. I was expecting the boxes because I also had a few plays that were performed via Zoom. And it, I don't know, it's just, it's so interesting. Like I wouldn't discount it as any less of an art than if it were in person. I think they're about the same level. I mean, of course it's a bit disappointing not to be able to see people, but I feel like there is art in it, in its own special way. As for advice, I believe that anyone can write, just like Ratatouille, anyone can cook, but anyone can write, but it takes a true storyteller to be able to commit and finish a work that is the most difficult part of writing is sitting down and doing it. But also write what you know, but if you don't wanna write what you know, I recommend writing something that you know absolutely nothing about that is just out there, that you can make up for yourself and make people, make your own rules and make people believe in this world that you've created yourself. So yeah, that's my advice. I love that, right? But you know, or don't. And if you don't, go big. That's fabulous. Adelaide, what about you? All right, so very similar to Eslin, I was also just finally able to start doing live theater again myself and my pieces being produced live, ours is being done by the same place, they're both being done by the Orlando Rep. So both of our pieces were able to be done live, just like socially distanced wearing masks, which for my piece actually worked fine, like it wasn't exactly weird in any way or anything. But in, during this period of time, I have also done a little Zoom theater, I have also like watched a little Zoom theater. And I do agree that it's a little different and it's a little bit different of kind of an art form. I think there's like almost a different skill set. I think definitely being able to like keep that level of energy with like no audience that you can see there to kind of give you the energy. Cause I think sometimes actors definitely get like energy from people watching you and you like feed off of the crowd. And so there's like something to be said for being able to still have that commitment and have that energy doing it for no one, like pretty much just doing it for yourself and doing it for the other people that are with you. So it's been, it's been fun to see my piece produced live and I went to like a rehearsal for it. It was fun to meet everyone being in it. And I think there's definitely a couple of theaters out of like all the 50 that are doing it that are doing it on Zoom. So I definitely want to try and catch one of those and like see how it's different and kind of see what they did. That's right. These plays should be available at Scripps as well. So once this pandemic subsides, which thank you vaccine, I think we'll be sooner than later. I look forward to live productions of all these plays as well. And then for advice, I think I would just say to like not be afraid to write, like not be intimidated to write. I was actually just kind of talking about this with one of my theater directors. And he was saying like, I want to write, like I have ideas, I have ideas for scenes, I have ideas for stories, but like I'm scared that I don't have like a message. I don't have like a full story to tell. And I think just like my advice is don't be scared by that. Like if you have an idea, if you have even just a scene, like write it and then keep writing it and like just see what it turns into because you don't have to have like right off the bat, a very deep message and a deep story you want to tell, like work on it. And I think you'll kind of find it along the way or you'll like hear it from other people even after they read it or even see it performed. Like don't be intimidated by the idea that you automatically have to have like some big commentary or some big message, just like tell the story that you have and like it will have an effect on people. Dipani, what do you think about that? How's your experience and what have you learned? About Zoom theater? Yes, sorry, my son has just crept in so we may have some commentary. So around the same time that I wrote this play for enough I also wrote like a Zoom play, like a play that literally was supposed to take place in a Zoom call. So when writing that, it was really amazing because it was just a new set of constraints and it was sort of nice to be thinking differently. And honestly, I was just so excited that any theater was happening at all. So it was great, I enjoyed it. I have had opportunities to watch Zoom theater. Like for example, I go to the University of Maryland and they had their playwriting showcase on Zoom. And I feel like they did a really good job and I think nothing was lost. Instead there was just something different. The directors really were able to like leverage Zoom as a platform to give us something different and to kind of focus on every single character. So I think I benefited by being able to see like their emotions even more clearly. For my play with the Arizona Theater Company, I was involved in some, not involved, I attended some of the production meetings. And it was super exciting to watch like a lot of people taking interest in my work and adding their own creative ideas to it. When I wrote Malcolm, I sort of imagined like four people sitting in chairs reading off of scripts. So like the director, costume designer and like we had sound, we even had an animator. And I feel like just so many people added so much that I just had not been expecting. And I have not seen it yet. I'm going to see it tomorrow with everyone else, I guess. But I'm super excited to see what they do with it and it's just so much more than I imagined. That's tremendous. And I resonate with that every time I'm in a production meeting and see what designers or graphic designers do with poster design, it always just, that's why I write plays, I realize. I just want to see what the costumers do. Yes, that's really awesome. Asha, what about you? Why don't you close this out with some of your wisdom? Okay, for Zoom, my play was completely, I'm a very, very, I guess Easter egg type of writer. I like being able to hide little things in the background and over Zoom, not much of a background. It's just four boxes talking to each other. And I think that is what really taught me how to, or that taught me how to, I guess, hide the Easter eggs in the language and how they say what they say and how they do what they do, not necessarily in the house or the trees or whatever is around them, but in them by themselves. And my piece of advice would be, be creative, not profound. My teacher, smartest woman I know, she told me that last year when I was like struggling writing something, I don't remember what it was, but she looked at me and she was like, be creative, not profound. It doesn't have to be, quote unquote, good. Just make sure that what you're writing, you can stand behind it. And something else that I would like to say is whenever you're writing, if you're writing a play or whatever it may be, don't think of it as a work of art. Think of it as a conversation between you and a piece of paper. That's gonna make it go so much smoother, so much easier. It's gonna make it so much more beautiful too, just to see the raw emotion and the raw power behind the words you say. So that's all I've got. Oh my God, I love that. You create it in a profound, because to me what that means is, if you're trying to push a message, if you're trying to say something, it's gonna feel like you're saying something, not that you're writing theater, that you're writing characters that are iconic and human and all of this. So the idea of being creative, you're gonna find it will be profound. You don't maybe know, may not be profound to everybody or to all the people you want it to be, but it will be to somebody. And if it's true, if it's you, if it's theatrical, that's such great advice. Oh, that's wonderful. And it's like kind of like relaxing advice to you. You're like, all right, I don't have to like write Hamlet Draft One. Like we're okay, just write something that's meaningful. And I think all of you watching, combining all of the advice you've heard will make quite a great play out of somebody. We are at the end of our hour. Oh, man. But thank you all so much for sharing your time today, your advice, your thoughts, and a bit of a kind of a window into your brilliant minds and your creativity. And I think all of us who have gotten to know your work and some about you through your work, the only thing we wanna say is more and more, don't never stop writing, keep going, please. We want more, the theater needs you. So thank you for your bravery with the pen and your brilliance and your empathy.  And for all of you, enoughplays.com, you can see these amazing streamed works from all over the world. Ah, so cool. On Broadway on Demand, thank you, Broadway on Demand. Thank you, Michael Cody. Thank you enough. Thank you all the people who've supported enough. So many of you donated during Giving Tuesday and we're so grateful. This is really such a unique program and something that means so much to me. So I'll open the floor at the end if anybody wants to do any last minute shout outs or hi's or whatever, but I encourage everybody, just go see these plays, support these writers. You will not be disappointed. Thank you. I'm sorry, my bad, I cut over it, but it means the world to hear that from you. Thank you to Lauren, to everybody here and to everybody watching, to Michael Cody, because anyone who's watching is part of the project now too. So thank you for being part of this. I literally feel so lucky. We are lucky. The world is lucky to have all of your work. So keep up with these writers too, everybody. Thanks. Go buy your tickets and stream and watch and tell everybody about it. I know I will be. All right, thanks everybody. Have a great night.