Hi, I'm Zor. Welcome to Unisor Education. Today I will have the final lecture about distribution of electricity, distribution to consumers. This is the final stage of distribution. I mean that's the purpose actually, right? Why do we produce electricity to consume it, to do something important for us? Okay, now this lecture is part of the course, Physics for Teens, presented on Unisor.com. I suggest you to watch the lecture from this website because it's part of the course and the website has menu with proper order and there is actually prerequisite course called Mass for Teens on the same Unisor.com, which I believe is the necessary component of your background before you start learning physics. Now this lecture actually the whole chapter is not about mathematics. It's only kind of explanatory kind of things, but most of the physics involves mass to a very, very high degree. Okay, now in the previous lecture I have introduced the concept of a grid as something which all the producers of electricity, like power stations, generators, whatever, if they would like to distribute this electricity to the population of a country, they actually have to adhere to certain standards and be connected to something which we call a grid, right? Remember the grid. The grid allows you to assure that there is an uninterrupted power supply to all the consumers connected to the grid. So it's basically like a parallel connection. All the producers of electricity and are connected parallel and all the consumers are connected basically parallel. So they are assured that there is always something if one particular generator stopped working for whatever reason, there are others which contribute to the grid, the proper amount of energy which is then consumed. And obviously there is certain balance between producing and consuming. The more we consume, the more generators we have to really install, right? Now it might make an impression that there is some kind of a gigantic wire, well actually two wires. All the producers of electricity, all the power stations etc. are connected to it and all the consumers are connected to it. And there is a high voltage on this wire which assures that our losses of electricity, losses of energy on heat are smaller. That's not the case. Much more complex situation. Now obviously when we are transferring electrical energy on a big distance, we do have to have this high voltage. Now our devices which we are using, like electricity or electric motors etc., are not designed for such a high voltage. They are always designed for a lower voltage with higher current. And it means that we have to have transformers. Also generators are not generating the high voltage. We need transformers to bring the voltage up to the level used on a long transmission lines. But now as soon as we have covered this long distance, let's say we have reached a city, we can't really put a transformer in front of every device which consumes the electricity obviously. That's just impractical. And the transformer which transforms a very high voltage. And high voltage means basically hundreds of thousands of volts used along the long transmission lines. So transformer which transforms this high voltage into lower like a couple of hundred volts are big, bulky, expensive.  So what do we do? Well we do it in steps basically. Let's do it differently. Let's have this grid which we were talking about before, like a high voltage grid where big power producers are connected to be one thing. And then we will make another grid inside the city which is also a grid basically. And it's connected to one transformer between the high voltage grid used for transmission and lower, not low, but lower voltage which is then distributed in the city. So let's say these are your power producing electric power stations, generators, whatever it is. Now there is a high voltage coming to this. So this is one and this is another. Okay and this is going further. So these are two generators which basically produce electricity and they are connected parallel to each other. And I have to have this little thing like this. They are connected parallel to each other and this is the main transmission wire and it's a long one. Then we have a city. So what I'm suggesting is let's put a transformer here and lower the voltage from whatever the high voltage is in this transmission line into another and then make a grid within the city. Okay that's an idea. Now within the city we have already lower voltage here than there and higher current. But these are smaller distances so we can actually think about what is the most economically viable way, what kind of voltage is the most beneficiary from the cost perspective most likely. And then we can distribute it in the city along the streets. So you have one street, you have another street and you have another street. Now these are going to streets but now we have buildings on the streets. Buildings might have a certain number of apartments or it's a private house, doesn't really matter. Whatever it is we might actually need again lowering the voltage. So what makes sense is the street voltage, let's call it this way, street voltage which is produced here might have in front of the building one particular transformer which transforms street electricity into building electricity voltage which is even lower and that one is already fit for devices. So these are in this particular case it's a three levels. So one level is high voltage then you have a well let's call it city voltage and then we have a building voltage. In any case it doesn't really matter how we call them. What matter is that we are gradually reducing the voltage from the very very high to acceptable level for devices which we are using. And that's basically the general design of real distribution to consumers. It might be more than three levels, in this case it's three, maybe it's four, maybe it's one for like a big region and then within the region there is another little grid. So what my point is that grid is not something which is like everything is interconnected that's not the case. Grid is actually a combination of many grids localized which are connected among themselves to bigger grids or high voltage grids through transformers. So there is no real connection. Transformer is not a connection. Transformer is some kind of a way we transform energy from one grid to another grid and that other grid can have lower or higher energy, lower or higher voltage. So this is energy distribution. So electricity by itself as it is electrons which are produced here are not going there. They are ending their way here and then other electrons are started moving here because of the alternating current will produce alternating magnetic field in the transformer and that induces the electricity in the secondary wire, right? So basically there are not physically connected wires. Electrons are not moving all the way to consumers but we have one grid and then we have another grid and then another grid etc etc. All grids are connected among themselves. Through transformers not physically connected like wires, wires to wire, but transformers through the magnetic field which is basically circulating inside the transformer's core. Now what is important however that within each grid, let's say the big grid or a building grid or anything whatever, all the devices must be in sync with themselves. So in this particular case what's important is that if we are introducing another, well if there are no producers of electricity here, if only consumers are, then we don't have to worry about synchronization or anything else because this transformer for instance is producing one particular frequency, whatever frequency comes in, there is a frequency which comes out, maybe with a shift in the phase but doesn't really matter but everything else is just consuming this electricity. But if we want to put another, let's say lower power or something like this, another generator, for instance a group of buildings can have their own small electric power station and produce electricity only for these buildings but it can produce more which means the rest of the electricity which we're not consuming must actually go back to the grid which means it's supposed to be synchronized because again as you remember from the previous lecture, if we have many different producers of electricity connected to the same wire, the same physical wire, the same grid basically, they have to be of the same voltage, of the same frequency and of the same phase so they don't really work against each other. So let me just give a real example of the voltage for instance. The voltage here might be something like 600 000 volts. The voltage which is converted from one to from this ultra high voltage to let's say called city voltage whatever can be something like 7200 volts. You see it's significantly smaller like almost a thousand, ratio almost a thousand to the less. Then each transformer which is transforming energy here should actually go even lower let's say it's 240 volts which goes to the building and that's distributed through the building and actually it can convert into two or three different voltages with two or three different basically physical wires for instance 120 volts. So for instance in the apartment buildings where I live every apartment has two inputs basically one is 240 volts and another is 120 volts. All the smaller devices like a lamp for instance are connected to 120. If I have a big air conditioner I have a special outlet which has 240 volts in it. So basically that's a general picture. Now let's talk about one more thing. The generators are not really generating this type of a voltage. For instance I've heard that Niagara Falls for instance power station I think it has 13 000 volts producing which means that we have to have here another transformer which actually is raising the voltage. So this transformer is increasing the voltage and decreasing the current. So the small current goes along the long lines and these are decreasing the voltage back to the level acceptable for the street sides and the buildings. So for instance in the city you have wiring along the streets which basically are street wires. In this particular case it's 7200 volts but then in front of the building you have some kind of a transformer. Well in front of my building for instance there is a transformer it looks like a big barrel which transforms for instance 7200 into 240 and 120 into two different ways. And another complication which I did mention but I didn't really exemplify it. Let's say you have decided to put a solar panel on your roof. Well it actually a solar panel produce direct current it's not alternating current but all your devices in your house or your apartment they are usually AC alternating current. So what's the complication? Well number one you have to convert DC into AC direct current into alternating current which is not such a simple thing. Actually alternating to direct is much easier. But anyways there are special devices called inverters which can invert direct current into alternating current. Now you're feeding your lamps your refrigerator from the solar panel okay fine but in many cases solar panels produce excessive electricity which can be returned back to the grid which means they have to be connected to the grid somewhere here this is the building right. So if there is a solar panel here which generates certain electricity converted into alternating for DC and then into AC we have to synchronize it with this grid because these are physically connected things. So at least within the building we have to really do it or if you want to connect it to a street level we have to synchronize it with the street level which means voltage which means frequency and phase. Actually voltage is easy because you just put a transformer. Frequency is also easy it's always constant like in 50 or 60 Hertz there is no problem but to adjust transformer sorry inverter to adjust inverter which is producing the electricity from the DC to AC to adjust it in some way so it's in phase with the electricity which is in the grid that's not an easy thing and it requires certain skills. So that's just small complication let's put it this way. I was trying to make this point in the previous lecture that grid is not something which we have just made and it's there basically and doesn't really require anything. It's a very complicated number of interrelated devices which require constant attention, constant maintenance and it's also not fixed in the way that we are producing. We are manufacturing new generators, new equipment, new power stations are coming into the whole grid so basically there are a lot of things which we have to do all the time so it requires a lot of time, a lot of attention, a lot of money. It's very expensive but the purpose is to make an uninterrupted energy supply to the whole country basically to the economy of the whole country. So what else did we cover? Yeah basically that's it. Yeah I was talking even about solar panels. All right so this lecture basically completes the distributions of electricity, a few lectures and again the grid is the most important component of it. So next couple of lectures will be about usage of electricity and that's basically when it's already reached to the consumer so we'll talk about consumers and the whole basically the whole chapter is not really very mathematical. It's all explanatory kind of things. I would like you to understand that the whole thing has certain structure, it has certain components and what kind of components basically that's the purpose. So that's it for today. Thank you very much. Oh by the way I forgot in the notes for this lecture on unizor.com there are much prettier pictures than this one basically of more or less a model of a grid how it looks like. So I do suggest you to go to the website and look at the notes for this lecture. You have to go through physics 14, electromagnetism and then distribution of electricity. It's one of the lectures in the distribution thing. All right that's it. Thank you very much and good luck.


How many lives have not been impacted because you haven't started yet? How many lives could you impact? How many people need to hear your message today? I'm going to be talking about how to start a successful podcast or how to start a successful business from a podcast or from your passions period. And, uh, this actually marks right now, you listening to this marks the 800th podcast that I've done of the mindset mentor and, uh, 800 is an insane number to think about, but, uh, I'm going to take you along the journey of what it was like to build this podcast, a successful podcast, and also a successful business from it. And, uh, it's been about almost five years now that I've been on this journey. And, uh, today we just hit 35 million downloads of the podcast. I had to go back and look through all of my numbers and, uh, and I went back and looked through all of my numbers and I wanted to see just because as you know, nothing starts off massive. Like people can look at the podcast, the business or some other company and think, Oh my gosh, I want that success or I want a million followers on Facebook or whatever it is, but I'm only at 47 right now. That's impossible. And what you have to do is that everybody starts at zero. Everybody starts at zero dollars. Everybody starts at zero followers. Everybody starts at zero downloads. It's about putting the work in and being consistent in everything that you do. And so I'm going to give you the five keys that I have to building a successful business that you love. And that could be a podcast that could be coaching, that could be, you know, doctor's office, whatever it is that you truly want to do.  And I went back and looked at my statistics and I launched this podcast August 24th of 2015. And I had a whopping 44 downloads that day. And I want to share this with you because most of the time people think, Oh, if someone has a successful podcast or a successful business, it must have been massive right away. And that's just not the case. 44 downloads is what we started with. And that was the start. And I just decided to keep going. And the one thing I said to myself is just, I just won't quit. And that will help me win. And I'll talk about that a little bit more when I dive into my five keys in just a few minutes. But it's crazy to think that in less than five years, we went from 44 downloads in one day to now five years later, over 35 million downloads of this podcast. And lots of people like to keep their podcast number secret, like behind the wall of like, Oh, I don't know how many downloads you're doing. They're not talking about it. I don't think that's, I think it's ridiculous to not tell somebody how much your, your podcast is doing. So it's crazy. I think that we were from 44 downloads five years ago to 35 million five years later. And now we're averaging about 2.5 to 3 million downloads per week. I'm sorry, per month right now, which means in the next, you know, we did 35 million the first five years, we'll do at least 36 million in the next 12 months.  So the first thing is this, out of my five keys, the number one thing that I say is to make sure that your business or your podcast or whatever it is that you truly want to be doing is something that you love. And I mean, love to your core because all too often what we're actually doing is not truly chasing what we love. What we're doing is we're chasing a little bit of what we kind of love, but more than anything else, we're chasing money. That's what we're truly doing is chasing money and kind of doing something that we love. So, you know, a lot of times people say, this seems like a great business opportunity.  I'm going to jump on and do it. And then they jump onto it and they start making money, but what they realize is it's not something that they truly love. So they resent the business that they've built. The last thing that you want to do is resent something that you're putting 20, 40, 60, 80 hours a week into, because it's going to be really hard to continue doing it. For me, I'm absolutely obsessed with personal development. Like in my free time, if I'm sitting around, it's usually me reading a book or me going onto YouTube and finding somebody that I want to listen to, a mentor or guru or someone else that's out there that's really versed in what it is that they do. I just love human psychology. I love the brain. I love personal development and I love just coaching people and then I love teaching it. Like I love it. Like it is people always ask like, I don't do any drugs. I don't really drink alcohol very rarely. Maybe like glass of wine a month. I'm like, no, because coaching people in teaching and learning the stuff and doing what I'm doing is my drug. It's like crack to me. And the reason why is because then I get emails from people saying how much I've helped them, how much I've changed your life. And when you get an email like that, you'll never be the same because you're like, Oh my gosh, I'm actually impacting someone else's life. So the first thing that I say is whatever that business is that you're going to be doing, whatever that podcast is that you're going to be doing, it needs to be like an arm of you. Like this podcast is my it's like my third arm. Like it is a part of me. It is literally something that I feel is a part of me and I can't even believe that I'm 800 episodes and I can't believe that it's been five years, but it has been one of the most consistent things in my life over the past five years, three times a week, every single week.  And that's that's the thing people don't really realize we're like, well, there's no money to be made in XYZ. The thing about it is if you chase money, you're not going to work as hard, but if you chase what you love, you'll work really hard just because you love it and in turn you'll make a lot more money. So key number one is you have to do something that you love. Key number two is this, it's super simple. Just start one of the things that really holds people back is not even starting. They start thinking too much. They get up in their heads and they think and they think and they think. And the beautiful thing is that you don't have to believe in yourself. I always say this, you don't have to believe in yourself to take action, right? That's a beautiful thing. When I used to be a sales manager, I had an office and I trained a few thousand sales reps, one of the things that holds people back the most in sales is making cold calls and so, you know, they would take their phone and they wouldn't be able to make as many phone calls as they wanted to because they were thinking too much and they're like, I don't know if people are going to answer. I don't know if I believe in myself. If I get a sales appointment, I don't know if I'm going to make a sale. I'm like, listen, it doesn't matter. You don't have to believe in yourself to literally push some numbers on a phone and then talk to somebody on the other line. All you have to do is just push some numbers, read the script that's in front of you and you'll eventually start setting up appointments. You don't have to believe in yourself at all to take any of that action. What's the beautiful thing about that? You don't have to believe in yourself at all to ever take action. So you just got to start. One of the things that really holds people back is the imposter syndrome. Who am I to start this business that I love? Who am I to talk about this in my podcast? You know, I almost didn't start this podcast, which is crazy to think because Tony Robbins exists. I thought who in the heck would listen to me when they could listen to Tony Robbins? Like Tony Robbins is like the mindset guy. He is the motivation guy. He is the pinnacle of personal development. Why would somebody listen to me? And I had the imposter syndrome kick in and I almost didn't start the podcast. And it's crazy to think that thirty five million sets of ears wouldn't have listened to my podcast. Had I not done it? How did I listen to that little voice inside of my head? How many lives would not have been impacted? I'm going to ask you this. How many lives have not been impacted because you haven't started yet? How many lives could you impact? How many people need to hear your message? Think about that for a second because it'll it'll grow fast that you could possibly imagine. So you just got to start. I remember before I started my podcast, I read an article that says the average podcast only lasts for seven episodes because the average podcast host gives up after seven episodes. And I thought to myself, oh, my God, that's such a low number to give up after seven episodes. Like you really can't see success after seven episodes. I probably had a couple of thousand downloads, maybe at seven episodes. And so I thought to myself, if that's the case, I'm going to double that before I ever even start. So I made a deal with myself. I will record fourteen podcast episodes because that's double before somebody quits. So if the average one starts at seven and they give up a seven, I'm going to go to fourteen and just see what happens. And I recorded fourteen episodes before ever launching and I launched it and then that gave me space to promote and to put it up on Facebook and put up on Instagram and try to get people to try and try and try to get more people listen to it, which made my user base grow very quickly in the beginning was because I didn't have to worry about the recording side of it. All I had to worry about was the promotion side of it. And so one of the things that really hit me, I saw a video not too long ago with Jared Leto and Jared Leto just so you know, is a musician, won a bunch of awards in musician. I think his band is called 30 Seconds, 30 Seconds Tomorrow's or something like that. Some more some along those lines. I don't know. Zach, I think it's 30 Seconds Tomorrow's or 30 Seconds from Mars. Whatever it is, he's won a lot of awards to a great singer. He's also an award winning actor as well. So he's succeeded at two things that's really hard for anybody to succeed at. And I remember watching him he was in an interview and he said one of the things that he realized as a child is that most people just don't start. And if he just started, he's already way ahead of everybody else. Think about that. So many people listening right now or watching this video want to start a podcast, but won't. If you just start, you're already ahead of all those people. So that's number two. And that brings me to number three. If you just don't stop, you're already ahead of everybody else that gives up. So most people don't start. And most people who do start give up, which means that if you just don't give up, you'll be light years ahead of everybody else. Right. It took about three years for my podcast to really see success, three years of work and work and work. If you do the math, three years, that's what, 450 episodes before my podcast like really exploded. So it's three years of work and work and work and work and work. And it was doing pretty well. And then something happened where it just exploded. And I was like, this is a frickin rocket ship that that I'm just trying to hold on to, but it wasn't right away. It took three years to get there. So what if I told you that you can have the business of your dreams and make the money of your dreams and the success of your dreams, but you got to put three years of hard work before you ever see it? Would you do it? Would it be worth it to you? Because usually that's about how long it takes for someone to really start to see success three, four, five years. But if you put in the work, the success will eventually come. And so just as Jared Leto says, most people don't start, I'm going to go ahead and finish that sentence and that phrase and say, most people give up that do start.  Hey, if you're enjoying this video, do me a favor and hit that like button down below. It helps with the YouTube algorithm so that more people can see this message because it helps us get it out organically. So hit that like button and I appreciate you. So that's number three. Just don't stop, man. Just do it. Just go out. Do it every single day. Show up like I can tell you this for the past five years. I have not missed a Monday, Wednesday or Friday episode in five years. I was just like, I'm going to be consistent. I'm going to be consistent. I'm going to be consistent. There's days where literally my podcast, I've uploaded it and it didn't pop up. Like for some reason there was a there's a problem with the system and it didn't go out. I got emails at like 839 o'clock from people who listen to my podcast that I've never spoken to before of like, Hey, Robert, you OK?  People are expecting this. I've got to put this out. So you just don't stop once you start. OK. Step number four is you've got to be authentic. You've got to be truly yourself. Who you are. You've got to be yourself. One of the things that I see with a lot of people is they have like their their normal personality and then they have their business or podcast personality or their Facebook videos personality. You can't do that. You've got to be the same person because being fake, even if it's just a little bit fake, gets very tiresome after a while where you just get tired of playing this role, this character that's not truly you.   Like if you hang out with me on the weekend, if you listen to me on my podcast, if you see my viral Facebook videos, if you talk to me on a zoom call, I'm the same person. But you'd be really, really surprised to learn that a lot of people are not.  You've got to be truly authentic to who you are. And what I mean by that is not just who you are, but how you speak.  You're going to people are not going to be attracted to that. If you cuss, cuss, be yourself, be who you are. Right. I've had to realize and I went through this process of really realizing this myself is that I love to cuss like I just love to you. I think it's I just think it's a great way to to put emphasis on certain things, right? And for a long time, I didn't cuss in this podcast.  You know, they love your podcast. They always talk about listening to Rob Dile on the way. I was like, man, I don't know if I want to cuss then if kids are because they're going to be listening to it. And then I realized I had done about 400 episodes. And if somebody doesn't want to hear me cussing, they can listen to my first 400 episodes. If somebody wants to just listen to me and they don't want to be offended by words, which are just sounds coming out of my face, there's no reason to be ever be offended by a word. That's just part of your programming. But that's a whole other episode. I've already covered that in past episodes of, you know, how your program to think that a word is bad when it's just a sound coming out of your face. But I love to cuss. So I truly want to be authentic and give you everything, every part of me because if I love to cuss and I'm not cussing, I'm not giving you me. I'm not giving you all of me. And so I want you to be truly authentic in if it's a podcast, if it's a business, if it's growing a following on Facebook, be who you are because there's something, some receptor that's deep in someone's brain. It's like a sixth sense where if you're being a little bit fake, they're not attracted to what you're putting out. So if you're trying to build a following, if you're trying to build a business, if you're trying to build a podcast, whatever it is, and you don't feel like you're truly being authentic to who you are, people are not going to get attracted to it. And you're gonna be like, why are people not listening to me? Why are people not continuing to come back? Why is my message not getting out there? It's because people can, they can sniff the inauthenticity. You've got to be you. You've got to be yourself.  And then the fifth tip that I can give you for starting a successful business, successful podcast growing a successful following is to connect with your tribe. This is a huge thing that I see that people really mess up on. They grow a Facebook following for instance, and then they never talk to the people who follow them. They start of a podcast and they never talk to people who follow them. They start a business and they never talk to the people who grow who have bought products from them. One of the things that I did about 30 episodes in was I opened up my calendar. It was literally here's my calendar link. I made the announcement and said, let's just talk. And I started getting on the phone with people and hearing who I was talking to and what they were struggling with. And I talked to like 80 people. It was literally two weeks straight of phone calls, talking like 80 people and it gave me a much deeper understanding of who my following is, what they're dealing with, how I can help them. And I think that that was a massive step for me of helping take this to another level was because I deeply understood them. It wasn't me thinking that I understood them even though I never met them. It was me having real conversations with them and getting to know who they are, what their struggles with, how many kids they have, what their families like, how they were raised, which allowed me to be able to create content that they I knew would connect with them. So if you're trying to start a podcast, talk with your people, if you're trying to start a following, talk with even if three people follow you, ask them if they want to hop on a phone and just chat. Or if you have a business, how often do you know if you have a Shopify store and you're drop shipping stuff to people's houses, how often are you hopping on the phone with them and just having a conversation to see how you can provide more value? Right? There's so many businesses that don't do this. They don't connect with their people. So that would be number five is connect to people and hell, I'm going to give you a number six just popped up in my head because I feel like I truly want to in this is it is to be obsessed with giving more value than anybody else in the marketplace. Be obsessed with giving more value than anybody else in the marketplace. Be obsessed with giving value. Everybody wants to make money. Money's great. You can make a lot of money. That's fine. But do you want to hear a secret to making a lot of money? Give a lot of value. Money is just a byproduct of the value that you give the world. Let me say that again. Money is just a byproduct of the value that you give the world. If you go out there and give more value than anybody else that's out there, you're going to win. You always will. And that's the thing that I've always told myself. People are always like, why do you make so many podcasts? Why do you make so many videos? Why do you put up so, you know, 12 posts a day on Facebook and three posts a day on Instagram? And why do you make so many videos? And you make like because I want to win at the value game. I want someone to go Rob cares more than anybody else that I follow. And I really truly feel like I do. Like I want to impact whether somebody ever buys any product for me later on down the road doesn't matter to me. But if somebody listens to my podcast, they watch my YouTube or they watch my Facebook or they watch my Instagram, if I've given them some value, I've helped change your life in some sort of way. Maybe they're having a crappy day. They get onto their Instagram. They see my Instagram post. I have a video about XYZ and that video about XYZ helps them feel better. And then they go into their office and because of fact that they're in a better mood, they treat people better. And then everybody else around them treats everybody else better and it's a ripple effect. The money doesn't matter to me. The money comes. That's just the way that it goes. But for me, dude, I'm going to give more value than anybody else in the marketplace. That's just what I'm going to do because that's what I truly want to do because I love what I do and I truly want to impact people. And when I first started this podcast, about two months before I started it, I went to a podcast event and I told people about it, other podcasters we spoke about it. Everybody said the same thing. How do you plan on monetizing your podcast? Like how do you plan on making money off of it?  So many people started podcasts because they found it is another way to make money. So many people started podcasts because it was another form of advertising for their business. My idea was this, I'm going to be going to act like on Facebook and Facebook before they ever started any advertising, they grew as big as they possibly could before they tried to make any money. And I said, I'm going to be like Facebook, I'm going to grow my podcast to as big as I possibly can and give more value than anybody else out there. And then I'll figure out how to make money from it. And so what I say is this, go out there and give more value than anybody else that's in your category. And you'll win. You'll win every time. I've never seen somebody like literally think I can't think of any person that I've seen on Instagram or Facebook or podcasting or YouTube or any of those things. I've never seen somebody who is the number one creator that creates and gives and gives and gives and gives and gives and hasn't been wildly successful from it. I have not seen it happen today. And I don't think I ever will see it happen. And the reason why is because I feel like it's just you got the good vibes, the universe rewards you for helping people. And when you're out there just giving value, giving value, giving value, money is going to get thrown into your lap. What's crazy if you do it for two, three, four, five years, you'll develop 10 sources of revenue that come from places you never thought was possible. So I think it's just important to just love on people. Just be you, be true and authentic to who you are and then just don't stop. Right. So number one, make sure it's something that you love to do. The business, the podcast, the thing that you're talking about on Instagram or Facebook, make sure it's something that you love, like you truly love not kind of love it, but like I will die for this message is the way that I feel about it. Number two, just frickin start. Just do it, man. Stop asking, you know, ready, fire, aim, just do it, go stop thinking about the is my is my logo, right? Is my slogan, right? Is my music, right? All of those things can change. Who cares? Just frickin start already. Number three, don't stop. Most people don't start and most people who start, stop, just don't stop and you'll win the game. You'll be the only one there that's at the end of the race. It's a marathon. Right. Number four, be authentic, be true to who you are. And number five, connect with people that follow you. And then number six, the one that I wasn't even planning on talking about is give more value than anybody else and you'll win. Watch this video as well.  What are the top three books that you would recommend? Do you believe in aliens is the next question? You want me to be honest with you?


So we just put the last session participants on the spot on purpose. So thank you, Eva Menti for that. The next session, give it up one more time for Eva Menti. Thank you. So this next session is the collaborators. So we have some funders and some institutional leaders that'll be joining us moderately, but we're gonna begin first with someone who I've known for a really long time. I think I've grown up professionally a little bit with this person, it's safe to say that.  But this is my card league and friend, Judy Lee Reed from the William Penn Foundation in Philadelphia, give it up for Judy Lee. Clyde and I have known each other since we were 12. So we're going on our 20th year in our friendship. Oh boy, everything I'm about to say has already been said, and I'm so grateful for that. So nothing I'm gonna say is new. It's not gonna be said as sexually as this group has delivered it. The artists today have been truly inspiring and I think have given us all the key messages we need to go about our work. But let's see if I can do this. So I am Judy Lee Reed. I'm representing the William Penn Foundation in Philadelphia. We were founded in 1945 with a mission to improve the quality of life in the greater Philadelphia region. Through our mission and the foundation overall, we improve education for low income children. We ensure a sustainable environment and we foster creative communities that enhance civic life. I've been with the foundation's program staff since about 2018 and I direct a program called Creative Communities, which makes about $35 million in, I'm already messing up, I'm supposed to be showing you guys these great slides that I did not do, so. Here we go, apologies. The portfolio I direct makes about $35 million in grants each year around two main areas, arts and culture and public space. I joined the foundation following a tenure in New York City directing a portfolio of grant making for a different foundation where we work nationally and focused on social justice. That history along with a decade of work exploring and developing systems of support for independent working artists has allowed me to consistently engage in today's topic of community investment, arts and culture and to consider it from a variety of different vantage points. I don't know if there's a single, I don't know if there's a single act of true community investment or true community investment is actually the complex interplay of many, many acts, but I think it's an important question that we ask and it's certainly one that I would love to guide our work. It's an important lens through which we can evaluate the success of our work. If at the William Penn Foundation we're dedicated to improving the quality of life for Philadelphians, then we are inherently investing in numerous community types in myriad ways. And as we do that work, we have research, we have historic and emerging data, we have past and current experience that helps us get at that question. And I'm gonna offer some things from the foundation's perspective around what we're learning, what's challenging us. As my response to this central question, and I have to admit that it's an answer that's still unfolding within our philanthropic practice and it is by necessity, quite incomplete, still in formation and it might not be completely satisfying. So arts, culture and public space, these again are the main grant making areas under the program I direct. And they're the topics that obviously occupy the discussions that we engage in at the foundation. For William Penn, again, they exist under a single program strategy, but we have found very much that developing an understanding of how the two sectors work independently is important in order to develop a true equitable plan for community investment. And if in the end, we believe we're successful if our strategies recognize both the distinct challenges and the opportunities for intersection, cross-pollination and multiple benefit. So we're gonna get started with arts and culture. This is a sentiment. I love this quote. This is literally what people would say to me when I first got to the foundation. It was quite a welcome. And it's the sentiment I encountered numerous times. Again, where city rich in arts and cultural activities, but at the same time, were burdened by struggling organizations and these organizations were perceived to be financially unstable and to be losing audiences. But as we dug into the data and explored the arts and cultural landscape in Philadelphia, some interesting trends really emerged that complicated the statement. In Philadelphia, we've spent, the foundation has spent enormous resources building and supporting and at times sustaining arts organizations without a deep analysis or consideration of who the actual participants in those organizations were and what the relevance of these organizations would be to the people of the city as the city evolved. As a consequence of that disconnect, 97% of foundation giving, and this is aggregate foundation giving including William Penn, but not solely. In Philadelphia, it goes to benchmark or mainstream organizations. Most of these organizations are situated in our downtown corridor and most serve a predominantly white audience. And just to put a little bit sharper detail on that, we just recently finished a study where we found that in a study group of 10 performing arts institutions, audiences were across the board around 80% white. And I'll just go on to say that in sharing some of this data with our friends at the Wallace Foundation which works nationally on audience development, they were not surprised. They see that around the country. And really, this is for us in Philly in stark contrast to the actual demographics of Philadelphia where people of color represent 66% of the total population. That points to directly at one of the key reasons for the disconnect between giving trends, cultural offerings, and community engagement activities. And notably, we've under resourced the field of culturally specific organizations. While over half of the population is comprised of people of color, only 13% of the total number of arts and cultural organizations are culturally specific. And by that I mean really serving people of color, serving diverse ethnicities, et cetera. If our communities can't see themselves and their experience within these institutions, it's difficult for them to see the relevance of those organizations in their lives. We have to ask ourselves how the organizations can change to meet these challenges and how we as a philanthropy can adjust our grant making to support cultural production, both for profit, not for profit, and all the hybrids in between, outside of institutions and inside of institutions where cultural production is happening. The second point I would like to draw attention to within our arts and culture work is that we've been following the conventional wisdom that suggests investing in legacy cultural institutions is a low risk proposition. These are the pillars of our society and they represent some of the signature institutions of our city. They carry deep links to the sense of civic history and tradition. That conventional wisdom also suggests that investing in small to mid-sized organizations is high risk. And yet our recent evaluation of our portfolio has painted a different picture. The small and mid-sized organizations have in fact grown their unrestricted net assets, which is a key data point in their financial reporting. They've also diversified their income sources and they've increased their earned revenues. These are the hallmark of stable, even vibrant investment vehicles. The large institutions on the other hand, haven't quite fared so well. Large for our purposes are 10 million and above in operating revenue. Large institutions have continued to grow their annual operating budgets, but they've decreased their unrestricted net assets. And notably, much of the coverage of that budgetary growth has been covered through income from endowments. So we really need to think and reevaluate the conventional wisdom I mentioned earlier. If we look at the data objectively and follow its lead, we can increase the efficacy of our giving and in turn find ways to improve the relationship between our institutions, organizations, and communities. In many ways, funding strategies and the rigor with which they're implemented can act as a guide to many institutions and organizations, helping indicate progressive approaches to connecting these operations at all scales and to the communities they seek to serve. Institutions must better meet the needs and expectations of their current and future audiences. And this really echoes the first takeaway about audiences and communities needing to see themselves in the institutions and organizations seeking to connect them. But it also points to something else. While the demographics of our cities have changed, so have the specific ways people interact with culture and with institutions and with organizations. So this doesn't mean that all these entities need to turn into these Instagrammable experiences that we're seeing proliferate around the country to quite amazement in my family. It means that we need to think more carefully and critically about the accessibility and the relevance of programming. We need to ask ourselves how welcoming are these spaces to people of color and to others whom they have yet to serve. It's also important to note that these, while these takeaways are objectively critical of their trajectories of both our investments and the organizations and institutions themselves, they don't suggest there's no place for both in our communities. Instead, and in particular, when we take a step back and look at these takeaways holistically, we can start to imagine possibilities and solutions. So while I'm describing the potentially diminishing value of our philanthropy, that our philanthropy has had through our investments in arts and culture, to me, everything we've heard about this afternoon underscores these trends and offers promising counterpoints and ways forward. So I'm gonna shift over to public space. And again, it was really kind of this strange kismet or whatever that expression is where Clyde asked me to speak and I said, oh, did you know I also work in public space? And so I'm gonna share a little bit about what we're learning on that side of the shop. Public space, by definition, is place-based and specific to local contexts. As a result, there aren't universal truths that apply to all public spaces. Instead, we have to consider numerous and finer-grained inputs, the environment of an area, its history, its culture, its local economics, and the intentions of residents, visitors, neighbors, and more, and all of that at a neighborhood level. And as we do that work, we need to be clear on our priorities. As we navigate these many contexts, the methodologies we build and implement will be an important reflection of our intentions, our understanding, or our lack thereof. In distribution this week, and literally, I just signed a letter for this report to go out to numerous folks. It's a new research, a body of research that's literally hot off the press at the foundation. We conducted this research with Temple University and to review the existing body of evidence on the benefits of public space. And I've excerpted some of these findings that we think are central to our work as we consider these questions of authentic true community investment. So the research paints a stark picture of the widespread inequality in urban public spaces. Study after study found that the benefits of public space are available disproportionately to wealthier, whiter neighborhoods, while the harms of poorly maintained public spaces among them, depressed property values, fear of crime, poor air quality, and more litter, accrue to communities of color and to low income neighborhoods. In higher income neighborhoods, even correcting for the higher tax base, a virtuous cycle supports these public spaces. Residents volunteer their time and personal income to support local friends of groups, neighbors solicit neighbors for additional support, and the quality of public spaces is sustained or even improved. In lower income neighborhoods, the opposite is sometimes true, often true. Members of the community have less time and financial resources to contribute to maintenance and improvement of public space, and without these crucial elements of support and sustained civic and philanthropic investment, the public spaces deliver few of their intended benefits. This dynamic probably doesn't surprise most of you. It didn't surprise us, but we certainly feel we can leverage this data to the benefit of our communities. By recognizing the inequity of public support and the inherent imbalance between high and low income communities ability to contribute, we can make smarter decisions about where funding might produce the most benefit. Many of our public space efforts aim to help our city's bridge social divides, and the concept of bringing people together to stimulate connection is probably not one new to anyone in this room. Certainly was something that we always held as one of our goals for public space investments. But the research actually found that there's little evidence that public spaces alone can create connections across differences. The interactions that these spaces foster in some cases result in a superficial civility, but there's no current evidence that suggests public spaces meaningfully reduce or eliminate societal divides and prejudices. And then finally, public space investment that catalyzes economic development is often associated with displacement. That's both an objective takeaway from our data and a perception that is shared by members of certainly diverse communities. Major investments in public spaces that are guided by business interests and that focus on economic development for instance, flagship arts institutions and urban parks may risk contributing to residential and commercial displacement. And investments of many sizes and intentions that exclude robust community engagement from the start often produce changes in the social and cultural tone of local communities. So together, these learnings about public space highlight really three essential considerations for us at the foundation. And it's something that we're now in very robust conversations with all of our stakeholders about. The first is that we need to support community engagement that recognizes potential barriers and that prioritizes residents' challenges to participation and that responds directly to their interests. Second, we need to invest in maintenance as well as stewardship activities in low income neighborhoods. This can help us mediate the inherent disadvantages that I was speaking of earlier and can improve the value of these public spaces. And third, we should consider programming that can build those social connections. This requires us to recognize that in most cases the space alone won't accomplish this goal but in thinking longer term, we can support pathways for diverse community members to build that social capital. And I think many of the examples we heard about today really resonate with that idea. So as we plan our funding strategies and work with local institutions and organizations, one of our responsibilities should be to prioritize the goals of communities that we seek to support. The context we work in are diverse and complex by their nature and earlier I noted there's no one size fits all approach to public space and that's because there's no singular definition of a community. We have to work both at the highest level of a broad objective strategic perspective and also at a more intimate level of the communities in which we hope to foster positive change. If we're able to do that, we might achieve true community investment. And so while the observations and findings I've shared today put quite a number of challenges for our work in both arts and culture and in public space into sharp relief, I wanna end by sharing some optimism. I think it's really important and so here it goes. We believe we have an opportunity to follow this evidence and we truly do.  So after decades of capital investment in kind of regionally significant public spaces and in public space as an economic driver, we're now paying much more attention to close in neighborhood investments. Through the widely publicized rebuild program which is the city of Philadelphia's largest single civic infrastructure project, we're investing up to a hundred million dollars in the renovation and deferred maintenance of libraries, parks, and recreation centers across the city and that matches the city's own capital budget to the tune of about half a billion dollars over the next 10 years. Many of these crucial community centers really, they host an incredibly diverse set of activities and residents and through this program we also are addressing a workforce development component where we have minority women, business, enterprise goals in the contracting and we hope that this model's better approaches to equity in the city and we also believe it creates a dynamic cycle of empowerment and investment in these areas. Again, we're really trying to look at investments as complex tools. The second project is we made a pilot grant to our local LISC office and to a small CDC called Strawberry Mansion Community Development Corporation to support the implementation of a home repair program in a predominantly black neighborhood adjacent to a key public space investment in a historic park. This parallel initiative hedges against real estate speculation and potential development by supporting critical repairs to historic homes, providing household financial training and tangled title services that sends a clear signal to residents that the park improvements are for current residents. And then we're also supporting arts and culture projects and programs across the city and I don't have time to talk a lot about them but we were really happy to see we did a mapping exercise, we have money going into every neighborhood of the city, we wanna do more of it, we were glad to see that there's an enormous amount of activity we're already supporting. That activity is beginning to shift in important ways. It has always been inspiring and joyful. We're now looking at relevance and we're keenly interested in those projects that are of residence conception and design. And ultimately, this weaving of public space and arts and culture investing helps us make connections between community wealth building, arts and culture activities and resident engagement. We are, all of this work really began several decades ago but we really feel like this is a new beginning and we're so excited about it and we hope that we can continue to be in a lively conversation with you all as we go forward. Thank you. So now, should I do this? Brent Brown from the Trinity Park Conservancy, Terry Loftus from TACA and Deborah Cullinan from Yobro Buena Center for the Arts are going to join me and we're gonna have a conversation. Doing multiple things. Hello, hello. Hi. That was our mic test. You like that? Okay, so our charge is to have a conversation as collaborators, collaborators that have a commitment and interest and commitment to arts and culture and community engagement, community development. And I guess let's just get right into it. I think my first question is, we'll start with you, Terry, if that's okay. Okay. If folks were to look at your work currently, what would be inspiring to them as acts of equitable community investment? That's an interesting question for us because we are, as most of you know, a funder of the cultural arts in Dallas. So where we have been over the last 50 years or so has been a conduit of providing funds across the board. Where we are today and moving forward is how do we affect change within the organizations that we provide funding to to move their programming and services into community. So that's an initiative that we have, we play in right now around capacity building and thought leadership, but we're hoping to do a lot more up. So it's the donors who support us are, we're hearing it from all front. So the people who support us financially, the grantees that we fund, there is this synergy that's taking place in the cultural arts in Dallas today that I think is more vibrant than it's been ever. So it's allowing for collaboration in ways that we haven't seen before. And Brent, same question. Okay. So I think at first, a lot of people, especially when it comes to the Trinity would say, I'm not so sure about that. And I think that's fair. I think there's been a real loss of public trust in the opportunity of a promise that the Trinity could be a unifier versus the wedge and divider that it historically has been. And then in the creation of kind of a gathering place, a park, Simmons Park near downtown, West Alice and Oak Cliff. But then I would hope that they would look at the work we've been doing since 2017, engaging with communities near the park as well as the kind of in-depth looking at what's been talked about in the past. There's over 115 studies that have been done or plans, whether by the city or by institutions in and around that space and sort of the detailed analysis that we did to try to amplify voices that have participated in the past and not just think we're starting anew. And then coming forward to the development of what we've done in what's an equitable development toolkit, which is looking at two things. How can we develop Simmons Park equitably? And how can in the creation of a great park, can we help to have Dallas be a more equitable place? And those are things we're struggling with and that we wanna build an accord and a partnership with the communities around the park and a synergistic, and I'll just say, it's spatial, it's functional, but it's also financial, so. Can you say more about that? We had a fun, yeah. So we're trying to build this park that's like $175 million investment that's a public park owned by the city. It'll create over $6 billion in economic impact. Who does that value accrue to? And who benefits and who doesn't? West Dallas gentrification is already set in due to the construction of a public bridge. Private investment is there, it's happening. Neighborhoods are seeing increased property taxes, so I think it requires, in this case, as you're building a park, to advocate and be partners with others and to step forward and say we need to bring anti-displacement policies to place before the park breaks ground. We need to put in place financial capture, value capture, something that, the park's gonna create an immense amount of value. So how do you not only have an accord between a public park that's gonna build great value in the city but also have value accrue or be captured in a way that helps to steward the public goods, right? In new neighborhoods that will be developed. So there's a lot of vacant land as well and stewarding businesses, et cetera. And so it's, parks like this are infrastructure projects. And only building the project and not considering the greater contextual impacts and sort of an essence, the project is to build a better Dallas or a better place and then we could get into a whole language of well for whom and who access. And in our efforts here, it should be done in a very equitable way. And we could get into a discussion of that. And we've used the GAIR definition as kind of our standard right now. What is, just for folks who don't. Oh, I always get the acronym wrong, I'm so sorry. But, you know. We can Google it. Yeah, yeah. It is one really where, you know, who you are and where you've lived does not stand as the definition of your opportunity in sort of my kind of, and removing institutional barriers and practices that exist and being cognizant and calling them out by name is an important part of this work. And so we're working at it. I don't think we have all the answers. I don't, as you said, and I so appreciated you. The park can't do all this. It requires municipal government. It requires active engaged citizens, communities, nonprofit organizations, philanthropists, foundations, et cetera, an entire network, so. And there's something interesting about the necessity for alignment, right? Right. And I just wanna, and we're gonna get to Deborah Cullinan, but I have a feeling it's gonna take her a minute to introduce herself since she's from out of town. I'm happy. And she's happy sitting here in between our, but Terry, this alignment of goals, can you talk a little bit about that as you're having these really dynamic conversations with both grantees, constituents, and your investors? It's interesting to follow up on that because one of the key components is, you know, when you, Sarah kind of went on this when she was up here earlier. So when you think of projects like The Trinity, when you think of the cultural arts, you know, Sarah made the point that, you know, we should be funded and vetted like, you know, technology, engineers. And the cultural arts and anything that involves community engagement around parks where it directly positively impacts the constituents and citizens of a city, those are already proven. So no one can dispute that being accessed or exposed to the cultural arts. It's not an educational component that will benefit someone's life from childhood through adulthood. So one of the things that Clyde heard me preach about, I think one afternoon in my office was, I did not, even though I studied performing arts, I didn't make a career of it because I didn't think I'd make any money. So I spent the bulk of my career in advertising. But I had years of education and exposure to the cultural arts, playing trumpet, French horn, and grade school, high school and college. So even though I didn't make a career of it, by being exposed to it, it made me a better person, spirit, individual, don't wanna get into the weeds on this, but it may be a better person. So there are public spaces, access to the arts that are economic, to me, economic drivers for the city of Dallas that I don't know outside of Jennifer's office, and I hope I don't get in trouble for saying this. Outside of Jennifer's office, I'm not sure that the city has completely embraced, but that's where the growth potential is. And to the point here is, you don't build these public spaces, you don't take cultural arts into the communities to where residents and citizens have an opportunity to access it on a level that is best for them without that benefiting them. So from an economic development perspective, you don't build something like the Trinity Park project and not make it available to the people who are affected and would benefit from that. Housing, Dallas has no other place to grow, but South and West in some degrees East. So how do we collectively, from the city as a partner to various 501C3s who are around public spaces, cultural arts, workforce development, coming together to make all of this happen. So then that's a better selling point from my perspective to our donors. It's a better selling point to the people that we grant funds to in Taka's case in the cultural arts to where it's a holistic approach as opposed to looking at it in silos. Thank you, thank you. And Debra, from your perspective, can you can go all the way back to the first question or you can jump into where we just... Please. Well, let me set the context. And before I even do that, just thank you for your generosity. It's been a really rich afternoon. So just to set the context, I am the director of Yerba Buena Center for the Arts in San Francisco. YBCA is widely understood to be presenting an exhibiting organization. We're a contemporary arts center. But what we really are trying to do is transform that paradigm completely. And what we want to be and are striving to be is a forum for art and social change. We also are a think tank or an institute that's working on national projects that have the potential to transform our field. And a lot of what we are trying to do is help build awareness about the essential role that artists and art play in any social change effort. And we have lots of examples of how we've done that from working with the San Francisco Planning Department to really shift the culture of planning in our city to the project that is headed up by Penelope Douglas called Culture Bank. And that project is the reason that we're here. And thank you, Clyde, for your vision and for bringing us here so that we could understand and be inspired by the work that's happening in Dallas. With Culture Bank, as you may have seen if you were watching some of the content in a transitional moment before we heard from those amazing artists, Culture Bank really understands and positions artists as essential early stage investors in their communities. And we think that artists are uniquely situated to see and lift and develop assets that matter to people. And you heard it today from all of the artists that we have the great honor of working with. These are things like language skills, green spaces in our community, intergenerational knowledge, the things that make us alive and rich. And what we see is that people read that signal wrong and invest on top of it. So that is the opposite of the true act of community development investment. And what we're striving for is the kind of investment that is driven by artists in communities where the community is empowered to develop assets that matter to them, and that is what we invest in. So, time's going by very quickly. Okay, I wanna make sure because everything that folks have shared, it's incredibly compelling it's going to be amazing to see all of this unfold, but what are the challenges that you're addressing right now in the near term as you're trying to manage through planning and implementation across a number of different contexts? Brent, you sort of smiled first, so can you take the question?  So, this is a physical project, right? So, in my work, I'm an architect and I've employed really the public interest as the primary driver and influencer in my work historically. And I think I've tried to bring that to this. You know, we are in a series of activities, right? We're trying to complete a $200 million capital campaign and we're well on our way with that and having success with it. And simultaneously with that, we're trying to work through technical challenges of actually building a public space on a river, right? And making sure that it is accessible and way before that, you know, building the kind of coalitions and relationships that are very personal with, you know, leaders but, you know, business owners and individuals all around this sort of kind of geography, literally about a three mile diameter in the middle of the city, so it's big.  That has a question about a zoning case that is about three quarters of a mile from the park. And they're just asking a question about it and they don't know the language. So we're trying to work on, and in many ways I think it's building and the biggest challenge is having the capacity within the neighborhoods around the park and to be frank in downtown, there's plenty of capacity there in West Dallas, the understanding of these systems. And so trying to take the time through all that technical engineering and the stuff that everybody wishes would move faster and trying to take the time to attend to helping to build that capacity at the same time as a partner, not by a kind of teller, if I can say that right. I don't know if that's the right word, you know, just. So I'm trying to let that be in service to what those priorities are as those priorities become identified or change often. And on top of that, I've already mentioned it, is how do we build this financial relationship between the construction and the value creation out of a public space that takes care of it, but also brings about what we've not seen in this city and in Frank, most major public projects like this don't realize which is the whole suite of public goods in the communities that get developed or get a level of protection so that affordable housing exists, small incubation spaces, space for the arts, space for education that otherwise will not be realized because the market will not necessarily prioritize them. So this is where I think the public-private partnership is unique in having a two-party relationship now which is official in a contract between the city and the conservancy. What we don't have is that third party, I'm gonna call it a community benefits agreement or a community contractual relationship that begins to quantify and hold another level of accountability. And unfortunately, I know there's a hesitancy and I think you're right, Jennifer gets the value of the arts and public space and not every other department in the city does. I'll emphasize it further. Even though they've done economic studies, I don't know that we're qualifying it in the same way, but we can't rely on our elected officials to represent the communities and it's a real reality. So how do you build capacity and power in neighborhoods and I think that comes about through these relationships that need to be formalized and so how and who? And that's, it's very difficult. So one of the biggest challenges is who could the party to that community benefits agreement from the community that has the capacity over a 30, 50 year period of time to work at the scale of a city. Thank you, Harry. From my perspective, it's gonna be funding and access. So one of my objectives since I have been at talk for a relatively brief period of time is from a fundraising perspective is to raise more money for the beneficiaries that we fund. The second part of that around accessibility is not only funding these organizations but based on the constituents and the demographics that they serve within the arts district in Dallas, but more importantly, those, they're probably a lot more cultural arts organizations that are not in the arts district. So how do we collectively help all of them in addition to the funding that we provide, reach and build partnerships, relationships with the residents and the demographics that they're serving. And that's where I think the bulk of capacity building is more effective because there's not the expectation that to see a play, to see a concert, that these individuals and families must come from wherever they are in the city to the arts district as opposed to us taking the arts out to them. But I think to Brent's point, it's also when you look at collaboration and coalition building, all of these touch points, all of us are in the same sandbox and these touch points very much connect. So if you look at exposing kids to the cultural arts and what we might want to call, I hate labels, but what we might call low income neighborhoods, there are different priorities if you're not touching the family as a unit as opposed to just trying to expose the arts to children because if you were me back when I was in school shortly after the Titanic sank, then you are, my thing was music. My mom came from a cultural arts background so it was very important to her even though she was raising us on her own. She had two kids in music and one in dance so that costs money. So you've got music lessons, instruments, dance lessons, what have you. Not all parents see that value even though their kids may have an interest in that, their priorities might be different. It may be rent, mortgage, car payment, bills, what have you. So if we're looking at this holistically from community spaces, public spaces, cultural arts, education, how are we reaching out and capturing the entire family unit as a whole with partnering with organizations that may also provide workforce development for the parents so that collectively we're hitting the entire unit. I think that's an exciting component from a funder's perspective as well. So when I look at my donors moving forward, I can say not only are we providing general operating grants funding for arts organizations to do what they do better but we're also helping them reach these unique demographics across the city that they need to engage with and educate. So that's a long way of saying that it's all connected but for me it's funding and accessibility. And just to go back to kind of where you started with the question of challenge, you talked a little bit about, you first talked about the funding issue which of course is in some ways can be seen as a first step but it seemed like it was as much about kind of navigating out of the arts district and thinking about what, I wonder if you can just say maybe two or three more sentences about that. What do you need to build that understanding or to build the capacity within your agency to think about how that extension of resources and investment takes place? I think the sell to, for example, to my donors is not a big leap. I think they would easily comprehend that. I think the greater challenge is taking advantage of the synergy that I mentioned earlier as it relates to the cultural arts in Dallas because if you look at the landscape today compared to five, 10, 15, 20 years ago, Dallas has come huge strides in the cultural arts that's due in part not only to arts organizations but also to Sarah's point earlier, there are more diverse organizations that have come online that are now being supported not only by their own efforts but by individual donors, corporate partners, and foundations. So when you look at funders who get it and where we need to be, the Embry Foundation, for example, which I think Lauren's still here out there somewhere. It's partnering with the cultural arts organizations to make sure that we are assisting them in moving content and programming into these communities. So for example, if I had the time and effort to go out tomorrow to raise money for this one initiative, it might be something along the lines of partnering with Jennifer in the city of Dallas and assisting our cultural arts organizations into taking program into neighborhoods using the public library systems. So most, I think most if not all, Jennifer will correct me if I'm wrong, most of, nearly all or most of the public library system, public libraries in Dallas, excuse me, have black box theaters. Most of them go largely unused because they're just not well known. So between rec centers, public library systems, assisting the grantees and taking programming into these institutions that the assets of the city already owns, I think helps move the needle. So it's partnering with our, the arts organizations that are in our portfolio and helping them do more outreach to where they're exposing more people to the arts or to public spaces, so. Great, Deborah, I'm gonna just switch that question up a little bit. No, I'm not. Go ahead, give it a whirl and we'll see what happens. Well, we could, okay. Well, I just thought because we are running short on time and I wanna, I'm feeling self-conscious because I feel like there was such great conversation after the artist panels and I know folks are really dying to kind of dig in and exchange among the group and probably in reference to a lot of the stuff that's come up in this panel. So I'm wondering if you will close us out and tell us what, from your perspective, as you're looking at Culture Bank as a network of activity that could potentially touch multiple types of communities both measured by the city or even within a city in a neighborhood, what are some things that you think we should be thinking about? Yeah. You know, I'm going to start with a response to that because I have to. You know, I've learned from lots of people who are smarter than me that sometimes the best thing that we can do is make a problem bigger. And I think in the arts. You said the best thing? Better, it's a better thing to do. So and in the arts, I think a lot of times when we are asked the question, what's your major challenge? We do tend to think about funding and resources and audiences and things like this. In my mind, I want to make the problem bigger. What is the issue? And to me, the reason that Culture Bank came into being is largely due to the fact that we lack imagination and as a society, we cannot get out of the boxes we are in. And it is really up to us, right? And when I think of the arts sector and all of these extraordinary public benefit institutions, large, medium, small across this country and all of the resources that go into the work that we do. And I just want to a call to action to say, what can we do to imagine ourselves as a system that would fuel the public imagination so that we can move beyond the systems that we are in today? And so Culture Bank, and this maybe is my way of trying to help close, but the reason Culture Bank came into being is because at YBCA we want to be that place. We want to be a place that develops the conditions for all kinds of people from across sector to come together to think bigger and to imagine new paradigms and new systems. And what better place than an art center to do that? So what happened was Penelope Douglas, who is also an artist, but many of you may not know, is considered to be a true pioneer and hero in community development investment and social impact investment in this country. She's a mentor of mine, someone I've learned a great deal from. When I went to YBCA, I asked her if she would come and facilitate a cohort of YBCA fellows. They were asking questions around equity and labor and why we work at the same. And I'm done. At the same time, yeah, at the same time, that's fine, at the same time, Penelope Douglas is at YBCA doing her artist thing and facilitating this extraordinarily large conversation about equity and about labor. She is also simultaneously because of who she is doing a residency at the San Francisco Federal Reserve Bank. So just hold that for a moment. The artists and the bankers, the conditions are swirling. We start to talk about the fact that community development investment is largely not working. Billions of dollars in investment and look at what has happened to our communities. In fact, some would argue it's done more damage than good. Social impact investment, some would argue is not social impact investment. It still is about return. And it still positions those with wealth as the most powerful people in the room, right? And that combined with the fact that we all know that there are artists like the ones we heard from today who are working across this country and having transformative impact. One classroom, one block, one neighborhood at a time. And this is a huge, largely under-realized, under-capitalized ecosystem that if it was just understood and invested in, we would have better outcomes. And so that is what I would say that we should be thinking about. Artists are essential. Arts organizations can transform themselves to be key players in more equitable development. And we're seeing it more and more year over year. Thank you very much. And please, before Clyde comes up, would you join me in thanking our panel? Thank you again. Please give them a warm round of applause with Tauzy at the end of the evening. But I'd be remiss. Thank you not to mention the fact that we've been live streaming this whole time via Howround TV. So thank you Howround for supporting us and spreading the word nationally. We are also, as a result of the live stream, documenting each session. And we'll release those to the RSVPs. Feel free to forward them and share them with others. And the report in Judy Lee's presentation will include in that as well. And again, feel free to forward with others.  I'm looking for five words. Just five words, words that have resonated with you, words that come to mind as a result of you sitting here the last three hours with us. And I don't need you to raise your hand, I just need you to shout out a word. Strange. Strange, hold on, strange? Exchange. Imagine. Imagine. Belonging. Belonging. Aliveness. Aliveness. Asperation. Aspiration. So help me remember those. Exchange. Belonging. Aspiration. Imagine. And alive. Can we say alive? All right. Rob, what's up, you good? Let's do it. Ooh, this is my city. This is my city. This is our city. The mic is good, the mic is checked, it's a little strange, but I'm joining y'all for this cultural exchange just so you can understand. This is my nation, my city, and let's melt with imagination and still getting down just so you know that I survive. I always stay alive and I can count one to five doing it like this and I get very vicious.  Gotta understand and I respect them all. We'll be the talk of the town more than a tiny wrecking ball. Let me see what's next. Let me spit just like this. Grab the mic with a nice grip and still coming through and it's a legend I am living. I'm known to imagine kind of like John Lennon, but we're still getting down. Shout out to the people doing it for the love and not really for the evil. You gotta understand it's for community development. We know to work together, disregard malevolence and still getting down. Come on, somebody tell me. Dallas's ecosystem is getting real healthy. We got strides and let's make the exchange. Let's have a conversation. Let's go through the pain and doing it like this and respect all of it. Let's talk about it at happy hour with skin politic. Ah! Thank you, ladies and gentlemen. We appreciate you. My name's Rafael Tamayo, please. Let's go have a nice little chatted happy hour. Thank you to all of the panelists. Thank you to everybody involved. Give yourselves a round of applause. And let's go have some bites and some drinks with DJ Skin Politics. Thank you.


Our next talk, Tutti Attabola, an OER elementary Italian textbook. Our two speakers are both from University of Massachusetts at Amherst, UMass Amherst, Stacey Jufre, and Melina Masterson. So the floor is yours. Thank you so much. We're so happy to be here. And it was so interesting to see Lorraine and Katta's presentation too, just to see how these different, how they're deployed differently and different platforms and everything. I think Stacey is going to show the book while I give a little introduction, then she's going to go through it. So we use the press books platform for our book. And this whole idea just in terms of how we came about it was Stacey had had a fellowship at UMass and Innovate Fellowship where she learned more about these resources and namely maybe it like Pitt does, like Lorraine said, UMass libraries does provide funding every year. There's a grant awarding every year for open educational resources, which we learned about. So we started the conversation, but we really thought do we have the time and energy and wherewithal to do this project which like the other course would cover two semesters or one intensive course. We know the mass market textbooks we've always used in the past and so we know what it take what we wanted to offer our students in doing this. So we went back and forth wondering if we could do it and then really for us it was COVID that encouraged us to do it. So we really got to a point where we're being isolated in our house is we sort of needed a project and we decided that whether we got funding or not we were going to do it because we just decided we wanted to offer this resource to our students we saw all these holes in the market and things that we wanted to offer that weren't there. And so we decided to do it. So once we made that decision, we just jumped in head first we started brainstorming structure and content and we based the structure on a lot of books that we've seen in the past so really communicative language textbooks that are to be used at home but also in the classroom. But I think when we really started that was our initial goal was okay we want to create a free and kind of customized resource for our students, but it really evolved from there. Because I think COVID in particular put such an emphasis on these issues of equity in terms of technology and access and representation. So when we started working our I think our main goal was to make it an economic choice and it really became so much more in terms of inclusion and diversity with what we decided to do. So the inclusive aspect of having a low cost option quickly manifested itself in our content and our themes. I mean, even we begin with the title which is to get down with everybody to the table but with the asterisk at the end to the we it's the gender neutral designation. Not all Italians love these there's also the at symbol there's the schwa I think there's a lot of debate about this but we sort of wanted to put forth this idea right away that we were that this was sort of the tenor of the book. And so then are we chose our readings our examples are visual images with the same kind of care and attention. And this collaboration was not just myself and Stacy which we, I mean we always say that this sort of saved us during coven we really had a focus and so much, you know, led that he also that came out of it. And because of the funding from the library we received in addition to grants from our union and the Center for teaching and learning at UMass, we were able to hire a graduate, a recent graduate to create the graphic design you'll see in the chapters. A graduate student to create ancillary materials so he wrote our workbook and lab manual, and then an undergraduate helped us put everything into our LMS of Blackboard afterwards which I'll show you at the end of the presentation. So it was really, really a team effort I think we're almost the most proud that we were able to sort of do that and all of this from a distance. So Stacy is now going to walk you through a sample chapter of the first of two volumes so this is the two volume book and she's going to show you the first. Thank you Melina. So as you can see right here to Tia Tamela volume one. The second volume is laid out in a very similar way we have our introduction a dedication to the future language learners and hopefully you can't hear my future language learner in the background. But he is there. So each volume has six chapters, a glossary and then some extra resources at the end for difficult topics as you might see in a mass media textbook. So the layout for each chapter is pretty much the same. We, we start with a sub theme and this chapter is just gravy ammo to tea. And then we set out the objectives for the students to be really clear about what we're wanting them to get out of this chapter. I think that it would be fun and linguistically valuable to start each chapter with a song, and they're all relatively, at least relatively contemporary and one thing that I thought was great about this project is it pushed me to update the part of songs that I use we went and looked for some recent ones that would work with each theme and each song is either linked to the content through either the vocabulary or the grammar or as in this case both. So after the song comes the book, the vocabulary section. And here you can see one of the amazing images that our graphic designer made for us here to help teach adjectives. And I think you might notice if you take a look that the people represented are more diverse than what you might see in a typical mass market textbook. It's really important to us. As you can see here, press books allowed us to gloss things right in the text as well as having a vocabulary section at the end of each chapter. So we tried to do everything in context because we have a character, my Tina here who shows who her faces help describe the help with the adjectives. One of the reasons why we chose this chapter specifically is it gives a good example of what we were trying to do with nationalities. We tried to choose at least one nationality from every region. Instead, instead of being more European and North American focused as some of the textbooks are. And then we also have these cultural notes. Here we have one that talks about the Italian history of colonization. After the vocabulary, we have a grammar section. And the way we've laid out these grammar sections is so this course will work in a full fully remote setting as we are now, none of our language classes are in person. And also in the classroom so it goes from being alone doing access having exercises that you can do by yourself to being more collaborative at the end. So a lot of our units also have these study tips to help students memorize the more difficult top topics. And after the grammar for each unit, we also have a video. And these videos are all contemporary. And a lot of them are loosely linked with a region and this one is Lombardia. So after the videos, we have a cultural point, and we went back and forth a lot about whether these should be in English, or in Italian and we decided that the topics were important enough that they really should be in English. So that the students could really dig in and give their opinions about how these topics related to what's happening in the United States. And so they could really think about their own conceptions and their own identity. So for the first volume we don't have readings in Italian, but we do have them for the second volume so that so that so that they do get that linguistic practice. So at the end we have the review of the chapter and they have a list of all the things that they should have learned studying. And then we have these short multi media quizzes so that they can test themselves before they move into the learning management system which Malina will show you in a moment and that's blackboard. Thanks. We saw that that vision at the end of the other the graphic that we had so like I mentioned before this was such a collaboration with a bunch of different people and so one of those things was the workbook one of the things that we ran into that we had to shoot in our first semester is because we did this so quickly over the summer is that we had this sort of PDF form of a workbook which as any of you know if you've transitioned to teach having an online workbook nobody wants to go back from that. So we were able to transition this over the winter break on to blackboard which is one of the elements is that you mass offers but usually we use moodle what we chose blackboard because it's the platform that our university calls uses so it's also for summer courses and winter courses so we thought this would be good for courses that can go all year round. Much like we saw in the first one we divided it into weeks and we tried to see I really felt it important if we were going to replace our book that offered so many things we wanted to be able to offer similar supports to our students to outside of the So this is just the development show you don't see a lot of information here but everything is divided into weeks they have easy access to every chapter of the book and then we've created grammar tutorials for a lot of the different points that they've studied so these are narrated PowerPoints that we created that have a short little quiz at the end so students can check their work. And then this is how we resolved the question also of the workbook that in the first semester had been in PDF form. We were able to hire an undergraduate student to do this work for us and the graduate student. And so now these activities are all auto graded. They look at like they're in the quiz function function that they can go in and they can fill stuff in and so with the exception of a few record voice recordings and essays. We've sort of tried to mimic as much as possible the platform that we currently we previously used that you mass. And so now between the press book and the blackboard do these are the two hubs of the course, which for us is good because we also have a lot of different people who teach the levels of elementary one and two like I'm sure many many many schools do we have graduate students and so having as many courses as possible to have all this information already there really helps us. And so finally we just have we have a few goals I think to finish up this project because we still look at it like it's a little bit in beta form. One thing is that we would like just like we said Lorraine and cat I have the recordings of the vocabulary. Stacy showed you we have a lot of these presentations or dialogues and things like that at the beginning of the chapter and we'd love to have those recorded so students could also listen to them. We think that's a pretty easy thing that we can do horse hopefully over the summer. And like obviously the workbook and lab right now are you mass specific right the book can be available to everyone shortly hopefully by the fall. But right now the workbook and lab are specific to us because they're on our blackboard so our goal is to create an outside hub that also houses the answer materials from the book so those would be available for anyone to. And finally we also our book needs to be unpassive protected right now it's still in its beta form and so we're still working on those things, and hopefully by the fall that it will be available to everyone. No, I think that's it unless you have anything to add Stacy. No, I think you covered it at all. Thank you we have about three minutes left for questions. Yeah, I said you get permission do we have to get permission. We were according to our libraries. Videos from YouTube, we're fine and then clips of a certain amount of time that they cut for us were fine in terms of permission. And the video for java not he is not the official video either it's a YouTube video so I think we are YouTube was fine for press books. And I think maybe we should mention as well that all the links we use have been saved in perma CC, and the library has backed up. Most, some of at this point but we'll be backing up all of our YouTube videos to a library page to explain that right. Any other questions. Someone asked about what kind of copyright licensing will you be adopting once you do share those some of the resources. I think we are debating. Definitely it will be creative commons with allowing derivatives and I think we just we changed our mind and decided against the share alike part of that. But we, we haven't finalized it yet. We're still using this for the first time, we're taking advantage of some of the amazing undergraduate students that we have who are finding small things that need to be changed so over the summer will probably put it into its final form and then open it up to everyone. It's like there's a lot of people who are interested in seeing these and keeping in touch and perhaps adopting them. I did put the links in and also the passwords at the beginning of the presentation so they should be in there. Okay, well I want to thank you both. It was really an interesting presentation.