We are having our Worlds of Creativity tonight. Every first Thursday, we open our doors from 6 to 8 for a free, family-friendly event which brings another culture to Columbia through their art. Tonight we are featuring Venezuela. We're going to have dancing and music and food and all kinds of things. We have some artists here and we'd love everybody to come out. I say this is family-friendly and we encourage people to participate. It's one way to learn about another country without having to fly somewhere to do it.


K expenditure, docu funeral kwe mma she incasel We support our own, we buy the tickets but Atupere is aburetuna buy and yeah, that's why we are here to support him. Ok, nima kwa ni kiyona, every time kuna event in Nairobi, last time kua nai, I can't remember the name of the event but kuma kua nai events tina happen, all the time na nangu kifika. Does this mean you love celebrating your own ame na kwa? It's definitely celebrating my own definitely because I know how it feels to be not appreciated by your own and especially when you give it your all. Industry, kuna kua nai, wachu kuna mawevumop, but also let's just support our own. Tila is mawe free ticket, ndo kujo support your own despite the ticket, come and support because it a mi one day I'll need people to support me, sindi oe? What are you looking forward to tonight? Oh, I am looking forward to the fact that I want to laugh because niki rudi kwa nyumba manani zome enda nimi mi namto to hafaza, I just want to have a good time tonight, yeah. In one of the people who have been in the industry maybe before Kenna, how does it make you feel kuna kumba ame kudya na he's doing this on his own? I am so proud of him, so so so proud of him because a kuna nga kitu umbaya kama, a kuna nga kitu umbaya kama kugroa lahu everyone una joko ame jiamini. Watu wa kigro wa hitu isu wa kwen superstars, watu una joko pangadi, oh am alone, oh nili kudya juzi, oh nimi mi hitu, but I am just so proud of him, as I said I have never met him personally, but I will just say I am so so proud of him as a content creator, he is one of the people we look up to, cee sii tu lingia kwa industry kama actors, so yeah, the same way like right now as I say in the next probably 5, 10 years I won't be an actor but will be an awesome amazing person born every single day. Now, we've reached the end of the year, what are some of the things you can achieve now? I've achieved a lot. In my private life, I've achieved some wins. I have achieved in my public life. I am so proud of myself, the fact that I have come. When I look back January, the things I have gone through, ngekwa ni mesimama pa December ni ngewa ni zi, but I am just so proud that I always remember who I am and I remember what I do and why I do it and who I do it for. You have mentioned about acting and of course nga nga pali wuki push kwenye stories wapi about Salem. You take us through your acting side. I would like you to mention something about Salem. Oh my God guys, if you don't know now you know Salem is the best and the only, what did I say? Only tele-drama in the two five four. We do not have any other tele-drama and I am over the moon just being the lead in Salem and just playing the role Zaramufasa. It's just an amazing show. So if you guys haven't watched Salem, I don't know what you guys are watching because Salem is the best of the best, yeah. Mesema Khumba you've achieved a lot this year. Maybe Unezo Katwambia, what has been one moment ngekwa emotional for you this year? Let me say the most emotional part was I think just every day Kunaiki to every time I am from work and I go home and I have to go through my daughter's rooms and look at them and just be grateful. Every day I'm grateful like a roof and food. Those are things that we really take granted for because the whole domeshindoki complain. Oh, vidiyangwe Japata likes. Oh, vichayangu.  Again as I said, everything that I've gone through this year, I don't know.  Just feel so unique in your acting skills.  At that particular point, Jaki Matubie is not there. It's the character. For example, right now I'm playing Zaramufasa. It's understanding the character and where the character is going and where the character is from and what the character should feel at the moment. That's the only thing you need to do as an actor. This year apart from maybe working and also going through a lot, we've also seen you travel a lot. Maybe you can tell us like how do you manage to balance between work and also living the life? It's always a balance. You have to always find a balance. Sometimes, what I do is when I want to travel, I look for the off days Zengani Konazo. So if you can see, most of the time I travel on weekends because I don't work on Fridays so I'll travel Friday, Saturday, Sunday and when I have to travel for a week I will have to sacrifice some of my hours when I come back. Nitaen, alafu nikiru, I have to give out some of my days so that's how it's just about the balance. In spite of achieving a lot of things here, of course, to kipitiku kumchanda ways because I want to kupiga vita and everything. How do you handle the whole thing? Head high. I know who I am. I don't care. People perceive me from what they read and what they see but the most important thing is knowing who you are and I know who I am and that's what I head high and I move. Okay, so langula muishi on my side I really love to know apart from yourself this year who has been one person and you go in the industry and you are proud of them. I am super proud of Jackie Vique. She has shown immense immense growth.  What do you do? What do you do tell your fans? Of course you have so many people that support you that come to view your stories everything that you post. To my lovely fans, Nawa Pendasana my love Nawa Pendasana thank you so much for just fighting for me for the battles that I do not see and the arguments that I do not hear and see. I am so thankful to you guys, my fans especially my 100% I am so proud and I hope I am making you guys proud by just doing the best that I can for me and for you guys and just taking the Kenyan flag high and let's keep grinding let's just do it single mothers it's possible you can do it, we can do it I have done it so let's continue doing it. Thank you so much Jackie.


Bitcoin is the world's first digital bearer asset. The only thing that apparently statistics speaking is striving Bitcoin structurally and predominantly is its hardness. And its hardness is captured by the stock to flow. Since Bitcoin is borderless and globally everywhere then it's sucking value from all commodities which have a monetary premium in them right now. You can imagine Bitcoin like a super massive monetary gravitation object. Financial institutions I think at least delved into Bitcoin much more than before. SAVA is a bridge pillar like we are and together we can create offerings and platforms and solutions that are tailor made. Certainly solutions for the future. With Gen 2 for example we're going to be dealing and issuing instruments that didn't exist in the world before because unbankable assets like Bitcoin, it was just wasn't possible. Now it is.


like this for some months, almost half a year so it's time to bid adieu to good and good friends. Sponsors, you're all in the business, you know we cannot do this without sponsors and are more than 100 that work so hard to mention all this happen to the 2017 conference committee. Some of you may have heard me, Scott Stoner works with this conference committee. Co-chairs, if you recall a couple of years ago on staff we looked at who was leading what we realized that we wanted to have an artist, agent and manager, presenter and we've been doing that model for the past couple of years and I want to acknowledge the amazing Liz Lerman, the amazing Simone Eccleston, and the super amazing Kevin Spencer's and this is one of the most proudest moments that I have and that is to introduce takes a lot to keep this organization running and at this point I'm going to ask all of you as I call out your name to stand please hold your pause until the oh we have a slide they took it. But I'd like to thank Marcus Stevens, Taylor Rambo, Vicky Abrash, Megan Redmond, Judy Moore, Cristiana Bondermail, Natanya Cashon, Brian Nelson, Keisha Shorter, Scott Stoner, Katelyn Saylor, Hannah Stern, Jenny Thomas, Sarah Martin, Natasha Mascali, Melinda Lambert, Teresa Bennett, Jason Allen, Alicia Anstead, Kristen Cooper, Carol Miller, Phil Seaman, Betsy Selman, Jennifer Yonatan-Sapley-Stando, Bill Carlton, Martita Slayden, Katelyn, Southpournour Davis, and then also our signers, Beth Staley, and Joanne Cranes. So please give a conference committee to identify a speaker who will deliver a high level of enthusiasm and inspiration to culminate a successful conference. We've been so fortunate with the past speakers we've had. They have been on the mark of amazing, wonderful, inspirational, hilarious and all good things. This year will be no exception because we have with us a multi-talented award-winning artist who has graced the stage of many presenters in this room and received enormous critical acclaim for his recent project, a 24-decade history of popular music. I am of course referring to Taylor Mack, and certainly memorable. One of my favorite quotes about this artist who prefers the gender-pronoun Judy from New York Times as follows, fabulousness can come in many forms and Taylor Mack seems intent on assuming every one of them. Among the many reasons we have invited Judy to be with us this morning is that over the course of the past four days we've discussed the power of the arts to cut through prejudice, bigotry, and disrespect for the innate value of every human being. The personal and professional life of this Judy has been devoted to creating awareness, understanding, and acceptance of those who would be different from what society to offers to often considers the mainstream. Judy is a consulate champion of human rights of equity, equality, and inclusion and of the responsibility we all have to participate not to stand in the margin and let someone else determine who we are as a society. Whether for 30 minutes or three hours or 24 hours, this Judy knows how to make, how to bring everyone along into the flow. Ladies and gentlemen, please, please welcome as only our APEP family can Taylor Mack. Because I was like, no, let's make this about the speech and stuff, but then how should you would have done it? Luckily, everyone gets a little bored of putting their names, relation to all the faces and make a stir fry with it. I've made a part of my ritual now. It takes what's building up on the inside and makes it tangible because I'm responsible for it. You get to share the fear, celebrate it even. Everything might go wrong, perhaps nothing will. If I acknowledge everything, it would be a delightful surprise. Perhaps it might be. What's gonna happen? It makes you feel better. I promise. Say it with me. What's gonna happen? You guys have heard a show called the 24 Decade History of Popular Music. It's a performance art concert that consists of the performance, deconstruction, and reframing of United States history through popular songs, 246 of them, to be exact. All of which were popular in one community or another in the US within the last 240 years, from 1776 to 2016. Research, arranged, orchestrated, and reimagined. Each decade in the US history is given an hour's worth of material, so when added up you get 24 hours worth of show. Usually the work is performed in three-hour chapters over the course of many nights, but last October we performed the entire thing from beginning to end. Starting on Saturday at noon and ending on Sunday at noon. One time only. 76 with an orchestra, four musicians, and after every hour we lost a musician until having performed for 23 hours pretty much non-stop. I was on stage alone, left to somehow make my way through the final decade, using exhaustion to dream the culture forward. You saw the bedazzlement in the boat. Those are pictures from our show and we performed it over and over in sections. The repetition was key because we wanted the audience members to get to know each other. Over a course of many years we wanted to build their connection alongside the building of the work. As a theater artist I'm a community organizer. I bring people together and give them some kind of shared experience, not a homogenous one but a shared one. Something they can use to help us a foundation for continuing community. So on the road we set up a system where we perform a section of the work in a city and then our extraordinary producing team, pomegranate of arts, would begin the organization to keep returning to that city until we ultimately present every decade there. It's a Ponzi scheme. So we'll be touring it for many years and come but we have finished in New York and this is what happened. Each time we would perform a section of it here, audience members from previous performances would return. They began to make a ritual out of it. At the shows I'm always asking the audience to do things. I help rowboat across an imagined Atlantic Ocean, slow dance with someone of their same gender, play beer pong with each other. They had to know the people around them and they see them again at the next show. They go out after the show for drinks. They start planning the next trip to the show together. The goal was to make something tangible out of an ephemeral art. And it worked. Friendships were made and were strengthened. Collaborators found each other. Businesses were started. As a result of people meeting at the shows, more artistic projects were created. I got two wedding invitations from people who met at the shows. Multiple babies were conceived as a result of audience members. We rehearsed very little performed. We used the no theater process where everyone primarily learns their part separately and then gets together and makes it for the first time in front of the audience. This meant every single performance had the precision of a polished work but also a major element that had never been incorporated into the work before. Never even been rehearsed. Stuff like blindfolding an entire audience for an hour. Using the audience to remove 800 chairs from the space and the length of a short song. And of course, in the 24 hour work sleep deprivation. How do you rehearse sleep deprivation for an audience? Use strategize and then make your rehearsal the performance while hoping for the best. What's gonna happen? The fun is not no. It came time to put the whole show together. 24 hours of performance. That element of the unknown could be described as stressful. So much money. Although not as much as an off Broadway run of a four character single set intermissionless play. But still. So many years. So much anticipation, press, work, so many hurdles, hurdles of assumptions and logistics and doubt. The fear was that a microcosm of what just happened that Hillary Clinton would happen to us. With the audience members who have been with us from the beginning shrug and say, Well, I guess all that time we put into watching the show didn't ultimately amount to anything with the people who hadn't been with us the whole way. And each performance was primarily made of people moved to the product. Would they get it? Would they recognize how much work had gone into this piece? Or because of its uniqueness, wouldn't get equated with anything else odd? Would we get equated to the Queen down the street who lip syncs badly to the latest pop craze? Or the cabaret performer who memorizes 10 songs and tells stories about their famous friends? Like our political climate, would it all get normalized? That's the year of the word, the word of the year. But it all get normalized for our need to dismiss anything that is extraordinary and like progressive action, and replace it with that which is accessible, like nostalgia, with our diligence, experience and vision be overshadowed by our inability to pull it all off. Worst of all, when our failure to become the topic of conversation, rather than the ideas in the work. And there were ideas. Ideas that involve the excavation of alternative histories. Ideas that involve using identity politics as the reference for contextualization without making them the point. Ideas about minorities becoming a metaphor for America instead of its niche. Ideas about how drag is what you look like on the inside, worn on the outside. Ideas involve humility existing in authority through questions, but not a relentless cynical questioning. Not through cynicism's reign, but through its incorporation and play. Ideas that are free of the Puritan dominance over expression. I thought ideas about turning that which is harmful into catharsis. 240 years worth of ideas. But would I even be able to sing past hour 15? I thought it was possible, but not likely. We've been marathon training. We started with 90 minutes shows, went to two hour ones, three hour four, five, six, then discoveries, trials and pops, carrying the acclaim and damage with us like a female politician buying for a symbolic win. If we get there, others might be able to get there as well. If we don't, it's back to the freaking drawing board. We perform. I might have another three hours in me, but truly more than that seemed unlikely. What was I thinking? Was this the ultimate self sabotage? If I couldn't keep going past hours 15, what was I going to do with the remaining nine hours of performance? My voice teacher had warned me that I might have a vocal hemorrhage, in which case it was strongly advised I stop. With the final nine hours suddenly become one big audience karaoke night. You want to sit through that. Reducing the work to a durational art party. That would be making the extraordinary act of progression, an act of accessibility of nostalgia. It was not the vision falling apart was the vision. It was in some way the whole point. The work when we put it together in its entirety is about how communities build themselves as a result of falling apart. Being torn apart, we the audience technicians and performers, we're going to put ourselves through 24 hours, staying up little to no sleep, watching the watching and listening to an immersive narrative, an onslaught of music relentlessly moving forward all that history on our backs. But as a result of going through together, our exhaustion, we would be building models. Dramaturgically, each decade was was focused on a different community in America, which was built as a result of falling apart. Those of us who were experiencing this 24 hour period together would be lunging towards those communities. Our experience would be a way to see them and their struggles in a different light. Perhaps then we could be able to take that experience and use it to dream the culture forward to give aid to other communities going through similar trials. It's important to know that the work is intended to help people. It was not about communities going extinct as a result of being torn apart. It was about them building themselves. So somehow I did have to make my way and help the audience make their way to hour 24. We could not go extinct. We would need to keep the wonder of possibility alive in our bodies for 24 hours. What's gonna happen? The afternoon of the performance, the audience started screaming and applauding the second the house lights began to dim. This was our crowd.  They were there to celebrate that it was happening. They were thankful and open. Most everyone knew we weren't making something accessible but extraordinary. They had been making it with us and they were going to continue to do so. The first hour was all about a colony. 1776 trying to build itself into something new while they were being torn apart by colonization. My voice felt strong despite a pull that got the day before. The orchestra, the orchestra members, all 23 of them, they were on point. By the ensemble of 24 radical fairies, super numeraries, passed out drag to the 700 audience, 700 people there so they could wear it if they wanted throughout the entire piece. And people did they put on the draft. The jokes were landing. The ideas were clear. Everything we've been working towards was happening in the room except one element. The element of what's gonna happen. The element of calamity. We did such a good job of polishing our show. We taken the danger out of the room. It's not that the circumstance of us performing for 24 hours had suddenly disappeared. Everyone knew we could all fall apart at any moment. But really we thought we were not going to fall apart at least for another 12 hours. So we were all resting in a way. We all collectively agreed to hit the designated arcs until the exhaustion brought the element of surprise. But that's when the dry ice spilt. 1786, the 1796, 23 hours ago, the decade is dedicated to the star of the women's movement in the United States and focuses on a housewife who wants to be more 1780s. So our divine madness costume designer whose name was machine. The solution and it was wonder. Time to take the smokestacks off in the second saw of the second decade. Water spilled all over the stage.  Just a couple of water on a stage easily cleaned. But it was the first hint at the possibility of calamity. How would we build ourselves as a result of the spill? In the moment I did it through humor. Through making the character of the decade the housewife I was portraying add to the injustice of her circumstance by having to clean up the mess. It was a funny improv and more so because of his dramaturgical appropriateness. But more importantly it was the moment we'd all been waiting for. Calamity and our ability to incorporate calamity to overcome oppression. We're going to ignore the flaw and let it sit there while we continue to hit our marks. We were going to we were going to be makers instead of markers. People who transform obstacles. Making the world we want based on learning and openness to the world that is. It's so much fun being that kind of. Which one of our performance was fatigue began to build a little defensiveness. But more fatigue dismantled the defense the original fatigue had built. The audience became deranged in their emotional availability to see what you're capable of. If you design your life around the result people keep asking me that obnoxious question. What's next? Like this when they ask me that. Next is that two weeks after the 24-hour performance we went back on the road. To Northern Ireland to perform the decades of 1906 to 1926 in the Booster, Inc. Belfast International Arts Festival. I wanted to be in Belfast but I've never performed in Northern Ireland before and I couldn't quite figure out the way in to our first audience there. They seem so hardened by the troubles. They were almost the polar opposite of the 24-hour audience we just had in New York. Their arms were crossed before we even began. Eyebrows were raised. They were guarded instead of game. You have to do what I usually do when I'm on the road into your place and spontaneously change things in the show to win them over. To open them up to a different kind of theater from what they are used to. And usually that's fun incorporating the calamity. But two weeks before I performed our 24-hour show which had made all those progressive intentions tangible and performing in Belfast was like starting at the beginning. It was like going on a first date even though you met the love of your life two weeks before. You don't want to cancel the date because you set it up before you met your love. It's somewhere else in the wrong places. When I asked all the women in the audience to sing along at a certain point all together, a male voice rang out louder that seemed like a hockey. This is sexism and homophobia. I've experienced this before. Straighten in who act out because they're uncomfortable with not being the lead in the story. They heckle or throw things. My philosophy is if something is threatening to take the story away from the storyteller then you have to incorporate that threatening thing into the story at all costs. Usually that manifests itself in the form of a quick response. Something like if an audience member is verbally offended by my liberal politics which happens. I'll just stretch my drag and say what about this? It's false advertising. Sometimes the audience needs to see the heckler. The heckler's anonymity needs to be taken away from them. So the squawk gets put on them. Mother flawless Sabrina once said to me about some homophobes who saw her walking down the street in drag and proceeded to take out a gun and shoot her. When I called them horrible she said no Taylor not horrible they just want it to be part of the show. On stage and I'll work that freaking homophob until he is making out with me. Let's carry one of them out of the event. On stage hoping it will be a comedy but sometimes it turns into a tragedy. This is the art in the room. Then the challenge is how to make everyone see that the tragedy is the art. How to direct the purpose. Make the obstacle the thing that brings us all together. So in Belfast I thought I should take on that straight guy in the audience who is making fun of the show because it makes him uncomfortable. But two weeks before I finished a 24 hour performance and I was tired. So against my philosophy I basically ignored it and kept the show going. But there's a moment in the decade we were performing that I'm particularly fond of. Towards the end of it it's a reading of the last page of James Joyce's You Decease. It's certainly one of the more beautiful passages of any piece of literature and I love using it as catharsis as an example of something reaching you because it goes on longer than it should. Usually the audiences with me sometimes while reading it I hear people solving. But in Belfast a woman could not stop laughing all the way through the reading.  The sound was coming from the same direction as the guy who was mocking me earlier. They seemed to be part of a group all angry that a queer would be taking space. People had warned me about Belfast. I've been told over and over again how homophobic it was. It was like the Polish presenter who wanted to take me on an Eastern European tour to entice me. He said you will sleep on doors. You won't get paid anything.  It will be fabulous. And I'm totally game for a good cause to do two out of those three. But not all fast. In the final moments of a two-hour performance this is where I was going to draw the line. I couldn't let that woman ruin Molly Bloom, ruin all those yeses with her no. So I asked and slowly with laser precision I made my way up the steps to that laughing woman now. The audience held their collective breath after became hysterical almost demented like I climbed to her over her community of homophobes one after another who sat next to her as a way of getting to her but diminishing him. I settled myself in for the long. Starts with when the red-red Robin goes bebopob and she is laughing like this. She laughs. I hold her. I sing slow. She laughs. I repeat. She laughs. I stay with her. Repeat the opening line of the song over and over again. All the while she laughs. I ask her to take her hair down. She does while laughing. I ask her to uncross her arms. She does while laughing. I hold her and repeat the opening line of the song.  Laughter has a limit. It will tire itself out eventually. You just have to be willing to exhaust it. So that's what I did. Eventually she was still. Matt, my musical director and partner in crime and all of this. Instinctually knew when to continue the song into the next verse. And I just sang to her sitting there calm. Some other things happened but the evening ended with her feeding me cake on stage from her fingers and a great triumphant bow. Her chest off center. Bowing with us. Until after the show that I found out she was special needs. In fact the entire back section of the audience were all special needs. Nobody from the festival knew. The busload of special needs people were last, were last second ticket lines. So nobody told me before I went on. The guy who was mocking me singing in a weird offkey voice. He wasn't mocking me. He was singing and created the entire conflict. The audience loved the show but my assumptions and past hurts had framed the current circumstance away from truth. The way two months ago. Belfast. I immediately had to fly to her home in Orange County California because it had become clear that she wasn't going to be able to take care of herself anymore.  She'd been hiding it. Nobody knew. Not her friends, her sister, her kids, nobody. She isolated herself as a form of denial. If nobody was allowed into her life to tell her she was dying she wouldn't die. We knew something was wrong before she'd isolated herself. We saw she had lost a lot of weight. Her I thought it was Parkinson's but I didn't know because we couldn't get a doctor's prognosis. She was a Christian scientist which meant she didn't go to the doctors.  I would joke with her. Everything? She never got the joke. To her there was nothing funny about a religion which to me is kind of funny because matter was a lie to her. Her illness was a lie. She couldn't have cancer. To her calamity simply didn't exist. Could God get cancer? No. But are you God mom? No. But the Bible says I'm God's perfect image and likeness and God is perfect so that does mean I'm perfect as well. Can God get cancer? No. Then I can't get it either. That was the philosophy I grew up with. It's not what I believe now. I left the religion when I was 14 and I want to be clear my mother's interpretation of Christian science is not the only way to practice the religion. All philosophies have practitioners who take things to extremes. They leave no room for relativism and my mom was one of those people. She was in it. She believed and preached like an authoritarian but not like an author. An author who has authority questions. They get their specialized knowledge through an admission of doubt and the practice of incorporating doubt into considerations. My mom's version of her religion didn't work if you welcomed in doubt. To doubt or question would be tantamount to destroying her medication. If you acknowledge the cancer, the calamity, you'd feed it. If I brought doubt with me from her perspective, I would essentially be responsible for her death. So we played a game. She wouldn't acknowledge what was happening to her and I wouldn't take her power away from her by forcing that acknowledgement on her. So as not to be responsible for what was happening to her. As heartbreaking as it was to see her suffer, she did the whole thing without pain killers. It was remarkable to watch someone commit to their belief system regardless of pain, regardless of all the facts were dismantling those beliefs left and right. Especially during the election. I began to see my mother's obstinacy as again a metaphor for the political landscape for climate change deniers, Hillary demonizers, Trump apologists and left wing arrogance and naivete. She believed the only way to heal was to reframe facts as falsehoods. Everything material is a lie. Everything spiritual is the truth. Everything? No life. No medicine meant there weren't any professionals to help. So hospice work was left to my sister and I. We fumbled our way through it and did okay but there were times when having a professional to share their authority with us even a little would have solved a lot of problems and brought more grace. There were moments of actual wonder in my mom's process. There was even beauty in the fierceness a body has when preparing itself for death. Her constant and intense rhythmic breathing would sometimes transform into something trans like as if her body were forcing a meditative state. I started singing her to sleep to ease the panic that was building them both of us. There was a wonder at having 246 songs to pull from it. Despite her conservative politics she never missed singing a new work of mine. She budgeted her yearly expenses around being able to apply across the country to see that. But because of the illness she wasn't able to come to the 24-hour performance and I knew it upset her. So at one point I decided to start working my way through the show describing what we did decade by decade showing her pictures and singing the songs in each one. Normally I would incorporate her illness into the work. It was the elephant in the room and incorporating the elephant is how I do things but here I couldn't do that without becoming responsible for the illness. Unlike in the 24-hour performance here with my mom we weren't able to build bonds with each other by acknowledging and using calamity. We got through about half the show a little bit at a time cutting the more lascivious political erroneous songs and emphasizing the lullabies love songs and hymns sentimentalizing and editing from all like all sentimental things that go on too long and started to become an exercise in nostalgia instead of progression. Listening began to hurt more than health. Working to ignore the pain in the room hurt us too much. The day she died she had a visit from a Christian science nurse. This isn't a nurse who has medical training by somebody who will sit and pray with you and then I'll give you a back up or change at the most change of damage. The woman was dear if a little much. She gave my mom some advice joy. My mom's name was joy. Joy. If everyone says there's an elephant in this room and they want you to acknowledge the elephant. Do you acknowledge the elephant or do you get smart and realize there isn't an elephant in this room. She was essentially saying my mom's philosophy was right. If she acknowledged cancer she would feed it. But the tactic she used to prove her point was that interpret the metaphor of the elephant literally. She was invalidating the artistic expression of a metaphor in order to disprove a fact.  She was going to have a healing because there wasn't an actual elephant in the room. It made me laugh. It made my mom happy for a few seconds on the day she died and because at that point there wasn't any use in doing anything other than what little we could to make her happy. I didn't debate the literal use of a metaphor and I saved it for what's next for what's going to happen.  We are living in a time when people are making metaphor literal to disprove facts. No there's not an actual elephant in the room but the arctic is melting.  The electoral college did elect a cheerleader of hate to the presidency. Speaking about hyperbole a lot lately. Maybe you'd assume from the pictures I work in hyperbole. I don't. Sometimes I joke that I do but really I work in expression. A bit different from hyperbole. I'm trying to use less extreme adverbs and adjectives to call out the ridiculousness of a thing without making it apocalyptic. It's not too late for us. It's not the apocalypse. We in this room are not on our deathbeds. Sure we will be one day but not today. That means we don't get to pretend without being challenged. We believe art is going to change the world that we can simply imagine our vision and it will happen. But so did my mom. So do climate change desires and those committed to nostalgia. The facts show us living in a chameera doesn't work. No matter how many metaphors we dismantle to convince us otherwise we do have to grapple with calamity. But how? How will we summon the energy after all this? What's going to happen? What's next? I'll tell you. Audiences and we'll say you. We'll burst into applause before the work has even begun. You'll do this because you'll be part of the process of making the work. As a result you'll know that each performance is a special day unlike any other. You will greet the new work the way you would a newborn baby. No matter how tired you are when you see a newborn baby you put your stretch fingers out to hold it if it's not crying. Part of a show. Making a ritual. That's what's next. You will delight in the possibility. You will commit to its natural wonder. You will praise its inner beauty and intelligence. You will cradle it. Become teary-eyed while holding it simply because it exists and shares space. Because it is vulnerable.  Because it needs you. You will be committed in a game. There to consider rather than decide.  You will start the ritual with an embrace. You will love it before it even begins. Next. This theater will be a place for communion rather than competition. This will happen because our creations will no longer conclude or peak with epiphany. There will be no closure. No implication that things finish. That a character or idea or show is frozen. Ready to be repeated exactly like an assembly line which dehumanizes the human communal experience. What's next is theater will perpetuate capitalism by forgiving the oppressor and vilify the outsider. It will instead hold the oppressor accountable and lift those at the bottom of the culture up first. What's next is theater will divide gravity by replacing trickle-down humanitarianism with trickle-up. What's next is theater won't ask permission to participate in the creativity of its own survival. It will not gatekeep itself. It will simply make. What's next is theater will see naming rights for what they are. Those with power pissing on the culture instead of participating with it. Nobody will get in above the title Trennage. With what's going to happen because you will spend your energy on legal paperwork. Patrons and they're walking into a theater called the David Coke democracy or even a democracy and instead will be made by people with authority. Remember one person has knowledge and experience in a field or subject because they have a continuous commitment. They made a continuous commitment to learning about that subject. And if you actually and you actually listen to what that person has to say and trust their authority. Trust with an open mind towards option but trust. It seems to me our political problems lie somewhere in the confusion between the two definitions of authority.  But I progress. It's a ritual sacrifice of opinion. Vaccination to the plague of opinions. Audience's critics and artists will make a commitment to perpetual consideration because we'll convince them it is a place that is a risk fit from decision making. It will flock to plays and live performance in order to be free of opinion. It will be America's weapon of choice. It will be this way because we will make theater a place where young men and women without means can get a free education and degree simply by going to the theater. Plus, what? Theater they'll run and jump and hurtle while experiencing the ideas in theater. They won't sign up for the military to do those things because they'll get it all out while being audience members. What's next is all work will last at least as long as your 40 hour work week. Not less more, not shorter, longer, not reduction, but expansion. Does that mean no minimalism? No, minimalism is a part of the full expression of who we are. So I love minimalism. Let me see the dream for the forest ever so often. But when living in a culture that allows a grandeur to become president, you must protest the tools of reduction. What's next is theater will be brave enough to talk about the subject rather than around the subject. Subtlety will be seen as cowardice. It will stop being confused with authenticity. It will be seen as a tool used to maintain the dominance of the heteronormative narrative. As a casualty of anti-intellectualism. Extravagants will be seen not as indulgence or a lie, but as an expression of that which is normally hidden, dismissed, or buried as a path towards our collective authority. What's next is there will be no auditions, no submissions, no pitches, and zero networking. When we see each other's work, find each other because we are making, working, and participating. What's next is all the work of main stage. Fox, you aren't giving them a voice, but making sure the majority is in charge of them. Able to frame them, put them in their place. It is on our largest stages that the work of minorities won't suffocate. Some high-end artistic director who has never booked me at his high-end New York theater, even though I've been making objectively thrilling work in New York for 20 years. He said a 24-decade worked because it was the right timing for it. People weren't cynical now, so they could embrace it. No queen. The show worked because the theater booked it. If you had booked it 20 years ago, it would have worked then as well. The patient will be seen as an opportunity towards profunding, as opposed to a joke or something that people refer to in the standard, oh, I don't like audience participation. As if saying, I don't like books. As if all audience participation were the same. In the future, audiences will get specific with description. They will learn to discuss art through description, consideration rather than likes and dislikes. They'll do this because artists and presenters will set the example and do it themselves. What's next is the barrier between the user and the maker. The audience and professionals will be diminished without diminishing authority. That means the talk-back will be seen as a failed experiment, but communing through the practice of creation will increase. We'll hang. Everybody will be in it primarily for the hang. What's next is a potluck. A gathering where we cook individual dishes but break bread together. One where I never eat unless you're able to eat too and I only eat enough to keep growing and never so much that it stops you from growing as well. What's next is we'll check ourselves when we start to allow past hurts to frame our current circumstance away from truth. We'll hone our observation skills so we're aware that the back section of the audience is filled with patrons who are special needs. We'll know when the emails are being used as a distraction. We'll keep showing up again and again no matter how tired because we are tired. We'll use our exhaustion to keep the wonderment of possibilities in our bodies. We'll use forms where our art can be more than imagined but in actual manifestation. We'll build an authority from considering the world as it changes. We'll acknowledge the calamity without feeding it. We will instead transform the calamity into communion. We will make a ritual out of wonderment, the wonderment of what's done. These two angels are fantastic and we love them very much individually right now. Soon those worthy please stand. I wish you a fantastic 2017 in this conference.


you are watching the internship power hour on town meeting TV let's see what the internship let's see what the interns are doing right now you can settle down on your first life you're watching town meeting tv and i'm so happy to be here yeah um don't mind me i'm just gonna hi everybody my name is chance y-a-y-a that's my last name so today we are coming to interview people's like how they feel about this worm and then how they gave like some good word like outside gail i have some of my friends there is i don't even know his name but i will ask hey avery um yeah we're going to go to a cooling center and uh around that area and just ask people what they do to cool off um and their thoughts just on the current heat um because we're all dying currently what was your name avery avery hi folks i'm andrew um yeah we're going to be going to cooling centers asking some questions about the heat and yeah yeah so good to thank you for allowing us to talk to you real quick um so my first question for you ten right is it right yep um how did what is your main technique for staying cool during these last couple of days my main technique drink lots of water you know just drink lots of water that's the main thing so that you don't get dehydrated and uh then the other thing is uh just be cool don't you know if you don't have to don't don't do too much don't work if you don't have to work outside don't if you do work outside do it early and if you have to work if you're outside during the heat of the day um big hat sunscreen drink lots of water yeah and take it easy don't you know just it's good advice good advice do you know about the cooling centers of the city that they set up i don't i don't know anything about that okay if you knew about the cooling centers do you think you would go um i don't think for me i wouldn't be necessary i'm lucky enough to to have some air conditioning in my house so i just go home and sit in the room with the air conditioning shut the door you know yeah so i you know i i don't need that i understand that there are many many many other people who don't have that privilege like i do so uh these things it's a wonderful thing it's a good thing well thank you for talking with us today okay guys have a good one and you do the same thanks hi prince um good to meet you and good to speak with you today um i got some couple questions for you what is your main technique for staying cool these last couple of days uh my main technique is probably staying home like find a place to have like ac or like fans and stuff because lately you've been getting hot like this weather nowadays if you go like under the sun it's like not good for you yeah i um i would akin it to being like taking damage like one percent just standing under the sun another question do you know about the city's cooling centers i've never heard about it um have you considered doing something like that i mean i know you said you go to different places just look for ac but like uh if you knew about a cooling center would you go yeah i would go yeah only what only like outside is like really hot and then i can just go to that place you just chill there yeah okay okay um thank you for speaking with us yeah your name's prince right cool like the singer yeah so hi zack um my name is andrew um this is avery and we're going to ask you some questions about the heat for the last couple of days um do you my mic do you um what is your like your main technique for staying cool for like the last couple of days staying hydrated it's a big one it's hard to stay in air-conditioned spaces with with my work in the parks department so it's important to stay hydrated for me um in the shade if i can um certainly swimming but we're obviously struggling with lake champlain right now um i'm not a ton of time without either but i love love staying hydrated i love staying cool anyway i can i love the heat when there's water so every once in a while i'll take a cold shower even i guess all good things cool um do you know about the city's like mandated cooling centers um i have heard a little bit about them yeah i believe there might even be one in this building but i'm not sure i wouldn't what what are the nature of these cooling centers oh i believe they just provide a public space for people to stay on when there is severe heat you know to the point where it impacts public safety um um do you see yourself like traveling to another cooling center today or no no i was pleased to see how well the ac is working in here today when i got back i was out in the field a lot of the day and um yeah my apartment's not as cool as here but it's certainly cooler than some places and um you know i feel very grateful to have a place that's comfortable enough you know personally so i'll say that's those spots for people who might need them yeah cool well thank you for your time yeah thank you guys so i just forgot your name i'm juliana juliana um thank you for speaking with us this is an interview with cctv um i'm going to ask you some questions about the heat and like how do you like cope with the heat pretty much okay is what is your main technique for coping with the heat um i think i try to maybe go swimming in the lake well obviously it's you can't swim in the lake right now but we're in a pool or drinking lots of water um maybe taking cold showers some things like that yeah all good things okay um that's cool do you know about the cooling centers i have not heard of the cooling centers before okay and if you knew about the cooling centers would you go i'm not sure um i've been working here this week and so we've just been staying inside a lot and um i'd probably probably go to my house where we have some air conditioning and stuff like that okay well thank you for your time thank you so nadia um thank you for allowing us to interview um do you know do you know if the city of vermont right so question do you know if the city has like done cooling centers before um i don't not to my knowledge i have no idea um what how do you stay cool during this heat honestly just drinking a lot of water and making sure like you're not spending too much time outside and like working out outside like spending less time outside if you're working out outside okay um any advice for people that like are traveling during this time um honestly once again drinking a lot of water but um staying hydrated yeah trying to stay inside even if you're like an outdoorsy person trying to stay inside um and also for people with pets to like make sure that their pets have water right gotta support the pet parents um yeah that's cool well thank you for speaking with us all right coming back to y'all we've uh visited some cooling centers we've talked to some folks um what did y'all think that thing i'm thinking about like when you go in the sun is too hot but when you're coming under the shadow of that tree you can feel like good and excited of yourself and your body that way you feel so that's the only things i think what do you think about um i found the cooling center is really interesting before today i didn't even know that um those were things that existed um and i think that's a really cool ha ha pun um a really cool like option for people that don't have a c and it's like a way to cool themselves off and yeah yeah my final thoughts are stay cool and cooling centers should be more of a thing everywhere my name is alex and you're watching town meeting tv hi welcome my name is akila and we're about to do a kilo on the beat i'm here with my lovely co-host chains here with olivia and today we're going to be talking about the historic flooding that's been sweeping all of vermont we're going to talk to some people and see what they think stay tuned yeah let's go all right let's go um have you known anyone that's been personally affected by the floods are you yourself uh yeah i own hallow herb farm it's a medicinal herb farm here at the interrail and i also work for pitchfork farm and yeah we've both been flooded out right now um and how have you guys been able to like cope with those things or what is like the recovery process that you guys might be going through to deal with the thunderstorm that's coming this afternoon well we're just trying to basically get everything kind of secure as much as we can now and um we did a lot of things as the flood was coming in to like get the tractors in and get all the infrastructure in as much as possible and then before the flood hit it was really fast we had short notice so we had a lot of like volunteers and people come down and just try to harvest as much as we possibly could before the waters hit that's very devastating and i'm sorry that you were affected um do you feel like the community definitely like rally behind you um and again like the communal support that was available during the floods yeah there is a lot of people came out and um people have been really nice like donating food and donating like water and like different things like that so it seems like the community has been really good and people have been pretty aware and now a lot of people want to help now but we can't even really get out to our fields far enough to really assess the damage yet so we're still we're in the very beginning of recovery phase so we're just going to talk a little bit about these floods that have been happening do you know anybody that's been personally affected by the floods um only in minor ways luckily so nothing major anything you want to spill uh just events that have been canceled and people's landscapes that have been messed up but not their houses okay and just one more question how do you feel about it do you feel like it may affect i know you just said you worked in the garden house like do you think it'll affect any of your business or just general effects on the community at all yeah i think it'll affect our business a little bit but hopefully we'll bounce back pretty quickly afterwards too so you know people have to focus on recovery and not shopping and gardening and things like that right now but they'll get back to it absolutely have you yourselves or anybody that you know been personally affected by the floods yeah i actually have a friend who has a bar down in Ludlow and that should just got flooded completely it's very messed up he's gonna have to either sell it or do something else with it um but yeah i don't know there's been a lot of flooding up here and all global warming related so definitely yes exactly i didn't personally no i haven't had too many personal issues with the flood but i've seen a lot of businesses just destroyed total like sucks to see you want to see the community get better yeah definitely yeah i haven't had a lot of personal issues with the floods either but i've seen like mont peeler and pictures and all the flooding there and it's terrible and i hope i'm praying everybody is safe and you know hopefully it clears out and you know with the storm coming tonight i hope everyone is getting prepared or ready for that as well because it's gonna be detrimental probably yeah how are you guys gonna be hunkering down for the flood that's about to come you have some games in mind or i'm gonna try to do some deliveries because i'm making money right now yeah totally if the roads aren't too bad though isn't there there's gonna be a tornado warning up here i heard that yeah that's never like happened in her mind with major disasters left and right yeah it's crazy so are you guys gonna be doing working yeah yeah we're probably we're going to our probably our colleges and e-sports center and just gonna stay in there for the whole storm maybe and just yeah either inside yeah keep indoors what school are you guys at oh a Champlain Champlain College okay hey neighbors i'm a Champlain student okay well thank you guys so much it was very nice meeting you guys and stay safe yes as you can see down below we have a road closed sign here at the interval preparing everybody for the impending thunderstorm that's going to hit later tonight you're watching towning tv and i'm so happy to be here yeah um don't mind me i'm i'm just gonna let's see what the internship let's see what the interns are doing right now you're watching towning tv and i'm so happy to be here yeah um don't mind me i'm i'm just gonna you're watching towning tv and i'm so happy to be here yeah um don't mind me i'm i'm just gonna you're watching town meeting tv okay i'm so done for this come on i'm so done zax and you're watching town meeting tv


Hello everyone. Myself AS Phalmari Assistant Professor, Department of Humanities and Sciences, Valchan Institute of Technology, Solapur. In this video we consider few more different types of examples for finding the roots. Learning outcome at the end of this session, students will be able to find the roots of a complex number using de Moivre's theorem. Now let us consider the first example. Find all the values of 1 upon 2 plus i into root 3 by 2 whole bracket raise to 3 by 4 and show that their continued product is 1. Now the solution. Now here we have given the complex number in Cartesian form. So our first step is to express this Cartesian form complex number into polar form. We know that any complex number x plus i y can be written in polar form as r into the bracket cos theta plus i sin theta where we have to determine two quantities r and theta and that are given by r is equal to under root of x square plus y square and theta is equal to tan inverse of y by x. Comparing given complex number with respect to number x plus i y, we get the value of x as 1 by 2 and y as root 3 by 2. Now let us calculate r. r is equal to under root of the formula is given here x square here x is 1 by 2 so that we can write here 1 upon 2 bracket square plus and the next quantity is y square here y is root 3 by 2 therefore we write here root 3 by 2 bracket square is equal to under root of 1 by 2 square is 1 by 4 plus and root 3 by 2 square is square of root 3 is simple 3 divided by square of 2 is 4 is equal to under root of now here the denominator is same we can write it as it is 4 now the numerators are 1 and 3 that is 1 plus 3 is 4 and under root of 4 by 4 we can cancel 4 from the numerator and denominator we get it as root of 1 and root of 1 is a simple 1. Next calculating theta, theta is given as theta is equal to tan inverse of y divided by x that is equal to tan inverse of here y is given as root 3 by 2 divided by and x is given as 1 divided by 2. Now writing it now we can see that this 2 is in the denominator and this 2 is nothing but in the numerator after rewriting it so we can remove this 2 we get it as tan inverse of root 3 and we know that tan inverse of root 3 is nothing but pi by 3. Therefore we have obtained the values of r and theta we can write down the given complex number 1 upon 2 plus i into root 3 by 2 in terms of polar form as here h is r into but the value of r is 1 therefore it is 1 into the bracket cos of theta here we have obtained as pi by 3 plus i sin pi by 3. Now we have to take the 3 by 4 power of this complex number so let us take 3 by 4 power on both sides we get 1 by 2 plus i into root 3 by 2 bracket raised to 3 by 4 is equal to again taking the 3 by 4 power on the right hand side we get it as cos of pi by 3 plus i into sin of pi by 3 bracket raised to 3 by 4. Now actually we want to write here the power somewhat like 1 upon n in order to write it in terms of 1 upon n I can write this numerator power inside like this this is equal to internal bracket cos of pi by 3 plus i sin pi by 3 this internal bracket raised to 3 and whole bracket raised to 1 by 4 now first we will apply de Moivre's theorem for the internal bracket we get cos of 3 pi by 3 plus i sin of 3 pi by 3 and whole bracket raised to 1 by 4 as it is we can cancel these three from cos and sin and we get it as cos of pi plus i sin pi bracket raised to 1 by 4 this is nothing but the fourth root of a complex number cos pi plus i sin pi we know that the nth root of any complex number cos theta plus i sin theta is given as cos of 2k pi plus theta upon n plus i sin 2k pi plus theta upon n now here theta is pi and n is 4 therefore we get z is equal to cos of 2k pi plus pi upon 4 plus i sin of 2k pi plus pi upon 4 here a is equal to 0 comma 1 comma 2 comma 3 now this equation will provide us all the required values of given complex number finding them one by one now from this let us take pi common we can write z as z is equal to cos of after taking pi common we get inside the bracket 2k plus 1 into pi upon 4 plus i into sin of 2k plus 1 into pi upon 4 for k is equal to 0 now substituting k is equal to 0 and denoting the value as z 0 we get if we put k is 0 so it is 2 into 0 is 0 0 plus 1 is 1 into pi that is simply we get it as pi by 4 therefore we can write z 0 is equal to cos of pi by 4 plus i sin of pi by 4 we know that the value of cos pi by 4 is 1 upon root 2 plus i into again the value of sin of pi by 4 is 1 upon root 2 the next value of k is 1 we denote that complex number by z 1 and is equal to cos of 3 pi by 4 plus i into sin of 3 pi by 4 and it is equal to cos of now we can write this 3 pi by 4 as pi minus pi by 4 plus i sin pi minus pi by 4 and we know that cos of pi minus theta is nothing but minus of cos theta using this relation we get here minus cos of theta is pi by 4 plus i sin of again applying the result sin of pi minus theta as simple sin theta we get here sin of pi by 4 is equal to now writing minus as it is value of cos of pi by 4 is 1 upon root 2 plus i and value of sin of pi by 4 is 1 upon root 2 the next value of k is 2 z 2 and it is equal to cos of 5 pi by 4 plus i sin of 5 pi by 4 now using the result cos of pi plus theta as minus cos theta and sin of pi plus theta as minus sin theta we get it as z 2 is equal to minus cos pi by 4 minus i into sin of pi by 4 that is equal to writing minus as it is value of cos of pi by 4 is 1 upon root 2 again writing this minus i as it is and the value of sin of pi by 4 is 1 upon root 2 and the last value of k is 3 we will denote the value of z as z 3 that is equal to putting k equal to 3 here we get 2 into 3 is 6 6 plus 1 is 7 so we get it as 7 pi by 4 now here we get z 3 is equal to cos of 7 pi by 4 plus i sin of 7 pi by 4 is equal to now writing this 7 pi by 4 as cos of 2 pi minus pi by 4 plus i sin of 2 pi minus pi by 4 again using the result cos of 2 pi minus theta is simple cos theta and sin of 2 pi minus theta as minus sin theta we get here z 3 is equal to cos of pi by 4 minus i into sin of pi by 4 that is equal to value of cos pi by 4 is 1 upon root 2 and this minus i as it is and value of sin pi by 4 is 1 upon root 2 now these are the z 0 z 1 z 2 z 3 are the all the values of given complex number 1 upon 2 plus i root 3 by 2 whole power 3 by 4 now the next problem is we have to show that if we take the continuous product of all these values z 0 z 1 z 2 z 3 so it must be 1 it is we have to show that now consider their continuous product z 0 into z 1 into z 2 into z 3 is equal to z 0 here we have obtained as 1 upon root 2 plus i into 1 upon root 2 into and z 1 we have obtained as minus 1 upon root 2 plus i into 1 upon root 2 into and z 2 we have obtained as minus 1 upon root 2 minus i into 1 upon root 2 and finally z 3 we have obtained as 1 upon root 2 minus i into 1 upon root 2 now here we can see that a complex number present in the first bracket and a complex number present in the last bracket both are the complex conjugates of each other and we know that the product of a complex conjugates is nothing but the sum of the squares of real and imaginary part so real part of this complex number is 1 upon root 2 and imaginary part is 1 upon root 2 so the product of these two complex number we can write as 1 upon root 2 square plus 1 upon root 2 square into again we can see that the complex number present in the second bracket and third bracket are also complex conjugates of each other again using the same result we can write its value as square of real part and here the real part is minus 1 upon root 2 plus square of imaginary part the imaginary part is 1 upon root 2 and that is equal to square of 1 upon root 2 is 1 upon 2 plus again here it is square of 1 upon root 2 we can write 1 upon 2 into and again here it is square of minus 1 upon root 2 which is nothing but 1 upon 2 plus again it is square of 1 upon root 2 is 1 upon 2 now for in the first bracket 1 upon 2 plus 1 upon 2 is 1 into again in the second bracket it is 1 upon 2 plus 1 upon 2 which is also 1 and 1 into 1 is 1 now here we have shown that the continuous product of all the values of a given complex number is 1 pause this video and write a complex number 1 plus i in polar form i hope all of you have written the answer the problem is to write down a complex number 1 plus i in the polar form and we know that any complex number which is present in the Cartesian form like x plus i y can be written in polar form as r into the bracket cos theta plus i sin theta where r is given as under root of x square plus y square and theta is given as tan inverse of y by x now calculating r r is equal to under root of x square plus y square is equal to under root of 1 square plus 1 square that is equal to root 2 and theta is nothing but tan inverse of y by x is equal to tan inverse of y is 1 divided by x is also 1 that is equal to tan inverse of 1 and we know that tan inverse of 1 is pi by 4 therefore the given complex number 1 plus i can be written in polar form as root 2 into the bracket cos of pi by 4 plus i sin of pi by 4