We're going to help these guys get to know you a little bit better with the round of applause. Please tell me How many of you have lost colleagues who have either left the city to make their art or left the profession due to financial stressors? How many of you have worked in a space that has closed in the last 10 years? How many of you work in companies or groups with annual budgets over two hundred fifty thousand dollars a year? How many of you currently have debt related to production costs or student loan debt related to your personal income? You can cover your rent by only working a temp job three days a month like some did back 35 or 40 years ago. How many of you here promised to vote not just in the general election in November 7th but also in the primary in September 12th? Three one. Thank you very much for coming. We made a gap in the center there. So if you want to come down, that's great We have two microphones here for your use. A quick little thing. We're going to have two minutes. At 30 seconds you're going to hear the bell. At one minute and 30 seconds you'll hear the bell. At two minutes you'll hear the concertina. We are short on time so I'm also going to start yelling at you. Stop. Okay. Great. So here we go. Icebreaker question. We want to know honestly where you stand on things using the name of the restaurant only. Where can you get the best pizza in New York City? Starting it down on the end and working all the way around. Use my privilege. Oh sorry. I'm a Italian so I can take this pizza out today in Midtown. I have some very good choices but I'm going to go with Angelo's. I think it's fifty first and second. Okay. It was Mariela's that close and it was Four Roses that also close. But now I'm going to say Delizzi on the Upper East Side which is a favorite of mine. Hi my name is Ed Santos. My favorite pizza place is in East Harlem at Pat's. It's a pizzeria. Hi my name is Arden Walentowski. My favorite pizza place is Grandpa's up on Broadway up in Inwood and they know my order. I know where I go. Hello my name is John Joanne Joseph Jr. and my favorite pizza spot is the Dollar Pizza Shop. I have here the correct answer is Anywhere but Kiss My Slice on 4th and 8th. Here we go. The first topic for this panel is the cycle of gentrification. There's good and there's bad to gentrification. When indie theater comes to an area restaurants do well, bars do well and in the increased foot traffic can help make safer public streets. But we also create tensions and push people out of the area. The cycle of gentrification is complete when the creative class is priced out of the area. So here's a two part question. What can indie theater people do to be good citizens when they move into an area? And what can you do to help us stay in the vibrant parts of the diversity in your districts? You have two minutes to respond. First of all, thank you so much to the League of Independent Theater. It's such an honor to be here. My name is Margie Speranza. I'm a candidate for City Council District 4. Those of you not familiar with the district, it starts at 14, goes to the Upper East Side. It does include a lot of Midtown, so an area that's certainly dense with independent theaters. And as you know, a lot of luxury towers going in and as that happens it just places not only residents but small businesses. Small business is a passion of mine. I'm a former small business owner myself. Prior to launching this campaign, I ran a program for the city called Women Entrepreneurs New York City. We work specifically with women from underserved communities to help them starting and growing their small businesses. I certainly understand the importance of preserving the fabric of our neighborhoods in terms of allowing these small business owners to thrive. What we can do is support them, shop at them. I'll give you an example. In Stytown, there's a very popular bagel shop called Esther Bagel. You know, when I have been up and down the district talking to residents and small business owners, and Michael Wenzelberg said to me, you know, I don't think there's going to be any small businesses left in New York City in 20 years. And that's a scary thought for all of us in the room. But the reality is that the city needs to support our small business across the city. That's right. And so what we can do is we can think outside of the box programs like we NYC that connected entrepreneurs with funding. These are micro businesses. People in the room that might be part of independent theater might not think of yourself as an entrepreneur.  And so there's a lot that you can do in terms of keeping your businesses thriving. And as consumers, we of course need to. Sorry. Thank you. My name is Jeff Mailman and I'm running for City Council District 4 as well. The first part of your question is what can you do to be good neighbors? I think you are good neighbors already. I think this community treasures the local businesses. And that's why you're looking so hard to find space so that you can stay. Put it off. There you go. I hope you heard that first time. And in terms of complaints, noise complaints, that's the number one constituent issue. I don't hear emanating from lit or so were thought. In terms of what the City Council can do to support independent theater and arts. Well, I think that we should look into, like SBS has a tons of programs to help manufacturers at their special zones, financing their people to help small manufacturers find staff to hire and to expand. And I want to explore to see if SBS is providing those type of services to the cultural groups and to theaters. I think that's a big step that we can take. And in terms of finding space, as you said, that's your number one priority. So that would be my number one priority. I think I would look to partner with cultural institutions in the district and throughout the city. And perhaps in exchange for investing in capital improvements that the tools desperately need, we can maybe work out a shared space arrangement. This is just some one option that I would look to explore. I'm going to get you reported. So my name's Keith Powers. I'm also candidate for the Ford Council District. Thank you guys for having me. I was a last minute addition so I get the written name tag, but I appreciate you guys giving me the same audience. So I grew up just about 10 blocks from here in Stuyvesant, Peter Cooper. I remember the East Village when it was cool, I guess, and when it was hip. And before it got expensive for a lot of people to live here. And people who really were the fabric of the East Village and made it sort of the place where there was a destination for people to come for the arts and culture. I watched sort of the transition myself. And in terms of the question about good neighbors, I agree with Jeff, which is you guys are good neighbors, no question about it. The question of gentrification, tackling gentrification, it's prices and affordability. So we have to tackle on the real estate side, the business side, the question of how to preserve businesses and independent theater spaces, art spaces. On the side of housing, we also have to make it affordable for people to live here. The East Village could be a place where people can begin to live here and grow and raise families and so forth. So I'll take both of those. On the cultural space question, I think it's partially a land use and zoning question. I think we can incentivize more cultural space when we're using the land use process. I think we can create special, we have benefits and density benefits already that exists if you build a school, a community facility, if you do all sorts of other things. I think we can really strengthen the density bonuses around creating origin cultural space, put it at an affordable rate. And we can also give things like tax breaks to developers for also building the kind of space they're looking for in 30 seconds. So I think that's a big part of it. We also have to drive down prices around the way places where people live. One, preserve good affordable housing like the rent regulated apartment I grew up in. We have to keep it rent regulated. We have to create actual new affordable housing that's actually affordable. We can't make affordable housing, call it that and people can't afford it once they already have a family and grow. So real affordable housing and on small businesses, I think you should take... I'll leave that at that. I have a small business plan I'll talk to you guys about that. Thank you. My name is Edward Santos. I'm here running for District 8 which is in the South Bronx. In terms of the first part of the question, what can we do? I think just being out in the community has always been a great idea. When I was a teacher in East Harlem, we had artists come in and show students how to do certain aspects of their art. I remember when I was a teacher, improv artists came to me and taught me how to present better. And I started taking a bunch of improv classes, the UCB and Maga Theater. For me, I think just being out in the community and actively going out to different places, whether that be schools or small businesses. I know so many small businesses out there who want to have really unique art on their walls and they don't have anything. So it's really, I think, it's going to be a combination of the artists just being out there, putting out their work and then also just knowing where to connect people. In terms of the second question, things that I want to do is just make sure that we have affordable housing in the community. So when I think about that, I think about PS109 which is across the street from where I live. And I know all of you know about PS109, but it used to be a school and it converted to affordable housing units specifically for artists and those individuals who work in the arts. And I remember the process of applying.  And I think PS109 is a model of what we can do in the city. It's a great space to see theater and see art, but also keep things affordable for the city. Thank you. Hi everyone. My name is Arden. I'm running for City Council on District 10 which is Washington Heights, Inwood and Marble Hill. I was an actor for about five years. I went to school in New York and produced theater that went up in independent theaters all across the city. I auditioned at Wow, which is down the street. Yeah, all over. So I understand what it means to produce theater in New York City. In terms of gentrification, I think one of the first things, I was a gentrifier in my neighborhood 13 years ago. I moved there because I had a friend who was an opera singer and she lived there. And people continue to move out of portions of lower Manhattan to the boroughs and up from Manhattan because that's where they can afford to live. So I think one of the first things that we can do when we move to a new neighborhood is just acknowledge that we're doing that. And I think as white folk, especially me in a district that's heavily Dominican, I think that's something that I have to acknowledge on a daily basis. I don't think that it, you know, I think I agree with everybody on the panel who has already said that we are good neighbors. But I think that we just need to be, I know that I have had to be a little bit more aware of my presence in the community that I might have had to, but had to have been in a different district. In terms of what I would like to do in office, I definitely want to focus on affordable housing. There is affordable affordable housing going up in the district. And I think that having a mandatory inclusionary policy for having a portion of that housing going to artists in the neighborhood is essential. Inwood and Washington Heights tend to be places where artists go because it is still it was one of the affordable places left in the city. It was easy to commute to from the theater district. A lot of artists have come out of there, so I think it is essential that we focus on affordable housing. My name is John Joyner, Joseph, Jr. And I'm running to Representative for the City District of San Francisco, North Carolina Heights. As a young man, I understand the need for expressionism and arts and performing arts. And the need for the affordability in housing. And the benefit that performing arts and art has, I developed what is called the Equal Living Cost Rights Law. Well, it's a petition. And if I was elected, I would want to see enacted into law, which calls for 50% of units in that developers bring to city council. 50% of units within residential buildings would have to be put aside for low income and low income for youth and adults. Gentrification is not a black and white issue. It's a money issue. And so we have to focus on how we can bring finances to residents and invest in residents. One way of ensuring that artists can bring their talent into their district is to work with community boards. And also ensuring that a space is utilized by working with community board, developers come to community board to get approval. And so this is where opportunity lies to fight for affordable housing. Thank you. Thank you very much, Candace. We're going to move right along to our lightning round questions. So raise your hands if you are willing to be a co-sponsor to Ben Campbell's City Spaces Initiative to create searchable database for of unused or underutilized city owned spaces. Raise your hands if you will clearly and visibly list your stances on issues facing indie theater and performing arts on your web campaigns website and literature. Raise your hands if you support expanding the theater sub-district fund to include arts organizations with budgets below $250,000 a year. You support the promotion of indie theater to the more than 61 million visitors coming to New York City every year. You can commit to working with the league to create new non-traditional spaces suitable for indie theater performances in your district. You support campaign finance reform and getting money from PAC Super PACs or special interests out of political campaigns at all levels. You support New Yorkers for culture and arts requests to increase the funding by $40 million in the city's budget. Our second topic for this panel. Yes. I was the only one who didn't raise my hand about the union impact questions. I just want to say just briefly, I'm participating in the city's matching funds program. So what it does is it places caps. It doesn't say you can't take from unions or PACs, but it places caps. And it's a world-renowned program, but that's in the country. And so that's why they raise my hand for that question. All right. Thank you. All right. So it's like a topic for this panel relates to Planets 5 and 10, which cover housing and the creation of cultural districts. As had been mentioned in 2014, the El Barrios Art Space PO-109 was created, which gave us 89 units of affordable living working housing for artists and their families. But last week, Governor Cuomo announced a proposed $1.4 billion vital Brooklyn project in central Brooklyn to get more affordable housing, parks, and athletic fields. But no mention of anything arts related in that proposal. So players' choice question, where in your district might you create a new cultural district and why? Or where and how might you create more lived workspace for indie theater artists in your district? You have two minutes to respond. Thank you so much. So certainly affordable housing is New York City's greatest challenge. And I think when we're looking at that challenge, it's also important to recognize the tremendous impact, economic impact that the arts have on the city. So you mentioned the 60 million tourists coming in. Many of them to see off-off Broadway shows, independent theater. And the impact of those people coming to our city is really tremendous. What you have is a sad state when the independent theater is employing tens of thousands of people. And yet it's one quarter of 1% of the city's budget that goes towards the arts. So clearly there's an issue in terms of prioritization. There needs to be more resources available for those in the arts so they can continue to be successful and thereby make this city successful in its arts programming. Of course, affordable housing would be great to see complexes like Manhattan Plaza on the west side, on the east side. So I would advocate for, you know, in the midtown east area there are lands. We should definitely be looking at both underutilized and undeveloped city-owned properties to create those sorts of not only housing but performance and rehearsal spaces that are so desperately needed to maintain this culture. New York City prides itself on being the cultural center not only of the country but of the world so it's absolutely essential that serious dollars go behind these efforts. This isn't optional. This is something that's very much part of our city's identity and economic health. In District 4, I think that the best opportunity to create cultural space and I think when anything development is proposed that cultural space should be one of the elements that's evaluated in addition to schools. So if you're going to cite X number of residents, 500 or so, you look at the impact on schools. I think cultural space in our district is well senior space and I think it was Mary who mentioned it's a perfect partnership. It would be senior space in cultural space and I think it's through those developments and as they arise in this district and if they happen, if they go through the Euler process or so, I think that negotiating with the developers and taking input from the community boards is to see exactly what's needed and to see what can be worked out just like public spaces are often negotiated with one Vanderbilt, the tower to be built right across the street from Grand Central. Dan Gorognik said a great precedent and before that building can be occupied, the developers making $220 million of improvements to Grand Central Station and so I think that that model, that framework is wanting to be followed going forward and I think that it's through those types of developments that we'll see, we'll get tangible results and see more space created and I do know that if the council member is on board and truly values cultural space, then in a project, you know, and you want to see a project go through that if it's of importance to the council member, it's likely to happen and so I think that that's the best approach and just like with these developments that fire houses, more city services other than schools need to be incorporated into that process. Thank you. I'm going to go easier further. I'm going to say that, you know, I think we have to actually provide real incentives. I think that even not just encouraging them to do it but actually putting things into zoning code and into our tax laws, that act of property tax laws which the city does control to actually incentivize it, I think we have to go further than just sort of asking them to do it and we actually have to go out as a city council member and do it. So I think that when we are doing the land use and zoning process, I think we can really, we always do these density bonuses, we always do, we bring these rezoning to us and developers ask us for things and we ask for things back and I think actually having in the zoning code and also as council members and council candidates thinking seriously about how to use our land use process to incentivize cultural space. We like all the stuff that we put in, but also making cultural space at the front of priority in terms of what we ask for when they build space. I think that's one and then also really looking at our property tax code about whether there are other incentives we can give to build affordable housing but also to build space in the bottom of it that can be cultural and art space. So I think we can even do more than encourage, I think we can require or at least incentivize the entire issue of affordable housing. I can talk for an hour about it, but I do want to say as we're creating this little work space we have to make sure we're creating good affordable housing in New York City. I will go back to what I said earlier which is that driving the prices down of our and creating real affordable housing has to be a priority for the city, the mayor and city council for the next four, eight, ten, twelve and twenty years we have to create those short-term and long-term affordable housing. We have to strengthen tenant organizations, strengthen the existing housing stock we add and we have to actually get real about building affordable housing that's affordable for people, not the thing we pretend is affordable. First I want to say I'm disappointed Andrew Cuomo's inability to put in art in that budget improvement. It's very sad. I think that that's not a part of every single aspect of renovation that happens. The first part of the question is where can we create some cultural districts and some corridors. In my district in East Harlem and the South Bronx we have a bunch of these different business corridors, almost 16th and 1.5th street that I think are so interesting when I was an improv actor. I used to go under triple crown and be able to do this free stuff and take my friend and do a few shows there. And I find that ability for a public slash private partnership to be really interesting. So I think when we think about trying to create those cultural corridors we look to businesses and those small businesses to be able to say, hey look, we can put some art in there. We can put artists and create theater in the different shops that are not being used and be able to kind of create that corridor in place. The next part is where can we create the live workspace that's affordable. When I think about East Harlem right now it is under this massive redistricting and so we have this great opportunity to really work with our city government to say, hey look, art spaces need to happen in our community. And so right now we're actually in this fight and so what I'm doing is I'm fighting to make sure that we have affordable spaces not only for artists but for those who can't afford to live in my district. And so I think those, taking a look at those unique opportunities and advocating for mandatory affordable housing priorities is going to be the key to be able to get those spaces in place. I want to echo what Edward said about concern regarding the governor's inability to put arts funding in the Brooklyn Project. That's where it's at. Art is the money, independent theaters need money. If it isn't budgeted from the beginning it's really hard to get down the road. It needs to be in there. When we're talking about affordable housing up in District 10, District 10 Washington Heights and Wood has one of the most concentrated amount of rent controlled and rent stabilized apartments in the city. They need to be protected. Whether that means making a big loud stink to Albany and saying you need to protect their affordable housing here in the city whether that means making sure that developers, if they come, put in affordable housing units in their buildings, that's important. I think one of the, touching on Point 10 of the platform, I think one of the most important thing we can do to help make New Yorkers aware of the independent theater community is by naming things and putting clocks on things and naming streets because it's things that people see. People can appreciate something that they don't know exists, that they don't know, that they can't see on a daily basis. And if they see a name on a street absolutely they could look it up and be like, what is this person's story? What did they contribute to my community? I would totally support that. In terms of cultural districts, one of the other things that District 10 has a lot of is parks. So there's no reason that Shakespeare in the park, that kind of thing can only happen in Central Park. They need to be fixtures and foundations in our communities and the parks spaces and build community centers for our artists to be able to work. So, where? In Bethesda, there is the Restoration Plaza, which is a lot of big space, tons of space in which I want to see plenty of our artists, entrepreneurs, young people promoting free space for anything that one may or might want to do. How? Well, it's about organizing and bringing together each other in the things that matter, the things that matter to us. It's networking in some way. So we have to bring each other together, networking in a place like the Restoration Plaza, in which we all bring our ideas together and we work together and we make plans and we structure that way by networking. Living workspace for artists is very important because doing your work, your creative art forms in your living space is not only inefficient, but so basically the Restoration Plaza of bringing our young people to the Restoration Plaza and networking and developing each other. Thank you. And one quick lap up starting on the end over there. This is the closing guest. So I guess today really underscores the power of the cultural and artistic community. I know there are 50,000 members of Lit and you're putting on collectively, I think like 2,000 productions a year, which is immense, but you made time to come out tonight to advocate. I was so pleased to see Controller Stringer earlier. I know that he was instrumental in sort of saying we need to organize and it was on all of the members here who created not only a roadmap, but came up with really creative solutions and I think that is so important. It's one thing to say you care about an issue, but to really get the power behind it and have your messaging so that you can make things happen is what it's all about. It was an honor to be part of this conversation. The arts are immensely important to me. I commit to you that if I have the opportunity to serve in council, I will absolutely be your advocate, be your voice. I think New York City is nothing, it's sterile, it's barren without the arts. So thank you for all you do. I want to thank you all for having me here tonight. Just some personal background. I grew up going to public schools and was fortunate enough to always have access to auditoriums and participate in plays and school fan and really perform in some great venues. And I grew up going to theater and so I certainly, I so appreciate it and it adds so much to life and some of my fondest memories are watching shows with my family. And so as a council member, I would certainly want to preserve space in the fact that we're in this theater. It's such a cool place. I don't want to see this theater or any other like this close. And also funding, what's controller stringer mentioned earlier, that bill that he, the report that he issued about arts education and then all the funding that ensued. I helped to draft the bill of the council member Crowley to do the same thing for physical education in public schools. We got a transparency bill and then tens of millions flowed in to bring schools up to speed in terms of gym. And so arts, gym, these are all elements for standard education. Thank you. Thank you. Again, I agree. Thank you guys for being here. I know that it could be anywhere, but tonight you put to be here and participate in a really big deal and I appreciate it by all of us. And I have to say congratulations to all the candidates because it's a lot to get up here and to run. So congrats everybody who's taken the risk. So thanks again. My name is Keith Powers. I look forward to talking to you guys after this, but I would obviously seek your support here and ask if you're looking for a campaign to volunteer for it. So somebody you know in the fourth, please take a look at Keith Powers at NYC. I'm very committed to the arts. My prior job, we helped establish the Department of Education's Art Education Committee. We had work on legislation around the Council of Arts. I actually should say I am being supported by Councilmember Ben Kalos who has your legislation on the city's basis and I'm very proud of that. I think Ben knows we can work together around issues around creating cultural art space and supporting school businesses and entrepreneurs. So very proud of that. I will leave it at that. Thank you so much. I look forward to seeing you guys out there on the campaign trail. Thanks for being here tonight. Hello again. My name is Edward Santos. I just want to thank Lit for taking the time to organize this. I grew up in a working class immigrant family and when I'm city councilman, I want to focus on good schools for kids, good jobs for people and affordable housing for everyone. Believe it or not, English was my second language and my mom basically put me into musical theater so I can speak English and it was this amazing experience for me. So I know how arts can make New York City better. In fact, I think artists are the lifeblood of New York City and I look forward to your support. On September 12th. Thank you. Hi again. My name is Arden. I'm running under strip 10. I mentioned before that I was an actor. I still currently work in arts administration and theater administration. When I moved to New York City 13 years ago, the theater was my community and the good thing about having a theater theater community is that they are everywhere. Theater people love to communicate. They love to get together. They love to be active and that is a valuable resource. You should continue to do that. Even when you think that maybe your voice doesn't matter as much, you have to know that it does and you have to reach out to your representatives. As a city council rep, I promise to pursue items on your platform, housing, affordable rehearsal space, supporting the city spaces bill and growing public-private partnerships. I went to two education-related events in my district recently. They were both held in wonderful auditoriums that were nicer than most of the theaters I performed in when I was an actor. We really need to use the spaces that are there. I hope that they are supportive. Hello. Thank you again. My name is Arden. Thank you. I like to guide directors and producers, actors, young people. We'll keep up the good work and we have to stick together so we can ensure that our work transitions into the next generation. I grew up watching movies like Coors Line, like Harper's Show, and I understand how theater, performing arts and art is a social development for young people and for adults. Young people need to be with our artists and our performing artists so that social development can transition into our music. Thank you all. As I say, I'm learning for 36 District City Council, representing Back to Star Racing and North Carolina Heights. Thank you. Thank you. We are going to take a little quick five great class minutes and then we're going to have to sit back up for our final panel.


In the previous video, we looked at social networks on the micro-level, talking about individuals and local clusters. In this section, we'll be adopting a more macro-level perspective that focuses on the overall network structure within which individual actors are embedded. This top-down perspective we'll be following in this video seeks to understand and describe whole populations by the makeup of the overall network. Many among our considerations here will be the network's overall density of connections, its average path length and degree distribution. Overall network density is a primary determinant in the makeup of any network. With density, we're simply asking how many connections are there relative to the maximum possible number of connections. Network density can be understood in terms of interaction cost. The easier that it is for an agent to make a connection, the more connections we're likely to have. Network density is a very fundamental parameter in that it defines the difference between a social system that is a network as opposed to being a simple group of people. At a low level of connectivity, we're dealing mainly with individuals in isolation. Here it is the attributes and properties of those individuals in isolation that really matters. When we turn up the connectivity, this is no longer so much the case, it's now the nature of the network that you're a part of that really matters. This is captured by the famous saying, it's not what you know, but who you know. If we're dealing with a social system with a low level of connectivity, then it does matter what you as an individual know. But at a higher density of connections, it is more what your network knows that comes to matter. When we see this with the internet, we ourselves used to have most of the information and knowledge that we would use on a daily basis, but now much of the information that we use, we do not have ourselves, but it is instead in the network. Thus, as we turn up the degree of connectivity within the social system, it is no longer the attributes of the agents in isolation that is so important, but instead their capacity to interoperate provides something of value to the network and ensure their connectivity to that network. As another example, we might think about the difference between so-called introverted and extroverted people. Introverted people with a low level of social connectivity have to rely heavily on their own capabilities and they're often more self-resourceful than others, whereas extroverts who can rely heavily on their social network may not have such personal capabilities, but instead are particularly good at accessing the skills and resources that they themselves lack through their social network. Overall connectivity is then a primary determinant within any social system, and also one of the major determinants to the nature of power within that organization, as within a social system that has a very low density and loose coupling, not much power can be exerted. In high density social systems, there are more and stronger channels through which power can be exerted. Network density is also a key determinant to average path length. Here we're talking about how close two agents within the network are to each other on average. This closeness is obviously a very important factor in terms of network cohesion and interdependence. As we scale up the number of components to the social system, this creates longer path lengths between members. This can stretch and break traditional forms of social cohesion. A longer, average path length is like an outward force disintegrating the social system as it puts people at longer distances from each other with a lower sense of interdependence. We may also note the longer the path length, the easier it is for subgroups to form and disintegrate the overall social network. Agents act and adapt to their local environment. If we turn up the average path length between agents or groups, they will not identify with or adapt to those other members further away from them, and we may get the formation of incompatible local clusters. Trying to achieve global coordination within such a system would likely mean having to impose it in some top-down fashion. But now if we turn down the average path length, which might happen through better transportation or communications technologies, people now interact more often, making it easier for them to synchronize their states and easier for them to recognize their interdependence and common identity. Probably the second most important question we can ask about the overall structure to a social network relates to its degree distribution. Degree distribution is a measure of how evenly or unevenly the degrees of connectivity are distributed out among the agents. It is asking the question, do some people have lots of connections and others have very few, or does everyone have roughly the same degree? This is clearly going to tell us a lot about the nature of power within that system. A high degree distribution will mean inequality of some kind that will be detrimental to social integration, and it is in many ways this inequality and connectivity that is the means through which power can be exerted. This degree distribution tells us a lot about how centralized or distributed the overall network structure is. At a low degree distribution, all actors have relatively the same amount of connections, thus they would be what we consider peers, and we would get many peer-to-peer interactions giving us a distributed network. As an example of a distributed social system, we might think about the Israeli Kibbutz, which are collective communes in Israel that are traditionally based on agriculture. Within the Kibbutz, the principle of equality was taken very seriously up until recently. Members did not individually own tools or even clothing, they ate meals together in communal dining halls, and major decisions about the future of the community were made by consensus or by voting among all. Distributed social systems like this have limited centralized institutions, everyone is responsible for maintaining the system and power is thus distributed out. Although distributed social networks may exist, they are often the product of some random process or a small informal network, or they may be a network in its early formation where it has not yet developed any overall formal organization, or equally as in this example of the Kibbutz, the social network may be specifically designed to be egalitarian in nature. But more often what we see is that as a social network develops, and particularly when it becomes more formal, we get greater differentiation between degree distribution. Many real world social networks have a skewed node-degree distribution, in which most nodes have only few links, but by contrast there exist some nodes which are extremely well connected. This heavy tailed distribution is known as a power law or scale free network. Here we're getting the emergence of major hubs and high degrees of social inequality, and there may be two different reasons for this inequality. Firstly, some people are simply better at doing certain things than others. We all watch some people play football, sing or act simply because they're better at it than others. And what we mean by that is that they provide us with a better return on our investment of time, energy or money, and thus many of us choose to make connections to that particular node, while others do not receive our attention, thus giving us this unequal centralized model, and this process is meritocratic in nature. This explanation is largely intuitive to us, but it might not be suffice to explain how we can get such extreme differences in connectivity within these scale free social networks. Researchers have then also come up with another explanation behind the formation of these scale free networks, that of preferential attachment. As we've previously discussed, a preferential attachment process is any of a class of processes in which some quantity, typically some form of wealth or attention is distributed among a number of individuals or objects, according to how much they already have. So those who already have lots receive more, and those who already have little will receive less. One of the best examples of how preferential attachment works is seen in recent research done by Duncan Watson team, where they created two different websites selling music tracks, one where people could rate the songs that they downloaded and one where they could not. Over 14,000 participants then downloaded previously unknown songs on both sites. On the site where users could leave feedback for each track and others could see that feedback, it was found that there was a much greater disparity between the most downloaded song and the least compared to the other side where there was no feedback available. Thus increasing the strength of social influence increased the inequality in degree distribution. This power law distribution also applies to cities, the distribution of wealth and income and many other phenomena where we have social interaction, creating feedback loops that amplify the disparity to give us a much greater degree distribution than would naturally occur if simply generated by merit. And this creates major centralized hubs within the network, whether we're talking about urban networks, financial networks or some other social network. In this module, we've been talking about three of the major factors shaping the overall makeup to a social network. We started by talking about the density of connections as a primary factor, as it defines whether we're actually dealing with a network or just a group of independent people. And this level of overall connectivity will fundamentally change the whole system as when we turn it up, our focus has to shift from the properties of the parts to the flow of resources within the overall network. We then talked about average path length as a second key overall metric, one that will tell us a lot about the network's overall cohesion. Lastly, we looked at degree distribution as playing an important role in defining the degree of equality within the system. Degree distribution tells us a lot about how centralized or distributed the network is, which is of major significance in understanding the dynamics of power and how something will flow through the whole social system.


That's part of my introduction For you. Thank you for you. Yeah, this is part this is part of it. I know and oh team everybody. It's uh Shit, it's it's 502. It's 502 and it's Wednesday And uh, how do I know it's Wednesday because yesterday was blackout Tuesday and It's such serious times. I know we're making we're a little being making mary Uh And that's okay. That's okay. We have Oh, I'm sorry. So how do I do this again? It's it's watch me work. I'm susan larry park We've been doing this for 11 years mostly in the lobby of the public theater where we would gather um and uh talk about The audience's creative work and their creative process And for 11 years we've been gathering in the public theater much thanks to the public theater for supporting this endeavor of mine and ours And then a few years ago how round came on and we started live streaming And now how round has joined together with the public theater to create this beautiful community during these difficult And exciting and abundant Times I could use more adjectives, but I'll stop there. Um today we have an awesome special cool guest righteous Man great writer truth teller breaker barriers someone who as I was telling him a minute ago is always so well dressed um And he's david hinder wong and his stage works include plays in butterfly and chinglish and yellow face Kung fu golden child the dance and the railroad and fob as well as Broadway musicals with people like elton john and tim rice um and Flower drum song the revival flower drum song in 20 in uh 2002. Sorry having trouble reading and also disney's tarzan um david himry wong is a tony award-winning writer. Yeah A three-time nominee shit man Look at you a three-time obi award winner and a three-time finalist for the Pulitzer prize also also He wrote the book uh for the brilliant and moving musical soft power Which I saw last season at the public theater and absolutely loved it We were thrilled to have you thrilled to have you david joining our our our crew our our squad today What we do and watch me work is we work together for 15 minutes and it doesn't have to be on right It doesn't have to be a writing project. It can be any kind of project you want And we work together for did I say 15 minutes? No, I'm blabbling today 20 minutes I was marching yesterday. It was very interesting. Um Very moving 20 minutes today. We work together And then we will ask david questions about his work and his creative process for a little bit And then we will open it up to you all so you can ask david questions about your work and your creative process And if anybody's confused Audrey will tell you. Audrey will explain everything to you Hi Hey, hey everybody. Thank you for being here as always today Um as a reminder if you want to ask questions and you are inside of the zoom All you need to do is click on the raise your hand button Which should be on the bottom of your screen on a participant tab if you're on a laptop Or the top of your screen if you're on an ipad or a tablet. Um, if you're watching on howlround.tv You can tweet at us at at watch me work slp with the hashtag howlround h-o-w-l-r-o-u-n-d Or you can tweet at public theater and why or go into our instagram as well and that's all Okay, so it's real simple. It's really fun All we're going to do is work together for 20 minutes And then we'll talk with david about his work and then encourage david to talk with you about your work Okay, so here we go. Here we go There's the bell Hope y'all got some some work done or at least had fun sitting Sitting or standing. Hey, so we've got some questions for you david. Hopefully they're not too hard Hi, hi. Yes. You're here. So here's the first question. Here's the first question. Where do you work it on these days, man? Tell us. Oh, well, you know as everybody knows Um, many productions have been postponed. Um, and one of the things that we are Hoping to do is bring Um, you know the next iteration of soft power into a commercial production So I'm continuing to work on that Um, and then I'm kind of interested in the play. I've just I was doing a little Research on it just now I'm sort of interested and particularly based on the moment that we're in right now. Oh, thank you based on um in You know So I feel like there's a like like white people are facing the fact that By 2040 or so they're going to be a plurality no longer majority And then there's a certain segment which is you know, sort of represented by the trumpest impulse that's sort of going You know, we should just blow it all up And I'm kind of interested in that and and then I believe there is a reflection. There's a sort of historical fact that is about the british empire Destroying a lot of stuff in the Raj when they you know as they were withdrawing So again, they sort of lost they were losing it and they just felt well, let's just destroy You know destroy this we can't have it then nobody can have it And I'm wondering if that might be an interesting historical parallel to the current moment So I'm doing some research on that and then you know A fair amount of film and tv stuff because that's uh writers. They're working in film and television right now Are working in film and television Uh, do you work on more than one thing at once? I do Yeah, um because you know partially because it takes so long for anything to happen So, you know, if you only worked on one thing and you're waiting for it to get produced, then you just wouldn't get much done um so Yeah at the moment i'm writing the so You know how all of the 90s Disney animated movies are becoming live action features So I've been working for about a year on the hunt spec of Notre Dame um because I'm just I had this really you know, I was only interested in it as a way to explore refugees and and immigration and the sort of you know Isolation it's nationalist impulse that we're going through now and I thought I second Notre Dame was a good vehicle to do that and I had this pretty radical pitch on it To to disney studios and they went for it and process has been going quite well I think we're pretty close to being able to They you know, they'll want to add a director to it. So here's that and uh working on a movie for um Gemma Chan who something might know from crazy rich asian. She played osbridge.  There's just like a anime wong having, you know Having a thing there Do you have a preference for theater stuff? or film television stuff? I mean I theater still the the medium that I feel most comfortable in it's the medium there I can be the most personal Where I can just write the weird thing that I want to write um And also I like that theater is um metaphorical Somehow that appeals to me the sort of meta aspects of it. I you know, I do meta things a lot in my shows And and and sort of theatricalism was the term that was used in the 70s Um, and I like that, you know, it's not we're not even trying. I think a lot of theater is the theater that I like We're not even trying to be realistic. We're trying to acknowledge that this is an artificial space and it's about the relationship between the live actors in the live audience and really, um Take advantage of that And I like all that When you work on more than one project at once, how do you divide the time? We talk a lot about that in here just dividing up the time. How do you do you have a tried and true method or Yeah, it's it's I don't know that I've been trying. I mean, I usually write in the morning first So so in the afternoons like at this hour I'm doing Well, just now I was doing some research and stuff and right and I can work on an outline in the afternoon But I can't really write right in the afternoon um So I would really prefer not to write more than one thing a day um because I can you know, I can shift gears from day to day But it's kind I only have so much writing mojo in any given day And then if I you know use it on one project And then I go to another project It's I I feel like it's the second project gets short shrug so And in some sense as I said, I feel like the outlining process Which I wouldn't do for a play by and large but would do for you know film and television The outlining process is a different muscle different enough muscle that I can do that in the afternoon So you would divide it your days morning is for writing it would be for writing writing. Yeah afternoon maybe research Yeah, research, you know and in the old, you know Up until what 11 weeks ago it would be you know lunches and meetings and now Zoom meeting and um Emails of course. Yeah, so are you getting more work done now? You know having more meetings, which is weird because I mean it's not weird because there's no um There's no commuting time figured in right someday. If you just get like a meeting and a meeting and Right in the old days, you would have to at least go to the other place Right, right and producers are sitting around, you know poolside in los angeles and they're like What are we going to do? Let's have a meeting All they can do is develop um, you know, all they can do is develop scripts and uh, and there Well, there's editing going on and there's animation. That's about it. Right, right, right, right, right, right So what about uh these times that were in um You know, we had blackout tuesday yesterday and it's it's been very um You know as if coven weren't weren't enough Yeah Things have gotten more challenging more gnarly In a way more more vibrant in a way, you know, yeah, I mean what do you think? I'm kind of hopeful You know, it's a horrible moment that history the american history in terms of race and particularly as the You know relates to black people Um, it has been horrible. So that's not new That's just something that is being highlighted at this moment. And I'm glad that there's so much energy um, and so many people willing to come out um, and Say that things need to change. So I'm kind of hopeful that Maybe something will change and in terms of my own involvement Um, it's you know, I've been just trying to figure out what organizations to support and You know Minneapolis freedom and reclaim the block and trying to find more sort of, you know organizations run by black youth and And then because I'm chair of the american theater wing Uh, we've been trying I have been for four years and my term was supposed to be over at the end of June And I was like counting the days and now they're gonna make me extend for another year. Oh, um Which is and you know, it's anyway, but um Yeah, like how do we use those resources? to combat anti-blackness on Broadway and And off-road because the the theater wing now is sort of national and covers off Broadway as well. Um, and yeah, we're talking about a few a few initiatives, um and What sort of funds can we create? Um, and you know, I'm obviously very interested in people of color in theater in general, but I happen to think that this is uh, particularly a black moment and To focus on that I mean you're I mean, I I hope I'm right and since you're no stranger to violence that Could be motivated by Race What do you do you think that the artist or the writer has a particular obligation during these times? I mean I mean I hate to say that people have obligations because I feel like the artist should write and create about what they want to Create otherwise it you know, if you're doing something because you're supposed to be doing it Sometimes I feel like that the work isn't that great and then if the work isn't that great and it doesn't really help anyone anyway um, so all I can say is where I'm concerned From the beginning of my career I think this and but to this day the thing that excites me the most Is when I feel that I'm working on something that addresses the moment or could you know Could nudge the conversation in a direction of You know progressive social change and that's why even like with something with like contract Like I wouldn't be able to feel excited about doing it except that there is an angle That you could call political that Uh that I think you and yeah, I You know right before this moment, uh, this sort of george floyd moment. I was very focused on hate crimes against asians because obviously it's a very hard time to to be asian right now and Yes, not only was I I mean, I was stabbed in the neck a few years ago Which may or may not have been a hate crime, but so many of Myself and like francis jew who played, you know vh h and yellow face and Taima and acre burka. I mean we've all been yelled at or You know and it's it after being asian during cove it and so But I think, you know, this particular moment is about focusing on anti-blackness and police brutality against African-americans What about the burden?  Usually they give me questions to answer you I'm just reforming here Right Yeah, I mean I sometimes feel or you know, I talked to my students or you know There is or maybe one might feel That for a person of color who's an artist there is an additional burden Um that we have to carry it's not just enough to for example It's not just enough to come up with a great pitch. It's going to make hunchback and noted. Um Fantastic, you know what I mean We wouldn't be interested in unless it had an angle. I'm just I'm interested I guess I mean for example my day my regular work day in the past week or so has been Um in addition to the regular all the work stuff, right? Um I have these meetings with these big fancy who see Eos from big fancy hallowed companies because they want me to sit in on their staff meetings to talk to their staff There's an added What do we do with that? I mean, I'm not it's not a complaint I mean, it's it's you know something that as an artist of color Maybe we have to deal with more or I've told some of my students like that's the price of the ticket You know, um celebrate it I mean, I guess my feeling is None of us has to do it So I there are probably I'm sure there are probably artists of color who get asked to do these things And they don't feel like doing it and they don't So I and I think you should only do it if you want to do it. Um Because again, it's it's sort of like only if you want to write about this stuff It's great. And if you don't want to do it And you just kind of do it next to feel you should then you're just going through the motions I personally Really like to do this stuff. Um, so I mean, there's been a lot of it lately so So you can get tired of it. But I in principle I mean, it's weird. I think I just I discovered my voice as a writer at the same time I discovered my You know identity as an asian american it came together I discovered it through the writing and so I think those two things have always been linked for me in my sort of creative DNA And that's just true for me I'm sure it's you know, it's a million different ways for other people Right, right. No, that's a that's right. I love what you're saying about not feeling Like you have to do it, right? But feel like and of course, of course, I'm doing them because I want to but but that sort of You know, you think of hours in the day and you think wow, you know, this is my my day is a little more cluttered because of It's an interesting just just yeah Interesting. Yeah, sure. You feel like uh taking some questions from our Fairest assemble people. Okay. Take it away. Take it away. Audrey. Hey Um, all right. I will call out uh someone. Hi. Um, verneeda.  Okay, can you hear me? Yeah. Hey Hi, slp. Hi, david. Hi, Audrey Um, so speaking of this moment in time I know I've raised my hand a couple times in the recent um workshops that um I finished uh an article Uh on my yes. I'm like, I did it. Um, and it was a Definitely a challenging price process to create I wanted to create a positive framework around this moment talking about uplifting uh black men and um And of course racial justice and all those things and um We had a A question from the group a couple days ago about Writing and have being concerned about triggering people And so and I loved your slp's response to that. Um, I'm on the flip side now. I'm the writer I'm excited to make people think to get critical And the editor of this platform who is also a black woman said, ooh Uh, do we have to be so graphic? I'm concerned about Our triggering our readers and so just any thoughts on kind of managing Um pushing the envelope a bit, you know, it's not a social justice platform that I'm writing on But I also feel like we can trust their readers of these predominantly, you know professional of black women to be able to digest This and because they're also going through it themselves right now To digest this material and that it doesn't have to all be Um flowers and yoga mats like we can talk about some real stuff and Come back to the feel-good ending of finding healing and inspiration around uplifting black men I don't know any thoughts that the piece hasn't been published yet. I have just I have finished written writing it Yeah, I mean it seems to me that this is a moment when People don't really Want flowers and you know, I mean we're all in so much kind of conflict and a turmoil that This is that anything that's going to be speak to people and be meaningful. I think needs to Touch into that at least and then if it happens to end with a positive ending. That's like even better You know, that's what everybody wants. Um, I mean in terms of triggers per se. I don't know what I Not exactly I'll say. I don't know what your piece is and congratulations for finishing it, but um in terms of triggers per se I Don't know. I feel like As artists, of course, we need to write what we feel and what is most meaningful to us and I think it's okay to if if if someone wants to put like some kind of warning on my like the same you're watching a You know documentary on Netflix and or whatever and it says, you know, this contains nudity smoking And whatever and I'm okay with that. Um I don't want anyone to tell me what to write or not, right? So if they want to say well, these elements might be triggering I don't have a problem with that Also, thank you All right, thank you so much. All right up next we have got jennifer jennifer Are you there? hi Thank you so much for being here. Um, I First I just want to say that like as an asian playwright. Um trying to find china town was my first anthology All plays that I ever got and it means so much to me. So like kind of to that degree um as I've begun like exploring my own Asian-american identity as a playwright. I've begun to get into this like mindset of doubt where I keep thinking like Am I representing my community correctly? Like am I like doing justice to this culture to these people and I've found that it's starting to like hinder my writing and starting to hinder my ability to just Like put words on the page and I was wondering if you have any thoughts about that and about like That idea of representing your community but also being true to your own voice Yeah, so, you know when my first play was produced Um, it was at the public and it was called f o b and it was a play that I wrote to be done in my dorm And then it I eventually got to the public Um, and there was an asian-american publication at that time Uh called the samsaskew journal and they Reviewed my show and they said that I set asian america back 20 years And I was only 22 at the time. So um, so I think that you know, what that taught me was that There's always going to be some The people when you particularly when you have people that haven't been represented very often in mainstream media, they're going to be extra Sensitive and critical And some are really going to love it But they're going to evaluate much more closely what it is that you've written and you know and They should really because that's what we do with any piece of Art like if you know, if you're watching a marvel movie You and your friends are going to talk about you know, I hated this or I love this Because I think that the final piece in any collaboration is the audience right and that the audience is particularly trans theater and so There are elements of the audience that are going to go or for talk about asian americans They're going to be well. I really like you know, I don't like david Long's work, but I love jessica hagedorn's work or I and you know, that's good I mean, obviously, ideally I want everybody to like my work But it's really good when there's and people have opinions about things and they identify because it helps them go Okay, well that experience that's being portrayed is closer to my own and I identify that and I don't really identify with that one but You know that there's a that there's a range of stories that people can choose to identify with or not Or like or not is good. That's what we do so And so then that's a long way of saying The important thing is to write from your own proof because it's like any Like what I was saying earlier if you do something because you're supposed to be doing it Then the work might not be particularly good if you write what's true to you Then that's going to be the unique show that only you could write and some people are going to like it and simply we're going to think It's fake and that's okay Thank you so much. Thank you Thank you, jennifer All right up next we've got melania and we've got about 10 more minutes Melania go for it Hi susan, hi davis Thank you for being here. Um, I am Trying to write a theater play for children and I we are talking with susan um what I am Seeing myself Is that you said something that got to me very deeply that you discovered your voice through your writing and I am trying to To that to to see what what my voice is What do I want to say? What is happening to me and I am discovering through the writing that there are moments that are very Nice and I enjoy and there are some other moments that I want to run away and you know Leave everything so and I see that you love to write for children also and and I see that you respect and you Treat children in a very serious way With with respect so I would like to know A little bit more about this journey that you had in discovering your own voice and know how you Do your work when you write for children because I am trying to discover that and I know that is something that Maybe it's my own journey, but it would be great for me to To know your experience. Yeah, so I um The summer before my senior year in college. I Got to study with somebody who is I like maybe the great playwriting teacher of her generation. Maria Irene Fornes and Irene And and I also that was out of something called the Padres Hills Playwright Festival and Sam Shepard was there also and he taught He was great also But they taught us to write more from our subconscious So your your conscious mind is the part of you that says Oh, is this any good? Are am I writing the right thing? Does anybody care? Who do you who do I think I am and the subconscious is more the you know You're in your impulse the part that doesn't make sense sometimes Um, and of course the you know creating a play or any work of art is balancing those two things It's balancing your conscious and your subconscious. You're you know id and your Super ego and so But I think the thing that's sometimes hard is for us to access the subconscious And so, you know one Really easy exercise or obvious exercise that you just write as fast as you can you don't stop And therefore it's impossible for you to send to yourself There's an exercise that I love Where that Irene gave where you start writing a scene This takes two people there and then somebody else starts throwing in random words or phrases And it's your job to incorporate that into the dialogue And you find that you know, even when you're forced to do something which is just arbitrary That some in most cases the scene gets better When you're when you have to struggle with things that you don't understand And so it was in doing that that see I just wanted to be a playwright I didn't know I wanted to write about like Asian stuff Asian American stuff But as I started to do this and just let myself be More free. I found that these scenes started appearing on the page You know like immigration class of cultures and so that's how I began to discover that oh, I'm very interested in this stuff Um, I found it through the work in terms of writing for young people I mean, I don't think it's that different really from writing for adults Um, except that I don't know.  I I I think it's just this The story I wrote a play my second play to be prettiest in New York was called the dance in the railroad And I read it It was thank you And it was it was a commission for young for for school kids um And this is it's hard to believe but this was the time when the u.s. Department of Education was commissioning plays So it was commissioned to be done at what used to be called the new federal theater Which is now now has a different name. I can't remember the name, but it's on the lower side um And uh, we did it and they bust in school kids and then one day Frank rich who was then the header had critic for the times came to see it He gave it a good review and joe pat moved it to the public and it became an adult play So I I really don't know the difference that well Okay, thank you very much Thank you. Melania. Good to see you Um, all right. It's got about six minutes left.  Yeah, hi. Can you hear me? Yeah, hi um, my name is Angela and um, you spoke about Your process for writing plays like for example you write like in the afternoons or And like how you like use an outline and stuff like that And I was wondering if you have any suggestions for conducting research for your plays because there's times when I would Be writing and then I would get stuck at the part where I Want to incorporate research and it might be kind of hard to find exactly The answer to the question that I'm looking for And yeah, I would get stuck at that point Yeah, so I have a weird attitude Research, okay a couple things I believe in doing research I kind of tend to believe in doing it before I write the play and then I feel like you have to I have to forget my research when I'm writing the play Because it's easy to get like hung up on the research or especially if I do a lot of research It's easy to like show off like oh wait I remember like this weird thing and I really want to include that because I you know I'm going to show off my research whereas the thing that I really need to focus on is You know writing writing the play and writing a play that works So so there's that and then I also like I'm you know probably still best known for and butterfly and butterfly was Show that was based on a real story You know about a french diplomat who had a 20-year fair with the chinese actress who turned out to be asi And be what we would now call biologically male And the diplomat claimed that he never knew the true gender of his lover So this is based on a true story and I really wanted to research it But it was the late 80s. This is like before there was internet It was like happened in france. So there were all french papers. So I couldn't do much research I just wrote it. I just made it all up And it actually worked out pretty well. So I'm I think that if you're at a point where You are writing something and you feel like you need to do more research, but you're writing I would just like keep writing. I would You know, I would I mean, I don't know what your project is and I don't know how critical the research is to going forward Like if it's a docu drama, obviously it's different But if it's if it's a play just keep going just make it up You know and then you can like check later and you can like move things around if you need to but I would just make it up That's what I would say Thank you Thank you, Angela All right, do we have time I think for one more question Andrea or Andrea. I'm sorry from saying your name wrong. Are you unmuted? Yes Hi Hi, thank you. I had the question last time about triggering. So it came back up, which is cool But this actually connects to Angela's question about the research and getting bogged down and In the and I very much get bogged down in theory and research and this is what happened And I'm wondering for you you talked about doing the research before and then just kind of letting it go How like oh, how do you depart from it and because I feel like it can mess with your imagination a little bit when you're so Encompassing, you know, what really happened. Yeah, I think the way to let it go is just not to open the book or not to go to the website because I like to believe That the stuff that's really important is going to stick in my head and if I don't remember it, it wasn't that important Yeah, that's nice. I like that Thank you. Thank you. This has been so fun. Um, I think we've got about 50 seconds left And I don't think we have any more hands. So is there anything we want to talk about? There's a question there's a question in the chat triggers aside Is it an FLT's violence specifically dv in a novel? What's and what's dv? I don't know. This is Catherine Yeah, Catherine. Are you okay? Oh domestic violence. Yeah, usually stands for domestic violence Oh Thanks. Yeah Um, I don't oh, thank you. I don't think there's anything specifically Unethical it's particular if you're writing about domestic violence. I don't know how you don't include domestic violence So I guess I would have to say it depends on context All right It's just about six o'clock We're so lucky that you're with us. Oh, thank you. Thank you. Period. We're so lucky. You're yeah really um, what what a joy you are and what an inspiration david Just I just love the way you you you think and feel and and do your craft Thanks. Well, thank you for inviting me of this. This is the legendary what you do here Well, it's an open invitation. The carpet is always unrolled and always if you want to even feel like Jesus I'm kind of bored this afternoon. Come drop in and dispense your wisdom. Please because it's so so so very helpful Um, and I just I was just sitting here going. No, I just love listening to you All right. Thank you. Thank you so much. We're we're watch we work Thanks, david human wong. We're so lucky to have you here always welcome back We will be back tomorrow Pretty much the same thing. Yeah As a reminder sign up by 3 p.m. Eastern every single day That we have a session and I'll send you a link between 3 and 4 30 p.m. If you want to be in the zoom Okay, happy riding everybody. Thanks to you. Love you. Bye. Bye. Thank you slp. Yeah, thanks. Thanks, adri


What's going on guys, today I am back with another Destiny Top 5 video and today we have Top 5 Crucible Sword Plays of the Week. But before we get into the video guys, do you want to win some epic loot? I've got emblem codes, sparrow codes, gift cards and much much more. To win some, simply drop a like on the video, leave a comment down below and join my Discord server, linked within the video description. But let's get straight into this Top 5. In at number 5 we have Eclipse Scented by CreepyKrabby21, who collapses with this epic 3-man sword play and finishing it off with a grenade. In at number 4 we have Eclipse Scented by True Shades, who makes quick work of the entire enemy team, catching them by surprise. In at number 3 we have Eclipse Scented by Where's My Dollars At, using his Titan, who we all know ain't the most mobile. But damn, it doesn't stop him. In at number 2 we have Eclipse Scented by WafflesBeast, who with this warlock goes on a great, great spree, and he doesn't even need that sword ammo to keep going. In at number 1 we have Eclipse Scented by Player1760, who goes on a nasty spree of floor slams with his Titan and his sword, even taking out a guy in their super awesome awesome clip. But guys, that is the end of this Top 5 Sword Players of the Week. If you enjoyed the video leaving a like, really does help me out. If you got anything amazing to send in, send it into the email address linked within the top of the video description. But guys, I hope you enjoyed the video and hopefully I will see you on that next one.


This is witch based news for Wednesday the 1st of April 2020, I'm Commander Burr. No, I'm Commander Burr. No, I'm Commander Burr. Who am I? Am I Commander Burr? No, I'm Commander Burr. No, no, no, no, no. I'm Commander Burr, so you don't have to be. I'm Commander Burr. All right, that's it. Thanks so much for watching. Now what does that burr say? Put your letters in the postbox? No, that's not it. Mash the greens into your face on the way out and hang your toast on the coat rack? Yeah, that's about right. We very much look forward to seeing you next time.