Traditionally, Exercise Rowling Thunder is a 10th Marine-specific exercise that we do here in Fort Bragg. It gives us the opportunity to bring the whole regiment out, mass the regiment, as well as improve our ability to move and communicate over long distances. This year's iteration of Rowling Thunder is different in the fact that we are conducting a distributed operation. Having units, firing units both in Lejeune and Bragg, regimental-sized command nodes in Lejeune and Bragg, and conducting firepower, command and control across great distance. Well, what HighMars does to 10th Marines is it gives us the ability to provide longer range precision fires. Bringing in the rockets gives us the ability to reach out and touch the adversary at a longer distance and with more precision. EMBO stands for Exhibitionary Advanced Base Operations. It's about the seizing or occupying of forward positions in order to establish capabilities of warfighting functions in order to enable other units to conduct operations on other objectives. When the Marine Corps goes to fight, the active duty fights and the reservists fight with us. So any opportunity we have to integrate those Marines into our operation is merely enhancing our lethality as a Marine Corps. Whatever they're doing in their civilian life, those particular jobs and occupations also add a unique perspective to how we're operating in the active duty force. The way that 10th Marines maintains its competitive edge over our adversaries is never assuming that we have that competitive edge. The way that we move, the way that we shoot, the way that we communicate always assumes that while we are targeting, we can be targeting and we operate accordingly. The Marine Corps Field Artillery is a standards-based organization. Marines that can meet that standard, which are highly demanding and exacting, are Marines that excel in this community and in some places. We're operating and we're into accelerating.


Welcome to the Martin E. Siegel Theatre Center here at the Graduate Center CUNY and to Prelude 21. Start making sense. It is our annual Theatre and Performance Festival celebrating the work of New York theatre artists of ensembles and it's hard enough in normal times to create work for the stage and for spaces inside and outside but in the time of corona we all are faced with exceptional challenges and we are here to celebrate again the extraordinary achievements that come out of the New York Theatre community. It is time I think and we feel to start making sense to ask questions why are we making theatre but also how are we producing it and for whom. And this is a great investigation again into the mechanics of making art in New York City and we also invited theatre ensembles from around the U.S. from Detroit and Cincinnati and Lewis and Philadelphia and New Orleans to join us and this will be extraordinary. Look into what is on the minds of artists right now. Now we also have many panel discussions. We have an award which will be giving out to honor outstanding members of the New York Theatre community so I would like to all of you to join in and get an insight of what is happening. It's my mic on now as it works. So welcome everybody here at the Martin E. Siegel Theatre Center at the Graduate Center CUNY in Midtown Manette and I was just saying it's getting already dark. It's five o'clock and it's no longer a bright sky so we are slowly entering in the twilight zone and as we are perhaps a little bit in this time of COVID where we are in between COVID and non-COVID or still COVID we don't really know where we are, where we are going and this is the last panel actually. The festival is over tonight. We have a presentation at seven o'clock tonight but this is the last panel and it's a very important one I feel. It's looking at why we do not have a global big theatre festival in New York City in the summer of festival like Avignon Festival, like the Edinburgh Festival, the Theatodeveld Festival or Nina Festival. So we feel it's something of importance, it's a significance to have a global exchange and so we are looking here if something like this could happen if we could build this coalition in this time after Corona and perhaps there is a chance to reason we learned that the Avignon Festival started after World War II the Edinburgh Festival started after World War II the Ruhr Festival started after World War II so perhaps there is something of a rejuvenation, a celebration of the city and life but every city needs its own festival. People really want it. Maybe there are reasons there has never been a big festival in New York because it's a year-long festival anyway. So with us we have great leaders of cultural institutions all great thinkers and artists and so we just want to listen to the ideas. There are prelude creators but also outside and we have with us Elena, David, Krista, Nile and Libos. So thank you really for joining. My name is Frank Henschka. I'm here at the Siegel Center where we normally bridge academia in professional theater, international and American theater but you feel perhaps at a time now we go a little bit outside of our place. Everybody advice us and look at the city and the public spaces and festivals how we can make a meaningful contribution after all we are this at the city university. I would like to take the moment to acknowledge the Lenape people upon whose land we are gathered today and also the airwaves in a way and we do pay respect to the Lenape people and the ancestors past, present and also to the future. So this is important to us. So welcome everybody and maybe we just go clockwise and start with Elizabeth who is maybe here with us in the last minute Woody King and has a shoot today from the Federal Theater. She's just started running the great new Federal Theater in New York City with that long history but she also speaks for this theater for the collision of colors theaters of the color. It's like over 50 now they got together got also a big support from the city a big shot in the arm. So Elizabeth tell us a little bit about you and your work. Hello, I'm Elizabeth Van Dyke and thank you so much for having me. It's a great pleasure to be included in this illustrious group of artists. I am currently the producing artistic director of Woody King Junior's New Federal Theater. I feel that I am honoring our legacy and building a bridge for the future and I am told representing the Coalition of Theaters of Colors which was founded several years ago about 13, 20, 15 years ago to face the inequity and funding for theaters of color. And so initially it was 13 original members and now it has grown to over 52 and it's wonderful and I'm just happy to be here. That's it in a nutshell. Yeah, and you really, the city listened to all of you and I think Jimmy Van Bremer, the great, you know, councilman or speaker at the time, majority whip who supported you guys and everybody. It's a great support of the arts and helped you to be there. Niall tell us a little bit about you. Hi Frank and hello everyone. I'm really grateful to be here. My name is Niall Harris. I'm calling in from Crown Heights, Brooklyn, New York. I'm really excited to be on this panel. It's just that I'm not representing an institution here this afternoon or this early evening but I'm an independent artist and a curator and I'm one of the curators of the Prelude Festival this season as a part of the chain curation which has been really, really exciting and a really wonderful new way of bringing in new voices into the theater space and I'm really excited to be with you all here today to vision about what we might want the future of a festival in New York City to look like. Thank you. Kristen. Hi, I'm Kristen Martin. I'm the founding artistic director of Here Art Center and also co-founding director of the prototype festival. I'm interested in contemporary, relevant, socially immediate work in all disciplines, theater, music, dance, puppetry, media, arts. Here has been around almost 30 years and we do all kinds of stuff. We support artists from inception through work in progress, workshop and fully produce their work and help launch an entour. We have guests in our space. We're a hybrid organization. We're a producer, a presenter and a venue and prototype is an opera and music theater festival of contemporary work. It goes all around the city. Here is the smallest venue and we usually work with five or six other venues and I co-produce that festival with Beth Morrison projects. So I'll just start there. Great. Thank you, Elena. Hi, everyone and great to be here. I am executive and artistic director of PS21, Performance Spaces for the 21st Century. It's a new venue in the Hudson Valley, two hours north of New York City. The closest town to us is Hudson, New York, about 15 minutes. We are at theater on two stages. One of the stages is an open-air pavilion roof covered theater and the smaller stage, which is a black box for about 120 seats. And we are on 100 acres of apple orchards and rolling hills and meadows that we own in the theater. And the reason you may not have heard of PS21 because it's kind of an emblematic also case of US philanthropy where it was built singularly by one person out of a checkbook. And it just shows you how US really is the country where you can give away that much money and you can either build a shed or you can build a small PS21, which is truly magnificent state-of-the-art LED lights, geothermal and allows the most sophisticated creation in multidisciplinary work. And that's actually what we indeed are very interested in, the kind of work that pushes the boundary of form that really would bring you to a concept, to the very different conceptions of what theater can be, how audience can experience it. During the last two years, we ran both seasons live. The first year that, and I'm the first executive director of the space, we re-imagined the season, ran it in 2020, both live and live streamed. And then in 2021, we launched full-scale and presented a variety of productions from international contemporary circus. We were one of the few presenters who brought international circus to the US and presented several premiers to contemporary opera. I raised the entire budget for all of our salaries. We have a tiny staff. Our season was from May through September and I raised the budget both for administration and for all of programming. I also program. And you will be more than welcome when we launch the next iteration. Good. And you know, and you have some ideas what a festival could be about Smithling or if we have another to be David. Hi, I'm David Bruin. I'm one of the curators of this year's Prelude Festival along with Nile. I'm also the executive artistic director at Celebration Barn Theater, which is a theater center in western Maine dedicated to physical theater, devising, clown, some circus and performer-generated work. We have 11 acres, so a small percentage of what Elena has, but we do have a few orchards on the property. So if you're ever in western Maine, please come by and let me know. Fantastic. Really, first of all, thank you all for joining us. The group is a mixture of Prelude curators and people like Elizabeth and Elena where we think highly of their work and the institutions and we just want to hear. So we are listening. The Segal Center, we are really thinking of getting involved or perhaps pounding something like a festival, a global festival outside perhaps in the public spaces. But we need to listen. We need to want to know what our colleagues and friends think and reflect. Warnings they have or some enthusiasm. What's there? New York City is a city of artists. I think there is no city in the U.S. where so many artists work so successfully in so, so many disciplines. Most probably no city in the Americas has so many artists among their population everywhere in all the five boroughs actually and not just as it used to be. People look at in Manhattan and it's so diverse. I think we have 150 languages in New York City. White population is actually now in the minority. It's not really reflected on the stages on the stories we hear and see. And public space is not fully used as perhaps it was in the 70s. We just had a talk yesterday about theater in the 70s and it talked about the time in the New York City at similar problems when they saw there would be the end of theater, the end of the city. We'll have to shut down. But performing arts were alive and people went outside. A lot of it actually happened. In public spaces. And there were small festivals touring the neighborhoods and small mobiles, jazz mobiles and Shakespeare mobiles. And so perhaps it's a time to reconnect and reinvent. So I would like to hear from you a little bit about the work of your institution and what, if someone has joined us or what can we learn from you for a festival. Also a global one where we present work from here, but also from our colleagues and brothers and sisters from around the world. How would it look like? We do know problems are global problems. Issues are global issues. Climate change, racism, sexism, homophobia, fascism. The limited access to education, to arts, to healthcare. And so we feel also theater has to be kind of reflected global stage we are in. And it actually has done that I think for over decades, but it's not as visible in all the theater that's already being done in the Bronx and Staten Island and Queens and everywhere. But how it's not as visible and not so supported if I'm right per head in the Bronx. You get four or five dollars cultural subsidies in Manhattan. It's 60 to $65. So it tells you a story. So maybe a little bit. We start with you again. I know you just started, but if somebody would say to you, hey, you guys at the federal theater participate, show something what do you do? Maybe also host something. What would you be interested in? And what would you say? What has a festival to offer you to get you excited to feel like that is something we would like to be part of it? What would you need? I have to say that listening to you about festivals it makes me review what has been done in the past. Just to look what has happened in the past to guide us toward what's happening in the future. That makes any sense. And some years ago, I think it was in the 90s, there was a young woman named Jacqueline Wade. She was quite ahead of her time. And she had a women of color festival. She had nothing but this dream and an idea. And that young woman went to every venue in New York City. And there was work done. You just got space. Spaces all over the city. That's one prototype. You go to festivals. There's the Fringe Festival, the Solo Festival, the Under the Radar Festival. They are now housed. And everybody on the panel, please correct me if I'm wrong with facts. They are housed under one umbrella. Then you go to something like the National Black Theater Festival in Winston-Salem that started 20 years ago and it's every two years. And they invite people from all over the country and all over the world to come to Winston-Salem, North Carolina. And it has changed the landscape of the entire state as hundreds of thousands of people have gone there. So those are and I think of La Mama, Ellen Stewart and her legacy that she has left, Mia continuing to tap into this international, artistic, global family. And this is the things that come to my mind. And I in 1999 started something called Going to the River, which was a festival of first, initially black and then women of color playwrights. It was just a festival I think of a bandara, a feast, a lot of work all happening at the same time. Happening all over the city. And Ellen, it would happen in maybe in Maine and in the Apple upstate, all over here, all over. And now you're even introducing, I guess, all of these international companies in addition to American companies and national companies, white, black all colors to come and I can only say a bandara which is feast is a delicious and wonderful idea. So I would say how can I be a part of it? Fantastic. We think also for the coalition it would be something of interest to host some international people but also show their own work. I think it would be something to explore. Sure. Nile, what do you think, what comes to your mind? When I think about what a successful theater festival might look like in the 21st century or in 2022, I think like you would have to be artist driven, I really think. I think that what we learned during our pandemic with so many institutions were speaking to listening to artists and trying to let artists steer the ship in regards to how we could create an ecosystem that was really sustainable for artists to participate in and I think that a festival of a new festival for the city would have to, I think approach it in the same way. I think that something that's been really exciting to see this summer and it wasn't contextualized was the city's artist corpse program where they're giving out grants to artists of $5,000 to do public interventions across the city and in a way that was a festival in a way maybe we may not have thought about it as such but giving artists $5,000 to do what they will with it and to collaborate with different venues across the city make permitting a lot easier to get public space to do interventions and I think that's a really interesting way of thinking about programming and then how we might intersect internationality into that is thinking about how we can really create spaces for collaboration of maybe curators putting together artists from different countries. I know Niles worked from New York I think he would really love so and so from Lithuania and bringing them together for a discriminant small residency at PS21 to come to a new work and to premiere it in the city for a summer because I feel like not a lot of what I think is great about festivals is you get to see a lot of work from all across the world but there is not a lot of opportunities for international artists to come together to create new work together so if we can find some sort of infrastructure for that if institutions are housing residencies to bring international artists together to make a new work for a festival in the city later in the summer that would be something as an artist that would be so thrilled and you know I work very sight responsively as an artist and you know being paired with another artist from across the world would be really exciting for me to make something new that maybe I would not have made with the suite of collaborators that I work with here in the city so that's something that I think would be really exciting for me is to think about how we can bring international artists together to create new work and really leading and letting artists steer the ship in regards to how they want their work to be presented well both of you said this it was significant and something we really would agree on Kristen you have done a lot you have seen a lot what comes to your mind well I also ran a summer festival for 19 years but I want to build on what we said like the history, there was a lot of summer at one point in the city there was Lincoln center there was my festival the American living room there was the French festival there was the Midtown theater festival the solo festival came later music theater festival came later there has been this but I think the thing that happens in other cities in the summer and particularly in Europe is that there's this really exciting decentralized opportunity to see a huge range of work and really building on Nile it would be awesome for it to be completely decentralized and I also thought there was a lot of exciting things happening this summer because of that city artists court fund and I think that a lot of organizations started to work outside because of COVID and my organization included we did a ton of work outside in the last year and we hadn't done as much of that and we did it in all five boroughs and there are audiences that you're reaching that you don't reach when they have to walk into the door of an institution and I think that's a really exciting opportunity is to invite people to participate who don't think they like art or don't necessarily go to art and then they discover it in their backyard in their home, in their park in front of their courthouse wherever you build that I think that there's a real hunger that people have and a curiosity when they have the opportunity to participate for free and that would be a really essential part I think to really welcome New York City to come to the work I think it's fundamental so artist driven public spaces people who normally don't go don't come yet or don't think theater is for them but Elena you have strong ideas also how it should not be what you feel is wrong you are what is your background your cultural, continental background where you're from maybe also a bit from the outside of New York where you've worked for long I grew up in the former Soviet Union and I came here as a student first to be in college and then graduate school and I stayed and have worked here ever since so I'm not so much an immigrant but as you would one would say gastrobiter in the cultural sphere and the only reason the only reason I mention my background is that it does inform very strongly my ideas especially progressive ideas of access and how one thinks about creating access for as larger number of people as possible but I mostly want to say how much how strongly I agree with my colleagues Elizabeth and Kristen about the importance of decentralization where people from the zip code 121 will take public subway public transportation to the Bronx to Queens to experience all kinds of work and to you know since Frank you mentioned festival they present all over the town and they present in all kinds of boroughs in Paris some which you really have to take quite a long subway ride to get to in a place like MC I think 93 it's called one of those Maison de Couture the palaces of culture that Anremal Rue built and I'm not sure I remember the quote correctly but he really was trying to build this kind of points of access where everybody everyone regardless of their background the aim was to offer to everybody the experience of culture or tempting experience of culture wherever they are just to give them a taste so that's a crucial aspect that is decentralization the second one it seems to me when we speak about access is what Kristen already pointed out affordability the meaning of the festival is people's celebration getting together so the affordability of tickets whether free or very affordable which is really not the case with any of the recent festivals as much as we like Lincoln Center Festival that's really not the festival that was uniformly affordable to many people so that is an extremely important aspect the third one is actually drawing people in and distributing tickets to certain population groups I know I sound like I come from a socialist space where there is suddenly a distribution of tickets but hey why not to certain kinds of population groups who as Kristen said may not think that it is for them and of course concomitant with this kind of festival spirit is a creation of public space and a discussion and a forum where you can freely discuss ideas your impressions and a hangout space try to have a drink at the Lincoln Center Plaza if you have a drink with you or somehow they you cannot stay at the Lincoln Plaza it's privately owned so the diminishment of public space even to spend time which is affordable I think in New York City is a huge problem the underutilization of public spaces and parks just like what Kristen mentioned one of the initiatives we had in the Hudson Valley because we are also overwhelmed by this exodus of wealthy New Yorkers and gentrification in the Hudson Valley we took our international circus productions to town parks where people are and they are the town park is 10 minutes from us where a lot of families would never come to our space and we decided that this kind of conceptual circus is in the way certain companies work which is very much embedded in the community and where the work is very much based in the idea of working with you know the nature of work is not the product the show that you come and present and then you leave but let's say a theatrical participatory installation is one of the circus ideas we are bringing next summer so those are all sort of festival ideas from the type of nature of work to you know affordability of spaces and a lot of spaces parks you know parking lots everywhere around David tell us a little bit what's in your mind you've been a curator you've worked a lot with the foundry theater with Melanie Joseph on a great project that really also reflect on the city what comes to your mind when you hear a festival well the thing that interests me is let me start from maybe a premise that the rest of the panel may not share which is for me there's a lot of opportunities in New York to see work that artists are presenting from around the world I mean even if you just look at the larger institutions the park avenue armory the performance center that's going to happen downtown bam there's a lot of opportunities to see work so what interests me the most I have to say I'm not doctrinaire about this maybe it's my own peculiar interest is the opportunity for artists and audiences to train and to study and when I say study I mean basically people getting together to kind of figure shit out it doesn't have to be a kind of curriculum and work at universities you know that actually getting together with your peers to kind of figure shit out is one of the hardest things to do at a university right because the university is about a kind of certain professional certification assorting assignments and such sorry I'm in a hotel room not in my home and my computer is on an ironing board so that's why they give here so I'm really interested in what the festival can offer artists to study and so I mean I guess Frank I'll say one thing which is like I am maybe less compelled by the model of Avignon or if you have to develop than I am in something like the Prague Quadrennial which devoted to design and sconography in this kind of very broad European sense so the question I ask myself is what would we focus on in New York and what I see my peers asking each other and trying to figure out on their own is how can we be workers how can we change the industry so that it aligns with our values what levers do we have and to pull and what ways do we have to organize and maybe rather than thinking about what work can artists bring to the city a question we could ask is what do artists need to learn who can they study with because the people at you know Hunts Point Produce in the Bronx you know they know how to seize power we saw that in January 21 or they had a six day strike you know the teachers they know how to organize and how to struggle right strike MoMA and the movement for Palestinian lives was kind of certain Sunset Park those people know how to fight so maybe the opportunity for the festival is less what can we bring to the city but what can we learn from the people you know engaged in their work in their habits of assembly in their forms of study so that was a kind of contrarian take but that's really what's on my mind no no no I think that that is all very very significant point let me also repeat what we heard a little bit throughout the day I think the idea of we had a panel with CUNY theaters we have about 21 theaters into CUNY or 25 with the largest theater system actually in the nation but it's not visible there's very little money it's completely underfunded like every public institution they're struggling for survival there most of them are closed only Lehman College is going to open up we learned today we're lucky to get a big grant and so they said we have to activate these public spaces artists should not drop in and then you know drop out like come back to to tourist destination you know where you're flying in a gated community and then you leave two days later artists should stay slow down collaborate what Nile said you know with local people and create something together new artists as curators also said it should be really a lot about refugees about immigrants and the stories that we need to hear now so we deal with problems that are in front of us also people who never go to this theater how we can reach them has to be affordable big theme was families kids theater for kids for teenagers people who now it wants to go with two or three kids and grandpa to a Broadway show or somewhere it will cost them six or eight hundred dollars to get transportation they go out and eat something it's impossible that's why nobody goes in these audience are significant and as everybody said the workers the ones who are celebrated in the hospitals the bus drivers the people in the stores the shelves where's their access to the arts where the stories we can look at create life and be part of that kind of civilized world we all dream about other said it should really feature artists from neighborhoods also that's important people who live there you know should also show their work and they see them later on the streets and then we also should have small works not just the big Bolshoi ballet crying in but the idea of small works and small spaces that are significant in countries and continents all around the world and there is a lot what we are missing so what do you think would be a big mistake what should be avoided you know what would be the wrong thing at the moment to do but what might be tempting and I think Elena spoke a little bit to it but what do you feel is of urgency and what should not be done I'll open it up to everybody what should be afraid of in case theater fully starts again my sarcastic answer is a single white man curating that that's my my flip answer for you but nobody's going to do that and that's a big answer and that's an important answer you know like this prelude also we had this chain curation we had 12 curators for 12 works it was fantastic the mixture the diversity and also the surprises but it's risky and it's not we are not in control really we give up but it's I loved it it's so vibrant it's so great but this is a good really good point not someone in charge and I think Niles point that artists should be in charge I very much want to continue what David brought up where the kind of forum that a festival would provide is really a forum for maybe descent and the creation and the kind of breaking of structures and the elucidation of what impedes equity, access I don't want this festival to be another kind of new NYC Go opportunity with a generous funding from the Bloomberg Foundation to other big foundations and then going as business as usual where the action this event is funded generously but the actual conversation and how we work stays the same so that I think is to be avoided I have a question for you Elena do you think an institution has the capacities to actually facilitate something like that the institutions themselves they don't have financial capacities now but the institutions and artists and other actors in this so called industry or community do just what David said about teachers organizing there is a there are examples of the kind of community building and resistance building that if we are not an institution or a single person but coming together as a community that I think we can do a lot more than what was done before I think something that came up in a conversation that Frank and I had with some other presenters was an idea of thinking about okay you have a Manhattan set and even in Manhattan you have different subsets that are kind of representing their communities and then you have Queens and you have a set of Queen presenters and people that are working in smaller communities in Queens and so that there's a lot of independence but there can also be some dialogue and conversation about how you might influence each other and feed off each other and build off each other in an interesting way yeah you really have to be also perhaps even tour a piece within the boroughs Brooklyn is the fifth largest city of the United States it's a city actually and often something that's been shown never even goes there will never be seen it doesn't touch it a little bit for you and the 50 theaters you collaborate with what do you feel would for everybody of these theaters would be asked to be a part of it what do you think what they would like to do what would be helpful what would be inspiring I'm thinking yeah I want to ask David and Elena a question about you're talking about dissent can you explain that a little bit or banding together would you explain that I'm just curious I just want to explore that where that's going if you don't mind is that a right question Elena would you like to speak I'm happy to go ahead well I think in here I'm really just following the thought of the black scholar and poet Fred Moten and his collaborator Stefano Harney when I say that for me any kind of dissent any kind of comportment against the institution so if we're striking you know, Broadway let's say which I'm not saying people should but if we are I think that that orientation toward the institution is really thought of as a defense a protective layer against what I think is really important which are practices of sharing and solidarity and ways of getting together and ways of coming together that are not privatized and conditioned by capital by the need to work so for me I'm less interested maybe primarily in dissent as in a kind of like reacting to what you know a party is doing whether it's the public theater or the city of New York or related companies the developer then I am in kind of how can we work within but also outside of the institutions that we call the theater which is really the theater industry how can we all get together and by all I mean communities who share values who have a vision for the world who have questions they want to pursue together how can they get together and not be waiting for a larger institution to give them the green light so I'm not sure if that answers your question but that's really how I think about it do you feel that smaller institutions are waiting for big institutions to give them the green light no not necessarily I mean I've certainly my own work I've tried to be proactive and forthright and tried to create fair working conditions try to advance anti-racist imperatives but I think so no I don't this is not me saying that well smaller institutions are incapable of doing those things but I think that if I understand right from your question but also from the answers we can also see that perhaps the festival that should not be feeding the machine the big entertainment machine the Netflix's the kind of sugar industry you know of the everything is fine we should go ahead there are real problems in this world in this country and the festival should you know highlighted the importance of finding solutions and show it and it's not just we are great we love New York the big slogan New York is great and let's get started and also to say no we have to what theater has done over thousands of years problems of a society of a city personal problems is being shown on stages and you think about it in a way that hopefully it changes your mind it changes your thinking you haven't seen something so I think I would see it in that way that a festival is really contributing towards understanding the world and seeing it in a new way I think I'll say one more thing a little bit of an answer one second so it just sounds like he was talking about maybe new forms but when we get back to what you're articulating Frank Frank I just simply don't see New Federal Theater one of the oldest black theaters in the country that exist because there was no place for us to exist and a place was created for us and the coalition of theaters of color which are an array of ethnicity and races I don't see us doing art that comes out of that place our art comes out of a place of our history of our ancestors of our struggles of our triumphs of our inequities of our love I just simply don't see I don't see commercialism or or capitalism it's not a reason why I exist it's not a reason why I create and that would be not anything that I would that would not we're gonna the six people I'm looking at on this panel I have no fear that your creations your art is going to inform uplift enlighten broaden because that's who we are we're not we're not doing this for money I'm not I hope I'm making I hope you don't know that's making sense you do may I ask a question back though Elizabeth sure sure which is have you received any support or funding due to covid and the reason I ask this question is the following we may say that we are not dependent on the environment and capitalism this or that during covid when there was a conversation it will never be the same we will start a new it will change what really strikes me so much is how quickly we got back to so-called normal not normal how quickly and seamlessly and how very glad all kinds of organizations were upon the receipt of funding some extremely comfortable funding just like large organizations and the higher as you may know your earned income was meaning the more tickets you sold the more money you would have received the more seats you had bringing wonderful commercial productions produced with European funding selling a lot of tickets for much higher cost than they actually anywhere in Europe that's probably the region I know the best and how absolutely okay the situation was for a lot of people who work in this industry and whether we think we are independent of that I'm actually not so sure so when I mentioned the word of dissent it really was part of that place of assembly that David was bringing up of how can we create a forum for the discussion of how we can actually affect real change structurally and I would have that's why I wanted to explore deeper for clarity so I understood what you were saying in a deeper way but we make no mistake we are non-profit and we seek grants and there's a great inequity in those grants a great inequity that's right that we have been facing after COVID so that hasn't so and I felt that where you were going and where David was going was deconstructing form that we were going to do something new and different that was not a broad way structured form so that's why I was exploring the question but I don't in any way want to say we are independent of philanthropy Kristin how is it for you and your art center do you feel there's something very different the way you are funded everybody said we should support an artist you are one of the few institutions that host so many residencies do we have more funding isn't getting better or do you say this has to change I'm upset it didn't work out as I was promised I want to touch back on a couple of points I just feel we learned a lot about how to be more humane and caring for each other and how to stop being such unfair inequitable and greedy field and how to stop mistreating each other in this field and we also at the same time had a racial reckoning that has been present for theaters of color and for artists of color but it was not present enough for white people and that is bringing back different thinking but my fear is that that's not being carried forward my fear is that people are going back to business as usual and they are going back to like oh we are going to do 10 out of 12s we are going to work 6 days a week we are going to pay people unevenly that people really haven't taken that message and interiorized it for their practice that they pay lip service to it without the practice of it and the practice is hard and daily and needs to be happening in our field for us to be a place that is truly welcoming artists of all different backgrounds a place that is welcoming audiences of all different backgrounds if we really think about the theater playing a role in community we need to really self examine what that means in terms of our own practices so I just want us to go slow and careful and caring as we go forward and at the same time to open the doors as widely as possible and go outside as much as possible and really have conversations and listen and I think that's also what both David and Elena were talking about listening to what's already happening not be the ones that we're setting the table but how can we learn how to set our table so I'm thinking about those things Nile I really agree with what Kristen said I think that it was really interesting to hear this sort of discussion kind of turn around the sort of definition and our understandings of descent and what that means and I feel like you know there's a lot of theaters that Elizabeth are working with no descent very well and no fugitivity very well from their cultural histories of trying to survive in predominantly white spaces and trying to create their art so I think that it's too half of the coin approaching descent but I think it's a beautiful conversation and I think that why I asked Elena earlier around if an institution can actually hold space a dissenting festival that is rebelling against institutions is that how does that actually work out but it's an interesting question nonetheless but that's all I have to say I like this idea the notion that it's a place where you learn something you're not entertained though you have something before after that it's a place where you learn and create something together and I like what Nile also said that artists have to be in charge of their content on the arts in the United States buying paintings giving money to artists, galleries big symphonies, big museums you know of course it's highly highly you know on the side where we don't agree where it is but no artists are really in charge or part of it as far as I know Lincoln Center as the entity altogether has 85 or 90 board members all could be board members we pay $350,000 we could be one tomorrow but there are no artists involved I don't know how many of them talk to artists that time in Leonard Bernstein and Leah Kazan, Balanchine and Jerome Robbins were there and were running it in a way I think that's not there and also how many artists really are board members in the boards of also what David calls an industrial theater complex I think here Art Center is a big different organized that way and most probably Elizabeth and her theaters also but a lot of them are not and it's non-profits moved into Broadway mode with their plays and subscriptions and pleasing audiences having big things and you know people who look at money or understand money and study business whatever are in charge for decisions and not artists and so I think an important thing really is also the participation of artists in a festival to be in charge and our little festival as small as it is and it's also free something is possible and it sets energy free and connects people so we have to find how can that be really done for such a big city it's a big question to organize it I just heard this morning we got an email someone said that Lincoln Center is putting together a we are back in New York festival and they are asking 40-50 organizations all around the city to participate I don't know did anyone of you get an invitation or no it's a very large outreach celebrate New York City but it's a New York festival I haven't also heard about it but it would be interesting to see what the ideas are what they want to do and if they have such discussions as we have now what do you think would be pragmatic steps to take towards such a festival and how could we be respectful to all what we said today in the creation of the first edition of it I don't know maybe a symposium or something or getting people together I guess I'll just say briefly I mean I think there is a real appetite in the field and by the field maybe I have a very small perspective on it from my peer group in New York City and the northeast maybe but for different leadership structures you're seeing it at different levels of the field and certainly in smaller institutions and independent institutions and Elizabeth I really love what you said about history the Lotus Star for me is a Mary Baraka and the Black Arts School and Spirit House that he developed in Newark which were kind of shared leadership models so I mean one question or I guess one beginning question Frank that I think about is like what would leadership and maybe to borrow Adrian Murray Brown's language a leader full festival look like and how could that itself in some sense be an artwork a thing that is an experimentation has its own kind of aesthetic to it yeah the way it's organized already has to be different in order to be truthful you all maybe remember the recent the kind of a running list a spreadsheet which was anonymous where museum workers could contribute their position and then the salary and compensation and how many years they worked in the field I'm bringing this up for two reasons first is completely unrelated which is how when we speak about ways of changing structures the the issue of incredibly inequitable compensation where the management is emulating the compensation of the management emulates the corporate model in America where the management of large institutions is compensated very highly and then the people who do the actual work can barely make a living in New York City but the reason I brought up structurally this spreadsheet is that there is a way to actually have a democratic quorum of how you think you can invite people to contribute ideas and participate and that's just the immediate thought that comes to mind that can run where you collect ideas now the technology allows this and then the next step I don't know but that's up for discussion thinking exchange so a forum where people can suggest ideas it's like the open space model the open space when you have gatherings and the agenda is made by the people who are there in that moment it's really self-select where they want to go and it's truly non-hierarchical and truly welcoming all perspectives of those present yeah and I heard that some salaries whatever I don't know the shed I mean it's out of this world if that's really true I know the head electrician at the Metropolitan Opera I think it's 1.5 million a year if that's true I don't know but it's just something that the inequity couldn't be higher you know in these institutions and compared to the work and instead of supporting also existing theaters but I think the idea of an open space gathering I think that's something to show you mean Kristin it should be people meet in a big hall or is it online or how do we do that when I've attended those sort of events they've always been in person but that was before the pandemic so I suppose there might be a model that could be in Zoom but I don't know if that would be as interesting because a lot of the interesting things that happen is maybe one-on-one when you're standing there trying to figure out where to go I mean there's certainly the technology to do it online that could welcome people from all over the world instead of just people who happen to be in New York City and available but I don't know in different ways you could tackle it yeah it's such a big big questions what are festivals you guys went to what do you remember what did you like about it Elizabeth you're mute I liked the array of plays and events and art that I could see I liked interacting with the people seeing people from all over the country all over the world artists from all over the world that was exciting to me panel discussions interactions coffee with people meeting new people seeing extraordinary work that was exciting Kristen what is the greatest festival you went to or the ones you did I don't know you did so much but what do you remember what worked I think what Elizabeth just said about the festivals that have been the most fun is when there's this range of work that you can engage in and there's stuff happening at all different times of day and it's really hard to choose because there's so many exciting things happening and you run to somebody and they just say oh I just saw this, this is amazing you need to see it so you change your program and you go over to that instead I just think it's that buzz of energy that real excitement about engaging with each other can be created in the festival I think that happens here in New York in the winter with all of our festivals happening in January there's everybody coming in from out of town to see the festivals that we're doing I think that that's a really exciting time in New York for that reason and even though it's cold and we can't gather outside we've managed to find the little pockets to talk to each other and to get excited about new things to go see now do you remember a festival where you went to the festival? I've had such great times at festivals, but again agreeing with Elizabeth's Ethos that a great festival is made of amazing people and amazing work I had a question for Kristen about curiosity that as you spoke to APAP season and the whole January winter moment as a community if it was still a good idea to be putting so much steak on so many stakeholders coming together during the deepest part of winter the greatest challenges for COVID and coming together indoors is already so challenging and I was curious if you had any thoughts about if it was and what is interesting about this panel thinking about the summertime is it still a great moment for us to be putting so much of our energies towards a collaborative effort in the deepest part of winter? Yeah, I mean we all we obviously we did a virtual festival last year like some people didn't do festivals at all other people did virtual and we are meeting we meet regularly the January festivals and we're all going forward with in-person festival and we're all going to have some hybridity we're all going to have some digital stuff but nobody has decided to just do digital this year everyone's so hungry to be able to the artists whose work we were making for 21 to be able to bring it for 22 and not push them to 23 but I also think that I can certainly say in prototypes case the work definitely changed we were doing one of our hero productions that's in prototype is Taylor Max The Hang which Matt Ray is doing the music for and that project has really changed because the piece is about this opportunity to gather in these precious moments and to enjoy each other's company and to slow down and engage and it's this jazz relaxed jazz piece with an incredible ensemble of folks and that piece, the meaning of the piece really changed because of COVID and it feels really like it's right for this moment and the artists have revised the piece for this moment in response so I feel excited and certainly really nervous but I do feel it's really great that we're down to like 1.4% here in New York City and the production rate and I just I have hopefulness I'm afraid there's going to be an Ernesto and a Frank and a Griffin and you know all these variants to come but I feel like burdenedly optimistic I guess that we can find a way to exist together safely Elena for you for festivals what do you or what type of work from your travels the most favorite spot for me was Fira Tarega in a small town outside of Barcelona it's the largest festival and market for international contemporary circuit and street arts and that's really a model of the most democratic kind where the highest ticket prices 10-15 euros but most productions are free of charge and they end at midnight and it's dispersed all over the city it's incredibly accessible staying there and accommodation the festival makes sure that whomever comes to the festival whether it is a guest from a presenter from abroad although I have to say if it were not for our small U.S. group that was organized by Toho in Montreal there were actually no other American presenters and that amazes me because it's a festival incredibly accessible and that gives a sense of what festival could be for the most kind of democratic access for families especially and that one was probably my most favorite and then just recently I returned from festival Noia Dramatique in Chaubonne and what impressed me so much in Berlin it's interesting how the urban space itself that brilliant constructivist Erich Mendelssohn who created Chaubonne is a multifunctional urban space it's all about public space so you can actually connect with artists connect with each other at all hours and many hours after the performance the canteen with underboiled potatoes open late the prices are accessible it's not four times higher to buy a glass of wine the way we have in our institutions when we go to even you know APAP or ISPA whenever in January we go to see stuff it's a bit too expensive to hang out and that was a different and converse if you want to buy a drink or a bite to eat that aspect and I leave aside the actual wonderfulness of what I've seen at festival Noia Dramatique but I'm just relating my impressions of the environment and the vibe the space is open I think Chris Myers who was one of the Seagulls he was acting at the public but he couldn't afford to eat in the restaurant he was an actor and he said I mentally am wrong in these places theaters we had the Gorky theater I think from Sarah Brandicoff who said our doors are open in the morning from 9 o'clock it's a cafe all the actors come out and hang out after the shows people come students come it's a working restaurant but it's still trying to do that even in La Mama it's tough to get a coffee downstairs so I think this might be something of festival atmosphere that makes you feel at home in this space where you are we won't be able to solve all the problems and come up with everything it's kind of a starting of a dialogue we feel it's something in the beginning and we at the Seagulls center we're really thinking what is the best use of our time and our tiny resources the years going forward and perhaps it will be less inside the university to contribute to the idea of a global festival but also discussions take place we're a researcher, sure there were students, people come so I think this is something we want to do it's a big radical change for us and we are still rethinking that but I think it's something we can and want to we would need all your help and outside I like the idea to have a big gathering actually a global gathering from everywhere as Africa, Australia, Asia say what would we like maybe we should put together a council of ten artists in New York, ten theater artists you know and put them in charge of things and see and we start small with a small festival that can also slowly grow and involves the park, nothing has to everything has to happen in the first time but I think in the time you live in the time of Trump which we somehow survive that showed us what is possible and it has to take a stand we have to be out there, it's a forum of a discussion that's public and it's better than hopefully anti-vaxxer demonstrations or a pro-gun demonstration it's more fun, it's more interesting it's on the side of life and we learn something and we understand people's life and I think art has to take a stand if New York City wants to go forward it needs the art, it needs to learn from the artists and we maybe have to help to provide a space, I believe only the arts really will save the city make it again a city of culture what it's known for and it shouldn't go on the way it was as we also said that institutions are in charge but ultimately then it's about money or filling their own seats so we have to find a new model, I don't really know how to do it I would need help for that we would need help we all if we decide on that idea so it's a beginning this day to day with the three talks we had but I think there is interest and also caution but there's also a lot of experience and love for the city and for the art so hopefully we might be able to put something together, we'll see I want to thank you really for taking the time, it's our concluding panel, I thought it is important to have such a discussion also at the very end to look a little bit ahead and see what influence you know artists curators, public theaters as the CUNY theaters are in a way and also these international organizations we spoke with the Guta French Cultural Services Asia Society, you know what they can bring in and I think at least these are encouraging smoke signals again thanks for howl around for hosting us it's a big honor to be there so thanks to Thea and Vijay thanks to the seagull team and the Tanvi Cactus Chooses Sensational what they put together, we have our last presentation tonight Miriam Bazid will show Faggy Fafi Cairo Boy and a play she wrote about the Arab-American community and the trans community is struggling she actually happens to be in London and it's going to be live-streamed from London with actors from over there they are not here and so they will be our final thing and then hopefully in a couple of weeks from now we have a prelude party and we have a space and I would love for all of you to come a little bit if you can make it at Nile and David, Lena comes in and Kristen hopefully so we can continue to discuss but we are serious about this and so we can also all stay in contact with some new ideas and new developments on that scene so thank you all very much I can't believe our festival in that sense is almost over but this is a very important part and also hopefully stands for the idea you all spoke about that we have to learn something and there has to be forums and discussions and understanding takes place but also listening so thank you all and see you and to our listeners, thank you thank you for taking out the time of your life whoever listened in to whatever the week it means a lot to us but it's also great for the artist and our participants to know there is an interest that people listen to it so let them know in case you saw them, heard them and then you tell them and they hopefully tell us so it's a democratic undertaking thank you all and goodbye, stay safe


The purpose of fluid power is to transmit power from one location to another. In the mid-1600s, Blaise Pascal, a French mathematician, made a very important contribution in the field of fluid motion. This contribution, known as Pascal's Law, relates the transfer of pressure through a fluid. Pascal determined that a contained pressurized fluid will exert pressure equally in all directions. Pascal's Law states that pressure set up in a confined body of fluid acts equally in all directions and always at right angles to the containing surfaces. Another important property of fluid mechanics was discovered in the late 1600s by Robert Boyle, an Irish physicist. Boyle's Law is an experimental gas law which describes how the pressure of a gas increases as the volume of gas decreases. A modern statement of Boyle's Law is, the absolute pressure of a confined body of gas varies inversely as its volume, provided its temperature remains constant. In a physical system, this means that as the volume decreases, the pressure increases. Similarly, as the volume increases, the pressure decreases. Boyle's Law can be expressed mathematically as the pressure at state 1 times the volume at state 1 is equal to the pressure at state 2 times the volume at state 2. This is true as long as both the temperature and mass, or amount of gas, remains constant. In the late 1700s, Jacques-Charles, a French scientist and mathematician, discovered an important rule regarding gases under pressure. Charles's Law, also known as the Law of Volumes, is an experimental gas law which describes how gases tend to expand when heated. It states that if the pressure of a gas is constant and its temperature is raised, the volume will also be raised by the same ratio. Additionally, the inverse is true. If the pressure of a gas is constant and the temperature is lowered, the volume will also lower. Charles's Law can be expressed mathematically as the ratio of the temperature at state 1 to the volume at state 1 is equal to the ratio of the temperature at state 2 to the volume at state 2. This law is true as long as the pressure and mass remain constant. In the mid 1700s, Danielle Bernoulli discovered another very powerful rule in the field of fluid mechanics, known as Bernoulli's Principle. This rule is related to the theory of conservation of energy, which states that energy can either be created or destroyed. In this fluid system, pressure is potential energy and fluid flow is kinetic energy. Bernoulli's Principle states that an increase in the speed of an incompressible fluid occurs simultaneously with a decrease in pressure. This is illustrated by the flow of water through a pipe. The volume of water flow through all three sections is the same. When the water's flow is restricted in section B, the speed of the water increases to maintain the same amount of volumetric flow. This increase of speed simultaneously causes a decrease in pressure. When the flow of water reaches section C, the inverse occurs. The water flow decreases and the pressure increases. This rule can also apply to the types of energy present in the system. As the pressure decreases in section B, the potential energy converts into kinetic energy. This increases the speed of water flow and decreases the pressure. When the water reaches section C, the kinetic energy is converted back to potential energy. This is illustrated by the decrease in speed of the water flow and its simultaneous increase in pressure.


What's going on and welcome to The FanDuel. Hurry up, my name is Tom Vecchio. Week 14 is here and I'm set to bring you three value plays for your NFL DFS lineups. Let's get to it. Starting off at the wide receiver position, $5,500 for James and Crowder of the New York Jets. We know that Corey Davis is now on IR. We know that Elijah Moore did not practice on Wednesday, did not practice on Thursday. Should be listed as questionable for the Jets for this game against the Saints. And we look to James and Crowder. He already has the third highest target share on the team and both Corey Davis and Elijah Moore were ahead of him, sitting in first and second. So we know that one of them is out with Corey Davis and if Elijah Moore is out for this game, it would be James and Crowder leading the team with target share in that time. We look to the Saints and this is a great matchup for him. The Saints are allowing 31.62 points per game opposing wide receivers, which is the fifth worst in the league. So right now we know that James and Crowder is going to have the second highest target share on the team. But if Moore misses this game, he's going to be elevated to first overall, not only in target share for the team, but also red zone of target share. So Elijah Moore at $5,500, certainly an option, you want to be considering. Sticking at the wide receiver position, Jalen Guy in $5,200 for the Los Angeles Chargers. Obviously there's a bit of a question mark when it comes to their receiving core with both Mike Williams and Kenan Allen in the league's COVID protocol. We're not sure if either of them or both of them or one of them is going to be able to play in this game. But we want to be looking to Guy who already had a somewhat consistent role for the Chargers playing on 56% of the snaps this season, running around on 63% of the passing plays. I know he had a big week last week against the Bengals, but we want to be looking to him as either the primary or the secondary receiving option for the Chargers depending on who's in or out for this game. It's obviously a great matchup going up against the Giants. They're on 31.1 fade to points per game to opposing wide receivers. That's the ninth person lead. The Chargers come in with a 26.25 implied team total, which is the fourth highest on the slate. So everything's shaping up to be in a good spot for Guy in the matchup. Certainly going to be amazing, but whether or not how much priority he will have in the offense depends on whether or not Kenan Allen or Mike Williams are able to play in this game. There's a lot of high end running backs you want to pay up for. So spending down at receiver could be an option this week. And finally, moving on to Titan, Austin Hooper $5,000 for the Cleveland Browns. A great matchup. I want to say a sneaky great matchup going up against the Baltimore Ravens. They're around 13.3 fade to points per game to opposing Titans. That's the fourth worst in the league. And with Otto Beckham obviously off the team, David and Joku, his status is unclear for Sunday. This puts Austin Hooper as the second highest target share on the team behind Jarvis Landry. And Hooper already has the first, the most red zone target share when it comes to the Cleveland Browns this year. So $5,000 for a player that we know is being targeted by Bigger Mayfield and what should be a close game, but it's actually a really good matchup going up against the Ravens defense. So spend down at wide receiver and tight end this week and then look to spend up at running back because there's so many top tier running backs you want to pay for. All right, that does it for this week's Fane. We'll hurry up, I'll be back next week and give you three more value plays. So next time, good luck in your contest.


5 Ways to Navigate Adulthood As kids, growing up always seemed like an exciting thing to look forward to. Growing up always seemed fun and glamorous on TV. You can drive a car and go on road trips, and move out and having slumber parties without worrying about parents spying on you. The best part in our heads was the freedom. But now that you're here, all grown up, maybe you feel more overwhelmed, uncertain, and nervous. We want you to know that you're not alone. Here are 5 ways to navigate adulthood. 1. Never be too busy for family and friends. Sometimes you might feel too tired to go out after a long day at work, but the years will go by in a blink of an eye, and you'll wish you had them back to make more memories. We're not asking you to party all night long until the sun comes up, or hit the bar every weekend. We understand that you still have bills to pay, but the older we get, the more friendships tend to fade over time, and it all starts when we get too busy to see the people we love. 2. Know that your job, social class, and relationship status doesn't define your self-worth. It's easy to tie ourselves to passions, like the people we date or the jobs we work.  Instead of letting these things define us, realize that they're only what you're participating in. Not necessarily who you are. Whatever you've been through, your experiences, good or bad, were simply stepping stones that shaped you into the awesome person you are today. 3. Make time for exercise. You might feel relieved knowing you no longer have to go to gym class after graduating high school, but exercise plays such an important role in your health.  Many people who start developing heart problems often regret that they didn't include exercise in their regimen. If you're worried about affording the cost of a gym membership, know that there are other great ways to stay in shape. Go for walks and runs, bike ride, and dance in your room like no one's watching. 4. Ask questions and self-reflect often.  Maybe you've turned into someone you never thought you would or you've done some things along the way that you're not proud of. This is all part of the journey. What's important is to stop every once in a while and ask questions. It's only when people no longer wonder about their lives that they remain the same. Make time each night to self-reflect and leave room for yourself to make mistakes, grow, and accept your flaws. 5. Don't feel discouraged if things aren't always what you imagine them to be. Idealism makes the best dreamers. But if you're too caught up in how things should be, rather than how they really are, you begin to stop living in the present. This only feeds anxiety when we demand a lot from the future. No one can predict what will happen, whether it be a few months or just a few seconds from now. Be patient, continue to work hard towards your goals, and have faith that you are enough to take yourself to where you want to be. Are you entering adulthood? What are you most concerned about? Please share your thoughts with us below. Also, be sure to subscribe to our channel for more helpful tips and share this video with others. With your help, we can reach more people and provide our support. Thanks for watching.


The future is psychedelic. Welcome to the psychedelic 20s. Rick Doblin is the founder of the Multidisciplinary Association for Psychedelic Studies, or MAPS. Founded in the late 80s, MAPS has spent decades working to get FDA approval for MDMA-assisted therapy for PTSD and related conditions. He says that should happen within the next year. This is about humans helping humans. He sat down with Doblin at the Psychedelic Science 2023 conference held in Denver this June where a reported 13,000 people gathered to talk about all aspects of today's psychedelic renaissance. Talk a bit about the beginning of the psychedelic kind of revolution. LSD was synthesized in the 40s, but then it kind of made its way into scientific endeavor as well as political ones in the 50s and 60s. What was the main lesson to take away from the first era of psychedelics? I think one of the first things is that when you identify as a counterculture that you're sort of sending up a signal that the culture is going to be scared of it, and so there was that rebelliousness that Tim Leary had. I mean, he was kicked out of West Point, so he was the culture he was. Well, he was kicked out of West Point just for drinking alcohol. Yes. And before he even learned about psychedelics, and then he sort of voluntarily left Harvard even though it was getting more controversial. And so I think the lesson there was that we need to think about us as moving into the heart of the system rather than becoming a counterculture. And then the other part, I think, was that there was this parallel that the advocates often were exaggerating the benefits of psychedelics. One dose, you're spiritually, mystically educated, and then was minimizing the risks. And the government on the other side was exaggerating the risks. I was told that if you take LSD six or seven times, you're certifiably insane, and they were suppressing the benefits. So I think one of the big lessons now is that we have to really talk about the risks and the benefits. And at the same time, I think there was an overestimation, an overvaluation of the substance itself that all you had to do is take this drug LSD or psilocybin, and there wasn't enough focus on the relationship, that the relationship is what makes it either valuable or harmful. So I think once we've learned those lessons, the other big thing was that psychedelics in the 60s were very much identified with anti-war, with anti-Vietnam. Myself, I thought Vietnam was a tragedy, and we never should have done it. But now we've sort of come back through working with veterans who've been traumatized. So I think the political symbolism of being anti-war, it became an anti-soldier instead of anti-the policy. And so now we need the military to protect our freedoms. We see that with Russia going into Ukraine. And so we're not anti-soldier, even though going into Iraq was a terrible mistake and what's happened in Afghanistan is tragic. Psychedelics can help heal soldiers who are following orders and doing good things or bad or having tough experiences. But the psychedelics, which was a sign of being anti-war, they are now kind of being pro-soldier. Yes, yes, and we're still pro-peace in different ways, but there are times when you need to defend yourself. I think the whole psychedelic movement has come to see that it's a dangerous world we live in and that we do need to protect our freedoms in a lot of different ways. And so we need to focus on the policies, not demonize the people. You know, one of the cornerstone activities of MAPS, if not the, is working with the FDA to get approval of MDMA-assisted psychotherapy. Talk about how important the substance is to that therapy. Why is that therapy better than regular talk therapy? Yeah, well, to sort of knit these things together, just walking here, I heard a story about one of the Vietnam vet who was in therapy with MDMA and was still able to heal. But every day up until the time that he went through MDMA therapy, which was very recently, he had suicidal thoughts. So I think what the MDMA does is it helps reduce our fear response to emotional threats, to memories that are painful. And they can be overwhelming. And we can get stuck in these patterns of reaction that make us feel that these experiences and these memories are overwhelming. So every time they come up, we feel that we have to suppress them. And so what MDMA does is it helps people to feel calmer, to feel more through, we could say, oxytocin, the self-love, self-acceptance that people can have a diminished sense of fear. The fear is manageable. They can control their reaction to it. And then they can be more calm as they look. And MDMA also enhances memory for the trauma. So a lot of times things that have been buried that have been so painful to remember under the influence of MDMA, they can come to the surface. Because as long as they're buried, they have an unconscious influence. And they create anxiety. They create fear. They create hypervigilance. But with MDMA, it makes the therapy more effective. But again, what I was saying before is it's not in the substance that people have taken MDMA. And if they're unprepared, the difficult emotions come up. And then they end up worse off destabilized. And we've heard many stories like that. So it's the MDMA in the therapeutic context that really makes the healing possible. You're also a big supporter and proponent of cognitive liberty. So for you, psychedelics are not simply about helping people who have trauma. Can you talk about that other dimension of kind of self-actualization or really getting to be the person you want to be? Yeah. It's interesting that this idea of self-actualization comes from Abraham Maslow and this hierarchy of needs and self-actualization realizing your full potential, the start of the human potential movement and humanistic psychology. But what is not taught in school and what a lot of people don't know is that in the last few years of his life, Abraham Maslow changed the hierarchy of needs. And above self-actualization, he put self-transcendence. And what that means is that you become your full self, but then you realize that yourself is connected to everything and everyone, even people that are very difficult, different than you, and then you start working to heal the collective. And so I think psychedelics have this possibility of helping people work through their own individual traumas and their own psychedelics. But I think that everybody is traumatized when we think about the mass extinctions that's going on. We think about the climate change. We think about the rise of totalitarianism, the decline of democracy in many places, that everybody's got this base level of fear and anxiety. And often people get overwhelmed by it and then they look for strongman leaders. I think that explains why a lot of people, it's not rational anymore. It's just an emotional tribal identification. And so if we can help the people that may not necessarily have a diagnosis but help everybody, and then also we need to spiritualize people more, we're stuck I think with a lot of literalisms, fundamentalisms, ways in which people see their nationality or their religion as the one best thing. And they discount others and then they're fearful of other cultures and that's where we have a lot of the fear of immigrants, even though America is a country of immigrants. So I think that we need to go beyond the medicalization and that the legalization and legal access is absolutely essential to achieve the kind of mass mental health and spiritualized humanity that we're looking to have, that we think we need for us to survive and thrive as a species. Would you say that that kind of baseline of anxiety and polarization and whatnot, is that why we're having a psychedelic moment now? I think there's a lot of that, that there's a lot of the perceived need. I mean with the pandemic and there's a much more widespread understanding of the mental health crisis, of the crisis of addiction in America, over 100,000 people dying from opiate and fentanyl overdoses. So I think that's one of the reasons. But I think the other is that we look at what happened in the 60s and a lot of the things that came about from the psychedelics were frightening to the culture. There was a lot of talk about the death rebirth process and in the 60s, if people had cancer like you didn't talk about it, you didn't talk about death. Women were tranquilized to give birth and men were not allowed in the delivery room. So birth and death were kind of separate. I think there was so much death in World War II that there was this counterreaction to kind of push it away. I think meditation was seen with the Beatles bringing Maharishi, Maas Yogi, these weird people in robes and from a different culture, that seemed strange. And then even yoga, people were worried if you practice yoga, you're going to be coming to Hindu or a Buddhist or whatever. So what we realized over the past 50 years or so, the culture has changed its attitude towards death. We have hospice centers now. The first hospice center in the U.S. wasn't until 1974. We have changed our approach to birth, we have more birthing centers and women aren't as tranquilized as much and men are in the delivery room. And meditation and mindfulness are now taught at the YMCA. It's not going to take you away. And then we also think about the psychedelic imagery that people have during psychedelic experiences and that's made its way into art and to culture and to movies. And so I think we've integrated a lot of the things that were flashpoints during the 60s that people were new and scared about. And in a sense, we've integrated everything except for the psychedelics. I think the other part that's been happening is the space is going to the moon and all of the telescopes and all these things that we're we're having a much more cosmic perspective and where humanity sits. So before it used to be that humanity, you know, Earth was the center of the universe and everything was all about us. And now we see how we're just a small part of this incredible infinity. And so I think people are adjusting and that's difficult. And also through the Internet and other ways that we're all connected, people are bumping up against each other cultures that were separated. And that's where people are often retreating into fundamentalism. But underneath it, there's awareness that those are not really true, that we need to work in a more metaphorical way about religions, seeing religions more like languages. So I think it's about this greater understanding of the mental health crisis. But it's about all these things that have happened in humanity over the last 50 years that has prepared us for bringing back psychedelics. And hopefully this time, if we're careful and balanced, there won't be the backlash that has happened in the 60s. Could you give an update on where MAPS is an FDA approval for MDMA, Assisted Therapy? Yeah, so we have taken, you know, 37 years to get to this point. We have two extremely successful phase three studies, both in statistical significance and the magnitude of the effect and in the safety profile. And we have had a lot of good discussions with the FDA. And so we think around September of this year, we're going to be submitting what's called the NDA, the new drug application to the FDA. And we think there's a very good chance that by June of 2024, roughly one year from now, we think that FDA may indeed go ahead and approve MDMA, Assisted Therapy, as a prescription treatment for PTSD. But it won't be like a normal drug that's approved. It will be approved only under direct supervision of therapists. And what we're hoping is that we'll be only under direct supervision of therapists who have been trained in the method that we've used in phase three. And one of the big things for me is to try to help the politicians and the regulators understand that a big part of training therapists is having them have their own experience with the drugs that they're going to give to their patients. And so I think we're at this negotiating point with FDA where they know that the healings that are happening with psychedelics are remarkable. They've seen a lot of the data. They've also seen that there haven't been very many advances in psychiatry since the SSRIs in the last 30 or 40 years. And they want to find a way to regulate it. I think the other thing that's happened in the background has been the legalization of marijuana and the understanding that medical marijuana has a lot of benefits. Now, I just was at a meeting with FDA a few days ago in person about our marijuana project. And the woman in charge of the Division of Psychiatry said that she is very uncomfortable about the term medical marijuana because it's not medical until the FDA says it is. But at the same time, they've been making it difficult to do research. But I think that people have seen this highly demonized drug, marijuana, cannabis, you know, a puff, a party, a tragedy that that has now helped a lot of people. And that is sort of, I think there's a diminishing of the zeal for the drug word. There's a general sense. And I think that Reason Magazine and the Libertarians and others have made a really good effort over many decades to help people understand that the drug war is really a war against people. And it's tremendously unsuccessful and counterproductive. So I think a lot of the suppression of psychedelic research has been the concern that it sends the wrong message that if these studies show benefits, then it gets in the way of the drug war ideology. So I think the drug war itself has really lost credibility and is seen as counterproductive. So all those factors, I think, make it so that now we do have the psychedelic renaissance. What is the difference? In one way, what you're talking about is kind of the ultimate boomer story, right? Where the class of 64 or whatever in the Pacific Palisades, you know, starts, you know, instead of going to college, you're going to war. They turn on, tune out, or drop out, et cetera. And now they are the elders and they're kind of like, well, we want our LSD to be legal now. We want MDMA. We want... Can you talk a little bit about that journey, you know, as a generation? And then what are the sticking points with younger generations? Because we have a generation gap now that's arguably as big as the one that was in the 60s, where the term generation gap was coined. You know, what do psychedelics mean to boomers and what do they mean to millennials and Genzai? Yeah, well, it's hard for me to speak for anything but the boomers. But I will say that I don't feel that generation gap as much. I feel it's like the middle generations that grew up under the drug war propaganda that didn't have the internet so that the younger generations understand how we're all connected and how there's just this universal, you know, international community. And we have to learn how to work together. And there's also an understanding that these technologies that we have, that there's a lot of support, a lot of dangers, but also a lot of benefits. And so I think the psychedelics have been not just restricted to sort of the boomer generation. That's what I was actually worried about for a long time is, would this just be something that would rise and fall with the boomers? And when I ended up, I taught a class, the only time I've ever taught a class was at New College where I went to school in 2001. And that was going to be my question. Our younger generation is really interested in this and they were very interested. Because I think they have seen all these cultural mashups and they're hungry for deeper connections. So I feel that the younger people are more open, more willing. There's been so much of this. They've grown up under not the demonization of marijuana as much, but they've seen the marijuana legalization and medical marijuana states. So I think that from a boomer perspective, I think it's just a feeling of the resistance and the backlash was so great that it was never clear that we would see this change in our own lifetime. And so I think that's where it's just this sense of kind of amazement, but also the sense of a crisis. I mean, the humanity feels even more of a crisis point now than it was in the 60s. That we could see then already that we needed to move to new forms of renewable energy, that the oil industry was causing a lot of problems. And so the solutions have been delayed. Humanity as a whole has kind of waited until hopefully it's not exactly the last minute. But I think there's a sense of crisis. I mean, as an example, just to say my youngest daughter, up until a year or so ago, she was saying that she never wanted to have kids, that she didn't want to bring kids into this world.  And so I think she's been a little bit more hopeful lately, but I think there was just this mental health crisis of this younger generation and they've looked at what are these solutions. And I also think that the ecstasy and MDMA that came in the 80s really helped bridge the generations, that the classic psychedelics are very challenging. They're dissolving your ego. There's challenges of letting go, of being open, of sort of seeing our identity as something different. And I think the MDMA is the softener as the bridge. And so MDMA has really been helpful to sort of ease the fears of the culture about psychedelics. And once people understand that these different states of consciousness can be more beneficial, easier, controllable in a certain way, then there's an openness to the others. It's interesting that, you know, for psychedelics to kind of go mainstream, both opponents of them and proponents of them have to kind of acknowledge they're not as powerful as we once thought. Yeah, it's not like one dose, miracle cure or one dose, you're enlightened.  Yeah, I mean, but there's so much still fear and misinformation that has been promulgated in schools through the DARE program and others. What are the major political kind of economic or medical and cultural impediments to the mainstreaming of psychedelics? Well, I think the biggest challenge is going to be the cost, because what we say is that it's not a drug that you take on a daily basis and that looks like it doesn't cost that much, even though then you need it for 10 or 20 or 30 years and then the cost adds up. But what we're saying is that this is psychedelic psychotherapy, psychedelics with therapy and a lot of therapy. So there's going to be an initial cost that's going to be larger at the beginning, but over time it will save money. So the challenge is going to be getting insurance coverage, because saying most people will not be able to afford psychedelic psychotherapy in that way. That's also why we need to legalize, so that people can do this on their own with peer support. So I think that's one of the main challenges. I think because the drug war has been more widely seen as a failure, we don't have that same vested interest from police. Also, we're understanding, and we do have police officers that are interested in MDMA therapy for trauma. So we're trying to make that point that this is for police officers, this is for prison guards, this is for first responders. So we don't have that. Now we did have an interesting... A couple of years ago we spoke at the International Association of Chiefs of Police, and they have since not let us back. But we had one talk and we just met one police officer who was also a psychotherapist, Sarko Gagarian, who then has gone through our training program and is now wanting to give MDMA therapy to other police officers. But we've been rejected ever since to go back to the International Association of Chiefs of Police. So there are pockets of resistance. I think people have started to understand that the private prison system is also a disaster, that they have a vested interest in keeping people in prison from a business perspective. They're not so much interested in rehabilitation. I think the challenges that I talk to worry about the most are the fundamentalists. What we're talking about with psychedelics is it deepens people's spirituality, but it also moves them a little bit more from a literal perspective to a metaphorical perspective, and that also makes them move away from there's only one right religion. So we see a rise of fundamentalism in a lot of different ways, but I think they're sort of holding on to a worldview that's being challenged in so many different ways. And so we have to demonstrate, I think our challenge is to try to demonstrate to fundamentalists that if you let go of the literalism, there's a deeper spirituality and you will not have to leave your symbols or your religions that it enriches it rather than diminishes it. And I think we do not seem to have resistance from the pharmaceutical industry. So many people are saying, what if you can help cure anxiety and depression and you do this deep and you only need a few sessions of psilocybin or MDMA or ketamine and then you don't need these daily medications, but those drugs have gone generic mostly and they're not big profit centers for pharmaceutical industry. So we actually don't see resistance from, at least I don't see it, from the pharmaceutical industry. I think the politicians, the fact that we've been able to get bipartisan support through the work with a lot of the veterans, I think one of the biggest challenges has been the next step, which is for me trying to move into the Department of Defense to work with active duty soldiers. And so there is the concern, oh, you know, they want to have a psychedelic experience and it's all peace and love and they, but I think that's not going to happen at all. And I think we do see with Russia going into Ukraine that, you know, we really need a strong military to keep us free. There's always these kind of tyrants. So I think the military is sort of the last bastion of cultural acceptance. And while we're working with veterans, we want to work with people that are closer to the trauma. And then the other is adolescents. And what people, you know, that's been a big thing about the drug war. Oh, let's protect the kids. And so what people are often surprised about is that the FDA, if we do succeed in getting permission to have MDMA-assisted therapy as a prescription medicine for adults, that we're being required by the FDA to work with traumatized adolescents. And I think that's going to be really important. And what we've seen with cannabis, when it started to be shown that CBD could help with childhood epilepsy, you start helping people, kids, that's kind of, then they're really open to that. And so I think the next steps for us will be to move into the Department of Defense, move into working with adolescents. And those will be the final stages of cultural mainstreaming and acceptance. Final, yeah, final question. You know, let's project 40, you know, you, MAPS has been working at this about 40 years. 40 years into the future. What is your dream city?  Because what we're talking about is a world of net zero trauma by 2070. So that is the new animating vision for me. And what that means is that over the next couple generations, I think things might get worse. We're talking about the possibility of climate change is not mitigated very quickly. There's some estimates that there could be a billion climate refugees by 2050. And so I think the stresses are going to be amplifying over time. But also, I think if we can mainstream globalize psychedelics, and again, not just in a business model where money can be made, but in a humanitarian approach to where there's most of the places where there's massive trauma, there's also not hardly any money. And so I think the goal is to try to heal enough people so that we're not adding to the burden of trauma every year. And when you also traumatize someone, there's multi-generational trauma. People's chromosomes don't change that quickly. Their genes don't change that quickly. But the epigenetics, what turns certain genes on and off can be changed by what happens to you in your lifetime. And then you can also pass that on to your children. And so I think if we can envision a world of net zero trauma by 2070 and more of a spiritualized humanity, it'll be more like the island that Aldous Huxley wrote about. But the way that the book Island ended is the oil companies come in and crush the island. So what we want to make is the island is the world. And so I think that this moving into space that we have a chance at least on one hand of a spiritualized humanity in the next 40 years. And I do think it'll take multiple generations to get there. And if we fail at that, it's very worrisome because we're like lemmings going over a cliff in the other way. And we often wait till the last minute to make changes. And the damages are piling up. But I think over the next 40 years, there's a lot of optimism and a lot of hope that we would have a spiritualized humanity. And then what would we do? You know, we're going to have technologies that can support us all in terms of our basic needs. So hopefully we'll end up with a culture that focuses on art and science and music and creativity and love making. And this would be, you know, the spiritualized humanity that I envision over the next 40 years. So that's great. Final question. What's your favorite psychedelic? Breathing.  And what that indicates that it's in us, it's not in the pill. And but I would say that if I were stranded on a deserted island and I could have only one psychedelic, which would be, it would be LSD. And I know a lot of people like plant medicines and stuff. But the reason it's not MDMA, even though I do MDMA more frequently than the classic psychedelics, is that there's a way in which you can't run away from LSD. You have to surrender to it. And we build up all these ideas and all these defenses. And, you know, you can maneuver around stuff with LSD. You just got to surrender to it. So I would say healthy dose of LSD would be, you know, if I had only one psychedelic, that would be it. But the MDMA LSD combination is tremendous. MDMA with 5MEO DMT is also tremendous. So it's a hard question. But that would be my answer. Well, thank you, Rick Groff. Thank you.


Hello and welcome to the session. In this session we will discuss a question which says that a part determine the probability of rolling a multiple of 3 on the spinner, b part Samantha spun the spinner 90 times and got a multiple of 3, 26 times. Now first sub part is using Samantha's sample given experimental probability of obtaining a multiple of 3. Second sub part is explaining why this answer is different from the answer in part A and third sub part is does Samantha's result seems reasonable. Now before starting the solution of this question you should know a result and that is in a uniform probability model all outcomes are equally likely. Now this result will work out as a key idea for solving out the given question. Now let us start with the solution of the given question. Now in this question a spinner with numbers 1 to 6 is given to us and here all the numbers have equal chances of being spun and from the key idea we know that in a uniform probability model all outcomes are equally likely. So in this spinner as all outcomes are equally likely that is all the numbers have equal chances of being spun so a uniform probability model. Now in the a part we have to determine the probability of rolling a multiple of 3 on this spinner. Now here the number of outcomes are 6 that is getting a number 1, 2, 3, 4, 5 and 6. So in total there are 6 outcomes. Now from these numbers we know that multiples of 3 are 3 so here number of favorable outcomes is 2 so probability p of getting a multiple of 3 on the spinner is equal to number of favorable outcomes that is 2 upon total number of outcomes that is 6 so this is equal to 1 upon 3 which is equal to 0.33 or you can say the theoretical or expected probability of getting a multiple of 3 on the spinner is equal to 0.33. Now in the b part it is given that Samantha spun the spinner 90 dice and got a multiple of 3 26 dice and in the first sub part using this sample we have to find experimental probability of obtaining a multiple of 3. So in the b part we have number of favorable outcomes is equal to 90 and here she got a multiple of 3 26 dice so experimental probability is equal to 26 upon 90 which is equal to now 2 into 13 is 26 and 2 into 45 is 90 and further on solving this gives us 0.29. So here in the a part we have got the expected probability as 0.33 and in the b part the experimental probability is 0.29. Now in the second sub part of the given question we have to explain why this answer that is the answer in the first sub part is different from the answer which we have obtained in a part. Now in the a part we have obtained the expected probability that is the probability which was expected and in the first sub part of part b we have obtained experimental probability and experimental probability is a probability which we get by actually performing the experiment. So the answer is different from part a because this is actually what we got the result after repeated number of trials and in part a the probability was expected. Now in the third sub part it is asked that does Samantha result seems reasonable? Now we have got the expected probability as 0.33 and experimental probability as 0.29. Now from here you can see that the difference between the expected probability and theoretical probability is quite small. It means if we increase the number of trials then experimental probability becomes approximately equal to expected or theoretical probability. Therefore Samantha's result is reasonable. So this is the solution of the given question and that's all for this session. Hope you all have enjoyed the session.