This lecture is devoted to understanding drama in the classroom and we have given a subtitle experience and writing. While we are talking about experience, let me place before you a quotation from Rilke that we had shared with you earlier, where he had pointed out in his diary, for the sake of a single poem, you must see many cities, many people and things. You must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. And it is not yet enough to have memories, only when they have changed into our very blood, into glance and gesture and are nameless, no longer to be distinguished from ourselves, only then can it happen that in some very rare hour, the first word of a poem arises in their midst and goes forth from them. I like to say that reading actually also becomes a part of a writer's bloodstream and therefore, when we place this material before you, it is with this sense that you not only need to experience great writing, but some of the forms also help you bring back to your own experience of life. We have titled this subsection as experiencing the play and the focus is on performance of the cherry orchard by our elective students based on extensive discussion of the play, close reading of the play, discussion of content and form, reading of the play within the writer's historical context. We have tried to share that historical context earlier with you, but I think we will have to explain this textually in greater detail when we read cherry orchard. This is not to suggest that Jacob should be read purely in terms of his own historical context, there are many ways of reading and we would really not like to be restrictive about it. However, the reading of a writer in his or her own historical context is an extremely powerful way of trying to understand different locations, historical periods and the way the creative impulse emerged for the writer. It is really not possible to claim that one understands that whole process fully, but I think it gives a greater degree of concreteness to our understanding. However, there are multiple interpretations by great directors, actors of Chekhov's cherry orchard. You can have a look at those after you have really developed some personal relationship with this text. So, this performance by the elective students actually was a marvelous activity primarily because it brought all of them together in the act of creating something together. They were not only interpreting a text, but they were also bonding and interpreting the text. So, I think at multiple levels this activity enhanced their experience of each other and of others of the given text. The translation that we used for this cherry orchard performance and reading is by Kathleen Cook and I am really very fond of this translation because this particular edition contains a foreword by Stanislavisky, the great theatre director who went on to interpret most of Chekhov's plays and in fact of course Chekhov and he disagreed vehemently about the way cherry orchard ought to be interpreted for performance. But nonetheless, I think Stanislavisky's grand contribution to theory of acting emerged because of his deep interaction with Chekhov and Chekhovian text. So, you will find a foreword by Stanislavisky in this edition. Another fascinating feature of this edition is the inclusion of photographs of the Moscow Art Theatre productions and also number of very evocative sketches of the stage design. Those of you who are interested in these aspects and in fact there are lots of technical aspects that also are artistic in their orientation such as stage design, lighting, etc. I think if you are interested in these areas, you can look at the drama review back issues and really see how different kinds of great artists have interpreted these great plays. But this particular edition really personally relate to very much. This play will pose problems for many of you because initially you would have to remember the names of each character. Remember from you know our own earlier reference to the author, six characters in search of an author, characters in a play or in a literary work have their own autonomous existence. So, it is very important to remember the names of characters. So, I will try and help you out right now. The characters in Cheriyochet are Ranevaskaya, the owner of the Cheriyochet. She has two daughters, Anya is her young daughter of 17, Varya is the adopted daughter and she is also the housekeeper, Gai is her brother. So, this is the family that owns the Cheriyochet technically and all the other characters are also part of their sense of the extended family because the play is placed in a community oriented setup where everyone knows everybody else and they feel part of each other's lives. Up to Gai, this is the family and then you have Lopakhin, a merchant who actually comes from a family of serfs. Then you have Trophimov, a student who was also a tutor in the family earlier. Simon Tyschik is a landowner, but he really is in pretty bad shape. The play deals with feudal times and the last phase of the feudal era in Russia. The other characters are Sharlota, the governess who has been hired by this family. Obviously, the Raneveskaya family is rich enough or is sort of perceived to be rich and they also can afford to hire a governess. This governess accompanies Anya most of the time if Anya is traveling. Then you have Yepikhodov, a clerk who is again part of the Raneveskaya household. He is a man given to philosophical thought processes. He is very idealistic, romantic and yet the gap between his philosophical thought and his common ailments like the clicking boots or other such injuries. You can see that it is obviously meant to be a comic character. The notion of comedy as you look at these characters, I think you will have to try and assess the comic element in the play. But I mention Yash Yepikhodov primarily because he is out and out a comic character. But the content of that comic element which has a tinge of sadness, I think if you are able to discern it as we read the play and the students perform it, then you will really begin to understand the power of the Chikovian world view. Dunyasha is a maid in the household, fears is also an old servant of 87, none of the servants are caricatures, they are all fully developed characters. Each one has an individuality and identity which may be anchored in their role as servants but they really are not fully defined by that. Yasha is yet another young servant, then there is a wayfarer, a station master, post office official guest servants. I think the list of guests and servants is given because in one scene all of them come together to celebrate the reunion of the family with the villagers. The scene is set in the Ranevaskaya estate where the cherry orchard is located. Now, if we were to try and understand the play and I am giving you this preamble so that when the students perform this play, you are able to connect to it. You would have read the play in advance. If you have not read the play in advance, you can see the performance, begin to connect to the play and the performance only deals with segments we have selected. The reason they have been selected is because they do give you a sense of the flavor of this very rich portrayal of life in transitional Russia. Remember, this is a period when the October revolution is in the air. The feudal system is being questioned vigorously at different levels and yet you will notice that Chekhov maintains a somewhat dispassionate view of all the characters. At the same time, I think there is a kind of plot structure that helps us understand how they are connected to each other. So, I will give you that sense of the plot structure in terms of the Greek notion of plot or the Aristotelian notion of plot, but surely it is not really adequate way of looking at Chekhov because it does not cover the powerful aspects of the play fully. So, in terms of the Greek notion, exposition, rising action, climax, falling action, resolution, these are five facets of the highs and lows of a plot. Now, if we were to try and understand the cherry orchard based on this kind of pattern, then we can say that by way of exposition or the initial moment where the play begins, this consists of the reunion of the estate's inhabitants. Raneviskaya has come back from Paris where she leads a very unhappy life with a person she is not married to, her husband had already died and so she has come back with her daughter Anya and everybody is there to receive her. As I said, the sense of community and warmth is very strong, at the same time paradoxically there is deep sense of loneliness in each character. The rising action consists of the cherry orchard and the need to sell the cherry orchard because the family cannot afford to keep it anymore, it is in debt, heavy debt. So, there is a lot of action around this in terms of the need to sell and the inability of Raneviskaya and Gai to really take this very seriously. Finally, despite all his efforts, Lopak in the merchant who is also an admirer of Raneviskaya's warmth and goodness of heart, he buys this estate. So from a family of serves, he becomes a land owner, an entrepreneur who would turn that feudal land into new enterprise. So that consists of the climax that is sort of it revolves down the climax of the play and then the falling action consists of the grief that the family feels because a very very strong emotional bond of the family has been severed because soon the cherry orchard would be you know I think basically it would be axed and new enterprise would develop there. So the family is in grief and so that is falling action and the resolution consists of the forced new beginning for the servants, for the feudal owners in some strange way even for Lopakhin because he does not have the strident ambition that one would associate with an entrepreneur. He is very happy that he has changed his destiny and in that sense there is an element of triumph in Lopakhin but he continues to feel plagued by a kind of emptiness that he cannot quite fathom and assess. Earlier while talking about the Shemelion I had pointed out the checker very often deals with what seems like a very comfortable surface level of existence where everything can be understood through you know acceptance of a way of life. And at the same time it is this exactly this way of life that he critiques sometimes gently sometimes not so very gently. So Lopakhin again also is forced to start life anew two people who seem really very happy in this whole situation or see you know try to be happy are Trafimo and Anya the young daughter who is very open minded full of youthful optimism. Basically I would just say this before you begin to see the play that the plot structure although it gives you a sense of movement and progression but it does not really fully capture the you know the angst that the characters experience. So the causality of the plot is embedded in the economic order and the changes that were to occur or that occurred during the play in that economic order. And also along with the economic order the consciousness of each character is affected because after all they have been shaped largely by their way of life and I think the most touching element of this whole portrayal for me is the portrayal of fears who actually totally believes in the old world order but gradually you begin to notice that he finally comes to a moment of self-realization and that is the last part and I like you to see it and then think about it. So one would say that you know there are lots of questions that the play evokes. Is Chekhov being dispassionate in the midst of this turbulence that had really really changed Russia in such a drastic way through discussion, political action and very you know you know struggle between mighty forces of feudalism and the new world order at that time. So how do you see or was it lurking very sharply behind the play? In order to interpret the play therefore I think you can think about these issues and also if Chekhov was being dispassionate what did he sort of what is he trying to bring out in terms of the comic nature of the characters? Are they totally unable to deal with their own reality? Why is there no sense of transformation, internal transformation in the characters? They remain what they are and by and large their self-view does not match with their view by other people. So there is always a mismatch and at the same time they are very you know expressive. They express their sense of the self. Each one of them expresses his or her sense of the self and at the same time nobody listens to that. Nobody is there to fulfill that sense of dialogue in them. They remain monologic. So all the dialogues have this air of a combination of monologue plus dialogic in the sense of you know some connection with the other characters. So that makes for a lot of you know I think reflection in terms of how you relate to the Chekhovian text. So therefore now I think the best thing is to let you see the performance and arrive at your own decision. I really strongly feel that it will not be sufficient for you to just see the performance because these are excerpts that the students have performed and also because the rest of the play one is not trying to suggest is redundant. In fact all of these things build up slowly in the play. It is difficult to fathom Chekhov immediately that is what Stanislaw Peski also has said in the foreword that takes certain amount of you know relationship with the text before it blossoms for you. In terms of the characters let me just read out who's played what. Ranevaskaya has been played by Neha, Neha Chaudhary, Annya by Chandralekha Singh, Varya by Reenal Sheda, Gai by Sushil Reddy, Lopakhin by Bharat Prabhakar, Trofimov by Arvin Singh. Arvin Singh played the part of Shalota also. We discovered this uncanny ability in Arvin Singh to move in and out of characters. Yappichodov has been played by Venkatesh Dosa, Dunyasha has been played by Reenal Sheda. Again she has also played two parts. Fears has been played by Alankar Jain, Yasha by Tarun Reddy, Wayfarer by Shivashish Bhutya. So now we will place this first act before you. Each scene description has been read by Bharat Prabhakar who has also played the part of Lopakhin. Now this reading is extremely important because it also enables better understanding of the Chekhovian style where the scene descriptions add to the mood of the play. Every playwright of course gives scene descriptions and Chekhov has his own distinctive way of capturing the mood through different kinds of issues that he raises or the landscape that he has chosen for the play. I think Bharat has read it very clearly and I think that will also help you connect each segment to the scene. So we will start with act one, segment one where Lopakhin, the merchant, Dunyasha the maid and Yappichodov the clerk. These three are waiting for Ranevaskaya. You will notice two or three things and I want to mention this clearly. The conversation seems disjointed that is Chekhovian style. So part of the conversation gives you the feeling that fine they are sitting together and talking about something which is commonly shared and suddenly the character goes on to talk about himself or herself. Wherever it is self directed the other person does not seem to listen. So there is a disjointed quality which is Chekhovian and the other thing is that when the students perform it, please take note of the fact that it is a difficult act to read and perform. We did not really reach the level of full flesh performance. We would have done that if we had time. But I think this reading and remaining true to the text and then at the same time performing it by becoming the other, I think they were able to combine it really well. In my opinion it is really a laudable effort. So now let us see act one, segment one. A room which is still called the nursery. One of the doors leads to Anya's room, dawn, the sun will soon rise. It is already May, the cherry trees are in blossom but it is cold in the garden with the frost of early morning. The windows are closed, the Nyasha with a candle and Lopakhin with a book in his hand come in. So the train is in, hi Kevin, what time is it? It is daylight already. How late is the train? A couple of hours at least. I am certainly a fine, I am certainly a fine one, to have come on purpose to meet them at the station and then to go and doze off sitting in a chair, what a shame, why did you wake me? I thought you had gone, it must be them driving up. No, no, no, they got to get the luggage out and all that. I wonder what Madam Raneveskaya has become, like after all those five years abroad, she is a splendid woman, so easy and simple in her ways. I remember when I was a youngster of a team, my late father hit me so hard in the nose, it bled. We were in the yard here, I forget what we had come about and he had been drinking. I remember it like yesterday. Madam Raneveskaya, quite a young girl then, and oh, so slender, brought me to this very room. It was a nursery then, to wash my face, don't cry little music, it will get well in time for your wedding, little music. My father was a music, sure enough, but here I am, in a white base coat and brown boots, a silk purse out of a sore's ear, as you might say, I am just rich, but for all my money, come to think of it, I am still a regular music, and I have been reading this book here and I didn't understand a word, I fell asleep over it. The dogs didn't sleep at all last night, they felt their masters were coming.  My hands are shaking, I am going to fade.  This is from the gardener, he says it is to go in the vineyard. And bring me some course. Yes sir. There is some frost in the morning, three degrees below, but the cherries are all in blossom. I can't say I think much of our climate, no, I can't, and our climate is not adopted to contribute. And I should like to add with your permission that only two days ago I bought myself a new pair of shoes, and I went there to assure you they speak harder than I can stand. What am I to preach them with?  But I don't complain, no, I am used to it, and I keep smiling, I must be leaving, there you are. If you say, you will excuse me the expression, the sort of accident by the way, it is simply remarkable. Mr. Lopakhan, you have proposed to me. Oh. I hardly know what to do, he is a well behaved man alright, but sometimes when he talks, you can't make out anything, it's all so nice and moving, but you just can't get other meaning of it. I am fancy, I am rather fond of him, he loves me to distract him, he is a most unfortunate man, every day something unpleasant happens to him, so they have nicknamed him, 22 Miss Fortunes. Let's move to Act 1, segment 2, where Ranebaskaya, her brother Gaiib fears the old servant and Lopakhan, the merchant, who is also as I said earlier, very emotionally connected to Ranebaskaya. He can see that she is a very, very good hearted woman and very transparent. So, this particular seed, you will notice that you know, Lopakhan is really, really very keen on helping Ranebaskaya solve this problem of Cherry Orchard and the debt she has to pay by helping her sell Cherry Orchard. She is totally unfocused, she is deeply involved in her own internal thought processes, emotional life, torn between her lost life in the Cherry Orchard and the state and her new life in Paris. Her brother is equally ineffective because he just has never taken any responsibility. So, both are I think caged within their own feudal background and at the same time, you know, they are not dehumanized or they are not, Chakrabi is not watching them in a very strong judgmental manner, so they remain human. The old servant fears is again lost in his own world of associations. So, now let us see this unfold. I would like to tell you something pleasant and cheering. I must be off, there is no time to talk. Anyway, I will put it in two or three words. You know that Cherry Orchard is going to be sold to pay the mortgage. The sale is fixed for the 22nd of August. But do not you worry my dear lady.  You have a way out of it. Here is my plan. Please listen. Your estate is 15 miles from town. The railway runs close by it and if you agree to cut up the Cherry Orchard and land along the river into building lots and lease them off for summer cottages, you will get at least 25,000 rubles a year out of it. That's nonsense. Excuse me. I don't quite understand what you mean, Admiral Hyde. You get at least 25 rubles a year for every acre from the tenants. And if you advertise a thing at once and bet whatever you like, by the autumn you won't have a clod of the earth left on your hands. It will be all snapped up. In a word, I congratulate you. You are saved. It's a first class side to the good deep river.  You'll have to pull down all the old buildings. This house, here, which is no longer fit for anything. And you'll have to cut down the old Cherry Orchard. Cut down the Cherry Orchard? I'm sorry, my dear, but you don't know what you're talking about. If there's one thing that's interesting, indeed remarkable in the whole province, it is our Cherry Orchard. There's nothing remarkable about the orchard except that it's a very big one. It only bears once in two years and then you don't know what to do with the fruit. Nobody wants to buy it. The orchard is mentioned in the Encyclopedia. If you don't think of a way and don't decide on anything on the 22nd of August, the Cherry Orchard and the whole property will be sold by auction. So please, make up your mind, there is no other way out. I swear, none at all. In the old days, 40 to 50 years ago, they used to dry the cherries and soak them and pickle them and make jam of them. And the dried cherries used to be sent to Karko and Moscow. The money that brought in. The dried cherries were sweet and soft and juicy and good smelling then. They knew how to do it in those days. They have forgotten. Nobody remembers how to do it. Let's shift to Act II, Segment I. I'd really like you to once again notice the evocative quality of the seen description, which Paratha will read first before the roles are performed. Shalota, the governess, really gives voice to her sense of loss. So on the one hand, she's full of tricks and fun, but on the other hand, there is this deep sense of loss that she experiences all the time. And she, for example, says, but I have no idea who I am or where I come from. In Chekhov or in any other great playwright, it is very important to notice the life or portrayal of each character. Please don't develop a hierarchy of roles. So Shalota is very important because she adds up to the same sense of loss that different characters express in different ways. Yepikhodov the clerk is also at his best as a romantic. And Yasha the man's servant is a really sharp, materialistic, cunning servant waiting for an opportunity to exploit Raneviskaya and the household. So let's see this part. Act II, the open country, an old chapel, long abandoned and ramshakri. Near it a well, big slabs, apparently old tombstones and an old bench, road to the estate beyond, on one side rise dark poplars, beyond them begins the cherry orchard. In the distance a row of telegraph poles and far away on the horizon, the dim outlines of a big town only visible in fine, clear weather. It is near sunset. Shalota, Yasha and Dhonyasha sit on the bench. Yepikhodov stands by them and plays a guitar. All seem to be plunged in thought.  I have no proper passport. I don't know how old I am. I fancy I'm still young. When I was a little girl, my father and mother used to go from one country pair to another, acting in side shows and very good ones too. I used to do the Salto Morale and all sorts of tricks. When papa and mama died, an old German lady adopted me and taught me. That was alright. When I grew up I became a governess. But I have no idea who I am, where I come from, who my parents were. I don't know. Very likely they weren't married at all. I don't know a thing. I long to talk so. But there's no one to talk to. No friends or relatives. What is the noise we were to me? For what are friends and foes? How sweet it is to play a mandolin. That's a guitar, not a mandolin. To one man with love it's a mandolin. In Act 2, the second segment deals with Rana Baskaya, the owner of the Cherry Orchard, Havrada Gaiib, Yasha and Lupakhin. Again, Rana Baskaya is unfocused so far as the materiality and the economic aspect of the Cherry Orchard is concerned. She only feels an emotional connection, a deeply emotional connection with the Cherry Orchard, which almost borders on the spiritual in some ways because this also represents her old lifestyle. The brother is busy playing billiards all the time. Whenever he's in doubt, he plays imaginary billiards. Yasha is his grabby, acquisitive self. And Lupakhin again is urging Rana Baskaya to take action to save the Cherry Orchard. So let's see this segment. Yasha remains sitting by the chapel. Rana Baskaya, Gaiib and Lupakhin come in. You must make up your mind once and for all. Time waits for no man. The question is perfectly simple. Are you going to lease the land for the cottages or not? Answer in one word, yes or no? Only one word. Who's smoking horrible cigars here? Now they have built the railways. It's made things very convenient. They have been over and lunched in town. Care of the white. I would like to go in and have a game. There is no hurry. Only one word, yes or no? Come, give me the answer. What's the start? I had a lot of money here yesterday. Hardly any left now. Poor Varya, she tries to save money by feeding us all on milk soup. And the old people in the kitchen, they get nothing but peas. And yet here I am, squandering money. I'll pick it up. Yes, please do, Yasha. Let's move to the third segment of Act 2, in which now, in addition to Ananya, the young daughter, Varya, the adopted daughter. And by the way, a lot of people, a lot of critics have speculated about Varya's origin. Why did Rana Viskaya adopt her? I won't go into those speculative thoughts, but Varya is a complex character, because although she is the daughter, she kind of knows her place as an adopted daughter. She keeps herself preoccupied with the household affairs and I think her character is also very, very interesting and deeply etched out. Varya here is played by Rinal. So, wherever Rinal wears a shawl, that's because she is acting as Varya. And otherwise, without the shawl, she is Dunyasha. Then there is Rana Viskaya, Gai, Lopakhin. And as I said, there is a new edition here and that is Throphimo. The tutor comes student, played by Irvin Singh. And we mentioned Irvin Singh because he's also played Charlotte earlier. Throphimo is a very, very important character. All of them are very important, but I suspect some special connection between Chekhov and Throphimo. It's for us to sometimes speculate and see these positions, but later on in the next lecture, you will see how many of my students interpreted Throphimo as a distinctive character. And the reason he seems closer to Chekhov's own thought processes is because Throphimo is deeply connected to changing Russia. He speaks the language of new Russia and at the same time, he's not shown as an idealist. It would be very interesting to contrast him with Yabekhov who's through and through a comic character, but Throphimo seems like a tragic character because he talks about the way Russia in the past has been defined by feudal tendencies which were based on exploitation of serfs, etc. And at the same time, when he talks about the future and the need for work, you begin to see the paradoxes in Throphimo's character. You begin to feel that there is an element of satire that Chekhov intended. So, I think this long speech of Throphimo which can also be described as a monologue because we don't really know if except Anya, anybody was paying heed to Throphimo. Anya listens to him avidly and she is an ardent admirer. She loves him and she also is full of this optimism and also this sense that change is always for the better. Here come our girls. Here's Mama.  If only you knew how much I love you. Come, sit with me, come. The perpetual students always with the girls mind your own business. He's nearly 50 and still a student.  What are you losing your temper for? Why can't you just leave me alone? I should like to know what you think of me. This is what I think of you here, right? You're a rich man.  Just as for the conversion of matter, a beast of prey is necessary which devours everything that comes its way. So you too are necessary. Tell us something about the planets, Pitya. No, no, let's pick up the talk we were having yesterday. What about? About pride. Right. We had a long talk yesterday but it didn't get us anywhere. Pride, as you use the word, has an element of the mystical about it. You may be right from your own point of view but if you look at it simple-mindedly what room is there for pride?  We must give up admiring ourselves. The only thing to do is to work. We should die all the same. Who knows? And what does it mean to die? Perhaps man is a hundred senses and when he dies, only the five senses that we know perish with him and the other 95 remain.  Extraordinary. Mankind marches forward perfecting itself. All that we find annotatable now will someday be near and clear but we must work. We must do our utmost to help those who seek after the truth. At present, very few work in Russia. The vast majority of the educated people that I know seek after nothing, do nothing and as yet are incapable of work. They call themselves the intelligentsia but they speak rudely to their servants. They treat the peasants like animals, learn nothing, read nothing serious, do absolutely nothing. We need to talk about science and know little or nothing about art. They are all serious and always wear their solemn faces. They discuss important subjects and air the theories but meanwhile, workers eat abominably and sleep in filth and stuffiness without pillows. There are as many as 40 of them sleeping in one room but everywhere the stench, the dam, the moral impurity is plain that all our clever talk is only meant to distract our attention and other people's. Show me those sketches where they are always talking about all those reading rooms. There are only things people write about in novels. They don't really exist at all. There is nothing but dirt, vulgarity and asiatic ways. I am afraid of serious faces. I dislike them. I am afraid of serious conversation. We had better hold our tongues. You will notice that from Act 2 we have chosen four segments. The fourth segment has all the above characters and fears the old servant and as the family all these people are sitting out and talking to each other there is a wayfarer who comes there and he sings a song where he talks about suffering that binds him to all those who are there. So this note of suffering I think this sort of if in terms of the scene descriptions also the air of melancholy and the air of suffering is evoked persistently by checkup and again it leaves you wondering as to what this suffering is all about what is the nature of suffering that checkup is talking about because nowhere does he clearly define it either through dialogue or through the scene description there is only a suggestive quality which has been often described by critics as checkup's negative capability so there is much that you can again sense here. All said, plunged in thought perfect silence broken only by the mumblings of old fears suddenly a distant sound is heard as if from the sky the sound of a string snapping dying away melancholy What was that? I don't know probably a lifting top is given away somewhere far in the mines only it must be a long way off Perhaps it's some sort of a bird or an owl There is something uncanny about it The same thing happened before the great Miss Fortune The owls creached and the Samovar get humming What get Miss Fortune?  There is someone coming Excuse me sir Can I get to the station this way? Yes, take this road I'm uncommonly obliged to you sir You're having lovely weather today Brother of my suffering brother Come forth to the whole girl who groans Could you be kind enough to spare a few copets for this hungry fellow countryman? There is a decent way for every outrageous thing Oh here Take this I don't have any silver never mind Here is a gold ruben I'm uncommonly obliged to you madame Let's shift to act 3 The last part of this act The cherry orchard has been sold and Ranebaskaya Anya and Trofimov are present on stage Trofimov is silent Anya empathizes with her mother as I said she's been shown as a very warm hearted loving woman and I think Neha has brought out that quality in her quite effortlessly Anya empathizes with her mother's suffering and she's able to give her solace because she herself is full of optimism she feels the strength to sort of carry on and build a new life a new garden as she calls it So then this is the last part of act 3 Act 3 Ranebaskaya sets her love weeping bitterly The band plays softly Anya and Trofimov come in quickly Anya goes to her mother and kneels before her Trofimov stands at the entrance to the drawing room Is everyone here? No one left behind? There are things stand in here must lock them up Good bye house Good bye old life Welcome New life Tell the spring then Go on everybody So long My sister My sister My sister My sister My dear daughter My sweet lovely daughter My life, my youth My happiness Good bye Mother Hello One last look at the halls and the windows Our dear mother used to walk in this room My sister Mother Hello Finally Act 4 The last part of this act again and it shows that the old way of life has changed You will see Ranebaskaya, Gaib Lopakhin, Anya Varya, Trofimov talking to each other about leaving and then finally fears who is left behind Personally I really have felt profoundly touched by fears because at this point in the play he sort of reaches a moment of what can be described as a self view. He sees himself as an individual and not as a servant human being and what he has to say is really very moving because he feels as if he had never lived his life ever The time for change has come or has it for fears See this performance and decide for yourself In the next lecture we will pool some of these ideas together also share the student responses by way of creative or some analytical exercises enjoy the concluding part of this performance The stage is empty There is the sound of the doors being locked up and the carriages driving away It grows quiet Through the silence one can hear the sad and lonely thud of an axe on a tree Footsteps are heard Fears appears in the doorway right He is dressed as always in his long coat and white waist coat with slippers on his feet He is ill They have forgotten me Never mind I'll sit here a minute Master is sure to have put on his cloth overcoat instead of his fur He had me to see Young word green word Life has gone by As if I'd never lived Let me lie down a bit There is no strength left in you None at all Ah you Good for nothing A distant sound is heard that seems to come from the sky like that of a string snapping Dying away Melancholy All is still again saved the sound of the axe


In outside Africa, Iran's judiciary has sentenced three more anti-government protesters to death on charges of waging war on God. This however defies growing international criticism over its fierce crackdown on demonstrators. Iran hanged two other men on January 7, one of them a karate champion with several national titles in its attempts to stamp out demonstrations. The bar siege forces affiliated with the elite revolutionary guards have been on or at the forefront of the state clampdown on unrest sparked by the death of 22-year-old Masa Amini while in custody of Iran's Morality Police on September 16.


Welcome back to another episode of HBCU Digest, Digest After Dark on Serious XM Radio, Channel 142 HBCU, The Pride of Howard University Radio. I am your host is Tiffany, and clearly I am forever permanently on the roll, and Jared is not here with us tonight. Today, tonight we have Orisa Morganite, Midnight Winston, getting them into school, just changed to the Dell State Pipeline, I'm trying to catch up here. And Laurel the Aggie, we may or may not hear from KD and Eric, we will see how that goes, but tonight we are, with the exception of one topic, our very Florida heavy tonight. I didn't design it like that, but that's how it's going to play out. So first up is Nicole Hanna-Jones in particular. It was announced a few days ago that she and my fellow Howard alum, Tanya Hesse Coates would be on faculty at Howard in this coming academic year. If you will recall, if you were or are a long time, listener, you will know that this past May, we talked about Nicole Hanna-Jones and other black scholars who have been denied tenure at their traditionally white institutions and systems. And here we see some moves were made. And the only thing that I can think of is, A, that while we were chatting, it would seem that President Frederick was negotiating to make things happen. Second thing I would also say as I have been cackling since I read the announcement is something that Big Sean said in Friday Night Cipher. Shit be impossible until it happens, right? So that's all I got. Laurel, it's on you for this. Please give us a prophetic word, a response, anything else you have to say. I mean, this happening was the prophetic word. Was it not? Did I not say that this was what it was? Did I not say, was I lying? I wasn't. Yeah, I definitely scooped this. My sources will remain unnamed, but people be knowing. I think it's not so much as her, like, of course she wasn't gonna stay at UNC.  And then they say, oh, just kidding, nevermind. Here you go. And then you take it like, she was never gonna do that. She's been through the tray too long in these journalism streets to do that. But like I said, last time, her, I remember her saying Howard came to her. They were the only HBCU that said, hey there, you and all your wonderful glorious funding. We have a space for you. Would you like to have a seat? And she said yes. And what did I say last time? That other scholars that are black, we will even expand it to the rest of the people of color. I would take it further and say, don't wait to be asked. Show up and say, how can I help you? Oh, I see you have this, but it could be better. Here are my resources and my grant funding and old white people money. That is in the millions. What do you need? Winston, what you got? You know, first thing is welcome home. Welcome home to the folks wherever you needed to have your awakening, whatever required you to recognize the opportunity, welcome home. You know, and opportunity is there. I think there's a lot of opportunity, you know, from a sector wide perspective for folks to have the spotlight shined upon, the value in our institutions and what they can bring and to Laurel's point, what some of those educated minds and resources can bring to the sector as well. You know, I hope that the opportunity, excuse me, allows the attention that it deserves. Some people require the fancy names and the certain influencers to be a part of the sector in order to recognize them, but that doesn't mean you won't catch some people who will find deep value and who maybe do understand purpose in this space, what it means to be called to the space, to Dr. Carr's point. And I hope it just is an opportunity that is taken by others who understand it and that it doesn't require you to, and Laurel, to give play to your face in order for you to understand the value there. You know, hopefully it allows some other folks to reevaluate their careers, really take a, let's take a unbiased look at the sector and what opportunities are there for us collectively as a culture to be able to use those minds and those resources in the HBCU space because there is a lot of value there. We know it's rich and valuable. Solid ores. So I just want to, I think I feel a lot of commentary with people saying, you know, oh, she went to Howard and there's a certain bias towards Howard. Due to its location and its rent, but she's paying her own salary. So she really could have went anywhere she wanted to when she chose Howard. So I know she did like Howard reached out Howard offered, but she's paying her own way. She's actually bringing more resources than Howard can actually give. So I thought it was cool to see that because she could have done something different. I thought it was cool that she came with Ty and I thought that in general, it brings a lot of energy to the sector. I hope that in general, her time there is good because it is a tenured role she can stay for as long as she would like to. And I'm assuming she'll be in and out over the next, you know, 20, 30 years, probably doing assignments with New York Times Magazine, doing stuff at Howard, maybe do some film stuff. It's like Ty needs does coming back. And I think it's cool to see that. More to Laurel's point. Can y'all hear that thunder? We're not even supposed to be doing this right now, but we gonna contain more to Laurel's point. It is the calling, but the conflicted part of me also says that the calling can't be enough. The calling can't be enough. And we're also, you know, working to get to that point where we can get out of a survival mode, right? We need to get to the point where all of us or the majority of us are thriving on our individual campuses and collectively. So that's something to, I think, think about. KD, you can round it out. Sure, I'll A on the side of positivity and just say that, you know, Howard is a powerhouse in the HBCU community for a ton of reasons. And we understand that. So we understand that they'll always be able to attract the celebrity. And I'm thankful that the celebrity decided to come home and be with people that's going to love her. And she brought her money with her, which is dope as well, right? So she's not gonna put any stress on a university, build the university's profile and then prayfully build some other black, strong, young journalists underneath her to follow her footsteps and do some similar work and, you know, bring more light to the sector. But just because Howard is the powerhouse and they can attract the celebrity doesn't mean that, you know, the Fort Valleys, the fists, I don't know, the Johnson C. Smiths, the Coppins State University, the smaller HBCUs without the strong, strong, strong alumni can't, you know, take their best and build in their universities. You don't need a celebrity to do something new, do something fresh and not even new or fresh, just to build a program in a way that attracts people. You just need to take your best alumni and do something similar, right? You don't need a celebrity to do this. You just need to do it with what you got.  That's funny. That's funny that it should be.  I'm gonna highlight them, bring them home and build around them, you know. You know, help build their profile in the midst of you building that profile, help build your school's profile and move like that. There's nothing wrong with that, right? But again, I'm just happy she came home and didn't hit them with the double M and brought home one of that on two. That's big ups to Howard, y'all. Y'all just keep making the right moves at the right time. So yeah, congratulations, y'all. Again, for the continued wins.  I'm done. Okay. I have to say that an HBCU president texted me and he was like, this is a win for Howard. I said, nah, this is a win for everybody. Everybody is on, right? And I say that because the top programs or the schools that Howard, the professional and the graduate school all have, or the majority of them have summer programs that are specifically for HBCU students, not just Howard students, but HBCU students. So I would expect to see something come of Nicole Hanna-Jones and Tanya Heesey-Coates being added to that line of summer programming for other HBCU students. That's something that I do really expect to see. But moving on to the first Florida topic, I suppose we'll let Ores have this first. So if you have been following the saga for a while, you will know that Bethan Cookman University a few years ago struck this residential residence hall deal. And it didn't make sense to a lot of different people. It didn't make sense to a lot of different people. It was just like, who cleared this? Nobody would take the responsibility for, hey, I cleared this. I mean, obviously we know who did, but it just did not, it didn't sit well with a lot of different people. There have been since this time, various stories about mismanagement, deals being brokered, people getting kickbacks, all these different things. But a few days ago, there was an announcement made that essentially the debt has been relieved through the federal government. And now the question is being asked, is Bethan Cookman University in the clear? Is it safe? Things like this, for the amount of money, was like $306 million that's being given, relieved, whatever the case is. And one of the things from the article talked about how for a debt that large, a sum of money that must be paid, those things start to affect your accreditation. And so the idea is that with this debt being relieved, that they're safe from getting their accreditation snatched by SAC COC. And so, or as somebody, I think you obviously were a rattler for a year, I would assume you have much to say, I know you also have in, oh, excuse me, two years. I know, I think you also have an interest in real estate.  Thank you, Tiffany. So what I would say first is they're not the hot seat. They're AD, just resigned. They're president just resigned. So it's kind of difficult to be excited about things when you have a major people in the administration who are resigning after the AD was there, I think for 17 years. They did a very good job. They have great athletic, wonderful uniforms. But with the president leaving after all the controversy, there's still some board issues with the resolution of the debt, that's good. But one thing to realize is that the original deal was around $100, $150 million. And it had already played so much interest that it was worth over 300 million debt in five or six years. It just shows you how bad the deal, they signed. I hope that they can transform from an administration standpoint, and get the board together. But it's still a rickety shift, like they flood a hole. But it's not, it's not, not fixed. It's still the president. It's still the athletic director. The president took people with him to the positions that are open. Enrollment is not great. And unfortunately, the state was giving him a lot of money. It's right now in a tax deficit because they need hospitality tax. So the extra money they had for private schools are not given out this year to Bethune, to Stetson, to some other private schools in the state of Florida. So I'm not overly optimistic about Bethune but my college, and I hope that they can continue to get their stuff together. But this debt is nice to get off, but you need a president. You need a president. I do have like four rooms in the last five years. They've had different board chairs and board members. It's a mess. And they have all these new costs coming to the swag. So I don't know. I don't know. And I just saved the cook of college. That was on purpose. Yes, we caught that. So now I'm wondering, how do we decide? Nah, I say that. Okay, where did orders go? All right. Let's go with Eric. How do we decide what exactly? No, no, no, I wait for that question. At some point, Bethune Cookman is private. So it's a whole lot of people you've got to ask who's responsible here for it, even though we know what we also don't know. Can't help but to ask, like, as with things I've said in previous episodes of That Is After Dark, who's holding the board accountable? So this is all over the board. One way or the next. And it, so that gets handled. Well, but they in the swag though. So I guess I'll go to them. We'll see. One of the questions in the article was along the lines of, so they couldn't do this with any of the presidents before? Like, was this not on the table as a solution with none of the previous presidents? This was not on the table? And I just, I find that hard to believe when I think about that one, I'm seeing the graduation in my head where Betsy DeVos was down there talking. Was this not on the table? Cause this was, this was a thing then. Who knows? Katie? I mean, I can't speak to what happened during that admin. I immediately rejected everything that they did, not everything, but almost everything that they did, right? So I'm not even gonna put that into play. But what I will say is when, and this is a cause for concern for me, when you see a large sum of money being given to an institution and incredibly large sum of money being given to an institution, when you see a lot of leadership turn over, it begs the question. Who's interested in the school? Why are they interested? And what is your plan to keep them from acquiring the school? That's especially, and we said we in Florida, right? They don't want them HBCUs down there, especially in Daytona around a certain demographic. So yeah, I would be concerned if I'm alumni that you may lose this institution to the closest for-profit PWI, not for-profit, but the closest state institution that's a PWI or MSR, whatever, have you want to slice it in the area? That's the only way I can see it because when you talk about quarter billy plus, a quarter billy plus to save a school, did you even solve the problem from when you took the first 108 million? Is that problem still in existence? And then you had the nerve to take more money? Like, how do you triple that number? And under four years, how do you triple that number? You know, I think that school is gonna get snatched. We may lose that HBCU because of foolishness, unfortunately. I hope I'm wrong. I hope I'm wrong. I've been wrong before, but I can't see it any other way right now because there's just too much money for a state or federal government to just let that school just sit there and be cool. You know what I mean? That's all I got. I don't want to see that. I literally don't want to see that. Like, that would make me want to fight. And I know we do not, oh no, Jared ain't here. We don't talk about, or Jared does not talk about Morris Brown College. But if we had, and this sounds very terrible, but if we had to pick a school, pick between the two. Oh heck no, we're not doing that. I don't want to know. I mean, I was gonna bring them up, but only to say that if Morris Brown can have 29 lives, why not, can Bethune Cookman? Oh and to correct, or as they actually did just get a new AD as of this week. But to that point though, Georgia has a much stronger school, you know, college or high education institution. I believe. Yellow more closer. That's the big one. Florida and Georgia are fighting for our place. Florida and Georgia were supposed to be separated from the United States and be drifting in the Gulf right now. But they're not. So while they're still connected, we have to deal with everything. I'll save Atlanta. I'll save Atlanta for a second. No, no, they gotta go to Atlanta. Atlanta can go to it. They gotta go. Wow, y'all so funny. Atlanta, Atlanta can be Atlantis. Okay, that's the thought field. But for while they're still connected. I didn't even know what it is. I'm saying there will be when it's in the US. And it drifts out to the Atlantic Ocean. Perhaps the Bermuda Triangle. Who knows, you know what I'm saying? Other worlds. But I feel like Bethune Cookman, I don't know.  I do agree with KD that there is something else afoot because there's always something afoot. Especially with a private institution. There's a few foots afoot. But I feel like in the meantime, they're stabilizing. So it's kind of hard to say like, okay, is this gonna, are they really gonna improve from this? Or is this just the setup before another pitfall? We don't know. I wish all schools were required to make their books public. I wish all nonprofits were required to do that. And that's unfair and that's problematic for them. Even when they are public, people still don't look at it, Eric. This is true, but if it was there, there are the jerks of the world. There are other people of the world who work in higher education or like, what the heck is going on here? Because somebody is, it is, you're right. I ain't going to lie to you. I was at ANC while people were complaining about the budget. I even told people, I was like, you can literally, and I did it, full disclosure. I looked up every last one of my professor's salary, but does the average, I know the average student doesn't know that because it's easier to complain about the financial aid office, which valid, but no one's gonna really sit there and look at university budget, know what that means. See, they'll just see the numbers and like, why is all my tuition going to athletics, which it doesn't, but whatever. But I think, I don't know, it's hard to tell, but also it's Florida. Florida is gonna be, six months from now, Florida might be on fire, but this might not even matter. The question ultimately is, which Florida man is this? It's like, you know, the Johnny Appleseed in the South, right? Like, it's like, what Edmont is it for BCU? But like I asked y'all, I said it in the chat.  Like, if you were taken over, they can't. I wouldn't. They ain't got that money. If I'm famed, you, I wouldn't reach that. Hold up, y'all are out of order. Y'all are out of order, y'all are out of order. There's already a question on the floor that none of y'all have answered. What is the question? If we had to choose. Oh, nobody's answering that question. Oh, that is, that's not, that's not it. Wait, how is that? You don't even know the answer. You know, I think more of it. It's easy, which one still, which one actually has had accreditation for the last year? Oh, between, between, I don't even want to say their name. It's like saying Betelgeuse. Right. I love them. But the organization of buildings that may or may not be a school, would I pick them? No, I would pick them the same way I would pick ICDC college. Another institution that also no longer exists. So there you go. That's my answer. It's worth saving. So you, so you said, you're saying BCU is where I am. Fanny's right out there. Fanny's right out there. So what you're saying, Laurel, is that you want to add BCU doing commercials courtesy of Little Romeo to advertise people to the church? No, what I'm saying is if Little Romeo and Master Key could not save a for-profit college from closing, none of the grifting and scamming and dream selling is going to save Morris Brown just like it will not save Bethune Cookman. God rest, Mary McLeod, Bethune Saul. That is my she-ro. She's turning in her grave right now. I'm so sorry, sis, so sorry. I'm just saying it's a Florida man. She's been turning in about 15 years now. All I'm saying is the Florida man waiting to take Bethune Cookman and turn it into Florida State University. It'll be UCF first, UCF closing. All right, I'll take that. UCF Daytona. Yeah, I'll take it. I'll take it. This is going to take us into our third. And actually, there's a quote from this article that applies to Cookman. It applies to Morris Brown. And it applies to Florida Memorial University. Not Calgary. And it's like, damn. Typically, I don't like to agree with or it just bothers me that there could be some people who are not of the community who write about us. And it's just so accurate. It's like, damn, I don't want to agree with. He's speaking the truth. So let me back up. Florida Memorial University is in trouble. And in the last, this is from a few days ago, essentially, of day to yesterday. This article is first sentences, the time it's come for an intervention. So my god. Yeah. And then it outlines all the problems that Florida Memorial is facing currently. The first of it is that the school has recently been placed on accreditation probation. And I mean, I know we've talked about the ins and outs of how we understand and how others of our community understand accreditation and how serious it is to be on probation, to have your accreditation revoked, to not have it, but still be open. We know what that looks like. That's not, there's no mystery there. You know what that looks like. We all know what that looks like.  But I was going to say, at what point do we decide that we're not, what HBCUs we're not going to save? What HBCUs that if you, why are we getting so close to the flame?  Like fat meat is not greasy. Why do we have to get to this point? Is it adrenaline? Is it the rush? Does it make you feel alive? Like, why do we do this? Why do we allow it to happen? Why do we spend time? And this is a point from the article that definitely applies to Morris Brown. I don't think it applies so much to Cookman, but obviously it also applies to Ford Memorial and it says, a slick new recruitment video on the home page of FMUNIV.edu is high on spirit and low on substance. Appealing to students interested in sports fraternities and sororities and the school's proximity to South Beach. And I said, but earlier in the article I talked about how it's on accreditation probation. And one of the ways that it has to prove itself as a viable institution is to have higher student enrollment. Is this the formula to get higher student enrollment? Can't we see how that's worked out at Morris Brown College? Doing all those things? Where are the numbers? Didn't we say we weren't fitting to mention them no more? Hey, no we didn't. Three times. So I would ask of all of you, what do we do? Well, what do we do? Should this be the last time we have to address an institution like this? At some point we have to say, I can't continue to give my energy to an institution that is repeatedly so close to being about of here. Like, and I mean, I don't like that I even think that, but I think it. But I don't like that I think it. I don't. All right, so at the beginning of the pandemic, we were plus or minus on how many HBCUs we thought we would lose in general for a ton of reasons. Most of which was because instead of focusing on, like we say, student enrollment, academic programming, maybe reshuffling your finances, and doing all types of logistical reorganization such that you could have a thriving institution coming out of this, they were focused on branding for the most part across the sector. Everybody just chose branding. And then because of the influx of money we got due to the protests mostly, we thought, hey, this is a sustainable formula. And we'll keep getting this money because we'll keep seeing HBCUs highlighted in this space, right? That's one side of it. And then the other side of it is clearly Florida is sick of the black colleges, and they're going to take out as many of them as they can while Gavin Newsom has some time in office.  He's going to scorch earth this thing as for as long as he has that seat. So you got those two things at play. One, we as a sector didn't necessarily do right by the sector from a logistical standpoint. We didn't buffer any or very few of us did anything to buffer our programming in a way that would suggest more students want to come, and that we're building programs that will be usable in the future, right? I didn't see a lot of colleges talk about STEM and all of the STEM related stuff. We didn't see a lot of colleges talk about any of the social, at least not from a major, how do you want to frame it in a way that is academic perspective? You didn't see a lot of colleges talking about that, or advertising that aspect of their school. And I think you're seeing the fallout of it, the early signs of it. Because enrollment was down in general across the country. Colleges were not enrolling as many students, largely because we all broke. But you know, college enrollment was down. So if it's down to PWIs, it's even worse at HBCUs, right? And so we just not dealing with that in a very real way. And so when you say, then you bring up all of the schools or these schools that continue to have accreditation issues, this is probably part of the problem. This is probably part of the problem. You're not bringing in a great student, and on top of that, you're not cultivating that student that you do have to be successful. And then you wonder why your GPA slips from 2.7 to 2.5 to 1.9. And why nobody wants to continue to fund a university that isn't graduating students. I mean, I think that we shouldn't be struggling to connect those dots, in my opinion. The point in this article that applies to Cookbin, to Morris Brown, and obviously the Florida Memorial, is more transparency is needed, not more secrecy. For FNU to survive and thrive, a major house cleaning is in order. Yeah. And I said, you're right. Scorch it and start again. And then it ends with when your house is on fire and the flames are shooting through the roof. You can't put it out. You can't put out the blades with a fire extinguisher in the kitchen. I said, yeah. Write about it. Laurel. I think they're going to probably have to do not in the same way, but do the same thing that Bennett did. Obviously, you can't only, and FNU is not the only school that does this. It's just it ends up in the news because we're black. But a lot of schools in higher ed have trying to be a Marriott and trying to, oh, look at all our amenities. And we have a campus concierge. And all of the stuff, which some are extra, some actually is part of student affairs. It colors your college experience. You're not going to get a degree in chilling. You're going to get a degree in whatever majors are available. And so I think FNU has to redirect. I think they need to look in their own backyard. They might have to put more effort toward reaching pre-college population, non-traditional students, maybe somehow by the grace of God boost up their digital infrastructure to offer more online programs. Because if they go toward access and they actually get good at it, they'll be better than their peers that have a lot more money, but only think about the traditional age student, because the largest population of students growing beyond Hispanic students overall is non-traditional students or the adult learner. And so they're no, they're not a community college, but I feel like if they approach it that way, one, they'll save themselves money. Two, you can still have some of those like traditional four-year college features, but you don't have to necessarily have like the CVS receipt of features. You can do what you do best. They have an aviation program. How many schools have aviation programs?  You're chasing stuff that you don't, what's that Jennifer Hudson meme?   So you need to look in your pocket, move the line out the way. Oh, I got one last good quarter.  I know that's easier said than done. I just think, obviously beyond mismanagement, again, it's gonna take someone else who wants to bake the bread and is willing to put in the elbow grease and say, okay, let's start small, let's work with what we have. Loyal hit it on the head. They need to contact their alumni. Like their alumni, and that goes back to the HBCUs and having a bad history, except for school here recently. This is a small school. They don't have many people to call in half and half them probably on social security. This income. Oh, that's not even right though. Listen, I had a coworker that was a little more, it would surprise me too. And he was younger than me, but it happened recently. But that's not the point. The point is, you have to lean into the network you have immediate access to. First, you ain't going, Kodak Black is not walking through that door. Trina is not walking through that door. Like they're not coming through to help. And honestly, and maybe it's me, the one thing that I hate worst in a politician pandering to a particular group of people in order to get their support are HBCUs pandering to the culture by highlighting aspects of what they believe makes them an HBCU that we see PWYs consistently copy and their students saying, oh, we're like an HBCU also. Thanks for the memorial for going ahead and supporting that stereotype when our schools are a lot more. But that's not even the point right now. Yeah. Winston hit me. So here's the thing, man. For starters, I'm not overly enthused by this article. And you touched on it from jump. Well, sometimes when folks are writing from it outside of the sector, it's a little bit different. The taste is a little bit different. What I would say is, you know, I think you gotta keep everything in context. What's already been mentioned, you know, the part that my mentees have been gone to Florida Memorial find out is it ain't right around the corner from South Beach, despite what you might understand. And we do know that there's to close points, some money issues that do exist for flow mode. But the other under arching obvious thing that's not been said yet or mentioned is, we're in a panini. So despite what our cousins travel plans may look like, we're still in a pandemic. So this new president that they've had who's been there for about almost three years now is still navigating his transition in the midst of a Panera bread and trying to figure out what makes sense in order to get students to his institution. I think the brother deserves some grace in that space and the time to build. What's my, you know, final Clark artist who was there before him, who did a solid job. It wasn't a barren situation that he inherited. When he got there, I think he deserves the time to figure out what's going on there. And then shout out to my Detroit brother, Jason Horne who just took over, that athletic director there, you know, trying to get some things together in that space as well. I think in general, a larger issue that we have which kind of was just mentioned about our recruitment to our institutions kind of belittling to Eric's point of, you know, like the only thing we got is the turn up and homecoming and that there's so much more to what we have to offer. So I think that there's still time to course correct the situation of flumma. I don't think it's dire. We also know that we talked about before, accreditation is a process. So they're on probation. It doesn't mean that they will get their accreditation. Say we know it's an issue when you talk about trying to recruit students there. I know far too often, trying to have those conversations with parents when that's on the table, but it does not mean that they will lose accreditation necessarily, especially if, how well the president navigates the transition of this pandemic and figuring things out, what have you. So there's other institutions like Loyola and New Orleans. They were in a similar situation to this, having money problems on, you know, accreditation probation and they were able to turn it around in a similar comparison. Could you talk about New Orleans compared to, you know, 45 minutes from South Beach. So I think there's opportunity here. I don't think it's dire straight. I don't think it's like, oh my God, they're comparing it to an institution that got signed a contract with a hotel recently or whatever the heck they did. You know, I don't know that it's, we've gone that far to be, to say it's down the tubes. It's definitely cause for concern and conversation, but I don't think it's out of the window to say that it can be course corrected and there's still opportunity to do so. You know, and like I said, I got one student who's still there who should be graduating a year or two. So I'm definitely leaning on hope that it's able to course correct given time and leadership doing the things that they need to do that what's been mentioned before, things that can be done in order to course correct and change things. But I don't think it's as dire as the article articulated. Definitely cause for concern. Definitely things need to be changed, but I think the article was kind of a little bit of the perspective of somebody who's outside of the sector, you know, reporting live. So. Before we get to our last topic, I do need to say that there is a praise report out of Florida now called Everwater's University. They have worked hard to get to that point. I wish there were some phone calls for kids I'm trying to get down there, but other than that, yeah, awesome. Dang, we'll handle that. We'll handle that. We will handle that. They really, really have worked hard to get to this point. Actually I'm working on an article that I just need to go ahead and finish. But definitely Everwater's College does not, it's no more. It's Everwater's University. They have an accredited master's fully online, 100% online. Master's of Business Administration program. And it's one year. They're a university now. I am very proud of Everwater's University. That's all I can say. The rest of it will be in the article. Two or more, Winston, please. Two or more, I guess, somber type of topic. Two weeks ago, President Frederick Comfrey's died. And this I remember only because it came late in the night. I was like, ooh, yikes. And so like what followed in the days after where people expressing how much he meant to them? So HBCU president expressing how much of a mentor he was and a great leader that he was. As somebody who was not yet born would know, don't know to see people expressing what he meant to them in their formation of who they are as higher education, HBCU leaders, I was just like, hmm, wow. That's an impactful life. And typically I am, and this is part cynicism, but typically when I see a lot of people coming together to talk about one person, I'm always like, hmm. Is it all that glittery? Like I just keep that in mind because you never know, right? But this, I didn't catch that at all from him in reading about what he meant to other, actually current HBCU president, Dr. Glover comes to my first. So I would ask each of you what you feel or what you think I'm going to start with Ores because at one point President Comfrey's was a rattler so you got it. He went to families, he was always a rattler. He was a student and president. So gotta give it some, he was a really great man. I met him a couple of times. He used to, he lived in Orlando after he retired from fam, but he used to come up quite a bit. I thought that, you know, I thought he got the right and rightful tribute for his work and efforts. I think we're talking a lot about his work. He did a Tennessee State a lot now. They're pushing their land grant funding because they cut it off. See all around him, he was president. They're pushing for their land grant in Tennessee back then. I think also he's a great example of, we don't want to recycle presidents, but he was our cycle president and he was great at Tennessee State, but he was even greater back at fam. The other thing we want to remember is unfortunately he's in the fam game. There's some repercarious circumstances with the trying to go to the FDS and the issues with Billy Joe. And it's unfortunate that the state of Florida had to Florida. I think he probably should have been at fam probably another five years. And if they hadn't gotten in the way and Florida State hadn't gotten in the way, fam would be in even bad position in this. I mean, it was and what it went over those times, but I mean, he was a great man.  And he'll definitely be there to play his recording doing the halftime chant at band performances and stuff. So he's definitely the most iconic fam president ever. And he'll go down as fam used go. You know, he's probably one of probably top of the president of all time. Laurel. I'm sorry, I forgot what the question was. I got, I got thrown off by the died. I'm just a reeling from that. So. Excuse me. I just, transition passed away. I literally, I say died. I say dead. He passed too. He passed. And maybe I'm the wrong person to ask to do this. But, I mean, all right. But yes, Laurel, do you want me to come back to you? I just want to know what the question was. Oh, we're giving our feelings about Frederick Humphries. I wouldn't know. I don't know if you knew him. I figured Orr's might. So that's why I went with him first. So I didn't know him, but I think it says something about anyone who has transitioned that you can, even if you don't know them personally, the best judgment you have of them is how everyone else speaks about them. And so just from what I saw is just like, you know, what we call an education, someone who is truly transformative, not just on what they actually did, but how they impacted so many people's lives. And I hope that we could have many more leaders that we can talk about that way in like the next 25, 50 years beyond one institution. And I think, you know, granted, you could say the times were different, things like that, but I just think what anyone leader is able to do is able to transform, make a way out of no way, even when you have insufficient funds. I think that that's monumental. And so I would hope that his legacy serves as a model for current leaders, future leaders, leaders in training, students, staff, facilities management, cafeteria workers, and the outer community of how you make an impact, not just in the tangible, but also in the intangible through the seeds that you plant in other students. I was just about to say, like when I did this, I was gonna say, legacy, legacy, it's legacy. From a pure non-emotional standpoint, that man, Dr. Humphries, did so well at fan view that in 1998, they were named College of the Year by Time and Princeton Review. Now, I don't wanna put on plateau white-based stipulations, but we already know how schools are ranked, how that's influenced heavily by money, how that's blew us heavily by national branding. So the fact that this man in the work that he did was able to go back to his alma mater and do so well in that role, that 12 years after he took the hell, that a national publication such as Time, named fan view the best school, the top school of the year, that in itself speaks to the work that he's done, right? Winston. So, from a family that's full of Tennessee State alumni and teachers, and because they used to funnel teachers to DPS from Tennessee State, you have to tip your hat to what Ray Humphries did in his tenure for me personally as an HBCU president and how much it's influenced me personally, just from, like I said, from educators that I've had and family members who benefited from his tenure at TSU particularly, and then even peers who were at fan when he was there as well. So, I think it does beg a question about legacies and what it looks like, I think as a sector, there probably needs to be more attention paid to younger women of color taking over those roles and kind of leading the torch in the way of the transition into the new age of, and hopefully pushing and moving our institutions into the new age in order for that to be successful. I think black women are probably gonna play a huge role and should play a huge role in those transitions positively that we hope to see moving forward. I am curious to those folks that are kind of being tabbed for those things and paying close attention to Texas Southern and their recent appointment and hoping that is kind of like a beacon of, again, the possibilities going forward for the sector as a whole. But, and it does make you wonder if will we see that, you know, the kind of legacies like Fred Humphrey's present day, we hope. KD. You're right. I have much else to offer, man. I can dose this to his family, of course, praying for their peace. Clearly a great man, somebody I think if you are sitting in a leadership position, you should probably try to emulate his formula in some way, shape, form, or fashion. It does make me wonder, since we're talking about, we're talking about legacy, like, when are we as a community are we ever gonna be allowed just to build legacies? Because not just the higher ed, but across the border seems like every time we get a leadership position, it's just taking from us just a little bit too soon. Or we're just a little bit too unfairly in comparison to our counterparts and other demographics. And so if you can see the impact that one man had on one school in one state, and in so many lives, you know, over a span of I'm guessing 20 or 30 years, plus, right, why can't we have more of what he does? Right, that's the thing that comes to mind, especially again, in this context of legacy, right? He loved what he was committed to. And that's always an amazing thing, an amazing feeling to know that, you know, when you leave this earth, as you had an impact and it was overtly positive, right? So yeah, just, you know, praying for the family. That's all I got. That people will still say your name. That is going to do it for us tonight. Anybody have any last words? No more mentions of that school in Atlanta that is adjacent to a hotel with a football field that is actually a garden, that is actually a forest, that is actually a graffiti alley. No such place exists as a collection of buildings. We can't talk about Mary, we can't talk about Marriott Brown College. That's going to stick, that's going to stick. We cannot mention college. We can't mention the Baltimore HBCUs. The place that shall not be named. This has been another episode of HBCU Digest, Digest After Dark on Sirius XM Radio, channel 142 HBCU, the pride of Howard University Radio. I am your hostess, Tiffany Permanently, forever on the road. And we will catch you all maybe next week. Who knows, but we'll see. Stay safe, good night.


Hello students, let's work out the following problem. It says that true discount and the bankers gain on a certain bill of exchange due after a certain period of time are respectively Rs 700 and Rs 17.50. Find the face value of the bill. So let's now start the solution. We have to find the face value of the bill. So let the face value of the bill be Rs s and let the bill be due after n years. Now the true discount is given by the formula s into r into t upon 1 plus r into t where r is the rate of interest and s is the face value of the bill and it is given to be Rs 700. Also bankers gain is given by the formula s into r into t upon 1 plus r into t into r into t and this is given to be Rs 17.50. Let's name this as 1 and this as 2 so we have s into r into t upon 1 plus r into t is 700 so from 1 and 2 we have 700 into r into t is equal to 17.50 so this implies r into t rt is equal to 17.50 upon 700 so this implies rt is equal to 17.50 divided by 700 is equal to 0.025. Now we will substitute the value of rt in 1 now put rt is equal to 0.025 in 1 so we have s into 0.025 upon 1 plus 0.025 is equal to 700 so this implies s into 0.025 is equal to 700 into 1 plus 0.025 so this implies s is equal to 700 plus 700 into 0.025 upon 0.025 so this is again equal to 700 plus 17.5 divided by 0.025 this is again equal to 717.5 upon 0.025 divided by 717.50 by 0.025 we have 2807 plus 28700 hence the face value of the bill is equal to rupees 28700 so this completes the question and the session by for now take care have a good day


This astonishing machine uses just gears and springs to add together sinusoids. This synthesis, as it's called, creates beautiful patterns that look nothing like sinusoids. The machine produces patterns like beets, smooth peaks, sharp corners, or even jagged edges. And these can all be made using this function. Here's how this mechanical marvel implements that function. The machine has five key sections. First, to crank the various Xs. Second, gears and cams that generate frequencies. Third, just a little bit above that, rocker arms that create the sinusoids and amplitude bars to weigh those sinusoids. Fourth, at the top springs and levers that add together these weighted sinusoids. And lastly, on the front side, a mechanism for recording the sum on a piece of paper. At the heart of the machine lies two sets of gears. This cone-shaped set has 20 gears that vary linearly in both size and number of teeth. It engages the cylindrical set of 20 gears all of the same size. Watch what happens as I turn the crank. The gears on the cone-shaped set all rotate together. The gears on the cylindrical set can rotate independently, each at a rate determined by the corresponding gear on the cone. This gear rotates twice as fast as this gear. This one three times as fast, and so on. These gears generate the different frequencies. A cam on each gear drives a rocker arm up and down via a connecting rod. As each gear rotates, the corresponding rocker arm traces out in up and down or a sinusoidal motion with the same frequency. For example, the first rocker arm oscillates to produce cosine 1x, the 10th produces cosine 10x, and the 20th cosine 20x. Of course, the arms in between produce cosine 2x, 3x, 4x, and so on. At the bottom, a series of long vertical bars rest on each rocker arm. At the top, these bars attach to levers that are spring-loaded. The position of the rocker arms on the bar determines the coefficient. As I slide this bar to the edge of the rocker arm, the lever at top rises. That's a coefficient of plus 10. When I return it to the rocker arm's pivot, the lever returns to its original position, a coefficient of zero. And as I continue to slide to the opposite edge, the lever drops a coefficient of minus 10. Now, let me show you how the machine sums these sinusoidal motions weighted by their coefficients. I'll set the machine up to produce beats using sine 12x and sine 10x. Each lever at the top of the machine has a spring that connects it to a pivoted bar. A large spring balances the pole of the series of springs on the levers. If we look at the top, we see the spring extends more than a foot above the machine. As I turn the crank, the amplitude bars drive the spring-loaded levers up and down. This in turn moves the pivoted bar, because the springs all pull on the same pivoted bar their displacements are summed. If we take a close look at the pivoted bar, we see that it sweeps out a small arc. We can barely see it go up and down. Let's return to the front to see how the machine amplifies this motion and then records it. This lever magnifies the result from the summer. But it's still a very small motion. A wire connects the magnifying lever to a set of concentric wheels that amplify further the motion. This wire pulls on the hub of this inner wheel, while a different wire is wrapped around the outer wheel. The wire attached to the larger wheel moves the pin vertically, as a set of gears connected to the crank has been moving the paper horizontally under the pin. This is the same crank that rotates the gears to create the sinusoids and that also moves the pin up and down. Amazing as that synthesis is, that adding together of sinusoids, the machine does something even more fantastic to me. Given any periodic function, it will calculate the correct mix of sines or cosines needed to synthesize that function. Understanding that process, called analysis, will in the next video enrich our understanding of the machine by looking at its operation from a different point of view. I'm Bill Hammack, The Engineer Guy.


I have a movie recommendation for the American holiday that's wedged between two good ones. And that movie is John Hughes' Plains, Trains, and Automobiles. It's got John Candy, it's got Steve Martin, it's got a cameo by Kevin Bacon.  Plains, Trains, and Automobiles is a comedy for the entire family. Yes, there is vulgar dialogue, but it pales in comparison to what your kids have already heard from their grandpa already. Thanksgiving? Nah, thanks-taking. It's your turn to treat yourself, and that means putting on Plains, Trains, and Automobiles so you don't have to listen to your grandma go off about how much better things were in her time.  Happy rebranded holiday from Adam Does Movies.