Welcome everybody back here at Segal Talks, at the Monteney Segal Theatre Center, at the Graduate Center CUNY, in New York City, in Manhattan, at the City University, and another day in New York, and it's summer, it's hot, it's almost tropical here, and we are still inside that catastrophe movie where the reality is stranger than fiction, and we are part of it, it's like an absurdist with game-age play or something, and we are still really, really in the middle of it, back in 60 or 1,000 infections yesterday, and the Center for Disease Control says most probably the number of people infected is 13 times higher, so the 3.7 million are confirmed, it means actually 40 million people, most probably in the United States, numbers are stunning and shocking, it's the most in the world, and we have to see where this all is leading, we have such a strange week and irresponsible government, there's a deep distrust, people are out of job over the time, over 40, 45 million applied for job endurance, they lost their jobs, New York City lost 1 million jobs, restaurants are closing, stores are closing, if you go down to the streets, it's empty, a friend who lives close to 8th Avenue and 36th Street says people who are released from prison are in all the hotels, the city bought the hotels, out from 32nd Street to 56th, people are outside, big groups, 40, 50 people on launches, people are not safe, I can go there and people who are protected from Corona or maybe already had it, nobody knows, they have to all be, you have a curfew, you have to be back at five or six, so it's quite a strange time you live in and then the scenes in Portland, there's, for good reason, several unrest on the streets and the Black Lives Matter movement galvanized it, but now the Homeland Security Forces, as someone said, it looks like fascism for TV, for live TV, they are moving in, it's unprecedented times, we go through, nobody knows what's going on and but what we do is to talk to people where we think who have always experienced life and the present, anticipate the future on the right side of social justice, on the right side of the complex fight for liberties and freedom and these are artists, in our case these are theater artists and we should listen to them much, much closer, what is on their mind, what they think about and because it is of significance and might help us, our lives, the city, the country, or to really think through what is it all about today, we have with us another significant writer who has been at the Seedle before and he is, how would one say, is part of the landscape of New York City Seedle, it's Carl Henko Grax and he is an American poet, playwright, novelist, essayist, actor, director, singer, and songwriter, he authored many books and we've got an Obie Walt for his play Talk, which is what he is also very much known for, he has four CDs recorded to his credit and he has been supported by the Doris Duk Foundation, Doris Duk Award, he got the Bessie Award and many many things on, he is a visiting artist at Yale University and importantly he's an associate director at the Mabu Mainz Theater and anybody who had the time and listened to Lee Brewer and Maude just last week knows what this great theater, this great work is about the great Ruth Maluchak who we lost already earlier, who also often was visiting us. So Carl, thank you, thank you, thank you for joining, it's an honor to have you with us and I apologize for my next speech, it's a lot of listening but then I can start talking but hope you will forgive me Carl, where are you now? And normally I say what time it is but I guess it's your summer clothes. Right, so I'm in New York City, so I'm in the same city I think that you are in, right? Because you are doing, yeah, I'm in New York City, I'm in Brooklyn, I live in Fort Greene. What street? Carl and Carlton, so I'm on Carlton Avenue, very strange, that was a coincidence, that wasn't planned. And so yeah, so I'm not far from the Brooklyn Academy of Music and you know that whole area. So how is it going for Maude? How are you experiencing this time? In many ways, I mean it's a very interesting time, it's very dystopian and in a strange way, the dystopian is not unfamiliar to me, you know, it's, in fact, it endeared, you know, something about dystopian times have always fascinated me, whether they were real or imagined, you know. My particular neighborhood is very charming, it's always charming, it's always sort of a hip, you know, neighborhood with lots of restaurants and bars and things like that, but because of this coronavirus, a lot of restaurants have been, you know, seating outside, so there are lots of people who are, you know, seating outside and there are lots of, and the bars you are not allowed to walk into, so the bars are serving from the doors or from windows, you know, right to the street, to the patrons on the street, so it feels very much like a cross between New Orleans and Paris right now, which is kind of nice, you know. It's almost like I wish that there are some things, I was thinking about this and I was thinking that there are some things that have happened during quarantine or at least during this sort of pandemic that sort of changed cultural and social norms that I wish will never go back to the way it used to be, you know, to the formal way that it used to be. I think I actually really love the idea that everybody, especially in the summer, is out on the street, you know, and that everybody's meeting and, you know, and we're all, you know, everybody's together and no one seems segregated, you know, in their own way. Of course, everyone is in masks and everyone is social distancing and that's important. But there's a... Yeah, it looks like we lost audio for a second. I can't not... Oh, my audio? Now you're back. Can you say again the last sentence? Oh, yeah, I was just going to say, I can't say that at this moment, I should say at this moment my neighborhood is quite charming. I mean, the weather's hot but beautiful and the people are out on the streets and, you know, congregating, you know. There's something about danger. There's something about danger that brings people together. I remember New York City during the 9-11 moment and everybody came out of their houses and it forced people to talk to each other and to meet each other and this is doing the same in a way even though we're socially distancing. It's forcing people to kind of come together. So there's something about these kinds of tragedies that affect all of our lives that force us to communicate and to have interaction with each other in ways in which we normally don't because especially in cities like New York City where it's a very crowded city, it's a very busy city and people tend to be, you know, in their own bubbles.  I was here in New York City. I was here in Brooklyn. I was, you know, the period of quarantine when everyone had to remain in their homes was very different from what I'm explaining right now because, you know, it was around March and so it got darker early. The weather was still a little cold. The streets were vacant for the most part. You know, it was so quiet that it was eerily quiet, eerily quiet. And I just, and I just remained in the house for the most part, which, thank God, knock on wood has kept me pretty safe. Now, I then found myself forced to join the world or to go outside. And I don't mean just for the normal things that one goes outside for like shopping or things like that. But when the Black Lives, when the Black Lives Movement matter, when the Black Lives Matter movement, sorry, when the Black Lives Matter movement started, I was getting a lot of calls and I also felt compelled to join, you know, that protest and to be a part of it. And so I threw caution to the wind. I wore my mask and I went out and I marched with people. So I was there marching as well during the quarantine. And then in Bed-Stuy, Brooklyn, there was the first mural that was painted in New York City, the Black Lives Matter mural that was painted here. I was asked to inaugurate it at the unveiling. And so I spoke at that and I went there and the press was there. So those have been my outdoor activities for the most part. What did you say? Well, one of the things I was saying was that letting people know, first I was explaining what I think Black Lives Matter means, because I think there's a lot of confusion around that. I think there's a lot of confusion or misunderstanding around like what the phrase itself means. There's this idea that if there's an idea that the phrase Black Lives Matter means no other lives matter. And that's not true. The phrase is basically saying, please pay attention to the fact that Black and Brown people have been disproportionately abused and suffered in a certain kind of brutality and sudden death at the hands of police force in this country, an authoritarian rule, in a way that other lives have not. And we need to pay attention to this. It's no different than saying save the whales. It doesn't mean that none of the fish matter. It means that the whales are endangered. So we're speaking about an endangered species of humanity. And if we can understand that, if we can understand save the whales, if we can understand save the snow leopards, if we can understand save a species of bird, if we can understand saving a species of plant, if we can understand saving a tree, then why can we not understand saving a species of humanity? And that's what the Black Lives Matter movement is really about. The other thing I spoke about very clearly was when they painted the mural was that I wanted the people in that community to treat that mural as if it were sacred ground, as if it were a totem to all the lives that have been lost and all the lives that may be threatened in the future to allow the painting not to be marred or ruined in any way, but to revere it, to revere it with a certain kind of honor, if you will, to honor it. And that became almost prophetic, which is very interesting right now because in New York City, in the last few days, we've been dealing with people destroying the Black Lives Matter murals, like the one outside of the Trump Plaza, the one and then they hit the one in Brooklyn as well, that I inaugurated. I think they've also thrown paints or destroyed the one in Harlem. From what I understand, these are pro-Trump supporters, make America great again, enthusiasts and whatever. So it really brings home the fact that we are in a divided country right now, and not only are we in a divided country in a divided moment, but we have someone at the helm of this country who is actually antagonizing and further advocating that divisiveness. And it sort of brings it all home to me in a very clear way that we need to recover the damage that has been done over the last four years by this administration, but certainly, even more importantly, the damage that has been done over the last 200 years since the founding of this country. And we need to deal with the damage that has been done to our psyche, to our social understanding of who we are, to our language and how we define each other, to how we perceive each other, to our realms of love and hatred and tolerance and intolerance and education. We really have been damaged in so many ways. And so there's so much work for America, and not just America, but for the world to do, psychically, intellectually, spiritually. So this moment is, I think, bringing that to everyone's minds. I would like to think that it's bringing it to everyone's minds, and that's what I've been focused on. Yeah, I know this is a stunning moment, and we are too close, I think, even to really understand and at least talk. We're trying to catch a little bit of that reality about this for everybody. The one day in April was over 800 dead people. New York City, luckily, has now five or six days without corona-related deaths, but in the corona neighborhood, funny enough, as by the name of Queens, up to 70 percent people ahead of it, people who are in the fringes a bit more of the city, the disenfranchised, the minorities. So it's an x-ray of the world we live in, actually, as you said, we all in bubbles. And then within that, within that, we're also living with the fact that even with the coronavirus, black and brown bodies or black people are disproportionately affected. There's a higher rate of people who are actually dying from the virus, and those people are black. And it's not because of melanin. It's not because they've got this complexion, but it's because of pre-existing, from what I think I understand, pre-existing conditions that really make the pandemic or make the virus life-threatening. And so everything from high blood pressure to diabetes and all of those things. And so that brings home, so it's like, in one way, we've got hundreds of thousands of people who are dying, but then we've got all these black people who are dying disproportionately from the virus. And then you've got all these people who are dying at the hands of police brutality.  And trying to find peaceful ways to shelter at home and people who are finding that very difficult. And then of course, the complications that come with sheltering at home for some people. We've seen divorce rates go up. We've seen families really have to reckon with each other in ways that they had not before, because they're spending so much time with each other. There is no theater. There is no film. There are no outlets. There's no place to go to. So we're living in a very strange moment, but it's not a moment that is, it is a moment unlike any other moment that I've lived in. But I must say that it's not unlike other moments in history. There have been moments like this. There have been moments of quarantine. There have been moments of pandemic. There have been moments of upheaval. There have been moments of public safety being threatened. We've gone through it. We've read about it. We've learned it in school. And now we are actually in the throes of it. And so even in that way, it makes me understand that this moment is not new. This moment is not new. Pandemics are not new. There have been pandemics for centuries.  But there have been black plagues and all kinds of, you know, viruses and things where people just love people dying left and right. In my lifetime, I've lived through, I guess, obviously the last huge. I mean, I know there was a Zara's pandemic prior to this, but somehow I don't know that I took that as seriously. But I would say the last pandemic that I took as seriously as this one was the AIDS pandemic, you know, and how it was affecting people and how it affected people's social lives, how it affected people's sex lives, how it affected people's sense of intimacy and culture.  And for some reason, still has not learned the lessons that it needs to learn. I mean, there is no lesson that we need to learn that's ever going to change the fact that pandemics will come and go.  But there are lessons about how to get through them that we can learn from the past. There are lessons that we need to learn about police brutality. There are lessons that we need to learn about culture. There are lessons that we need to learn about racism. There are lessons that we need to learn about sheltering. There are lessons that we need to learn about ourselves and about our families. So how to repair ourselves and check in with ourselves and be very clear that sometimes we're running too fast, doing too much, and not slowing down enough, that we're living in an epicurean kind of, we're living in an epicurean cultural existence that distracts us from the things that are more important. So I think that we, I think this is almost like the universe. It's almost like the universe is literally telling everybody to sit down, shelter, think, and meditate, and face yourself, look at yourself, deal with yourself, look at each other, and figure out who you are socially, politically, culturally, and of course physically. Yeah. How was it for you? Were you able to write or meditate or sing? How did you spend the days as an artist? How was it? Well, as an artist, I tend to be a homebody, you know, as a writer especially. So this is not that hard for me to be honest. I'm used to being in the house and to writing and so yes, I have been able to write and it's been wonderful. It's been terrific and I've been researching a lot and I've been going through pages and pages and pages of documents and things regarding other periods and time. I've also, like I said, other than my work with the Black Lives Matter movement, I've also been working with trying to figure out how to keep, you know, a theater company afloat and the commissions that we had going, Mabel Mind specifically, because we had some young artists that we had commissioned as part of something called the Sweet Space. And so when all of this changed, I found myself having to, not just alone, but with Mabel Minds, I had found myself figuring out how to involve them in the idea of theater as a virtual, performative project, which is a wonderful and interesting thing. I mean, to imagine that theater, because of the world that we're living in right now, theater cannot happen in the way that we're used to. We're used to it being a very social thing, a very tangible thing. We're used to it being about a building. And if you subtract the idea of the building or the structure or the architecture of theater from the performative aspects of theater, then what do you have? Well, you still hopefully have ideas. You still have creativity. You can still have performance. You still can have exchange. But it might happen via internet. It might have to happen through live streaming. And that's what we've been doing.  I'm now trying to structure this program that I'm working on with these young artists who are supposed to perform their work live at Mabel Minds. Now we're changing it so that they can figure out how to adapt their own performative pieces for video so that people can see it in this medium and to encourage them and to let them understand that actually there is something wonderful about this. Because when you go to see a play, usually you buy a ticket to see a play and whoever's in that theater to see that play at that moment are the people who are witnessing that play. Well, we have another opportunity right now. And the opportunity is that if we are doing it through Zoom or doing it through social media, there's an opportunity that many more people then are inhabiting the same space can actually witness a work live. Do you know what I mean? So one can actually have a play online that is broadcast in Los Angeles and that is broadcast live television. I mean, it's all over the world that anyone can access at the same time and can write and can actually even chat if they wanted to and respond or have responses to the thing that they're seeing. So it changes how we approach theater and I've been challenged to try to work very hard with a bunch of like-minded people who are involved in that process right now. Well, it will be interesting how you and Mabu Mines and that space that PS said about but how you what answers you will find and I think everybody is looking, is interested, artists also need to work, they need encouragement I think most of all and this is something you do. Did something change for you in this time? Did you, the time you spent with yourself as you said to look at it is something, did you find something that's different now after these months? Yes, I mean I certainly, I think I found that there were and maybe not unlike many other people, I found that there were people that had not because of the quarantine and because of this isolation, I found that there are some people who I had somehow had now had no way of getting in touch with for whatever reason and some of those people were very unnecessary in my life prior to the quarantine there and what I mean by that is that when everything is available to you, you tend to consume everything. If you're, again, a procurator, if you're passionate about anything and about culture and so it's restricted, it's restricted who I can actually identify as or think of as family and friends and the people that I actually need in my life and the people who I define as part of my coalition so that's been wonderful to begin to redefine my own coalition principles, to redefine my own objectives, to redefine my own personal goals for the future, to redefine the books, redefine how I manage time or have mismanaged time and to allow myself the time to read the books that I haven't read and that I intended to read to learn the things that I needed to learn to reach out to people and also to try to help people psychologically because that's been also part of the process. When the quarantine first happened, I was ending the school year and I had to teach my college students in this forum which was new to me and new to them and many of them were dealing with depression clearly and young students were dealing with just feeling depressed about what was happening and so some of the syllabus in a way kind of went away or was sacrificed for psychotherapy sessions where I became a listener or I moderated or I tried to encourage the conversation and then lead it back to what we were really there to discuss and learn but it sort of rebranded and even changed how I teach that teaching has a personal level to it. That teaching in academia should always have a very personal level to it that you should pay attention to the people that are in the room that you are teaching and actually care about them in the moment so that they're able to understand what you're trying to impart to them so it's changed my values my values have been adjusted and are adjusted my my objectives are adjusting my sense of self and identity is adjusting not shifting not changing I'm not becoming anyone else I'm still Carl Hancock Rucks you know I will still be a writer when this is over if I survive this I will still be who I am but how I perform my identity and perform my my many roles in the universe has been absolutely adjusted and in that way no different than what's happened in the past because when I was when I lived through the HIV AIDS pandemic you know and my older brother died and half of my half of the kids in my high school died it absolutely adjusted and how I lived you know it thrusted I was thrust into a world you know made me get out of this country it made me you know go to the University of Paris it made me go to the University of Ghana at McGon it made me decide to become an artist because I didn't know how long you know I would live or how long any of us could live and I didn't want to be you know 20 years old and having died without having expressed myself or articulated myself you know there's almost there's this there's a there there's a saying that it's not a saying but there's a there's something that someone very important said to me one time and I always say this and I'll if you don't mind I'll repeat it but it's a quote by Dr. Bernice Johnson Regan who is an anthropologist and who's a singer and who's a founder of Sweet Honey in the Rock many years ago she said to me when we work on a project together with the director Robert Wilson in Paris she said to me there comes a time in your life when you discover an emptiness you have no thought of yourself as being empty and in fact you've been operating as if you are not but there it is this emptiness and when you discover it nothing hurts as much as that emptiness except your yearning to be full and that's when for the first time in your life and the first time with your life you search for tongue a language a means of articulation and that's what happened to me through the HIV AIDS pandemic that's what's happened to me in this Black Lives Matter moment that's what's happened to me with this coronavirus pandemic constantly becoming aware of one's emptiness the emptiness that you had been ignoring or not treating and in discovering it you then have to deal with how to heal it or cure it or fill that space and in finding ways to fill the space of your own emptiness that you discover and that can only come with personal self-examination you finally start to develop or yearn for a you know an articulation of of ideology and of feelings and of you know an articulation of being that you had never ever considered before and so this becomes incredibly important you know I think that every moment that challenges us another moment another statement I should say what she said was is that life's challenges are not meant to paralyze you they're supposed to show you who you are and so I don't I do not feel paralyzed I don't feel paralyzed in this moment I feel like I am finding out who I am and I hope that for the rest of my life I will constantly be discovering who I am and not only me but I hope that we will always be forced against a wall to discover who we are and how we are communicating with each other and what we are saying to each other and whether or not we are paying attention to each other's socio-economic you know realities and race realities and gender realities you know how are we interacting who are we voting into governance who are we supporting who are we not supporting that should be supported what do we understand about capitalism what we understand about socialism what do we understand about some kind of an ism that we've never heard of before but could possibly be invented that could actually be a new way for society to manage itself so this is a really important moment and I think this moment cannot be taken lightly for any of us not for any of us we cannot take this moment lightly we're being forced to think about injustice we're being forced to think about family we're being forced to think about health we're being forced to think about racism we're being forced to think about police brutality we're being forced to think about you know the prison system we're being forced to think about our own economy. We're being forced to think about how we spend our time. We're being forced to think about who we spent our time with prior to this moment. We're being forced to think about whether or not there was any value in that at all. We're being forced to think about who we need to spend time with should we survive this moment. We're being forced to think about survival. We're being forced to think about the mediate of our existence. And if we really pay attention to that, if we really commit ourselves to that, if we really challenge ourselves with all of those things and more, we, personally, could actually come out of this moment, finessed and absolutely, absolutely changed in the most magnificent way, I would hate to think that any of us would just hide away, hope maybe we don't, you know, catch the virus and hope that maybe nobody throws a brick throw windows because of the, the Black Lives Matter movement. And then when it's all over or when it seems like it's all over, just go back to our way of living and walking down the street and living in our own shelter and living in our own bubble and ignoring everybody else's needs and ignoring all the people around us. If we do that, then we've missed this gift. This is a gift. This moment is a gift. And that's how I perceive it. I perceive it as a wonderful gift from the universe. Even with, you know, and I don't mean to make light of anybody who's died or has lost anyone or who's been sick. I'm not making light of that. But one must embrace the positive and the negative in order to understand that there is something still to do with all of it. Every wound, every death, every sickness, every challenge, every upheaval comes with something to teach you something, to understand something about yourself and the future. So, yeah, that's, that's a significant realization. It makes me think there's this little Brecht poem of Mr. K. He wrote lots of little stories and Mr. K meets a friend. The friend looks at him and says, oh, you haven't changed at all. And Mr. K. Teon's pale turns around and walks away, you know. So maybe this is a moment in corona. Yeah, how sad that would be. How sad that would be. Oh, you haven't changed at all. Someone that, you know, that's so great you said that to me. Someone asked me that I was walking down the street yesterday with my mask on. And I saw a friend and she from across the street. And of course, we kept our distance. And, you know, she said, hello. And I was like, hi, how are you? And she said, I said, how are you?  And I was like, oh, congratulations.  Do I look any different?  I didn't want to make, you know, I mean, and she didn't, she looked absolutely fine. But I thought about that. And I was like, well, actually, I know what she was asking me that she that she looked like had she aged, had time aged her, had this, you know, this moment of sheltering, has that aged her, you know, has it taken away? And she's a very beautiful woman, but I guess, so I guess there was some vanity to the question I'm going to assume. And, you know, in this, do I look any different when she was asking me that? And I, I, I almost wanted to go back to her and say, shouldn't you look different? You know, shouldn't you look a day older? Shouldn't you not weathered?   And it's wonderful? I mean, let's think about that. I mean, let's think about just, you know, the before this moment, you know, of what we were doing to ourselves into our bodies, even in American and all kinds of cultures, right? The idea of Botox, the idea of paralyzing our faces with venoms that would render us expressionless, you know, all the way to cheat, you know, time, you know, and to help us believe or think that we actually looked younger than we actually were. Why would we or why should we? And I'm not making a judgment necessarily, but I'm, I'm using this really as more of a metaphor than anything. Why should we paralyze ourselves from the events of our lives? You know, we should not, you know, we should wear them proudly on our faces if we can. You mentioned students, I think you teach at Yale, right? So I don't, so I don't teach, you know, right now I was teaching at the New School and I was also teaching with NYU's Stella Adler, Voice for Afters. How did you, how did you get into theater when you said, how did, how did you start out as a kid and all of it? Tell us a little bit. Long, too long of a story, my God. We have time. Okay, all right. I was, my mother's paranoid schizophrenic. I was raised in the New York City foster care system. I was adopted by my grandmother's brother and his wife. They were much older than me. My grandfather, my, my, so it was my grand uncle and his wife who adopted me. My grand uncle was born in 1915. My grand, his wife was born in 1923. They'd been born and raised in Harlem. They were music enthusiasts and they loved jazz music and had lived through all the great eras of jazz and Harlem. So I was living with people who were generations older than me and who were, you know, something like, I like to think of, I like to think of them as, they were sort of like ethnomusicologists every Saturday night. They would pull out their records, their vinyl records and play music and force me to listen to, you know, Miles Davis and Coltrane and things that I didn't understand.    And I thought it was the strangest, weirdest thing in the world. But it was also fascinating. They were, they were, they were, they were artists and they were thinkers. I began to, I think, listen to music and then listen to the world that way. And also, as, you know, when I was very young, I was, I think in elementary school, I worked with, I was in a young actors program, worked with a woman named Neema Barnett, who is a well-known African-American female director still in Hollywood, the first African-American female director, director of farm time television. But at that time, she was heading a children's theater company and I was working with them, just trying to, you know, come out of my shell and embrace myself and, and, and, and deals my, you know, um, you know, my existence and, and try to interact with other children. I loved it, loved the idea of theater, loved the ideas of plays, loved the idea of, um, reading plays. My mother was an avid reader, so I was, you know, nine and ten years old reading the books that were on her shelf, everything from Baldwin to Jean Genet to Hemingway to Ralph Ellison to Richard Wright. And she would encourage this and this is very important to her that I would, you know, read these things. In fact, even reading theory or, or, or philosophy, you know, so this was, even though I didn't quite understand it, and was probably too young to understand a lot of it. But the more I read, the more I fell in love with language. And then, as I, um, so there's the, so there's two things happening. One is I was being taught to listen to language that was nonverbal by my parents, right? So nonverbal language, which is, which is music. Then at the same time I was being taught to participate in language, which was theater, which is performance, um, and to allow the language that someone else had written to come into my body and into my mouth and out of my mouth and to perform it. Then I was also being taught to read language and comprehend language and perceive language and sit with it silently, um, uh, and to become fascinated and to see what it did to my psyche and to my soul. And this is all before I'm 12 years old. So, um, I knew that I wanted to be a writer and I, um, even though I was very, very attracted to all of the art forms, I mean, I was visual art, dance, I was, I was attracted to all of it, but I knew I wanted to be a writer. Went to the LaGuardia School for Music and the Performing Arts as a visual artist, strangely enough, um, because I felt like I, I, I understood the other mediums and I wanted to know something more about drawing. And there I'm being taught the language of seeing and interpreting and making with my hands, the language of color, the language of, you know, shape and shadow, uh, the language of drawing and painting, you know, the language of, of, of, of linseed oil and paint and smell and all these things, you know, what is that to make an object to sculpt even, you know? I mean, that is, that is the discourse. So, uh, that was, it was an incredible thing. And then also at that time, there were people around me in that school who were singers and actors. And I'm listening to these incredible young students who are singing the most beautiful songs, um, arias, classical music, uh, Negro spirituals, jazz, Broadway show tunes. Um, that's what was happening just like in the movie fame. I mean, and then there were these dancers, these kids, walking down the hallways in their, in their, in their, in their tights and their ballet slippers. And I couldn't stop watching them, you know, articulate, um, something with their bodies. And I was learning the language of kineticism.  Um, uh, you know, that every position that we make, you know, and is itself a sentence, um, which is, which is true of, of, of all language. Um, language is not just the sound that comes out of our mouths. And this made me passionate about the arts. I then went to, um, the, uh, I went to Columbia College. I went to the American University of Paris and I went to the University of Ghana at Lagone, but I did not become a professional artist until with all of those things that I had been, that the universe had been preparing me for, I didn't become a professional artist until that pandemic, that HIV AIDS pandemic, uh, had affected the life of my older brother. And I, I was working for the city of New York in, uh, uh, child welfare administration and working with a lot of social workers. And I was also working as a social work trainer. So there was a, and that's what I partially studied actually, the NYU actually was, uh, the social work, because I wanted to understand something more about, like, you know, the politics of the world and the politics of, uh, you know, um, of, of, of society and how we get through them and, and how we, how we mandate change. And when my brother became very ill, uh, I became his advocate.  He had dementia. Um, and, and, and I loved him. I adored him. He was, he was 20 years older than me, but, um, he was a beautiful, beautiful, wonderful man who had been stricken by this horrible, horrible, horrible disease and could not help himself and was withering away. So I had to sort of put down all of these, you know, aspirations and goals and actually sort of join the world and figure out how does the world operate? What does the world do? Um, and who am I and, and, and, and how do I find out how to become an advocate for my brother and becoming an advocate for my brother? I think I learned how to become an advocate for myself and how to become an advocate for other people as well. Um, and after I lost him, when he died, and I shouldn't say that, I shouldn't say lost him because I didn't lose him, he physically died. I gained him as I continued to gain him. And I mean that in a psychic way. Um, uh, I entered this realm of becoming a playwright because I wanted to commemorate him. So my very first play, which was done on 44th Street, 9th Avenue in Manhattan, was about him. And it was not just about him, but it was also about, um, all the black young men who, and women and people who were living, you know, it was almost like a, uh, the play was called Song of Sad Young Men.  Um, and it was, uh, sort of a lower depths kind of play, uh, and, you know, in where, you know, these people are living in this, this structure that's, uh, very dark, and they're living through very dark and dangerous times and they're, they're, they're, they're facing each other and facing their own mortality and dealing with each other. And that's really how I entered, um, professionally this realm of art making, of becoming a professional artist as a way of commemorating my brother who had just died. Um, because I didn't want to die without having said something about my existence in my life and about him and the lessons that I've learned. And then on and on and on. You're strangely quiet. Yeah. Oh, no. That's, uh, I'll tell a bit more.  If you really, if I understand you could be drawing, could have been social work, it could have been perhaps movement, uh, or music. Why theater? Because that's, because I knew that theater, because I knew that theater actually would be the one form that, uh, while I knew that I wanted to be a writer first and foremost. And the other reason is that theater was the only form that I could think of that was accessible to me, that actually brought all those things together for me, you know? So in theater, I could have music. In theater, I could have dance. In theater, I could have visual art. In theater, I could have color. In theater, I could have singing. You know, in theater, I could have language, you know? Um, so, you know, it was possible. Um, you know, in, in, in visual art, uh, as I had learned it, uh, I didn't, I, I'd not learned vis, I had not learned to be a visual artist as a performance artist, as a perform, as a performative visual artist.  So that was not, I was not aware of that. That's, I'll just say that. Um, uh, even, even in learning to train and to sing, um, which I did, sang with the Harlem Voice Choir and, uh, studied voice. I had not, um, I had not, I had learned a lot about singing and, and, and, and reading and, and, and how wonderful that could be. But, um, somehow I wondered whether or not singing was enough. It was, and it was, you know what, it wasn't enough for me. It wasn't, it wasn't quite enough. But in theater, theater offered this possibility of bringing all of these things into the room. And, and that's what I wanted to do. And that's what I was able to do. And that's what I did. And continue to do.  We were touring all over Europe and it was directed by Robert Wilson. And so people, uh, know Robert Wilson is this great, you know, um, avant-garde, you know, theater director, uh, which he is. But, you know, he, he, he's more than that.   Uh, and then because of Artie's, you know, he's, he's, he's this brilliant, brilliant, brilliant theater director and lighting designer who then saturates the stage with all of these colors and takes you into a world you've never seen. Also, I had gone, when I was a teenager, I was, um, uh, I was accepted into a program called the Harlem Youth Writers Workshop. Um, uh, and it was led by a man named George Davis, another man named Frank Dexter Brown. Uh, it was a way of teaching children, uh, teenagers, journalism, and it was actually housed at Columbia University and it was funded by the Xerox Corporation. And when I was there, I decided that I would become an arts writer because I was already in arts world. And, uh, so I thought that I would, you know, that that would be appropriate for me because each child, you know, made their own decisions about what they, what kind of a journalist they wanted to be or how they would want to study journalism. And I was like, well, let me, let me try to understand arts journalism or arts criticism. And so I was going to see plays and going to see Broadway plays and, and in seeing these Broadway plays, I was sucked into these worlds that were, I, I, I can remember it like it was yesterday, just the beauty and the magic. And nothing else did that for me, not even film, but the magic of knowing that I was in the same room as, as other human bodies. But the difference was that the other human bodies were on stage and I was in a seat and that the people who were on stage were in, were walking in and out of light and were either singing or speaking or both. Um, and we're telling stories to me in that room at that moment. And so there was an energy, there was something that was literally being passed from me. And it was just a few feet away from me. And if I wanted to, if I could, I could actually reach out and touch these people. You know, it's not on the screen.  But I mean, it wasn't, um, it wasn't, uh, there was, there was nothing that distanced me from these people who were performing and telling you a story. And so that became magical to me, that I, that people like August Wilson, it could actually take me into 1930 something Pittsburgh. I'd never imagined being in, you know, I'd never imagined being in the 1930s. And I'd never imagined what that looked like. And I'd never imagined what I had no thought of what Pittsburgh was and, and didn't care or, or that, or that, or that, or that any player that anything could actually bring me in that mother courage could bring me to, you know, some, some, some realm of society that I recognized, but didn't quite recognize that Shakespeare could actually bring me into a world that I had no knowledge of yet realized, Oh, I do have knowledge of Lear. I do have knowledge of Richard. I do know who Hamlet is.  And also even though these writers, the playwrights didn't know me personally, so many of these plays felt like they were personal gifts to me that they had, there were times, you know, it's almost like that song, you know, killing me softly, no greater song in the world, I think, lyrically. No greater song in the world, killing me softly with his song, right?  That's what theater was like for me, you know, going to see a play. It was almost as if these playwrights had unearthed my diaries and we're, and we're reading each one of them out loud in many different ways. And that the world was playing some strange, wonderful, magical trick on me that I was willing to take part in, you know, I was like, yeah, let's play. I'll join this, you know, this is what a wonderful game. I mean, if this can happen and can continue to happen, I must be a part of this world. And so that's how theater came into my life.  And that's an incredible. Yeah, I think that I think that I think there are a lot to do with it. I think the fact that I was a foster child, who had been adopted, who had no relationship with his biological mother, whose history was really unavailable to me, had no knowledge of my biological father, was born, actually born, I found this out recently, that I was actually, you know, when my mother had me, I was, it was while she was institutionalized, I didn't know that, by the way, when I last talked to you, I thought that, that, that her, that her mental illness happened after sometime after I was born, but actually I found that recently, that it happened before I was born. She was already institutionalized. It was like a family secret. It was a thing that people were keeping for me for whatever reason, I have no idea, but they were keeping that with me. So I was, so she became pregnant while she was actually in the, in this, in this, you know, mental institution with me. And there was no way of finding out who my father was. And no one pursued that. So I still don't know and won't know. So there, so I was a child with questions and question marks. And again, that's, like I said earlier, you know, that even, even the darkest, saddest things in our lives, we must learn to embrace. I mean, it's what Buddhism teaches us, isn't it? You know, I mean, that, that we must, we must understand the balance of, of the universe, right? That, that everything has a purpose and a meaning. And so I was a child who came into this world with question marks and didn't know how to articulate my questions, but certainly found a way to articulate my questions to find my own answers, maybe not specifically to who is your father or why your mother was, you know, paranoid, schizophrenic or why I was born in a mental institution or, you know, maybe none of those answers could absolutely be answered. But what could be answered were larger questions. And it's just, and it's the greatest thing too about being an artist is that one question opens the box to the next question to the next question to the next question, you know, until you find a million or one answers that you had never even perceived on finding in the first place. So I, yeah, they had a lot to do with these question marks that was stamped on my soul and stamped on my psyche had a lot to do with becoming an artist. Who we are, you were forced and thrown into it to really ask it extensively. And from many of us, somehow we seem these questions are answered, but perhaps they are not, you know, just take superficial explanations. Where do we come from? And where are we, where are we going? What is the father, the idea of the mother and father and family and what is it? And so many of us have that.  Or could things have been done differently or could things have been done better?   And, but to use them, not just have them, because if we just have them, then we can die with them and they can actually increase our disease before we, and, and we die with them and, and, and not help us. But if we use them, then we can actually sharpen our instrument and do something while we are here, because we're only here for a certain time. And so that's what learning and that's what investigating and learning about my own personal history did for me.  Yeah. And as you pointed out, this time of corona is something where it forces us and it might be something that will save. Well, if it doesn't, if it doesn't, then we've, then this is, if it doesn't, then we've got nothing from it, right? I mean, if we don't, if we don't, if we don't do anything, if we don't do something with this moment, then it's lost.  Nothing. And I don't think anybody wants that. I mean, maybe there are people who have a very hard time believing the existential, you know, or the spiritual and, you know, the idea of, you know, sort of questioning things, the larger world or trying to see the greater picture. But I can't help but do that.  And so if we don't do that, if we don't use this moment for its purpose, then we've, we've, we've really failed the class. Yeah. And then we are really lost. But today I got a mail from Tom Walker, who's a long-standing member of the Living Theater, and he wrote a poem about the evil that surrounds us. And he said theater is not a mirror. He said, again, this old image of, you know, good to you, said it's kind of forges. We have to, theater has to engage now and has to promote people to act. What do you, how do you see theater? How do you see your theater? What does it do? Well, I mean, I think, I think it was always, after having seen a lot of theater and lots of different kinds of theater, I was very, I think I became clear that I was not into, well, I shouldn't say that, that the kind of theater I wanted to make was not going to be naturalism necessarily, you know, that it wasn't, you know, that it wasn't going to be a, you know, kitchen table kind of, you know, naturalism or realism, you know, that I was interested in theater that, you know, is abstract to some degree or, or experimental to lack of a better word, you know, that joined, you know, different mediums and came up with something that I had not seen or not been witness to, almost in that way that Toni Morrison says, you know, write the book that you, that you, that you have not read or that you want to read, you know, so, so I wanted to write the play that I had not seen and that I wanted to see and hope that maybe there'd be another me out there in the audience who, you know, that the kid that was me long ago that leaned forward and said, you know, maybe everybody in this room isn't getting this, but I'm getting it. I feel this. So I'm, I'm, I'm, I'm, I'm, I'm passionate about history. I'm passionate about the moment. I'm passionate about the existential, as you can tell. I'm passionate about the abstract. I'm passionate about language. And I'm passionate about ideas, you know, and I've always been passionate about ideas. I think that the theater is a place for discourse. And actually, what I've learned, sorry to make my computer move, what I've learned is that that's what it always was. You know, that it always was meant to say that it was not simply for entertainment purposes.  But on another level, it was forcing us toward our values and forcing us toward ourselves and forcing us toward something spiritual. So it's, it began this idea of theater as far back as we know it, because I believe it, I believe it existed even before then, as far as we know it, even with the ancient Greeks, was always political and social and spiritual and abstract and dealt with the many realms of existence. And that's the kind of fear that I'm attracted to in a contemporary way.    I need to be pentheus. I need to be pentheus in that way that I am a son, you know, and a warrior son, and that I am a warrior son who has serious conflict with his father. I need my father to be some great mythic king possibly unavailable to me or in conflict with me or endangering me to some degree, only to or even trying to impede me, only to compel me. I need love to be something that I have to kill the minotaur for. You know, I need that, I need that, I need that. I need to step into someone else's garments and perform the role of the other. That, that's what theater is to me. That, that is theater, that is absolutely theater to me. That's the kind of theater that I absolutely love. You know, stepping into the garment of something I've never worn, being influenced by a god that I've never known, challenging another part of my father, and when I say father, just creation, right, challenging a part of my, of the creation of the universe that I had not yet challenged, salvaging myself at a city that I had not yet inhabited, or at least trying to get to a city that I've not yet inhabited, you know, those are, those are really important things to me. And, and, and just architecture. I mean, strangely enough, for whatever reason, I'm, I'm passionate about buildings. I'm passionate about how buildings are structured. I'm passionate about the idea that rooms and doors are used for their emptiness, thus were helped by what is not. So I'm, I'm, I'm, I'm, I'm passionate about entryways that let in air, let out air, or trap air in. I'm passionate about derelict buildings and old buildings that trap history, and spirits and ghosts. I'm passionate about the stories that even plaster and molding can tell us. And stone and marble, rocks. I'm passionate, I'm passionate about the texture of rocks and wood and stone, because they all represent something so much older than I am. And they have a story to tell me. And so that, that, that's why theater, it feels less manufactured in a way than for me, than I guess film or television. And I don't mean that I don't love film or television, but I do mean that theater is the oldest form. It precedes these forms. You know, it birthed those forms, right? It birthed film, it birthed television. But so what, you know, why not go to the source, going back to the source? For me, there's nothing like the source, the source of the thing.  You know, and so that's why theater for me. And then actually, and also, sorry, oh, I was going to say, and then also, you know, I can hate it or love it. You know, I mean, how great is that? You know, and then I could, and then I can, I can, I can, you know, or that I can walk out in an in a mission and not understand it. My favorite moment, you know, I think that I always get wrong. And I think I need to learn how to quote this.   Oh, this is, oh, this is intolerable. I can't take this.   And he remembers something about the garment or the dress, you know, that the actress wore, you know, in the second act and how beautiful that garment was and how it flowed and how the light hit it, you know, and he remembers something about the relationship between the one character and another character. And suddenly in the middle of the street, as he's on his way home, leaving the theater that presented the play that he thought he hated, he learns he loves. You know, he suddenly discovers that he actually loves the play because he's gotten to live with it and learn it and question it and hate it and learn to love it and to allow it to, you know, have some real, some real relationship to his thinking.  I mean, I love the theater of, I was talking to someone else about how much I love the theater of Catholicism. You know, I don't, I'm not Catholic. I don't know that, you know, but I don't, I don't know what these incense things are, but I think they're beautiful.    Who invented that and why? You know, and, and what does that represent? Is that supposed to represent the spirit?  What are they singing? Who are they singing to? What are the songs of the angels? Where are the angels? What are the angels? I don't, are they here? What are those, who are those people made in glass that are windows really nothing more than glass in, in, in window frames, but colored glass reflecting light into a space so that, but forcing me to look up at them and see them and ponder who they are and what stories they're telling. I mean, I love the theater of rituals. I love the theater of, like I said, of church, of rituals, of dance, you know, and that's all of these things are theater for me. Conversation is its own theater and I love the theater of conversation, even though I tend to dominate it sometimes like I'm doing right now, but I, I love, I love, I love the theater of, you know, conversation. Yeah, I look at people and I'm fascinated with them and I can't stop.  Yeah, yeah, no, this is a, this is a, you know, important, this is a time where we can and should do this and what we can learn and see the world how this, how it really is, besides the fact how we process it, you know, become aware of the fact that was our own VR headsets, we are actually processing the world and everybody is in a way isolated and we have to be able to get an idea for the different ways of understanding, it's really, really good to hear from you and your reflections and what we're saying, and we are over time and out of time, but before we go, what inspires you, what are you reading at the moment or listening to what, or in Corona, what did you, what did, did something show up on the horizon you were surprised about? Oh, there was a, those are many questions, which one do you want me to answer? What comes to your mind? Yeah, well, so the reading at the moment, which answers also the surprise question is that I was walking down the street the other day and you know, people in my neighborhood sometimes put down on their stoop things that they're getting rid of, you know, cups or glasses or books. And I came across this Patty Smith book that she was writing about her time living in this neighborhood, right, right with Robert Mabel Thorpe. And, and I had actually just seen the film, but I'm fascinated about that period in time and all the many people were going to Pratt and whatever.  And other than that, so those are some surprises. And then other than that, I'm researching, I'm researching some things about people, about, well, you know, it's, this is a continued research. I was researching last night for hours and hours and hours about Greenwich Village and about the Manetas, you know, Maneta Lane and Maneta Place, and, and about the 19th century citizens who lived in that area and the people into the early 20th century, and about the, you know, the little Africa that is no more that once existed in that area.  I'm working on a project, actually. So, but that's, yeah, that became, and I'm finding out things that I still had not found out. And I've been, I've been studying that and researching that for 20 odd years and thought that I knew everything that was to know. And I found things last night, I never knew or maybe forgotten. So it was amazing. That is great. So this time maybe is a time to find out what we never knew about or what we forgot. And it was a really, really important and significant to hear from you what lessons you draw, how you use it, what it means to you and how you create meaning. And I think we need that. It is a time where we are lost. And as we are anyway in our existence, but we have to know we are called to create meaning. There's no imposing structure, or better or worse, I think it's better or so. We don't need it, but we are the ones now who have to do it. And you made a great contribution to that just for me. And I think I'm also sure for people who listen to it and artists and everyone. So really, thank you for joining us.  I love it. I try to be, somehow we didn't fully connect. So it's great that you were here. Tomorrow we continue our journey listening to theater artists. It is Philip Ken, who is from Paris. He is involved in many things, significant things. And his practice of theater and what he calls the small thing, just a little thing, we will find out what he will say to us. Petit Chamier, a playwright, she's moops now between New York and San Francisco and the Arab American theater community. And Friday we have Adelaide Rosen from the Netherlands in Holland, where she is in Amsterdam, really creating a stunning amount of work and engaging with the communities and creating work that resonates with them. Actually, Melanie will be there and talk with her. They will use it also as a way of connection, that they have a relation with each other. So hopefully this will also bring them closer together. Carl, really, thank you. It was so significant and important to hear from you. Thank you for taking the time. And I can't wait to see your next play or one about or your work or opera or where you act in. And so stay tuned, stay connected to us, to our listeners. Really thank you for taking the time. What Carl had to say to you is significant and it has an impact if you choose to do so. And it might be something in there that changes you. Or maybe things have already changed just listening to him and observing him. It almost looks like it somehow also like a little Orson Welles shot. It could almost look like a ceiling and you are standing and looking down to us where he had these, you know, ceilings close to the actors. So it was really, really an important contribution. Thank you for doing this and to listeners for taking time out so much we have to do so much is on our minds. It means a lot that you are here with us for how long to hosting us and to the Segal team and the Segal Center and the Graduate Center. So really, thank you. I hope you all stay safe. Wear a mask. It's not a political thing. It makes common sense. We heard the story of a barber shop or two hair cutters got a clean bill, a negative test, but there was wrong. They were positive, but they had kept their mask on for two weeks. They kept cutting hair and nobody got it. So it really protected the people who came in with masks and it does work. And so let's keep safe. So stay tuned. Love to hear from you soon and see you all again and all my best. And again, really, thank you. Thank you so much.


Demonic Presence at ArtSafeLoad. Lockdown. Ineffect. ArtSafeLoad. Lockdown. ArtSafeLoad. Lockdown. Disengaged. And ought to be allowed to... Full responsibility for the heart of this.


Alright, we're looking at general motion now, which is the possibility of both translation and rotation. We're going to look at some things where some stuff's in translation, some parts are in rotate. It just depends on what all the parts are. We had the general kinetics that we did on Monday, which was that an object, if subject to unbalanced forces, can't accelerate. We did that in physics one. We also looked at the possibility that if the moments are unbalanced, then there too might be angular acceleration. The general motion is the possibility, the likelihood that both of those apply. So that was the approach we took to problems on Monday. It works very well if the forces are constant, the accelerations are constant, but it is perfectly applicable if they're not. It also works well if all the problems concerned with is accelerations, either that's given or that's asked for. If we have other types of problems, just like we did in other parts of things we looked at, if we have other problems that either involve have a heavy dependence on position, or doesn't specifically concern itself with the acceleration, but rather the velocity, then the work energy equation tends to be much more useful. That's what we'll look at today. There's a few minor changes to it where its general original form is unchanged, but we're going to have to fill with it a little bit as we get to some of the things we're doing. This part here is work by non-conservative forces, meaning certainly not including gravity, because that's over on the other side anyway. We don't want to count for it twice, but gravity is also a conservative force, as are the elastic forces due to springs, at least the way we deal with them here. Of course, the big one here that we might be concerned with is friction. That's certainly the best example, but if we have anything in there like a rope or somebody grabbing in and reaching in and grabbing in and pushing or pulling or something, those are non-conservative forces, but friction is the big one. However, for most of our problems, it is actually a very little concern. If we look at a rolling wheel on a surface, naturally there is friction at that contact point, because if there weren't, depending on which way this is moving, if there weren't friction there, that wheel wouldn't turn. It's the friction that actually supplies the torque that makes this wheel turn. If there's no friction, then there would be no reason for the wheels to turn. If you have a car on an icy surface, not only icy, but greasy ice, ice with coal tar spread on it, which I found out from one of my other classes is the slipperiest thing there that you can, that's what I was told in the other classes, whatever would have this wheel on it, maybe your little toy red wagon would just slip down there and the wheels wouldn't turn because there would be nothing to make them turn. However, for most of our problems like this, where we have a rolling wheel and friction at the bottom, we observe the no slip situation then, which means we can directly calculate how much work is being done by the friction forces on a rolling wheel that is not slipping. We can calculate that right now for all problems where there's no slip. If we remember one little thing we hit a couple weeks ago, what's uniquely interesting about that contact point, if you remember, for a wheel that's rolling without slipping, the velocity, that contact point is not moving. If that contact point is not moving, then the work done by the friction force is zero. The friction in these situations, when we have the no slip condition, the friction is doing no work because it's acting on a point that does not move and to calculate the work done by a force, we need the force to move through a certain distance with that object and it doesn't, it's acting on a point that does not move. So we don't need to consider the friction if we have the no slip condition. If the wheel is slipping, which on some of the problems we've done, I think we did, do we do that lawnmower problem where the wheels skid at first? I can't remember if we did that or not. Oh, we did, we did what, a motorcycle or something, we did something where the wheels were skidding on startup and that, in that case we'd have to calculate how much work is being done by the friction forces. But if there are any of these non-conservative outside forces, we calculate them in the usual way, which is the integral of f dot ds if we have a force like that. But we can also have couples doing some kind of work as well, wherein for our simple problems that would be c dot ds, yeah I guess that'd be, I don't know if we can make the dot product out of that as well. So if we have a couple, a motor for instance doing work on something, it's going to depend upon, sorry that shouldn't be ds, that should be d theta. We can also determine the work done by that and so if we have, perhaps if we have some slipping or skidding or we have a rope pulling, we can figure out the distance through which it works. If we have some applied couple, some applied torque to the object, we can also figure out the work done by it depending upon the distance, the angular distance through which that couple works. So that's one change we're going to have to make now that we're adding both the possibility of translation of motion and rotational motion. The other place this could really apply is with the kinetic energy, and if you remember in this class our author happens to use a t for that. We have to look into the possibility that there's both rotational and translational kinetic energies. Translationally it's as, just as we've done it before, rotationally it's very similar to that, you can add to it. However if we've got a rolling wheel where it has both translational kinetic energy and rotational kinetic energy, I guess I drew that the wrong way, then we know we can take these and we can take out this velocity v, I guess you put a g on there, the velocity of the center, we know that that's related to omega at that instant because of the no slip condition of ours and so we can take out vg put in r omega squared plus the rotational part of it and then if we do a little more algebra with it, let me bring it up here just so I can finish it in some space I've got, I'm going to pull out the 1 halves, I can pull out omega squared leaving behind and, oh wait, sorry this is, omega's not squared quantity squared, so this is r omega quantity squared, so I can pull out the omega squared that leaves behind then m r squared and ig and that should also look familiar maybe if I turn around the other way, this is ia if a is a label from the contact point so we could figure out the, that's for a wheel, if we have other parts in the problem that aren't rotating in that way then we have to treat any translational and rotational components separately but this is in particular for a wheel in no slip and by wheel I pull out the omega squared and that could also be a pulley or a gear of some kind just as long as there's a no slip condition in the contact point that's not terribly different than what we've seen before and then the change in height in a gravitational field and any change in elastic potential energy are unchanged and there's no rotational difference between what we're doing and what might be on there otherwise, so we'll do a problem or two and then maybe see if we don't have a get out of class question for John as he wants to leave early. Alright so here's a situation, maybe some kind of automated door, some situation might come across here, so the upper part travels on wheels in a track, so does the lower part, so we have this, maybe a track door of some kind or other that needs to be controlled and we'll attach a spring to that bottom end, okay so that's the base picture, the basic setup, this is four tenths of a meter long and has a mass of 10 kilograms, we'll take the wheels themselves for this first part of it as we look at this to be a negligible mass, if they weren't then we have to add into it the problem of not only do we have to get those things moving, we have to get them rolling, so we'll deal with that in a little bit. The spring has a spring constant of 800 and the initial angle is 30 degrees where it's released from rest, so that'll be 0.1, when it reaches horizontal at that moment it'll have some angular velocity, we want to figure out what must be a bar, the door, whatever it is, reaches horizontal, oh what other thing you need, at horizontal the spring is unstretched, so that's when the bar, the spring is hooked up when it's at, when it's horizontal then it's pulled down to 0.1, take a deep breath and then let it go, I want to find the angular speed when it comes back to horizontal, this is one depends upon position, also one that does not concern itself with acceleration, there is acceleration but it's neither asked for nor is it given, so that's generally a good indicator to use the work energy equation. Alright there's the first step right down there, work energy equation, second step, no, well you might need it, but second step remember is to determine if these are 0 and the problem already gets smaller, what? 0, the first one is 0, by first point you mean this one or this one, this one, yeah there's negligible friction on the wheels even so they have the no slip addition the work done by that friction would be 0 anyway, so there isn't really anything else to, oh well there are other forces certainly and so that's another type of force that will not cause any work to be done, we looked at the friction force acting on a non-moving point but there's also the normal forces in any one of those places, perpendicular forces do no work anyway because f dot ds of those type of forces is automatically 0. So we're starting from rest but we're not finishing there so there's a non-zero delta T, we've got a portion of the mass at least that's increasing in height in the gravitational field, so the second third term delta BG is also non-zero and of course we've got a spring in the problem that finishes, starts and finishes at different lengths which automatically means delta VE is non-zero, so delta T is going to be T2 minus T1, starting from rest so T1 itself is 0 and so we need the kinetic energy of the bar, we need the wheels to, if mass of those was a concern but I said they are of negligible mass, so we have certainly the factor that this, this, this bar changes its angular orientation which is going to be reflected in the fact that it's going to have some angular rotational energy but it's also true that just its center of mass alone will also be moving, once it gets to that point the center of mass will have a velocity of 2, both of those have contributions to the angular velocity of the, of the setup, however this reduces to 1 half at i A omega square if A is that point, oh by the way these are all 2's on air because at the moment it reaches horizontal at that instant it is in the center in rotation about that point A, because that point A will move to the left and come to a momentary stop when the bar is horizontal then if the bar went past that point A would start moving back in, so at the moment the bar reaches horizontal then this roller point A is actually not moving and so the bar is at a different rotation about that point and we can use just an i A if we have it, which for a slender bar we do, so we can put those pieces in, 1 half, 1 third m l squared, that's the moment of inertia of a slender rod about one end and at the instant of concert point 2 point A is not moving and so it's in rotation at that point, so we've got enough pieces there we can claim it up from 1 sixth m was 10 kilograms l is 0.4 meters, the unknown omega 2 that we're looking for, so are the units right on that? if not we're missing something, we'll have kilogram meters per second squared and another meter, so it'll be Newton meters, so the units are okay and that reduces 0.267, omega 2 squared. Then the other two parts are simply as they normally would have been, there's no rotational change to those pieces, we just have some mass that's changing height and gravitational field, remember though that we take the mass of the bar to the edit center point, so it's only traveling up that little bit, but we can figure out what that is, 10 kilograms, g is 9.81 meters per second, delta h is increasing in height and that distance is 0.2 sine 30, that right? That change in height there, 0.2 sine 30 and it's positive because it's increasing height in the gravitational field, so it's increasing its gravitational potential energy, so that figures out to be 9.81 Newton meters, sine of 30 I think is one half, so that's where that came from, just coincidence. And delta v e, you set that up now and let's see if we get the same setup for it, just to make sure fk del 2 squared minus del 1 squared. No rotational concern with that, generally springs are so light we don't worry about their mass anyway, if it was a very heavy spring or all the other masses were very tiny in this problem, we'd worry about that. Yeah, here it's at rest. Yeah, the system's released from rest here and then the spring pulls that up to horizontal, actually if the spring's strong enough, if you can't get a solution to this then it means the spring's not strong enough. And there aren't any unknowns in this, so we should have a number for this one, the unknown is in the potential energy, the kinetic energy term, and then once you get that, it's up in the equation back together. Putting it all in there with all the units checked, all the signs checked positive because they're both increasing, everything's in Newton meters, so we should be able to find an angular velocity. Okay, looks like most everybody's got it. At the second point, remember the spring is unstretched, so that first delta term is zero. The second delta term is the amount of stretch that's here, the extra distance that's stretched out, which I think is point two. That gives this term then a negative sign which it should have because it's got a lot of energy stored in it when it's stretched here. By the time it gets horizontal, it's got no potential energy left in it, and so we can figure out that term and it comes out to be minus 16. The minus sign makes sense, the units work out, so as long as our simple math there's right, we're okay. And now, all you've got is a very simple equation with one unknown, and you can solve for omega two, an angular velocity of the bar in this situation. Got something? Where'd you get Travis? Yeah, that's what I had. John, check something. Yeah, it'll give up now. It should get 4.81 in the direction shown. David's 4.81, you got that too? Chris, you did, you're having a good day today? It's what? Yeah, it's kind of like we have a net average day. He goes down, we go up, everybody else stays pretty much average. Joe, okay? What's the number of just the units I'm going to use on it? No, no, no, we'll make a square there. That has kilograms per meter. How's that? Remember, this will be in radians per second, but it's squared, so we have a kilogram, one meter per second squared, that's a Newton times the other meter, that's Newton meters. It's got radians in there, but remember that's the magical mystical unit that disappears when we don't want it, when we're going through the calculations. So does that work okay then? Okay, questions before we clear up and do another one? We're trying to get to a get out of class question. This one, right? Yeah, what? I guess the get out of class question you want is, do you want to get out of class? Halfway through to class. We are, we're half way through to see we're having fun. We're not. We're more than. No, not quite. So let's get back to work. We don't have to, you guys are paying for this, not me. I don't imagine my bosses are watching these tapes, so I can do whatever I want. Alright, so here's another setup, kind of similar. So here's a wall and a floor and we have another long slender bar pinned at the bottom, vertical with a concentrated mass at the top. What I mean by concentrated mass is we don't have to concern ourselves with its radius. Its radius is small compared to all the rest. If it wasn't that way then as this thing twists we have to account for the fact that the mass itself is also turning. So right at the midpoint of the bar we have a spring. So that's, and the bar is two meters so that's one meter of bar above and below that. It's not to scale so the length of the spring at this point is 0.1 meters. So picture is not to scale. Very small spring kind of crammed in there against the wall. The bar is 9 kilograms and the mass whose radius is much less than all the other measurements in here so we really only need its mass as 4 kilograms. And at the moment shown it has an initial angular velocity of three radians per second. The spring has a rest length of 0.25 meters. So we've got it up at this point. The spring has squished a little bit there and it has an initial angular velocity. So we want to know how big the spring should be. By that I mean what's the spring constant? Find k. The spring constant such that as the bar reaches horizontal it just comes to a stop. To me, turn and go back up but the spring's got to be strong enough so as this bar comes down it has zero velocity right at that point. The spring's too weak. It's going to crash into the floor there. If the spring's too strong it won't actually make it down all that far. So find k such that omega with an angular velocity at horizontal is 0. Again, it's got quite a bit of dependence on position. It's got a spring in the problem. It's not asking for anything it has to do with acceleration. So it sounds like a good candidate for the work energy equation. Take a cut through there, see if any of the parts disappear. It's not a wheel, it's a mass. It'll look like a wheel. See, I didn't draw a little axle for it there. It should be square. Oh yeah, no, it looks good. Probably might stand. I hope I still have it. We'll do that on the get-out class on Monday when you're really in a bad mood. We do have those too. You have to figure it out. Yeah, you have. Well, you can do it as a single object if you know the moments of inertia of each as the same as treating them separately anyway. All right. Any parts of the work energy equation disappear? Not always do they, but sometimes do they. No outside work going on here. We're assuming there's no friction in this little bearing down here. If there were, we'd figure out how much work it does by how big it is and the fact it goes through 45 degrees. We've got two things moving here. So each of them is going to possibly have a kinetic energy. However, it's finishing at rest. So we don't need that. But we do need the initial kinetic energy of the system. Now the rod is in pure rotation about one end. So might as well just start with that fact because the moment of inertia with respect to that end is so easy to find. It's very well known. But then that's mass, the minus on the outside. The mass of course has some velocity, but it also has an angular momentum component to it that we need to figure. So we need to do one half a omega squared from it as well. But that's going to turn out to be very simple. And it's a mass, it's not a wheel. Oops, oops, oops. No, this would be cheap. All these subscripts have to match. This becomes one half m, the mass of just the sphere part i and omega one squared. If you want to do it that way, it doesn't matter either way. Works out in the wash anyway. Let's see what's the easiest way to put that together again. If we do this, then we can pull out omega. Remember the subscripts have to always match. So if we have this and this, or we could have one half m a squared but a's not moving. So it just becomes one half i a omega. Folks, that's not supposed to be a two. That's supposed to be a one. But that whole equation can reduce down to that part. So the moment of inertia for the rod is just to make sure you use the appropriate mass. We know that it's one third mL squared about one n. And this is clearly, the rod's clearly in rotation. For the mass itself, if we take it as a concentrated mass, it's just its moment of inertia with respect to that's elsewhere. It's just a mass of a particular distance from the point of rotation. So you can just figure that out straight away. And we've got all those pieces. We've got omega one was given the mass of each. Make sure you put the right mass on the right one. The mass of the rod is nine. The mass of the sphere at the end is four kilograms. And then the L is the full two meters distance. Because it's either the entire length of the rod for the first part or the distance the mass is from the point of rotation for the second part, which is the same. And the minus sign because it's losing kinetic energy starts with quite a bit, finishes with none. So put those numbers in, see if you get the same thing I got on that one. And then we've got the other ones to do as well. Is that your idea? Yeah. Yeah. Remember, if we do it this way about one end or some other point besides the center of gravity, that's all we have. If we do it about that point but with the numbers respect to the center of gravity, these substitutes have to both match. So what that means is the one half Mv A part is zero. That's a g. No, there's no delay in this problem. That's a g. Okay, should get minus 126 Newton meters on that one. You got what? So Chris, are you going to screw up on this one then? She's gotten down first, see, and then that would have forced John to screw up. Minus makes sense. It's losing kinetic energy. 126 makes sense because that's what the calculator said. We always believe it. And then we've got two other terms that we can... What? We have, we get in touch at the end of the term. We have two masses, each going through their own change in gravitational potential energy. Let's move that together. Because you need to know where the center of mass is then, of the two together. I think we'd probably be up here somewhere. I don't know if that's negligible. I mean you can declare it negligible. Let's see how that floats. The g comes out and the mass of the rod is 9. It falls, the center of mass of the rod falls one meter and then four kilogram falls two meters. And it should be negative as well because both of them are losing height in the gravitational field. And we've got all those numbers. So this should be minus 167. Doing it my way was 1.6. All right. Well, if you want to do it your way, that's fine.  Keep that tape running. The pressure's on. It's crumpled. I sing all the time. Of course, I don't know if it's the way to edit that out. Oh, one. See that? That's what happened on the element, John. The original 167 was correct. We only have one spring in the problem. We're looking for its size. So there's our unknown. All we need then is del 2, del 1. Remembering that those are the extra stretch and squish in the problems. Not the length of the spring, but the change in the length of the spring from rest. So del 1 is easy. It's a 0.25 meter spring, but we've got a squish down to 0.1. That's minus 0.15 meters. So what's the rest of 0.25 meters? It's down to 0.1, so that's a change in length of 0.15. And then del 2, you just have to figure out from the triangle that the spring stretches out to how much longer that is. Remember, this is non-directional, which makes it pretty easy to use. We just care about the length of the spring, not which direction it's pulling. It makes it a lot easier. The work energy equation is not a vector equation. And this should be a positive number because there's a little bit of change in length, and we end up with a lot of change in length. If that wasn't the case, then the spring wouldn't stop the system from twirling down to its point.  Place an order. We'll see. Where are you stuck? Remember, del is defined as L minus L0. So del 1 is L1 minus L0. So I think del 2 comes out to be 1.24 meters. It originally was squished, 0.15. Now it's going to be stretched out to, I think it's 1.49, something like that. 1.39 maybe it is. I'm just going to write that down. Okay? No? Tommy? Where are you stuck? 2, right there. All right, let's see. Del 1 is L1 minus L0. L1 is 0.1 meters. L0 is the rest length 0.25. So that's the easy one. L2 minus L0. L2 is this length. So you have the right triangle that's 1 meter there. And what was the length? Oh, 2 meters plus 0.1. So you have a right triangle. It's 1 meter plus 0.1. So this is 1.1 meters. This is 1 meter. And so now the final length of the spring is that.  And that should come out to be 1.49 meters. 1.49 minus 0.25. And that gives us the 1.24 over here. And so you should get from the piece of that 758, and that's the last little bit, last little bit of our problem that we can now solve for K. And then call her all quarter of the spring. Feel that makes sense? Okay with it? And they should get 387 newton meters. And all the units work out as long as we put those lengths in here. Any parts sticking? Doesn't quite work? I had an issue with the kinetic energy, but I worked that out. It turns out I was right. The first time I did, I was right. Well, there's your... Ooh, then don't redo the problem. And then you get that same thing. And then that unit's can be right. All right, now you want to get out of class question. Wow, wait. Which means it's got to be a really hard one. So maybe I don't want that one. I didn't want this one. Since it's a Friday, we'll give you a get out of class question. Everybody all done? David, you okay? Yep. Tom, comfortable with that? Simple problem. One, the ancient Egyptians had to approach. So on an incline here, of angle three, is a massive concrete block on rollers. As if, you know, just a nicely rounded block. They're not wheels, but rollers. We'll give this the symbol big M for its mass. And each of the rollers is of little mass and radius R. But we'll say that the mass of one roller is equal to half the mass of the piece itself. So both rollers weigh the same as the, as the, what if that object is probably not a slab of granite. Because I don't know if the two logs weigh the same as the slab of granite. But one, the Egyptians didn't have any trees. It's Egypt. And two, they didn't have any granite. So it doesn't matter. It's academic. All right. So I think that's all the pieces you need there. Release from rest. Release from rest. Find the velocity of the box or the crate or whatever it is. We'll give that a big V because the wheels will have some velocity of their own. Maybe a little V would make sense to go through the lamp. Find big V after the rollers have gone through 10 revolutions. So the rollers will have rolled around 10.  It's not getting out of class that quick. And also assume no slip. In fact, without that, you can't do this. If things are slipping, we don't know how much if we're able to find out any of those parts. All right. It has a lot to do with position. It doesn't ask for anything about acceleration, just velocity. It might make sense then for, it's just some variable r. So your answer will be a function of r, m, and wheat. And anything else that you think applies. No outside forces and no spring, which is opposed to no winter, which we just had. Certainly this thing's picking up speed. So delta t will be positive, delta vg is dropping in height. That's where the speed's coming from. Are we assuming these rollers are attached to that? What, that these wheels are attached there? No. No, it's this big slab on these rollers, just like the Egyptians used to do to roll these big slabs. We said they're not flying out. No. It's kind of like one knee. That makes sense. Good. So we'll start like that a little bit later. It'll have rolled down some. And the wheels will be back a little bit farther. They'll have... Are they stationary though? No, they're rollers. How could they be stationary? We've got lots of bearings. No. No. No, it's... Here, here's the ramp we're going up. And the first thing you do is you put down these rollers. And they won't go anywhere because they're not supposed to yet. And then you put on top of that this big slab. No bearings, no attachment, no nothing. And then you let go. And so the slab starts to roll down. So not only does it go down farther, but the wheels also go down farther because they're rolling forward as the slab rolls on it. In fact, you should be able to relate the velocity of those two to each other since there's no slip. How do we have the picture? The delta T term is probably the more problematic. The delta VG term shouldn't be quite as problematic. You get the picture, John? These guys were asking about bearings and all kinds of stuff. How about bearings? Yeah. So the delta T term is going to take some thinking. We've got two things going. One's pretty easy. It's just simply in translational motion. The big slab thing, whatever it is, maybe it's a Pharaoh's coffin or something exciting. Using big M and a big V for it. But the wheels are going to be a little bit different because they are indeed translating. And it starts from rest. We'll have the T1 terms of no concern. So the wheels are translating but they're also rotating. There's two of them. So just multiply that by two because whatever one does, it's a good weekend film. A lot of those terms are related to each other so you can combine them. For instance, the mass of the rollers is half the mass of the slab or whatever it is itself. This looks suspiciously like that business we've done before. So that whole thing could be made into one-half I, A omega squared, where A would be which point? We'll remember for a rolling body. It doesn't matter if it's going downhill or not. It's in rotation about that point right at that minute. So about the contact point. That's the no-slip condition. But there's also a relationship between the big V, the speed of the slab, and little V, the speed of the wheels. I guess I put a G on that. So with that, you can even eliminate more of the constants, get it down to a fairly simple relationship. Leave in the big M's of big V's because we're looking for the big V and you should be able to get this all the way down to MV squared with a constant in front because we have one-half MV squared there. So this can be related. We can relate the masses using this and the V's can be related to each other. The V and omega can be related to each other and then that can be related to the velocity of the slab itself if we apply the no-slip condition. What? These two are equal. No. You can see there's no equal sign between them. They get to each other, but I'm leaving that to you for a couple minutes. Of course, we can also use in here that VG equals r omega squared.  You would have caught that when you checked your units. You want to jump in 10 minutes and then don't forget there's also a delta VG term, but that's fairly straightforward. Well, I'll leave that to you too for the slab and for the rollers, not forgetting that there's two of them. In that term, I think you can also get down to and that'll have r big M and G in it. The r just because it has to do with the number of revolutions. Delta H for the rotor is half delta H for the slab. Right. The distance the slab drops is twice the distance the rollers drop, but clearly it's not a scale drawn. But that also has to do with the relationship between the speed of the slab and the speed of the wheels themselves, the rollers themselves. Has anybody put that together yet? Remember, this is no slip. So the contact point between the rollers and the slab is opposite that point A. And so that will be the speed of the slab. How is that related to VG? Little V. Can you see it? This is the contact point for the slab. So however fast that point is moving, that's how fast the slab is moving. Pardon me? Yeah? Or just two times VG, VG, little V. The slab's going to be moving twice as fast as the rollers are. That's absolute speed relative to us standing here at the outside. That, again, is the no slip condition. If we were slipping at either point, either where the rollers are on the plane or the slab is on the rollers, if either point was slipping, then we couldn't finish that. What are you using for your I? Just leave it here and you don't need it. Because you can just use IG. Because VG is related to omega, so we can eliminate omega and just have VG. IG is just a roller, so whatever moment of inertia is about its center. And then once you've got this in VG, you can eliminate VG using this whole thing in terms of big M and V, and it just comes out to be a simple constant times MB. So IG, if that's what you need for the roller, if it's one half MR or IA, but you don't need, because if you use that equation, it's in the parentheses part, but you can get it directly. So I think we only have enough time. If you can come up with that constant, I'll give it to you. Only need for the kinetic energy? Changing kinetic energy. So you can eliminate the omega with this, VG plus R omega, and then you can eliminate VG from the two of them using M, and so you get down to nothing but MB squared. Again, big B squared. And that would be the energy for the entire thing, even though it's just in terms of the slab. Easier said than done, usually. It's getting a little simpler as you go, isn't it? You got that constant, David? Don't say that out loud. Just wait. Ah, darn. Oh, yeah, that's what I meant.  Take almost two minutes and 45 seconds to pack up and get to the door. Alright, some people are getting closer. You don't have to touch that first part. The two comes together and cancels everything.  So the R's cancel, we get one-half MVG squared plus MVG squared. So that's been, what, three-halves little MVG squared. Is that right? What? It's one-half MR squared. Yeah, that's one-half MR squared is the moment of inertia of a cylinder. It's the roller power. Swap out the mass, and that's, we've already put the two in there, so that's the mass of one roller, because we already had the two in there. This factor of two rollers is already there. And VG is one-half MVG for that squared. So that puts two times two is four, times four on the bottom is 16 on the bottom. Yeah, so this becomes three-sixteenths, plus eight-sixteenths, and so you can add them together to get what David confirmed, eleven-sixteenths. That's just delta VG, so let me give you a B because now we're cutting into our weekend. Let me just give this to you so you can find it. Once you gather all the constants, like eleven-sixteenths and two pi for the revolutions, the M should cancel, and you should get 42.4 times the square root of R sign. So you should get that, and if you get that, you get a dominant. No early weekend in this week, maybe next week.